rettable modern neglect of those free and very interesting forms of
the Roman letter, Italic and Script, seem to authorize consideration of
them in a separate chapter, even at the risk of appearing to give them
undue importance.

[Illustration: 192. GERMAN ITALIC. GOTTLIEB MUNCH, 1744]

The first Italic type letter was derived, it is said, from the handwriting
of Petrarch, and several admirable examples of the style, variously
treated, have come down to us. As far as construction goes Italic is,
theoretically, only the exact Roman form sloped, and with such changes as
are necessitated by the sloping of the letters. Practically, however, it
will be found that certain alterations in the outlines of the Roman letters
must be made after giving them a slope in order to adapt them to their new
requirements of inter-juxtaposition; and, by a reflex action, when words in
Italic capitals are used in the same panel with upright Roman letters,
certain variations must be made in the latter, such as accenting the Roman
O in the same fashion as the Italic _O_ is accented, an altered treatment
of serifs, and other changes in detail.

The Script form of letter was developed out of the running or writing hand,
and still retains a cursive tendency in the linking together of its
letters; although in some forms it so closely approximates to Italic as to
be almost [183] indistinguishable from it. Script lettering came into its
greatest vogue during the Georgian period in England and at the same time
in France; and was extensively employed, usually in conjunction with the
upright Roman, in carved panels of stone or wood, and in engraving. The
Script forms are well worthy of the attention of modern designers since
they offer unusual opportunities for freedom and individuality of
treatment; and because of this vitality and adaptility to modern uses the
present chapter will be devoted largely to the illustration of Script
examples.

The old Spanish and Italian writing-books (referred to in a previous
chapter), which in a measure took the place filled so much less
artistically to-day by our modern school copybooks, contain many specimens
of beautiful Script, both capitals and small letters. Figures 193 to 196
show pages from such books published in Spain.

[Illustration: 193. SPANISH SCRIPT. TORQUATO TORIO, 1802]

[Illustration: 194. SPANISH SCRIPTS. TORQUATO TORIO, 1802]

[Illustration: 195. SPANISH SCRIPT. FRANCISCO LUCAS, 1577]

[Illus