Elegant to a mannered degree. The clarity and evenness of execution is particularly remarkable when you realise how small the script actually is: this page is 9" x 7" (230x180mm), and the distance between headline and baseline of the script just over 3mm. This script tells us a lot about the relationship between the penlines of a letter and the shapes they create in its inner spaces (see below).
The letters are evenly spaced between head-line and base-line.
Uprights are vertical.
Letter forms are still rounded, though because of the ornamentation the script as a whole is not so cursive. However, there are some details which suggest a cursive movement of the hand (see below under Serifs).
 | Aspect ratio of O is rather wider than high: about 5:4. |
 | Aspect ratio of E is about 7:6. |
 | Aspect ratio of S is about 7:6. |
Triangular letters like A overlap those before and after for a pleasing effect.
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 | The cross-stroke on E is about two thirds of the way up between base- and head-lines. |
 | So is the loop on B. |
 | Cross-strokes on A |
 | and R are about halfway up. |
| There are ascenders on L and H, and a short one on D. |  |
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| There are descenders on P, F, and Q. |  |
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The main pen-width is on the verticals.
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The pen is turned so that the diagonals on A, N, S, X, and R are wide.
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Bows are drawn so that they are widest at the halfway point. This has the effect of producing an oval inside space to the letter while the outside is more nearly round.
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(See next section under Serifs.)
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© MEG TWYCROSS 1998