"undergone rebinding during the 19th century and are now covered in a dark blue Morocco with gilded decorations. This illuminated medieval manuscript is currently in the Walters Art Museum in Baltimore, Maryland. The contents of the manuscript include illuminated miniatures and Flemish-style borders that feature flowers, insects, and jewels. Most of the written pages have two columns with 33 lines in red ink and Gothic Bastarda calligraphy. The image shows a page from the missal for the Feast of the Purification of the Virgin. The initial ""S"" commencing the ""Introit"" is historiated with a scene showing the presentation. The historiated"
"the Rhonde, (known as Round hand in English) and a Speed Hand sometimes simply called the Bastarda. While there were many great French masters at the time, the most influential in proposing these hands was Louis Barbedor, who published ""Les Ecritures Financière Et Italienne Bastarde Dans Leur Naturel"" circa 1650. With the destruction of the Camera Apostolica during the sack of Rome (1527), the capitol for writing masters moved to Southern France. By 1600, the Italic Cursiva began to be replaced by a technological refinement, the Italic Chancery Circumflessa, which in turn fathered the Rhonde and later English Roundhand. In"
"Carolingian texts encouraged the creation of the humanist minuscule or ""littera antiqua"". The 17th century saw the Batarde script from France, and the 18th century saw the English script spread across Europe and world through their books. In the mid-1600s French officials, flooded with documents written in various hands and varied levels of skill, complained that many such documents were beyond their ability to decipher. The Office of the Financier thereupon restricted all legal documents to three hands, namely the Coulee, the Rhonde, (known as Round hand in English) and a Speed Hand sometimes simply called the Bastarda. While there"
"the Abbot of York. Alcuin developed the style known as the Caroline or Carolingian minuscule. The first manuscript in this hand was the Godescalc Evangelistary (finished 783) — a Gospel book written by the scribe Godescalc. Carolingian remains the one progenitor hand from which modern booktype descends. Blackletter (also known as Gothic) and its variation Rotunda, gradually developed from the Carolingian hand during the 12th century. Over the next three centuries, the scribes in northern Europe used an ever more compressed and spiky form of Gothic. Those in Italy and Spain preferred the rounder but still heavy-looking Rotunda. During the"
"were many great French masters at the time, the most influential in proposing these hands was Louis Barbedor, who published ""Les Ecritures Financière Et Italienne Bastarde Dans Leur Naturel"" circa 1650. With the destruction of the Camera Apostolica during the sack of Rome (1527), the capitol for writing masters moved to Southern France. By 1600, the Italic Cursiva began to be replaced by a technological refinement, the Italic Chancery Circumflessa, which in turn fathered the Rhonde and later English Roundhand. In England, Ayres and Banson popularized the Round Hand while Snell is noted for his reaction to them, and warnings"
"Round hand Round Hand (also Roundhand) is a type of handwriting and calligraphy originating in England in the 1660s primarily by the writing masters John Ayres and William Banson. Characterised by an open flowing hand (style) and subtle contrast of thick and thin strokes deriving from metal pointed nibs, Round Hand's popularity grew rapidly, becoming codified as a standard, through the publication of printed writing manuals. During the Renaissance, writing masters of the Apostolic Camera developed the ""italic cursiva"" script. When the Apostolic Camera was destroyed during the sack of Rome in 1527, many masters moved to Southern France where"
"style, from at least the latter part of the 2nd century, exercised considerable influence on the local hands, many of which show the same characteristics less pronounced; and its effects may be traced into the early part of the 4th century. Hands of the 3rd century uninfluenced by it show a falling off from the perfection of the 2nd century; stylistic uncertainty and a growing coarseness of execution mark a period of decline and transition. Several different types of book-hand were used in the Roman period. Particularly handsome is a round, upright hand seen, for example, in a British Museum"
"often referred to as ""oldstyle."" Humanist, humanistic, or ""humanes"" include the first Roman typefaces created during the 15th century by Venetian printers, such as Nicolas Jenson (hence another name for these, ""Venetian""). These typefaces sought to imitate the formal hands found in the humanistic (renaissance) manuscripts of the time. These typefaces, rather round in opposition to the gothics of the Middle Ages, are characterized by short and thick bracketed serifs, a slanted cross stroke on the lowercase 'e', ascenders with slanted serifs, and a low contrast between horizontals and verticals. These typefaces are inspired in particular by the Carolingian minuscule,"
