type-founders of the fifteenth century sought out fine examples of old writing as models, and for their capitals studied the monumental Roman inscriptions. Roman letters were first introduced into English inscriptions by Italian artists. Torrigiano, on the tombs he made for [p-xi] Henry VII. in Westminster Abbey and for Dr. Young at the Rolls Chapel, designed probably the most beautiful inscriptions of this kind to be found in England.

This volume is remarkable for the way in which its subject seems to be developed inevitably. There is here no collection of all sorts of lettering, some sensible and many eccentric, for us to choose from, but we are shown the essentials of form and spacing, and the way is opened out to all who will devote practice to it to form an individual style by imperceptible variations from a fine standard.

Writing is for us the most universal of the Arts, and most craftsmen have to deal with lettering of a more formal kind. It is a commonplace of historical criticism to point out how much the Italian artists owed to the general practice amongst them of goldsmith’s work, a craft which required accuracy and delicacy of hand. We cannot go back to that, but we do need a basis of training in a demonstrably useful art, and I doubt if any is so generally fitted for the purpose of educating the hand, the eye, and the mind as this one of WRITING.

W. R. LETHABY.

October 1906.