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Seems like. Ladies and gentlemen, if we're sitting comfortably, then we'll begin.

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My name is Richard Ovenden, I'm a police librarian and I'm also speaking to you this evening here in the Western Library of the Brooklyn Library.

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As the chair of the electors to the loyal readership, and it's my pleasure indeed to welcome you here.

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Both those of you are here in the Civic to lecture theatre and all of also those of you joining us online.

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I welcome you very much indeed for the last of the line lectures for twenty nineteen twenty twenty.

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These lectures were, of course, originally intended for physical delivery in the usual fashion in Trinity term of 2020,

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but for some reason, which I can't now remember.

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Alternative measures had to be developed to ensure that we could honour the intentions of our benefactor and the founder of these lectures,

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JPR Lyle, in delivering the annual lecture series. Four lectures were eventually screened from Professor Smith's academic base in Paris to a large,

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internationally spread audience online during late September and early October 2020.

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The first of these lectures would have included an invitation from me to all of you to join us for drinks in the Bodleian Library.

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But back in September 2020, that was not possible.

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But I did promise you solemnly on that occasion, ladies and gentlemen,

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that the long reader would deliver his final lecture in person and that we would share an

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adult beverage in the form of a vent on air for Professor Smith together in Blackwell.

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Ladies and gentlemen, here we are at last able to deliver that promise before we move on to the specifics of this evening's lecture.

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Allow me to explain a little of the background and history to the lectures.

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James Pialligo was a lawyer and book collectors lived in Oxford, announced his retirement in Abingdon.

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He not only collected books in a serious way, but also studied them closely,

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publishing his research, for example, on early book illustration in Spain in 1925.

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Over 100 of his best mediaeval manuscripts were bequeathed to the body on his death in 1948,

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and the library subsequently purchased another 60 manuscripts and many other early printed books from his executives, Tilly de la Mer.

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Then on, the staff of the Modlin, published the scholarly catalogue of the mediaeval manuscripts in 1971.

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In addition to this great generosity to the bodily in JPR,

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Lyle also left a bequest to establish a series of lectures in the overfeed to be delivered by invitation by leading scholars working in the field.

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To this end, the university established a board select board of Electors to review the state

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of scholarship and to invite the leading proponents to hold the readership.

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It is this body one that I have chose since 2013, but you, Professor Smith, to give the 2020 lectures.

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James Lyle would certainly have approved of the choice of our lecturer, Professor Mark Smith.

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He has been since 2013. Professor of mediaeval and modern parly overfished the Ecole Nationalité shaft and director of

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studies at the École Pratique des Attitude section of historical and physiological sciences.

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Professor Smith was educated at the École Tissot with a thesis entitled La France as a Civilisation View A Parlays Italian OCZ m.K in 1988,

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and he then worked at the Archive Nationale from 1989 1988 to 1994, either in red for his doctorate at the École Pratique des Études,

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with a thesis on late Italian ellagic of the Tour de la France of VMC eight

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Geography Voyage a Representation de la Spice in 1993 and from 1995 to '98,

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he became general secretary of the Ecole Nazionale Deshpande before taking up the chair, which he now holds.

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He's also taught at the University of Paris, Sorbonne at Columbia University and as head of the Melanson Institute in Vernacular Palio,

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Griffey at the Newberry Library and also at the Getty Research Institute.

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Professor Smith serves his profession more than simply his own academic appointments.

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He's president of the Comité Internationale de Palio, Rafi Latine,

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a member of the Committee on Hebrew Radiography and a former president of the society to the Strada

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France and a member of the editorial boards of Script Tourism and of the Gazette du Leave Media.

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Professor Smith has published widely in the fields of the evolution of the Latin alphabet and of inscriptions, handwriting and on typography.

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Ladies and gentlemen, I have great pleasure in inviting Professor Mark Smith to deliver the last of the 2019 2020 lectures.

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The overall title of those lectures is writing models from manuscript to print France, England and Europe circa 4500 to 18 countries.

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Ladies and gentlemen, join me in welcoming. But many thanks, Richard,

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for the introduction for the the reminder for those who might have heard an introduction two years ago and might have forgotten about it.

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In the meantime, so ladies and gentlemen, dear colleagues and friends, since I can see many colleagues and friends in the room.

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Good evening. I'm especially pleased that we are coming to the close of this longest ever run of lectures started in September 2020,

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leapfrogging the wonderful Paul Needham season, and that at last we meet face to face.

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The first four lectures, if memory can reach that far back,

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focussed in large part on bibliographical issues relating to writing books as seemed fitting for a loyal readership in bibliography.

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In this last episode, I intend to shift back to the kind of question that first attracted me to writing books.

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That is questions of Palio Griffey. What can a survey of hundreds of writing modules each created, taught or published at one point in time and space?

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Tell us that might help us to describe and explain the broader landscape of written forms over space and time.

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They offer more or less detailed technical instructions plates of writing from the master's hand reproduced for imitation and often,

57
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but not always, they pin names onto scripts names that make sense in context.

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At that moment and place, which can be misleading if you rely on them to guide you through time and space.

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Names are sticky. They tend to remain in use, sometimes for centuries, while scripts change.

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On the other hand, similar scripts can also be called different names by different people in different places and even in different times based

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on changing notions of where those scripts came from or how they look or how they are done or what they should be used for.

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Names that suggest form, style or technique can also be vague and confusing.

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How cursive is italic chancery cursive? It depends on the date ascribes achieve greater passivity.

64
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The script, previously considered fast, might be downgraded in speed and at the same time upgraded in dignity as a more formal or even sketch script.

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Round hand falls into the category of confusing descriptive names.

66
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It has nothing in common with Rotunda owned Redondo,

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first developed by English writing masters around 7500 and rapidly adopted for common use, as you can see in this 75.

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This is one of the only, maybe the only slide I have of female writing,

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and it's very similar to all the male writing we're going to see as a model for ladies in the 18th century.

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It was originally a script in the Italian tradition and round called round in two respects.

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It was less spiky than secretary.

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The common gothic cursive of the 16th and 17th century, the English offshoot of a late mediaeval French chancery script.

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It was more full bodied and less compressed than most italic scripts of the time, which is another aspect of roundness.

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Its defining features are its slope.

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Connexions, between letters and between strokes, within letters in the form of thin upward hair lines and the open bowl of pee at the closed bowl.

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Here being if both bills hit close, one being used in the larger, less cursive form node usually is round text.

77
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The senders might be looped or not, depending on size and passivity, and that, all in all is essentially the model I was taught at the age of seven.

78
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After moving from Britain to the continent. The round hand came into use on the continent in the late 18th century, under the names,

79
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John Glaze is key to the English and English left to right Glaser names that suggest origin national names might carry prestige or less so,

80
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depending on your opinion of other nations.

81
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Scripts can be adopted or rejected by communities according to connotation, and labelling is part of the process.

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Looking further afield, the German Gothic tradition offers maybe the most striking example.

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Another offshoot of the same France with chants of same sorry French chancery script I mentioned earlier,

84
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promoted in the early 16th century by imperial authority in the form of factual,

85
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national and religious sentiment kept it alive for centuries as the deutscher shift until it was abolished by Nazi authorities.

86
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Ironically, but for practical reasons. In 1941, by swapping labels and calling it just on that single last day, the Shabab wouldn't shift.

87
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Despite which German gothic letter forms remained associated with grim memories

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to the extent that they stayed out of favour until the end of that century,

89
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when graphic designers once again realised their aesthetic potential, and some of you might know the seminal book [INAUDIBLE] two of Mon Amour.

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The name Gothic itself, of course, has its own history, but that would lead us further astray.

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I shall use it on a few occasions for convenience.

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As for publication, anglaise as we'll see later on the naming process itself reflected French attitudes towards Britain.

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Finally, back to form technique and style, the main innovation of 18th century masters was the use of a quill cut to a fine point.

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And the production of full bodied minimalist shafts and curves by applying some pressure

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to spread the tines of the quill rather than relying on the full stroke of a broad nib.

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The difficulty with the broad nib in cursive handwriting, of course, was the hair lines, especially in upward strokes and loops.

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The fine nib made all that simpler and faster and produced a uniform and light and pleasing texture.

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That technique and style is still in use amongst calligraphers today, but under the name copperplate.

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By now, a traditional and apparently neutral description, it actually originated as a term of disparagement,

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meaning a style supposed to have been perfected by and for the burin rather than the pen.

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A notion both writing masters and engravers were already constantly disputing in the 18th century.

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The name copperplate only became common in the 20th century, it seems, after Edward Johnston revived broad calligraphy.

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And Alfred Fairbank and others started to advocate 16th century italic chancery scripts in schools.

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Copperplate then became associated with a dull mechanical Victorian traditions.

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To this day, broadness been pointed NIB calligraphers carry on the age honoured tradition of stylistic and personal strife between scribes.

