International studio (45.1912)

34

THE INTERNATIONAL STUDIO

November, 1911


OOK REVIEWS
“Alphabets Old and New,” by
Lewis F. Day (imported by Charles
Scribner’s Sons, New York, $2.00), though
a book in its third edition, is of nature
which botanists would term “perennial.”
Like any good book on lettering, it must
have its place in the designer’s library,
and if its drawback has been the antiquity
of the alphabets shown, this has been
remedied by the appending of a number of
very interesting modern examples by such
master penmen as Walter Crane, R. An-
ning Bell and J. Walter West. For a book
of greater practical value one might be in-
clined to recommend Mr. F. C. Brown’s
“Letters and Lettering,” though which-
ever one is already in the library the other
would make an excellent companion vol-
ume. Mr. Day approaches his subject
rather more in the vein of the scholarly
student than of the practising draughts-
man, though it must not be supposed that
his book is any the less valuable for that.


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AN ALPHABET CARVED IN WOOD
DESIGNED BY LEWIS F. DAY

Where Mr. Brown plunges directly into the
construction and application of Roman let-
ters, Mr. Day begins, like a true scholar,
at the beginning of recognized paleography
with texts from Greek and Coptic MSS.
and incised Byzantine inscriptions. From
these he naturally moves to Gothic,
Florentine and early Italian examples.
No vehicle or manner of transcription
would seem to have escaped the analytic
scrutiny or receptive sketch book of the
author of “Alphabets Old and New,” for
in its early pages we find lettering from
Roman mosaic, bronze tablets, Hispano-
Moresque pottery, Italian Majolica, ham-
mered brass, carved wood, painted missal
and woven tapestry. There are letters
painted and letters formed of copper studs
on leather, letters from stained-glass win-
dows and letters from tombstones.
In the earlier editions of the book, Mr.
Day’s system of classification of the many
examples which he presented was not
■ quite clear, but in the present edition he