hich shows some interesting modern forms intended for cutting in granite,
should be studied for the effect of the cast shadows; while 14, a redrawing
of inscriptions on the Harvard Architectural Building, Cambridge, Mass.,
exhibits an excellent type of letter with widened thin lines for v-cutting
in sandstone.

[Illustration: 7. MODEL FOR INCISED ROMAN CAPITALS. McKIM, MEAD & WHITE]

[Illustration: 8. ROMAN INCISED CAPITALS. FROM A RUBBING]

The special requirements of the stone-cut forms for either incised or
raised inscriptions are, however, quite apart from the subject of this
book, and are too various to be taken up in greater detail here. It is
important, nevertheless, that the designer should be reminded always to
make allowance for the material in which a letter was originally executed.
Otherwise, if exactly copied in other materials, he may find the result
annoyingly unsatisfactory.

[15]

[Illustration: 9. ROMAN INCISED INSCRIPTION. BOLOGNA]

[Illustration: 10. ROMAN INCISED INSCRIPTION. BOLOGNA]

The examples of letters taken from Roman and Renaissance Italian monuments,
shown in the pages of this chapter, will illustrate the variety of
individual letter forms used by the Classic and Renaissance designers. The
shape of the same letter will often be found to vary in the same
inscription and even in apparently analogous cases. The designers evidently
had in mind more than the directly adjacent words, and sometimes even
considered [16] the relation of their lettering to objects outside the
panel altogether. This is especially true in the work of the Italian
Renaissance, which is almost invariably admirable in both composition and
arrangement.

[Illustration: 11. DETAIL FROM A ROMAN INCISED INSCRIPTION. F.C.B.]

[Illustration: 12. ROMAN CAPITALS OF PEN FORMS CUT IN STONE. F.C.B.]

Figures 8 to 22 show examples, drawn from various sources, which exhibit
different treatments of the classic Roman letter forms. The differentiation
will be found to lie largely in the widths of the letters themselves, and
in the treatment of the serifs, angles, and varying widths of line. Figures
11 to 13 and 16 to 22 are redrawn from rubbings [17] of Roman incised
inscriptions. Figures 16 and 17 show beautifully proportioned letters cut
in marble with unusual care and refinement, considering the large size of
the originals. A later Roman form of less refinement but of greater
strength and carrying power, and for that reason b