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In between Italian Renaissance models and the Victorian style of round hand historical scripts from 50 60, say,

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to 1800 are now no man's land, with very few calligraphers exploiting the amazing diversity of letter forms from the period.

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Partly no doubt because many of them have become difficult to read or too exotic and

109
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would serve no practical purpose who would pay for a wedding invitation in secretary?

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I'm sorry to add, not many geographers are interested, either,

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at least the most formal and legible round hands of the 18th century of inspired recent type designers and been revived in such

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typefaces as Snell round hand Shelley script champion script becomes script all the names of the great 18th century writing masters.

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Some historians, including Stanley Morrison, have written about the round hand in the 18th century,

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but without going into much detail concerning its roots, development and circulation and the reliance on names and on texts.

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Introductory texts from matter in writing books have somewhat muddied the waters.

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I would like to approach the question from a more visual angle, together with a group of students at the school platitudes issued,

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including professional calligraphers whose observations I treasure.

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We've spent months peering at minimums, loops, pentangle, connecting strokes,

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lines swelling to different degrees in different different directions and trying to identify the processes that transformed a mix of

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elements borrowed from England's closest neighbours into something new that was later exported back to all of Europe and America.

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I don't intend to inflict on you the detailed analysis of hundreds of samples of English handwriting.

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I would rather try and flesh out the wider context in which they appeared so as to so as to understand where

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where those masters looked for inspiration and how they reworked their models into that uniquely British blend.

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My first lecture was an invitation to look beyond national boundaries in late mediaeval and early modern palaeontology.

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We now return to that theme.

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The distribution and circulation of scripts like languages or any other social and cultural forms reflects relationships of exchange,

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antagonism or domination and the balance of power, wealth and prestige.

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A brief reminder The time around 1500 has seen the rise of distinct national styles.

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In the gothic tradition. Cursive documentary Everyday Scripts became so different as to limit their use of specific lines and languages.

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International communications still use the Latin language, of course, partly supplemented by Italian, and it used Italian letter forms.

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The kind of letter forms we see in this book, published in 15 40 50 40, would be.

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The first edition is literal military, not etc. by MacArthur, the famous mapmaker.

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So an Italian script produced in Antwerp.

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Humanistic, minuscule and coercive, then Rome and italic type used for Latin first from around 4500 and then for Italian were

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widely adopted for most European languages in the 16th century alongside the national scripts.

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Nor should we assume that readers just found them easier to read as we do or even to write.

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Some italic scripts were highly sophisticated. Others more elementary and the same goes for gothic.

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Italy exported scripts and imported none, the foreign examples illustrated in 15:40 by Abraham Battista Palladino,

139
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for instance, were for show and curiosity, not for teaching in other countries, notably France and England.

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Institutions kept a tradition. While the Italian scripts might be used in literature, private communication,

141
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international trade diplomacy and were taken up by specific social categories, particularly the nobility and women.

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Foreign scripts,

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which were neither local nor international were taught whenever they appeared useful for dealing with foreign countries in their own languages,

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German lords or merchants of the 18th century could hardly expect their French counterparts to read a letter in German,

145
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and writing French words in an illegible German script would have been pointless.

146
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A generic Italian scripts could do, but if you could write a French script, that would be even more polite.

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On that subject, also writing books are a good place to start,

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since the plates tend to illustrate scripts in the appropriate languages and genres of texts or documents.

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So even when no label is provided, one can identify a legal script from a legal text,

150
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and a French text is the sign of a French or supposedly French script, even when you're looking at an ill defined imitation by a German Penman.

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Interest in foreign scripts follows trade routes and comes together in multilingual centres of commercial and political business.

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The one area and time in which writing books systematically surveyed the scripts of every major power in Europe is the low countries north and south.

153
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In the late 60s and early 17th century.

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Which is what we see, for instance, here in 15 94 in Holland, use the bathroom are described in the in nine languages.

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Students in the low countries could go to Latin schools, French schools, Dutch schools,

156
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but they're writing books showed all three varieties plus Italian, German, Spanish.

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Even after the northern provinces had broken free from Spain in 1981 and to a lesser extent, even English writing meaning at the time secretary.

158
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The greatest, most of the time. Jan Vanden, vendor in the first two decades of the 17th century,

159
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turned out a body of work extraordinary as the variety and stylistic adherence to the original scripts,

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together with an unsurpassed sense of ornament and overall page design.

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By the mid 17th century, the range of scripts seems to have gone down to essentially Dutch, French and Italian.

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Now, as we shall see, the names of Dutch masters were well-known amongst 18th century English writing masters in England writing models.

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From the start, it offered a wide array of scripts English, Italian and French,

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which comes as no surprise since the first English copy book that you see here was produced in 15 70 by the Huguenot genre,

165
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Bhushan, specialising in French and Italian styles, and John Beldon, who was presumably responsible for the local English Gothic types.

166
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That diversity lasted throughout the 17th century based on much that was borrowed directly from international models.

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That is what we find illustrated in this splendid broadsheet by John Smith,

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dated 16 83 with a more or less complete set of what you could find in the works of English writing masters.

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Including many that already are inspired by foreign scripts such as this one,

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which is which has clearly been looking at French writing lost in the 18th century, began with all eyes on French power, wealth and culture.

171
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It ended with the collapse of the monarchy and widespread hostility towards the Republic.

172
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Together with the rise of Britain, British commerce and all things British.

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The first Napoleonic empire established French power and French standards across much of Europe again.

174
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But ending in disaster ultimately confirmed the rise of Britain to world dominance.

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That general shift in the balance of nations is also reflected in the destinies of letter forms.

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France, after 16:33, you might remember, had been given a fixed system of scripts, which from that moment.

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Stifled all foreign influence in the national tradition.

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One script was left in Austria, which you see here a bold and upright script with evident gothic roots.

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The proportions of letters and O were a perfect square or circle in proportion, and a century later, life in Australia became known as longhorned.

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The other was so, yes, this is the title page of a of the great book by Rebel Widow,

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of which I'll be mentioning again later on the kitchen of last year and also naivety.

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This is the alphabet, especially the the small letters at the top.

183
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This is a full page of the same, with typical French striking flourishing,

184
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which is done in large part with thick up strokes by turning your quill upside down practically,

185
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which is something the English masters will imitate later. And the second script was the little Jane Butterfield, a stripped down,

186
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streamlined take on italic cursive with generous proportions, as opposed to the highly compressed styles by then common in Italy.

187
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So this is the alphabet again, with three sets of minuscule letters more discursive.

188
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And this is the kind of Italian writing that was used more generally at the time, as illustrated by Bob Woodward himself.

189
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Um, and so Italian battalion that had serifs simple service rather than loops or decorative ball terminals like those you see here.

190
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This may have have been inspired in part. This new script by a plate entitled Little Bathtub,

191
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published in six eight by Luca Matagal in Avignon, reminiscent I think of italic type of the period,

192
00:24:05,910 --> 00:24:10,470
maybe the kind of italic type that was made by, um,

193
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by or birth control and a spectacular exception in the midst of a superb collection of smaller and more cursive italic scripts like this.

194
00:24:22,440 --> 00:24:31,230
Berth, the new final seven battle to two abroad NIB scripts, clean and energetic in line with the most classical tendencies of French taste and

195
00:24:31,230 --> 00:24:36,690
most ornaments were kept either simple and spontaneous or rigorously symmetrical.

196
00:24:36,690 --> 00:24:46,140
The foremost exponent of both scripts was Louis Babydoll, whose book We have just been looking at the actual creator of the new financier and the

197
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author of the most massive writing book of the 17th century some 60 plates in Plunder.

198
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His most successful student was Louis Sunu, 16, 30 to 60, 91,

199
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Penman and engraver who produce not only dozens of writing books but also stunning books of ours.

200
00:25:06,360 --> 00:25:12,570
Books of prayers, prayer books engraved throughout in the most formal Italian background.

201
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And he also collaborated with Jean-Baptiste Ali as an engraver.

202
00:25:17,580 --> 00:25:27,930
Jean-Baptiste Ali W 16:35, 288, in his great book La Decree 16 683.

203
00:25:27,930 --> 00:25:38,900
A new genre of writing book. A masterpiece of pedagogy and methodical set of principles explained and illustrated in the plates,

204
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rather than just a set of fancy models showing off the master's talent.

205
00:25:43,330 --> 00:25:50,320
It held detailed instructions and illustrate. So this is not the right one.

206
00:25:50,320 --> 00:25:53,830
Now we have detailed instructions and illustrations,

207
00:25:53,830 --> 00:26:03,220
amongst other fine points on how you should slit your quills slightly off centre, which we see here,

208
00:26:03,220 --> 00:26:10,060
so as to make better ascending hair lines or on adapting the correct pin holds to the hands of different students,

209
00:26:10,060 --> 00:26:19,880
you know, short, stiff hands, long feeble hands, etc., which is the mark of a true teacher.

210
00:26:19,880 --> 00:26:26,690
And they also emphasised the importance of freedom in writing, leading to the emergence of a more coercive style in the following century.

