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| New Roman |
actually what happens above is that the stroke of the letter is facilitated by vellum (i.e., an example where technology creates style) a new material (papyrus made characters more angular).
the rest is a matter of following convention that is taken to be in good taste (just like 19th century calligraphy vs. our "to each its own" handwriting).
see how the font gets more slender and taller from the visigothic on to the textura quadrata to change again to humanist and times.
which letters drive the elongation?
clearly "b" "d" "h""l" masts! & "q" "p" descenders, the "o" becomes eliptical, as well as the loops, as if the typeface is squeezed from both sides.
the pair visigothic-luxeuil gets taller to get flat again with beneventan-caroline-insular to change again with protogothic-textura quadrata-fraktur.
"a" is a simple loop open at the top, "b" appears to be back to front as the bow is on the left. "u" and "v" are identical and consist of a particularly insignificant little bent line.
Certain letters show the particular forms that would become features of the early medieval book scripts, such as the raised "e," long s and open "g" with no closed loops. There are two forms of "n," this particular hand retaining a majuscule N in most cases.
Perhaps developing in second half of the third century, the uncial script gains popularity during the fourth century. Significantly a large number of the extant uncial texts were Christian manuscripts. Uncial would supplant the rustic capitals as the most popular script from the fifth century.
Derived from both Gothic Textura and cursive hands, this particular example of Bastarda is quite formal and precise, and although the letters sometimes touch within the words, it is not cursive as each is written separately. It looks like a book hand, although in this instance it is used on a very formal and elaborate document.
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| Greek Uncial? circa. 800 aD |
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Carolingian minuscules 10th century aD.
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