"Court hand Court hand (or common law hand) was a style of handwriting used in medieval English law courts. Originally used by the official courts, it later came into use by professionals such as lawyers and clerks. ""It is noticeably upright and packed together with exaggeratedly long ascenders and descenders, the latter often and the former occasionally brought round in sweeping crescent shaped curves"". The hand took its name from the fact that it was particularly associated with formal records of the courts of Common Pleas and King's (or Queen's) Bench, although its use was not confined to them. In"
"areas until the 1970s; it is no longer taught. Secretary hand is an informal business hand of the Renaissance. There are undeniable points of contact between architecture and palaeography, and in both it is possible to distinguish a Romanesque and a Gothic period . The creative effort which began in the post-Carolingian period culminated at the beginning of the 12th century in a calligraphy and an architecture which, though still somewhat awkward, showed unmistakable signs of power and experience, and at the end of that century and in the first half of the 13th both arts reached their climax and"
"on the Dutch Revolt for example. In a high Rococo setting at the Windberg Abbey, Lower Bavaria, the Hand of God holds scales in which a lily stem indicating Saint Catherine's purity outweighs the crown and sceptre of worldly pomp. The similar but essentially unrelated arm-reliquary was a popular form during the medieval period when the hand was most used. Typically these are in precious metal, showing the hand and most of the forearm, pointing up erect from a flat base where the arm stopped. They contained relics, usually from that part of the body of the saint, and it"
"15th century, Italian scribes returned to the Roman and Carolingian models of writing and designed the Italic hand, also called Chancery cursive, and Roman bookhand. These three hands — Gothic, Italic, and Roman bookhand — became the models for printed letters. Johannes Gutenberg used Gothic to print his famous Bible, but the lighter-weight Italic and Roman bookhand have since become the standard. During the Middle Ages, hundreds of thousands of manuscripts were produced: some illuminated with gold and fine painting, some illustrated with line drawings, and some just textbooks. Towards the end of the Middle Ages, administration in the states"
"the Caroline Minuscule was the German Protogothic Bookhand. It originated in southern Germany during the second half of the 12th century. All the individual letters are Caroline; but just as with English Protogothic Bookhand it evolved. This can be seen most notably in the arm of the letter h. It has a hairline that tapers out by curving to the left. When first read the German Protogothic h looks like the German Protogothic b. Many more scripts sprang out of the German Protogothic Bookhand. After those came Bastard Anglicana, which is best described as: lipi = pandu lipi pura lipi"
"Caroline or Carolingian minuscule. The first manuscript in this hand was the Godescalc Evangelistary (finished 783)—a Gospel book written by the scribe Godescalc. Carolingian remains the one progenitor hand from which modern booktype descends. In the eleventh century, the Caroline evolved into the Gothic script, which was more compact and made it possible to fit more text on a page. The Gothic calligraphy styles became dominant throughout Europe; and in 1454, when Johannes Gutenberg developed the first printing press in Mainz, Germany, he adopted the Gothic style, making it the first typeface. In the 15th century, the rediscovery of old"
"hand, seen in one or two manuscripts of the 8th or early 9th century, in which it slopes to the right and has a narrow, angular appearance, did not find favour, but by the end of the 9th century a more ornamental type, from which modern Greek script descended, was already established. It has been suggested that it was evolved in the Monastery of Stoudios at Constantinople. In its earliest examples it is upright and exact but lacks flexibility; accents are small, breathings square in formation, and in general only such ligatures are used as involve no change in the"
"dress and a crown, depicting her as royalty. The ball her son holds is also an allusion to their royalty and holiness. The ball or orb in Christ’s hands is a reference to Christ as Salvator Mundi, or Savior of the World. The orb symbolizes Earth, and how Christ is king of the entire world. One of the main characteristics of Gothic sculpture was elegance. However, other changes occurred to sculpture, such as less enjambment into the background architecture, the contrasting of light and dark, and the Praxitlian ‘S’ curve. Gothic style moved away from the Romanesque style by simplification."