211
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More about this later.

212
00:26:29,030 --> 00:26:40,180
The book, as you can see, was a vertical folio format that was unusual at the time that remained standard in France for the next 150 years.

213
00:26:40,180 --> 00:26:44,890
All later, 17th century French handwriting was based on those same two scripts.

214
00:26:44,890 --> 00:26:54,160
In striking contrast to the great diversity found elsewhere, the French viewed the Finocchiaro honed as their quintessentially national script,

215
00:26:54,160 --> 00:27:00,590
and it was long recommended as the foundation of any instruction in handwriting.

216
00:27:00,590 --> 00:27:04,820
But Fred tracing began to spread abroad exclusively in the form of Italian Bataan,

217
00:27:04,820 --> 00:27:13,000
which anyone could easily read anywhere amongst early adopters, we find Ambrose Pearling.

218
00:27:13,000 --> 00:27:23,690
Which is what we were looking at. Yeah, master of a French school in Amsterdam around 16 18.

219
00:27:23,690 --> 00:27:26,960
But notice there is a technical difference here.

220
00:27:26,960 --> 00:27:34,340
Polling produced similar forms form similar to the French, battered with a different instrument pointed flexible quill.

221
00:27:34,340 --> 00:27:43,880
And this is most apparent in the thin up strokes. If you look at oh, especially, you can see both sides are not the same thickness.

222
00:27:43,880 --> 00:27:52,370
Or in the. Upward movement in well, the DEA's here, no, it's not look at the DS here.

223
00:27:52,370 --> 00:27:58,190
Such was the situation when the English writing masters started to show serious

224
00:27:58,190 --> 00:28:04,780
interest in what was going on in France and French standards and methods of penmanship.

225
00:28:04,780 --> 00:28:13,750
Samuel Peeps, amongst examples of many other writing masters put together a fine collection of prints and manuscripts by Parisian masters.

226
00:28:13,750 --> 00:28:21,100
He particularly insisted he needed a copy of the bogus degree, which he apparently couldn't find.

227
00:28:21,100 --> 00:28:28,490
At least it's not in the collection. He even obtained a list of all the masters in Paris for the year for the 7500.

228
00:28:28,490 --> 00:28:35,160
A useful document now, presumably straight from the corporation itself.

229
00:28:35,160 --> 00:28:42,710
At the same time, the English seemed to have formed a canon of foreign Penman who deserve to be admired and studied.

230
00:28:42,710 --> 00:28:47,270
The names most often cited in the 18th century are those of Van de Velde and

231
00:28:47,270 --> 00:28:55,010
Pearling in the Netherlands matter who babydoll and secondarily so in France,

232
00:28:55,010 --> 00:29:00,350
names that are not only mentioned in preliminary texts but also glorified as a

233
00:29:00,350 --> 00:29:05,810
calligraphic pantheon in decorative prints with just the names and flourishing,

234
00:29:05,810 --> 00:29:12,280
what exactly they admired is less clearly stated. The fame of Matagal in particular,

235
00:29:12,280 --> 00:29:20,500
seems to have misled Stanley Morrison into tracing the origins of the round hand back to Matthaus famous plate we saw earlier and his

236
00:29:20,500 --> 00:29:30,080
suggestion still carries some weight to date is echoed in you and Clayton's recent and delightful history of writing the golden thread.

237
00:29:30,080 --> 00:29:38,110
And you and, on the other hand, tends to refute the received notion expressed amongst others by Robert Moore in 1736 that

238
00:29:38,110 --> 00:29:46,080
quote the [INAUDIBLE] Italian hand was first introduced to England by the famous John as.

239
00:29:46,080 --> 00:29:51,630
Again, this is a tricky question of styles and names,

240
00:29:51,630 --> 00:30:03,610
as writing Master of the Hand and Pen published a dozen works from six eighty to seventy five and his first book.

241
00:30:03,610 --> 00:30:13,790
Was this year the new mood secretary? Showing.

242
00:30:13,790 --> 00:30:28,260
I'm sorry. Yes, showing quote the [INAUDIBLE] Italians commonly called the new Alamo drowned hands.

243
00:30:28,260 --> 00:30:32,220
We already have the name round hand. At the same time, we have other names.

244
00:30:32,220 --> 00:30:40,650
The term Alamo had been applied by Sano and by others before him, specifically to the new Italian battled created in 16:33.

245
00:30:40,650 --> 00:30:49,050
And even a quick glance shows us that was precisely the script imitated by errors, including in the title page,

246
00:30:49,050 --> 00:30:57,720
imitated and recommended by saying it had by then become quote universal being practised in most parts of the civilised world.

247
00:30:57,720 --> 00:31:02,730
And his only intent was to save his countrymen the trouble of sending for such examples from

248
00:31:02,730 --> 00:31:10,950
abroad as offers some of the most interesting and insightful prefaces of the whole profession,

249
00:31:10,950 --> 00:31:22,300
whereas others prefer to keep to technicalities and or to hit out at their colleagues invariably vile and incompetent.

250
00:31:22,300 --> 00:31:27,850
It is true earlier Masters Martin Billingsley in the early 70s entry or later the

251
00:31:27,850 --> 00:31:33,580
prolific Edward Cocker had included simplified Italian scripts of various kinds,

252
00:31:33,580 --> 00:31:39,400
along with more cursive styles largely borrowed from the Dutch and other sources.

253
00:31:39,400 --> 00:31:44,140
But as changed the game by giving first place to the French standard,

254
00:31:44,140 --> 00:31:56,960
though he also played with it in ways that would have seemed intolerable in France, especially by mixing of cursive strokes with set strokes.

255
00:31:56,960 --> 00:32:03,630
Like some of the mixing we see up here, which there is a sense of variety,

256
00:32:03,630 --> 00:32:15,190
a taste for variety in English handwriting that is very different from what the uniformity that was preferred in France.

257
00:32:15,190 --> 00:32:23,200
A comparison with previous with the previous generation shows that you also innovated by gradually dropping a number of archaic devices on the page,

258
00:32:23,200 --> 00:32:34,570
such as thick, solid rules between examples which had been in use for a century already around and in 15 70 or margins filled by dense,

259
00:32:34,570 --> 00:32:40,430
geometrical knotting. It mutated from also from earlier models.

260
00:32:40,430 --> 00:32:49,910
His own flourishing is is the high contrast modern French flourish is what he tends to prefer.

261
00:32:49,910 --> 00:32:55,730
Often in the restrained style of Bob Dole, but occasionally indulging in large spirals,

262
00:32:55,730 --> 00:33:06,380
the more extravagant or elaborate decoration after recent French masters and pen drawings in the Dutch style, mostly of fish.

263
00:33:06,380 --> 00:33:18,790
In Sixteen Ninety One, as produced, he had published a broadsheet entitled Matter who had divorce matter already with a current location unknown.

264
00:33:18,790 --> 00:33:22,110
Unfortunately, I'd love to see what that looks like,

265
00:33:22,110 --> 00:33:28,860
showing quote the great curiosity of the Italian hand in various alphabets containing some 900 letters.

266
00:33:28,860 --> 00:33:35,600
Whether or not Metro's Batard was included, the Italian hand is.

267
00:33:35,600 --> 00:33:41,480
Which is what, as says is not the same as battered [INAUDIBLE] Italian in a mood.

268
00:33:41,480 --> 00:33:54,010
It is the second style used by. As for contrast, thin, compressed and fluent, which we see here.

269
00:33:54,010 --> 00:33:55,960
You see the contrast between the top.

270
00:33:55,960 --> 00:34:04,700
Well, the main title putative penmanship and then first part above and in which, et cetera, at the bottom of the two completely different scripts.

271
00:34:04,700 --> 00:34:14,460
One we have at the top and bottom is what what is called the Italian hand.

272
00:34:14,460 --> 00:34:20,580
With tall loops, as you can see in ball terminals filled in by Wiskus Inc, et cetera.

273
00:34:20,580 --> 00:34:26,020
Again, the style that was not unknown but now replaced all similar varieties.

274
00:34:26,020 --> 00:34:34,180
No matter who was actually the one source for that style and not for the busted italic.

275
00:34:34,180 --> 00:34:43,180
Um, the work of AS was seminal in other ways, namely in his focus on commercial business in Sixteen Eighty Eight.

276
00:34:43,180 --> 00:34:49,870
He produced the trades men's copybook, the first such book devoted entirely to commercial writing.

277
00:34:49,870 --> 00:34:55,660
Commercial abbreviations, commercial documents, etc. Um,

278
00:34:55,660 --> 00:35:03,190
the models in it described as quote all the merchant like running mixed hands now in use consist almost entirely

279
00:35:03,190 --> 00:35:13,040
of the more cursive form of Italian battered with only a residual sprinkling of the old English secretary.

280
00:35:13,040 --> 00:35:19,970
Commercial writing, the training of clerks for business in large London schools was to become the defining speciality of English writing masters.

281
00:35:19,970 --> 00:35:34,700
It explains their commitment to efficiency, speed and legibility over gratuitous brilliance in 60 90, as produced the penmanship daily practise,

282
00:35:34,700 --> 00:35:40,580
which is what we were looking at earlier exercises in arithmetic entirely in his two favourite styles.

283
00:35:40,580 --> 00:35:45,410
Here again, you could see the I'm afraid the reproduction is not very good.

284
00:35:45,410 --> 00:35:56,690
It's one of many from ebooks or yes, but you can see there also the French buttered.

285
00:35:56,690 --> 00:36:06,550
For the main text with a larger thought at the top and then the title is in the Italian hand.

286
00:36:06,550 --> 00:36:17,720
I'm. In his later books, his tastes grew more refined or better, said closer to his French models,

287
00:36:17,720 --> 00:36:26,570
though his flourishing would still have looked slightly over the top in Paris. He also looked to the Netherlands for ideas and decoration and layout.

288
00:36:26,570 --> 00:36:36,320
His masterwork was the large oblong folio, probably an imitation of Bob Doll, the true touch of Penmanship 98, which is what we see here.

289
00:36:36,320 --> 00:36:42,920
The first part consists entirely of Italian and [INAUDIBLE] Italian hands of French derivation.

290
00:36:42,920 --> 00:36:50,200
The second part being essentially a gothic hands very much indebted to Van der Velden.

291
00:36:50,200 --> 00:37:02,110
Together with what was left of English secretary, which by the time of as was going downhill, very fast.

292
00:37:02,110 --> 00:37:05,350
Even here, the flourishing was largely French,

293
00:37:05,350 --> 00:37:16,340
and last came the old fossilised fossilised legal hands caught chancery gothic text the old English script.

294
00:37:16,340 --> 00:37:28,070
Lastly, as produced in elementary copybook, the Pauls School round hand in an unusually small and narrow format with single line models,

295
00:37:28,070 --> 00:37:35,390
I'm not sure this was a complete innovation at the time. If someone knows of any earlier examples, I'd be interested.

296
00:37:35,390 --> 00:37:44,950
But it also remained typical of English writing models throughout the 18th century and from the early 19th century was also imitated on the continent.

297
00:37:44,950 --> 00:37:52,540
So practically much of what we we are going to find in 18th century English writing masters.

298
00:37:52,540 --> 00:38:01,130
Most of that is already present in the work of heirs and disputing the importance of as.

299
00:38:01,130 --> 00:38:13,800
In that respect, uh. I think is something we should be careful about people who in 17 30 said it as it

300
00:38:13,800 --> 00:38:20,620
invented those kinds of new scripts probably knew what they were talking about.

301
00:38:20,620 --> 00:38:28,360
And he had adapted the modern French standard to English Baroque tastes through decoration.

302
00:38:28,360 --> 00:38:35,860
His colleague John Seddon 16:44 277 Massive Johnson's free riding school took

303
00:38:35,860 --> 00:38:41,620
this to another level with the art of flourishing or striking as it was called,

304
00:38:41,620 --> 00:38:46,190
and marginal pen drawings taking precedence here over text.

305
00:38:46,190 --> 00:38:52,280
His obsession with flourishing might explain why he also preferred to use a sharp, flexible quill.

306
00:38:52,280 --> 00:38:57,950
This also shows in the writing itself, I think, which is lighter than that of ours.

307
00:38:57,950 --> 00:39:01,010
Not quite as full bodied, but airy and delicate.

308
00:39:01,010 --> 00:39:08,780
And he too limited his Italian writing to the two French grown varieties, which shows the influence of as catching on.

309
00:39:08,780 --> 00:39:17,010
I think immediately. The next generation started tweaking the structure by stripping it down further,

310
00:39:17,010 --> 00:39:22,410
by giving it more a greater slope and by cutting the pen to a sharper point,

311
00:39:22,410 --> 00:39:28,980
with results similar to that of Ambrose pearling in the distribution of thick and thin strokes.

312
00:39:28,980 --> 00:39:34,770
They also banished pen drawings, considered henceforth a ridiculous amusement of the past.

313
00:39:34,770 --> 00:39:45,810
This is one example by by John by Charles Snell, where you see writing that is very similar to that of ours, but again, lighter.

314
00:39:45,810 --> 00:39:54,950
It's it's more geometric and rigorous than that of Saddam, but definitely lighter than that of ours.

315
00:39:54,950 --> 00:40:03,260
Um, that generation comprised George Shelley writing Master Christ's Hospital, which trained hundreds of students every year,

316
00:40:03,260 --> 00:40:11,570
John Clark, master of the hand and Pen, and Charles Snell, a very vocal critic of anyone but himself.

317
00:40:11,570 --> 00:40:19,760
Publishing in the first two decades of the 18th century, they defined the English round hand copiously, insulting one another in the process,

318
00:40:19,760 --> 00:40:29,940
and they increasingly focussed on brown hand first, the Italian hand second with a dwindling number of gothic scripts shown at the end of their books.

319
00:40:29,940 --> 00:40:37,170
The demise of secretary and the abolition of legal hands, if I remember rightly in 1731,

320
00:40:37,170 --> 00:40:43,750
was to gradually reduce the gothic element to formal black letter imitated from print.

321
00:40:43,750 --> 00:40:52,930
They borrowed decorative ideas again from Dutch masters such as ample elliptical lines of great purity surrounding the text.

322
00:40:52,930 --> 00:41:00,820
The most contentious couple, Snell and Clarke, argued particularly about geometry, correct proportions and slope.

323
00:41:00,820 --> 00:41:10,570
This is one instance in Snell's standard rules that the whole idea of setting standard rules for a script in itself is something you hear.

324
00:41:10,570 --> 00:41:21,430
Snell is showing his own example at the bottom on one page and making fun of the proportions advocated by Clarke in the top page.

325
00:41:21,430 --> 00:41:25,360
Saying that with Clarke's calculation, the result would be ridiculous.

326
00:41:25,360 --> 00:41:29,710
And all of this is so rigorous, probably because it wasn't really meant for writing with a pen,

327
00:41:29,710 --> 00:41:35,470
but it was rather meant for other uses of those same scripts that were typical in England of

328
00:41:35,470 --> 00:41:44,550
the work of stone cutters and painters for more formal writing on tombstones and whatever.

329
00:41:44,550 --> 00:41:48,480
There was also a general tendency across Europe to emphasise the geometry of letter forms

330
00:41:48,480 --> 00:41:54,560
as one way of securing a higher intellectual dignity for the writing master as such.

331
00:41:54,560 --> 00:42:01,640
And that generation finally also invented a form of title page that would last into the 19th century,

332
00:42:01,640 --> 00:42:05,570
containing only writing no pen drawings, no architecture,

333
00:42:05,570 --> 00:42:10,970
no nothing harmoniously stacking all the main scripts with black letter often most

334
00:42:10,970 --> 00:42:15,830
prominent and plenty of gothic flourishing in the form of swirling headlines.

335
00:42:15,830 --> 00:42:23,090
This is an example. By John Bland 1730.

336
00:42:23,090 --> 00:42:37,350
Much of what was produced in the 18th century, we owe to the burin of George Bickham, the engraver who himself became a great Penman.

337
00:42:37,350 --> 00:42:44,280
And the most impressive panorama we have of English penmanship of the time is

338
00:42:44,280 --> 00:42:53,550
the massive publication and 212 page 212 plates undertaken by Bickham himself.

339
00:42:53,550 --> 00:42:58,470
That was supposed to be published in instalments over 52 weeks.

340
00:42:58,470 --> 00:43:06,810
And so one year and actually went on from 17 33 to 17 41 with chaotic organisation.

341
00:43:06,810 --> 00:43:12,720
It was the first time anyone had attempted to do any anything of the kind that hadn't been planned, as it should have.

342
00:43:12,720 --> 00:43:21,570
Probably all the writing masters didn't hand in their pages as regularly as they were supposed to do.

343
00:43:21,570 --> 00:43:30,930
What this publication shows with plates by very many writing most of the time is the great uniformity

344
00:43:30,930 --> 00:43:44,310
that had already been attained and reduction of the number of scripts to a much more limited cannon.

345
00:43:44,310 --> 00:43:52,470
The same can be said by looking at this plate, especially by comparison with the earlier played by John Smith and 16 83,

346
00:43:52,470 --> 00:43:57,270
which is all alphabets in all the hands now practise in Great Britain.

347
00:43:57,270 --> 00:44:01,770
You can see there are far fewer than there were in 16 83.

348
00:44:01,770 --> 00:44:08,550
This plate here is seventeen. Fifty six, I believe.

349
00:44:08,550 --> 00:44:16,850
Again, bye bye, Bickham. And so you have at the top, the two we're interested in at the moment,

350
00:44:16,850 --> 00:44:20,840
round hand and running hand running hand being the cursed version of around town,

351
00:44:20,840 --> 00:44:30,870
and then there's no one that's often mentioned and not here, which is the round text, which is the set larger version of round hand.