"imposed by Charlemagne during his reign of the Holy Roman Empire. Examples of Humanes include Centaur and Cloister. Also called ""Aldine"", this group is named in homage to Claude Garamond and Aldus Manutius. In general, the garaldes have finer proportions than the humanists, and a stronger contrast between downstroke and upstroke. The weight of the garaldes are distributed according to an oblique axis. In France, under King Francis I, the garaldes were the tool which supported the official fixing of grammar and orthography. Examples of Garaldes include Bembo and Garamond. The transitional, realist, or ""réales"" are the typical typefaces of"
"did Raphael. The infrequently-encountered synonym ""rondo"" much more usually refers to a musical form. Tondo (art) A tondo (plural ""tondi"" or ""tondos"") is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian ""rotondo,"" ""round."" The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for sculpture the threshold is rather lower. Artists have created tondi since Greek antiquity. The circular paintings in the centre of painted vases of"
"on the chancery hand in Venice, 1501, and was practised by designer-printers Nicolas Jenson and Francesco Griffo; roman type has helped establish the remarkable resistance to change of the modern Latin alphabet. Humanist minuscule Humanist minuscule is a handwriting or style of script that was invented in secular circles in Italy, at the beginning of the fifteenth century. ""Few periods in Western history have produced writing of such great beauty"", observes the art historian Millard Meiss. The new hand was based on Carolingian minuscule, which Renaissance humanists, obsessed with the revival of antiquity and their role as its inheritors, took"
"the West, hieratic Byzantine models were closely followed in the Early Middle Ages, but with the increased importance of the cult of the Virgin in the 12th and 13th centuries a wide variety of types developed to satisfy a flood of more intensely personal forms of piety. In the usual Gothic and Renaissance formulas the Virgin Mary sits with the Infant Jesus on her lap, or enfolded in her arms. In earlier representations the Virgin is enthroned, and the Child may be fully aware, raising his hand to offer blessing. In a 15th-century Italian variation, a baby John the Baptist"
"add decoration to those surfaces to produce the jewellery, including soldering, plating and gilding, repoussé, chasing, inlay, enamelling, filigree and granulation, stamping, striking and casting. Major stylistic phases include barbarian, Byzantine, Carolingian and Ottonian, Viking, and the Late Middle Ages, when Western European styles became relatively similar. Most styles and techniques used in jewellery for personal adornment, the main subject of this article, were also used in pieces of decorated metalwork, which was the most prestigious form of art through most of this period; these were often much larger. Most surviving examples are religious objects such as reliquaries, church plate"
"the decorative vocabulary of Northern Mannerism expressed by the Fontainebleau School and the engravers of designs in Antwerp. In the early 17th century, interior examples appear in Jacobean interiors in England; in Scotland the overmantel in the great hall of Muchalls Castle remains an early example. Caryatids remained part of the German Baroque vocabulary (""illustration, right"") and were refashioned in more restrained and ""Grecian"" forms by neoclassical architects and designers, such as the four terracotta caryatids on the porch of St Pancras New Church, London (1822). Many caryatids lined up on the facade of the 1893 Palace of the Arts"
"numerous abbreviations, used in manuscripts intended only for a scholar's private use. The more formal hands were exceedingly conservative, and there are few classes of script more difficult to date than the Greek minuscule of this class. In the 10th, 11th and 12th centuries a sloping hand, less dignified than the upright, formal type, but often very handsome, was especially used for manuscripts of the classics. Hands of the 11th century are marked in general (though there are exceptions) by a certain grace and delicacy, exact but easy; those of the 12th by a broad, bold sweep and an increasing"
"Tondo (art) A tondo (plural ""tondi"" or ""tondos"") is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian ""rotondo,"" ""round."" The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for sculpture the threshold is rather lower. Artists have created tondi since Greek antiquity. The circular paintings in the centre of painted vases of that period are known as tondi, and the inside of the broad low winecup"
"style, which became the most influential of the Carolingian period; a Touronian style; a Drogo style; and finally a Court School of Charles the Bald. These are the major centres, but others exist, characterized by the works of art produced there. The Court School of Charlemagne (also known as the Ada School) produced the earliest manuscripts, including the Godescalc Evangelistary (781–783); the Lorsch Gospels (778–820); the Ada Gospels; the Soissons Gospels; the Harley Golden Gospels (800-820); and the Vienna Coronation Gospels; ten manuscripts in total are usually recognised. The Court School manuscripts were ornate and ostentatious, and reminiscent of 6th-century"