352
00:44:30,870 --> 00:44:32,760
As a closer look,

353
00:44:32,760 --> 00:44:44,490
the ultimate acknowledgement of how much English handwriting owed to the continent was an extraordinary book published in 1756 by Joseph Champion,

354
00:44:44,490 --> 00:44:51,780
the parallel or comparative penmanship exemplified in for the greatest original foreign masters.

355
00:44:51,780 --> 00:44:58,770
That is not true Bob Adore, John Grunsfeld and Ambrose Pearling with the same examples.

356
00:44:58,770 --> 00:45:01,140
This is again the title with the same,

357
00:45:01,140 --> 00:45:07,500
which you can read on the screen with the same examples and translations written in the present taste of England,

358
00:45:07,500 --> 00:45:11,850
to which are added correct alphabets into several hands of Great Britain,

359
00:45:11,850 --> 00:45:21,720
and an historical preface of the most eminent Penman, etc. at home and abroad.

360
00:45:21,720 --> 00:45:29,790
So I won't dwell on the preface, which is a very interesting document in itself with all those names of Penman.

361
00:45:29,790 --> 00:45:32,340
But as for the plates, the title says it all.

362
00:45:32,340 --> 00:45:46,930
The book contained four exacting reproductions engraved after the four masters each followed by a copy in the corresponding English style.

363
00:45:46,930 --> 00:45:51,910
So this is what we see in the book.

364
00:45:51,910 --> 00:46:04,200
Bob Dole copied exactly from an original tape by Bob Dole, followed by the equivalent script in the English system being the round hand.

365
00:46:04,200 --> 00:46:13,400
Essentially, the running hand. Then.

366
00:46:13,400 --> 00:46:18,080
A translation of the same text. So in this case, you see,

367
00:46:18,080 --> 00:46:25,010
we had the text in French in the same French text in the English style and then an English variation

368
00:46:25,010 --> 00:46:35,660
on the same plate with the text translated and the layout also revised into a more modern style.

369
00:46:35,660 --> 00:46:45,440
And he did the same with with the four other masters plus plus the alphabets he mentioned at the end.

370
00:46:45,440 --> 00:46:50,840
This election tells us precisely what English masters by then owned to whom to mutter who.

371
00:46:50,840 --> 00:46:53,990
Not the battered, but the delicate Italian hand,

372
00:46:53,990 --> 00:47:02,150
which is what is illustrated in the book the Barbados Italian battered here in its most cursed form to run

373
00:47:02,150 --> 00:47:10,330
the veiled the [INAUDIBLE] Gothic and propelling a large Italian hand equivalent to English round text.

374
00:47:10,330 --> 00:47:18,880
And in the second half of the century, writing books were many still, but they tended to repeat the same canon over and over.

375
00:47:18,880 --> 00:47:26,980
And even Ambrose Peel, who lovingly compiled the bibliography of English writing books in 1931,

376
00:47:26,980 --> 00:47:32,200
starts to complain of their monotony as he goes into the second half of the 18th century.

377
00:47:32,200 --> 00:47:42,730
One difference looking at levels of execution is between masters who gave the running hand the running hand proportions similar to the round hand,

378
00:47:42,730 --> 00:47:50,500
thus adding uniformity, whereas others followed a style that is illustrated amongst others in the universal Penman with a shorter,

379
00:47:50,500 --> 00:47:56,470
wider body and longer senders and dissenters, we'll see an example of that later on.

380
00:47:56,470 --> 00:48:04,760
A few later, masters stand out in retrospect because in retrospect, we look for innovation.

381
00:48:04,760 --> 00:48:14,300
But some were famous in their own time for the perfection of their work. Such was Thomas Tomkins, 1743 at 1816.

382
00:48:14,300 --> 00:48:19,880
For 40 years, he was employed by the City of London for ceremonial calligraphy.

383
00:48:19,880 --> 00:48:24,200
He was a friend of artists, had his portrait painted by Reynolds,

384
00:48:24,200 --> 00:48:33,500
and spent most of his career hoping that in vain that he might join the Royal Academy or at least receive an invitation to the annual dinner,

385
00:48:33,500 --> 00:48:44,450
which apparently didn't get either. Later, judgements on his work clearly illustrate changing opinions on round hand calligraphy.

386
00:48:44,450 --> 00:48:50,510
The Dictionary of National Biography in 1899 said that for boldness of design,

387
00:48:50,510 --> 00:48:57,430
inexhaustible variety and elegant freedom, he was justly considered to have attained the highest eminence in his art.

388
00:48:57,430 --> 00:49:07,990
Whereas in 1931, Heald thought that praise sounded odd, adding viewed today, it does not strikers as being in any way remarkable.

389
00:49:07,990 --> 00:49:15,820
Meaning mainly that Tomkins offered nothing new, except maybe remarkable lightness and delicacy of touch,

390
00:49:15,820 --> 00:49:24,550
especially visible in his ornaments, which kept the swelling of lines to a minimum.

391
00:49:24,550 --> 00:49:28,630
It is tempting to think that the renewed popularity of striking,

392
00:49:28,630 --> 00:49:36,100
including pen drawings that had been eradicated in the early years of the round hand was a means of reaffirming that,

393
00:49:36,100 --> 00:49:45,020
say, the creative value of penmanship within a standard that left almost no space for invention in letter forms.

394
00:49:45,020 --> 00:49:50,810
One can hardly distinguish the work of Tompkins from those of some of his contemporaries, such as William Owens,

395
00:49:50,810 --> 00:50:00,470
Edmund Butterworth or Richard Langford to us in retrospect, the main point about those names is their subsequent popularity on the continent.

396
00:50:00,470 --> 00:50:04,130
Theirs were the first the first English writing books ever known to have been

397
00:50:04,130 --> 00:50:11,470
exported and imitated across the channel and for writing other languages too.

398
00:50:11,470 --> 00:50:16,420
So now back to context and to the circulation of forms.

399
00:50:16,420 --> 00:50:23,530
The new British standards of writing had evolved over three or four decades and then been further honed

400
00:50:23,530 --> 00:50:29,850
and polished based on models going back for the most part to the sixteen hundreds and sixteen thirties.

401
00:50:29,850 --> 00:50:39,680
And in the meantime, French masters had not remained idle. They had created a new script for themselves and had established quite an influence abroad.

402
00:50:39,680 --> 00:50:46,150
The early 18th century in the memory of later generations of Penman was the age of Rosenwald.

403
00:50:46,150 --> 00:50:51,790
Louis Rossignol was a student of a student of John study.

404
00:50:51,790 --> 00:50:56,920
And he carried further Ali's ideal of freedom by perfecting a new script,

405
00:50:56,920 --> 00:51:02,780
a cursive hybrid of the final share of the Italian battlefield, which is what we see here.

406
00:51:02,780 --> 00:51:05,200
The photograph is a bit dark.

407
00:51:05,200 --> 00:51:18,040
It kept the slope of battered but the broken mediums of gothic assent, together with other fanciful post gothic, distinctly French letter forms.

408
00:51:18,040 --> 00:51:29,190
Such as the essays you see on the end here, label issue, two different essays, which no one could read outside of France.

409
00:51:29,190 --> 00:51:39,270
The the perfection, the light touch, the fire quote and tenderness of his hand in all three scripts.

410
00:51:39,270 --> 00:51:44,430
Made also in your legend of handwriting for over a century, the semi gold of penmanship.

411
00:51:44,430 --> 00:51:51,480
Those are expressions that we used at the time, the Rafale of the quill.

412
00:51:51,480 --> 00:52:02,290
His style of striking to. Asymmetrically decreasing coils rather than knots redefined French ornamentation

413
00:52:02,290 --> 00:52:10,390
when he died in 1739 at the age of 45 without having published a single plate.

414
00:52:10,390 --> 00:52:16,720
Master's amateurs and collectors rushed to get hold of his original models.

415
00:52:16,720 --> 00:52:24,820
We are told the English bought up a large proportion, which is curious since no direct influence of his style is to be found over here.

416
00:52:24,820 --> 00:52:32,860
So if that is true, he was admired but not imitated. Print sellers immediately started selling well,

417
00:52:32,860 --> 00:52:39,900
producing and selling copy books under his name based on any model of a more or less appropriate style.

418
00:52:39,900 --> 00:52:45,570
Many of them not actually Bible signal and continue doing so to the end of the century.

419
00:52:45,570 --> 00:52:53,510
It is impossible to overstate the influence of Washington on his generation and those that followed.

420
00:52:53,510 --> 00:52:58,950
And yet lacunae had little part in the influence of powers over the continent as an

421
00:52:58,950 --> 00:53:05,640
England international face of French handwriting was the battle between the embattled.

422
00:53:05,640 --> 00:53:14,820
Germany is famous for its French gardens and palaces inspired by Versailles, and many German writing books offered plates in French.

423
00:53:14,820 --> 00:53:22,050
Written in some imitation of battered, usually pretty crude in style,

424
00:53:22,050 --> 00:53:29,610
similarly to most examples of Latin or Italian writing in those books, some books were even entirely about French handwriting.

425
00:53:29,610 --> 00:53:35,880
Shortly after 17:00, we had this one LA decree, which is not too bad in style.

426
00:53:35,880 --> 00:53:43,920
Published in Nuremberg. No date was on 17:00 to 1720.

427
00:53:43,920 --> 00:53:52,070
I'm. The. So this is large degree and fiction.

428
00:53:52,070 --> 00:53:57,440
The title is very French, too too soft to the actual forces Italian, but other forces here,

429
00:53:57,440 --> 00:54:05,850
meaning the final shareholder home say in this case is not limited to Italian, but it actually has the arch.

430
00:54:05,850 --> 00:54:14,850
The. The essentially national script, the homeland or financier.

431
00:54:14,850 --> 00:54:23,580
A few other books, similar books appeared in the latter part of the century, not to mention bilingual or French books published in Alsace.

432
00:54:23,580 --> 00:54:31,560
Of course, after the province was conquered by Louis, the 14th in 1797 most interesting case of the period,

433
00:54:31,560 --> 00:54:35,190
I think the most interesting country to look at is Italy.

434
00:54:35,190 --> 00:54:45,990
The production of fine copy books had totally collapsed there after 16:40 the minor aspect of a time of general decline after 60 years,

435
00:54:45,990 --> 00:54:53,550
the first signs of a very modest revival started appearing in the North in Milan 17 05.

436
00:54:53,550 --> 00:55:02,400
This novel Ebro this in Florida key to the Italian, are written by a priest, Giacomo Maria Barka, and engraved by W in in Paris.

437
00:55:02,400 --> 00:55:08,010
The lawyer who is not especially known as a letter engraver and who did not do a very good job.

438
00:55:08,010 --> 00:55:16,230
But it was engraved in Paris because probably in situ there was no one even capable of doing what the New York did for this book.

439
00:55:16,230 --> 00:55:20,490
The modest book, but in a style that is essentially that of French battered,

440
00:55:20,490 --> 00:55:30,330
modified by the use of more local forms of capitalism, more coercive, more current Italian style capitals.

441
00:55:30,330 --> 00:55:41,220
And this was in print, at least through 1725. We look to Turin next made the capital of the new Kingdom of Sardinia in 1720.

442
00:55:41,220 --> 00:55:44,430
What is a kingdom without copy books?

443
00:55:44,430 --> 00:55:56,010
Just two years later, there appeared woefully liberal character diversities cryptographer Martha A. Siva Perfetto, etc. by Giuseppe Aurelio.

444
00:55:56,010 --> 00:56:01,410
But what French name engraved by Cluedo Ghost Beret in Paris?

445
00:56:01,410 --> 00:56:07,590
This was also modest in size, which was small figure but much better executed.

446
00:56:07,590 --> 00:56:13,800
Beret was the leading letter engraver in Paris at the time, even producing his own copy books,

447
00:56:13,800 --> 00:56:20,310
and this one owed a lot to him beyond the engraving, I think even cloning some of his own plates.

448
00:56:20,310 --> 00:56:29,670
The the title page is very much in his style, and this plate is lifted directly from one of Betty's books.

449
00:56:29,670 --> 00:56:37,020
The Nova Liberal went through multiple printings, at least up to the seventeen sixties and in part up to the 1780s,

450
00:56:37,020 --> 00:56:41,730
the most intriguing Italian copybook of the time is this one,

451
00:56:41,730 --> 00:56:49,880
a maelstrom in detail recuperated by the Rev. Francesco DeCaro, the splendid in planner's 50 centimetres.

452
00:56:49,880 --> 00:56:58,200
Um. With 44 plates engraved in Paris again, as it says by batik,

453
00:56:58,200 --> 00:57:04,560
this is universally considered the most splendid accomplishment of Italian calligraphy in the 18th century.

454
00:57:04,560 --> 00:57:12,870
Except that no Italian hand seems to have had any part in it, and there is no other trace of DeCaro as a calligrapher.

455
00:57:12,870 --> 00:57:18,870
We know he went to Paris to study mapmaking, but that was the closest he got to calligraphy.

456
00:57:18,870 --> 00:57:26,580
On the other hand, the engraver had done other books for Pulseway Nicola BTG, a well-known Paris writing master,

457
00:57:26,580 --> 00:57:32,190
and BTG himself in a short, handwritten note to himself of his life and works.

458
00:57:32,190 --> 00:57:36,630
Use something of an egomaniac BTG, which is wonderful because he left.

459
00:57:36,630 --> 00:57:45,610
It gives us plenty of written notes everywhere about himself and BTG in that note, spilt the beans.

460
00:57:45,610 --> 00:57:53,340
He had done the book for the charity. He says, I did five books in my life, including one under the name DeCaro,

461
00:57:53,340 --> 00:58:00,150
who was then in Paris studying mapmaking and could then go home with something to dedicate to his king.

462
00:58:00,150 --> 00:58:06,390
There's a splendid portrait of the King. Well, it's been called calligraphic plate with a portrait of the king.

463
00:58:06,390 --> 00:58:15,270
The just after the title page. Finally, yes, the style itself, you can see the ornaments at the top.

464
00:58:15,270 --> 00:58:22,190
They're very much in the French style and most specifically in the style of Jean.

465
00:58:22,190 --> 00:58:30,860
Finally, the French style made its way into the elementary school books produced in the

466
00:58:30,860 --> 00:58:36,080
following decade as part of the instructional reform promoted by Francesco Slavitt.

467
00:58:36,080 --> 00:58:44,090
This is a plate. So this is the title page and this is a plate from his widespread 1786 manual of handwriting.

468
00:58:44,090 --> 00:58:50,000
Again, very crude engraving, but the basic model again is French French battered,

469
00:58:50,000 --> 00:58:56,140
including you can see the upward swelling strokes in Philadelphia and so on.

470
00:58:56,140 --> 00:59:03,340
And in the early 18th century, the works of Louis Sono mentioned earlier,

471
00:59:03,340 --> 00:59:08,600
the foremost calligrapher and better engraver of his time seem to have attracted some international attention,

472
00:59:08,600 --> 00:59:20,080
not so much his copy books as his four different books of ours engraved throughout, as I've said in imitation of small deluxe manuscript prayer books.

473
00:59:20,080 --> 00:59:27,010
His Best-Selling novel Dejima Le Dauphine, first published in 685, which we see on the left here,

474
00:59:27,010 --> 00:59:31,410
inspired Maria Youssef Clement's cow colour to publish a similar book,

475
00:59:31,410 --> 00:59:44,220
Fisticuffs Zeeland Shuts the Treasure of the Christian Soul in Berlin 1729 engraved throughout in an airy German gothic [INAUDIBLE].

476
00:59:44,220 --> 00:59:51,670
Also, a bestseller still considered one of the most splendid books produced in 18th century Rococo Germany.

477
00:59:51,670 --> 00:59:57,120
You can see how close it is to to the model in layout.

478
00:59:57,120 --> 01:00:08,820
News popular new vein of said, did you watch 688 were also imitated in 1732, this time including the script and decoration by a Portuguese nun.

479
01:00:08,820 --> 01:00:19,630
That is Angelica da Silva in her Manuel Joe USO's now exceedingly rare, though, but there's two editions one copy of each edition for Christine.

480
01:00:19,630 --> 01:00:26,830
In the 1760s, models of all three French scripts suddenly became available throughout Europe.

481
01:00:26,830 --> 01:00:31,000
Charlotte Biswal, one of Europe's most successful students,

482
01:00:31,000 --> 01:00:40,790
had been invited to contribute a section on handwriting for the liberty of Idaho and then on Bear in 16 pages and 16 plates.

483
01:00:40,790 --> 01:00:50,560
It gave a clear, thorough and methodical introduction to French handwriting like no, unlike any other before or after.

484
01:00:50,560 --> 01:00:57,130
It was engraved in 1760, published in 63 and travelled everywhere with the security.

485
01:00:57,130 --> 01:01:04,750
The original edition later editions, pirate editions, adaptations, foreign translations took it everywhere.

486
01:01:04,750 --> 01:01:12,790
It was also circulated separately and imitated to Polish versions and were also produced.

487
01:01:12,790 --> 01:01:16,450
So a quick look at the of the plates you see.

488
01:01:16,450 --> 01:01:23,730
The three different scripts here differ on each on the horn to first the battle the.

489
01:01:23,730 --> 01:01:31,470
It could be five different levels. From the least coercive to the most passive.

490
01:01:31,470 --> 01:01:48,170
And this, as I just said, was imitated. In this in this Polish edition, which in this case is the handwriting section alone, um,

491
01:01:48,170 --> 01:01:57,740
published in Warsaw in 1781 under the title Stuka persona The Art of Writing with additional plates.