"Hand of God (art) The Hand of God, or Manus Dei in Latin, also known as Dextera domini/dei, the ""right hand of God"", is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Jehovah or God the Father as a full human figure was considered unacceptable. The hand, sometimes including a portion of an arm, or ending about the wrist, is used to indicate the intervention in or approval of affairs on Earth by God, and sometimes as a subject in itself. It is an artistic metaphor that is generally"
"of the ""eleusa"" type, sometimes called the ""Virgin of Tenderness"" in English, where the Virgin and Child touch cheeks, and he reaches out a hand. The ""Madonna in the Church"" wears a blue cloak over a red dress. During the early 14th and 15th century a large number of these works were imported into the North, and were widely copied by the first generation of Netherlandish artists, among others. The iconography of both the late Byzantine, typified by the unknown artist responsible for the ""Cambrai Madonna"", and 14th century successors such as Giotto favoured showing the Madonna in a monumental"
"the shape and alignment of the letters. Lastly may be mentioned a hand which is of great interest as being the ancestor of the type called (from its later occurrence in vellum codices of the Bible) the biblical hand. This, which can be traced back at least the late 2nd century, has a square, rather heavy appearance; the letters, of uniform size, stand upright, and thick and thin strokes are well distinguished. In the 3rd century the book-hand, like the cursive, appears to have deteriorated in regularity and stylistic accomplishment. In the charred rolls found at Herculaneum and dating from"
"as Lombardic, Merovingian, Visigothic, Anglo-Saxon and Irish. These names came into use at a time when the various national hands were believed to have been invented by the peoples who used them, but their connotation is merely geographical. Nevertheless, in spite of a close resemblance which betrays their common origin, these hands are specifically different, perhaps because the Roman cursive was developed by each nation in accordance with its artistic tradition. In Italy, after the close of the Roman and Byzantine periods, the writing is known as Lombardic, a generic term which comprises several local varieties. These may be classified"
"use with two hands. The German ""langes Schwert"" (""long sword"") in 15th-century manuals did not necessarily denote a type of weapon, but the technique of fencing with both hands at the hilt. The French ""épée bâtarde"" and the English ""bastard sword"" originate in the 15th or 16th century, originally having the general sense of ""irregular sword or sword of uncertain origin"". ""Qui n'était ni Française, ni Espagnole, ni proprement Lansquenette, mais plus longue que ces fortes épées"". (""[a sword] which was neither French, nor Spanish, nor properly ""Landsknecht"" [German], but longer than any of these sturdy swords."") ""Espée bastarde"" could"
"Baroque. Popular Catholic imagery to a certain extent has remained attached to a Baroque style of about 1650, especially in Italy and Spain. In the Church of England, the Royal Arms of the United Kingdom has been used like an icon, owing to its absence of human portraiture, as a representation of the sovereign as Head of the Church. It has been done in wood and stone as well as painted. Images of Hindu gods and goddesses use a rich symbolism. Some figures are blue-skinned (the color of heaven) or have multiple arms holding various symbols which depict aspects of"
"written in the Gothic cursive script ""bastarda"", then favoured by the legal profession. In either case, although he is not grandly dressed and is probably a member of the middle class, he must have been highly regarded in Philip's court, given that such portraits rarely depicted non-nobles. The panel consists of a single oak board, cut vertically down close to the painted surface. It has a small unpainted area at the upper left. The support's encasing was probably changed in the 19th century; today four of the eight supports are fixed to the edges of the interior borders, forming inner"
"spread. Gothic sculpture evolved from the early stiff and elongated style, still partly Romanesque, into a spatial and naturalistic treatment in the late twelfth and early thirteenth century. Influences from surviving ancient Greek and Roman sculptures were incorporated into the treatment of drapery, facial expression, and pose of the Dutch-Burgundian sculptor, Claus Sluter, and the taste for naturalism first signaled the end of Gothic sculpture, evolving into the classicistic Renaissance style by the end of the fifteenth century. Painting in a style that may be called, ""Gothic,"" did not appear until about 1200, nearly fifty years after the start of"