492
01:01:57,740 --> 01:02:07,790
It has the French plates, plus Polish and German at the end. At that point, France began to feel the heat of English competition.

493
01:02:07,790 --> 01:02:13,970
Notebooks can tell us how much English handwriting was going on on the continent before that,

494
01:02:13,970 --> 01:02:21,890
that we need to investigate in archival sources, especially, I think, in commercial archives and commercial correspondence with Britain.

495
01:02:21,890 --> 01:02:28,610
British tradesmen were becoming established at strategic points along the coastline of all European seas,

496
01:02:28,610 --> 01:02:34,910
importing and exporting goods from Hamburg to Dunkirk, Bordeaux and Leghorn.

497
01:02:34,910 --> 01:02:40,770
They had English clerks and local clerks writing for them, many presumably bilingual.

498
01:02:40,770 --> 01:02:48,480
The only evidence I have looked at yet is the splendid commercial archive of the Hennessy brandy in cognac.

499
01:02:48,480 --> 01:02:56,610
Just because I've been teaching them English commercial pornography recently and this is one of the pages of their copy books,

500
01:02:56,610 --> 01:03:00,720
no letter books in the hand of Richard Hennessy himself,

501
01:03:00,720 --> 01:03:11,910
the founder who was an Irishman and whose hand in style is not quite as carefully done as what we've seen in the writing masters,

502
01:03:11,910 --> 01:03:18,630
but taking letter by letter and in detail. It's very close to the kind of running hand we find in the universal Penman and elsewhere,

503
01:03:18,630 --> 01:03:27,120
the kind of running hand that seems to have been perfected essentially by Joseph Champion and John Bland.

504
01:03:27,120 --> 01:03:40,530
He also employed. So yes, this is an example of that running hand precisely small bodies, longer Sanders loops, etc. And in the same books,

505
01:03:40,530 --> 01:03:48,390
we also find more hybrid styles, some clearly by French scribes trying to adapt while writing in English.

506
01:03:48,390 --> 01:03:51,750
You can see this one's trying to be as.

507
01:03:51,750 --> 01:04:01,200
Stylistically neutral is possible, but it still has a number of typical French letters, like some of the some of the initials here.

508
01:04:01,200 --> 01:04:08,950
This kind of. I will see the see the mass that will drop that,

509
01:04:08,950 --> 01:04:12,700
and what I don't know is when continental businessmen began to use the round

510
01:04:12,700 --> 01:04:17,050
hand not only when doing business with Britain or when writing in English,

511
01:04:17,050 --> 01:04:24,850
but also in their own papers and languages, making it to all effects on international medium of communication,

512
01:04:24,850 --> 01:04:33,850
equal to italic scripts in the Renaissance. What I can say is that it first shows up in copy books in the 1780s.

513
01:04:33,850 --> 01:04:45,360
First, maybe, unsurprisingly, in Portugal. Portuguese copy books, I mean, unsurprisingly, because of the intense trade.

514
01:04:45,360 --> 01:05:00,860
Routes leading from Britain to Portugal and back, will the port be shipped over to England and.

515
01:05:00,860 --> 01:05:08,120
Yes, this this is the first, uh, the first book we can mention, Portuguese copy books were not even a handful before that,

516
01:05:08,120 --> 01:05:17,510
but extremely few Portuguese copy books since the late 16th century, not even a handful and nothing of note had appeared since 1722.

517
01:05:17,510 --> 01:05:24,950
Um, the next title after 1722 was this one, the nova to describe it by Antonio Jassem to.

518
01:05:24,950 --> 01:05:30,710
There are a magnificent oblong folio published, it seems in 1794,

519
01:05:30,710 --> 01:05:44,150
but long in the making since the title plate is dated 1783 and it is in a remarkably English style but revised by a Portuguese calligrapher.

520
01:05:44,150 --> 01:05:53,480
The writing is English round hand, only very tall and compressed, uh, clearly under the influence of Iberian bystander.

521
01:05:53,480 --> 01:05:59,270
Which was like that with richly decorated initials of a similar taste.

522
01:05:59,270 --> 01:06:03,570
The marginal flourishing in pen drawings also reminiscent of the of earlier styles,

523
01:06:03,570 --> 01:06:11,330
but did not detain us here in a country with extremely low levels of literacy like Portugal,

524
01:06:11,330 --> 01:06:22,560
one would like to know how many copies it sold, probably far fewer than a more elementary book that appeared just after that in 1784.

525
01:06:22,560 --> 01:06:28,490
Groups that also seems to have disappeared, never mind the Norway scholar.

526
01:06:28,490 --> 01:06:38,940
The Menino's by Manuel Diaz de Sousa, 1784, which is very elementary book for children with only five plates on handwriting,

527
01:06:38,940 --> 01:06:48,870
and the samples are clearly a crude rendering of round hand again or rather around the large round text.

528
01:06:48,870 --> 01:06:57,960
In 18th century, Italian, Spanish sorry, writing books were relatively few and far between, but favoured a more encyclopaedic outlook.

529
01:06:57,960 --> 01:07:05,340
Some of those massive tomes with hundreds of pages on the history and theory of writing, some of them really interesting,

530
01:07:05,340 --> 01:07:09,450
showed a remarkable awareness of what was going on all over Europe,

531
01:07:09,450 --> 01:07:14,520
even offering reproductions of plates from numerous foreign masters of previous centuries.

532
01:07:14,520 --> 01:07:19,560
You can find much of all about the doll. Only the Italian masters and so on.

533
01:07:19,560 --> 01:07:27,840
In 1789, the very remarkable two volume reflections delivered the data art described by Domingo Maria,

534
01:07:27,840 --> 01:07:33,750
which would be Domenico Maria said with a priest of Italian Origin has plates a full dozen and

535
01:07:33,750 --> 01:07:42,960
explanations on the English school one plate here with a number of of English English masters.

536
01:07:42,960 --> 01:07:49,530
Um, and laudatory comments on AS Snell, Shelley and others.

537
01:07:49,530 --> 01:07:55,350
But French masses still take precedence in the book French First and English Next.

538
01:07:55,350 --> 01:08:03,900
At that point in time, only France and Germany produced a constant outpour of books in that in that century in Germany,

539
01:08:03,900 --> 01:08:08,370
based on the the standard bibliography by Van Aduda 1958,

540
01:08:08,370 --> 01:08:16,290
more than one in three copy books in the eighteenth century contain some French examples sometimes mentioned in the title itself,

541
01:08:16,290 --> 01:08:19,020
including six books entirely in French.

542
01:08:19,020 --> 01:08:30,330
The first English examples that appear in German books are in Johann Bernard Fisher Leopold coach until the Finnish and Spartan Bavaria 1781,

543
01:08:30,330 --> 01:08:38,020
where we can see that round hand goes under the label Latin ish Latin here, meaning anything that's not Germanic.

544
01:08:38,020 --> 01:08:42,280
Which is why these titles are not always very explicit.

545
01:08:42,280 --> 01:08:53,800
As soon as 1785, two English copy books were reproduced call them facsimiles or pirate engravings in Germany, one by Butterworth in Berlin.

546
01:08:53,800 --> 01:09:02,440
The only known copy is now lost or destroyed in the war and one by Langford at Orks Bagh, followed by another in 1799.

547
01:09:02,440 --> 01:09:13,060
Nuremberg. Duncan Smith, the Academical instructor and a sprinkling of other English plates and a handful of other books in Germany.

548
01:09:13,060 --> 01:09:18,520
The English style was only the latest addition to a set of foreign scripts.

549
01:09:18,520 --> 01:09:33,130
In France, the situation was very different because the the English UH models were coming in and competing directly with the national tradition,

550
01:09:33,130 --> 01:09:46,470
which made the matter bitterly contentious. It was the the English round hand was clearly known to some extent, at least to professionals,

551
01:09:46,470 --> 01:09:53,310
presumably from imported books, before they began offering that script to the public themselves.

552
01:09:53,310 --> 01:09:55,950
But still, how much they knew is unclear.

553
01:09:55,950 --> 01:10:06,870
This is the earliest example I know of a French imitation of an English round hand by a French writing master again, Nicole Abhijeet.

554
01:10:06,870 --> 01:10:11,190
And one must confess it's really very bad.

555
01:10:11,190 --> 01:10:20,520
The main difficulty here being that he's writing with a French pen, he's writing with a broad quill, which doesn't work for an English script.

556
01:10:20,520 --> 01:10:36,380
And this is 1785. The main thing he's imitating reduce letter forms to some extent, and then the slope with is greater than in French.

557
01:10:36,380 --> 01:10:45,230
French right hand in 1789, Jean Jean-Claude Sattu Golf admits he is entirely about French scripts,

558
01:10:45,230 --> 01:10:54,770
but the caption under his portrait ironically is essentially an English running hand, meaning at least the engraver knew how to do that.

559
01:10:54,770 --> 01:10:59,390
It would be interesting to check captions of prints in general,

560
01:10:59,390 --> 01:11:07,160
but you find lots of engraved calligraphy and see when that switch is due to the English round hand revolution and empire

561
01:11:07,160 --> 01:11:14,780
to cut a very long story short redefined forms of political authority and concepts of national identity in France,

562
01:11:14,780 --> 01:11:18,740
turning loyalty to the monarch into patriotism.

563
01:11:18,740 --> 01:11:26,990
And in all those years, there was this outpour of copy books that turned into a hailstorm during that period.

564
01:11:26,990 --> 01:11:39,410
In all, with essentially a handful of masters producing dozens of titles, each Gilmore for everything, Gilmore for 27 books and counting,

565
01:11:39,410 --> 01:11:46,980
still finding more Charlotte ICIA 30, Jean-Claude Santamaria, 26, and Jean-Louis Emmanuel,

566
01:11:46,980 --> 01:11:56,960
the taut 23, Alexander Bourgeois, 48, and still counting out of some 150 titles.

567
01:11:56,960 --> 01:12:06,200
One in three mentions long plays either alone or alongside French scripts in the title, and many more contained single examples.

568
01:12:06,200 --> 01:12:14,040
The trend grew constantly, despite strong resistance from many quarters in defence of the tradition of Oceanian

569
01:12:14,040 --> 01:12:21,110
against the barbaric new fashion as very violent expressions in those discussions.

570
01:12:21,110 --> 01:12:31,430
One old master in 1883 called it in deep aversion. The English style, especially Licia, declared war on long plays,

571
01:12:31,430 --> 01:12:38,240
seeking to invent new and faster varieties of the Kool-Aid that could compete in efficiency without sacrificing French elegance,

572
01:12:38,240 --> 01:12:46,760
garnering support from public institutions. In 18:00, he published his parallel the most hostile, disadvantageous, dictatorial Joseph,

573
01:12:46,760 --> 01:12:55,070
hostage of anglais and other titles, but most of his colleagues gladly yielded to public demand.

574
01:12:55,070 --> 01:13:05,610
Such as. You need to look at your homeless landed or imperial looking title page, one means of saving face,

575
01:13:05,610 --> 01:13:12,750
and I revert to what I was saying at the beginning of this lecture was just what labels are getting round hand rather than long lays.

576
01:13:12,750 --> 01:13:24,670
Thus became known in some quarters as legacy of the term still used by many in later decades and also American, which was way of annoying the English.

577
01:13:24,670 --> 01:13:31,570
Maybe any survey of European calligraphy in the 1790s?

578
01:13:31,570 --> 01:13:35,040
Oh yeah, sorry. A couple of books published in France again. Yes.

579
01:13:35,040 --> 01:13:43,110
So we've seen that one bite you in the tooth, and this one is published by French, uh, engraver d'Avignon.

580
01:13:43,110 --> 01:13:49,080
After models by which crofter? A London master.

581
01:13:49,080 --> 01:13:58,170
Any survey I was saying of European calligraphy in the 1790s needs to mention Sweden, which had not done much to then in that java.

582
01:13:58,170 --> 01:14:08,100
The fascinating instance of. Nation building through rational handwriting in 1794, Carl Beckman,

583
01:14:08,100 --> 01:14:14,610
director of Land Surveying for Sweden, produces Magnificent Green Journal to create constant.

584
01:14:14,610 --> 01:14:23,520
In the preface of the The Basics of the art of writing foundations of the art of writing in the preface,

585
01:14:23,520 --> 01:14:29,010
he deplores the lack of a uniform system of cursive scripts and offers to create one for the nation.

586
01:14:29,010 --> 01:14:38,760
The system he came up with consists of four scripts labelled neutrally cursive one, cursive two, cursive three and cursive four.

587
01:14:38,760 --> 01:14:47,670
Numbers one and three, in fact, are butter and Kool-Aid, which he took directly from basil.

588
01:14:47,670 --> 01:14:54,030
Number two is round hand. Number four is German co-head.

589
01:14:54,030 --> 01:15:02,910
They're all from other places, but. Being. Made into the national scripts of Sweden,

590
01:15:02,910 --> 01:15:14,310
the layout of the place itself is taken directly from the place and the security by by passing by 18:00 round hand was gaining ground everywhere.

591
01:15:14,310 --> 01:15:17,580
Based on the works of Tompkins and his contemporaries,

592
01:15:17,580 --> 01:15:23,820
some of which were brilliantly copied by local calligraphers and engravers in France, Germany and Italy.

593
01:15:23,820 --> 01:15:34,890
Here is a book. No. Type one such book was recently sold by a very knowledgeable bookseller as the

594
01:15:34,890 --> 01:15:39,450
French printing from original English English plates imported into France.

595
01:15:39,450 --> 01:15:45,180
In fact. It's a French copy done by a French engraver, but that is an exact facsimile.

596
01:15:45,180 --> 01:15:55,150
There's only a very small signature by the by the engraver in the corner of the title page that tells you it's not the same book.

597
01:15:55,150 --> 01:16:00,880
In Italy, Napoleonic institutions accelerated the spread of French models, including Le Monde,

598
01:16:00,880 --> 01:16:09,610
not only battered but in conjunction with round hand rather than crudely as the cursive script coup de was still considered difficult to export.

599
01:16:09,610 --> 01:16:20,410
Giuseppe Civil Servant in Turin, writing Master to the pages of the Imperial Highnesses, printed several successful copy books along those lines.

600
01:16:20,410 --> 01:16:32,500
So did Gaetano, JRA and Sons in Florence. In Germany at the time, the most telling case is that of Johann Heinrich's 1781 to 1861,

601
01:16:32,500 --> 01:16:39,850
the author very many fine writing books over four decades, especially for business trading.

602
01:16:39,850 --> 01:16:48,010
His original range of scripts around eight in 10 covered German, French and English, and to a lesser extent, Dutch and Italian.

603
01:16:48,010 --> 01:16:49,450
And you can see the style,

604
01:16:49,450 --> 01:17:01,120
the very neoclassical style applied here to this title page and a very elaborate and again very lightweight variety of writing,

605
01:17:01,120 --> 01:17:07,930
which is a strange mix of of styles with essentially English round hand.

606
01:17:07,930 --> 01:17:22,230
It's where it says Heinrichs. And then the next line is French horns sloping backwards, done with a pointed quill.

607
01:17:22,230 --> 01:17:31,400
And his his later work into the 1850s gradually focussed more and more on exclusively German and English dropping and the others,

608
01:17:31,400 --> 01:17:36,920
which I think is revealing. So we see.

609
01:17:36,920 --> 01:17:46,230
Yes, this plate by bye, Heinrich's again, is it you honed and again, the interesting thing here is to see that it's done with the wrong quill.

610
01:17:46,230 --> 01:17:54,760
It's done with an English type quill applied to an essentially broad nib script.

611
01:17:54,760 --> 01:17:56,170
The monotony of the round hand,

612
01:17:56,170 --> 01:18:07,720
he enlivened in some spectacularly graphic plates in the German and say is a terrible taste in his Zen Bullish calligraphy show constable letter.

613
01:18:07,720 --> 01:18:15,790
This is one of the most amazing plates of English round Honda I've ever seen.

614
01:18:15,790 --> 01:18:25,660
The next step. In England than abroad, and the last word for quite some time after that was technical.

615
01:18:25,660 --> 01:18:31,330
First, the adoption of steel nibs with millions of nibs exported from Birmingham,

616
01:18:31,330 --> 01:18:42,520
which made the pointed pen ubiquitous and point to was the invention by Joseph Carstairs of the new system of teaching the art of Writing,

617
01:18:42,520 --> 01:18:47,320
which is the title of his book 1814, which advocated bold and free writing.

618
01:18:47,320 --> 01:18:54,850
Using shoulder and elbow movements with no contribution from the wrist or fingers to the extend,

619
01:18:54,850 --> 01:19:06,840
the fingers of beginners should actually be tied up in strings, a method Jean-Baptiste, and they would no doubt have found very distasteful.

620
01:19:06,840 --> 01:19:12,480
The Carstairs method spread like wildfire in the bay in the 1820s through multiple editions,

621
01:19:12,480 --> 01:19:19,380
translations, updates, limitations across Europe and North and South America.

622
01:19:19,380 --> 01:19:27,070
In France, eight different versions of his books of his book were published in 1828 in 1829 alone.

623
01:19:27,070 --> 01:19:35,560
Under such convoluted titles as that, Poland, Highclere You of Hall Sulu known the method américain.

624
01:19:35,560 --> 01:19:48,410
Yeah. Voltaire nobility. Uh, and in the United States, it started new stylistic trends that moved further away from British standards that had been.

625
01:19:48,410 --> 01:19:53,780
What the Americans were using up to then. But that is another story.

626
01:19:53,780 --> 01:20:00,894
Thank you.