March 2025
Writing book fragments and other printed calligraphic materials (box 2)
Collection of writing book fragments and other printed calligraphic materials, from Europe and the United States, dated between 1533 and 1943. You will recognise some of these pages if you are familiar with the copybooks listed on this website. A useful inventory is included.
Portraits of writing masters and mistresses (box 2)
A collection of engraved and drawn portraits of writing masters, produced between 1595 and 1878, the bulk between 1650 and 1780 and mainly about British masters. Aside from portraits, the collection also contains examples of calligraphy, including prints of microcalligraphy artwork, as well as manuscript correspondence of William Rower and Ralph Snow. Also included are calligraphy samples by William Gibbon composed on sheets printed by Robert Sayer featuring decorative borders and figurative representations of vices and virtues.
19th century
SEGHERS (Louis), Trésor calligraphique ; recueil de lettrines, initiales, etc. : du moyen âge et de l’époque de la renaissance, 1878.
Louis Seghers was the Belgian king’s official calligrapher. This book contains examples of ‘historical’ letterforms (Middle ages and Renaissance).
CAMPI (Bice), Saggio di calligrafia, no date.
An italian booklet, probably from the second half of the 19th century, that contains models of copperplate (running hand, Text, and capitals) and French ronde.
18th century
TOCHTERMANN (Hieronymus), Pemanship exemplar, 1736.
Manuscript and in color
CHAMPION (Joseph), The Parallel or Comparative Penmanship, 1750.
In this book, Joseph Champion wants to show how English penmanship has brought significant improvement in the art of writing, through the development of the standardised English round hand (and its variants). The engraver copied selected older models from renowned master like Materot, Barbedor, Velde, Perling… which Champion admires, and the calligrapher reinterpreted these pages, making a sort of ‘modern, improved copy’. We can see both the old and new together and get an understanding of the evolution of handwriting after the Renaissance. It is in my opinion Champion’s masterpiece.
Penmanship, English, classics, French, drawing, merchants accounts, mathematics &c. taught by R. Pulman, and able masters in Halifax, 1779.
Advertising leaflet for a writing school.
Kurtze und gründliche Anweisung, nach der neuesten Art zierlich, zu Schreiben.
A compendium of various exemplars that appeared in other books, including two plates signed by John Bland. Contains Kurrent, Fraktur, English round hand, Italienne Batarde and “Dutch round hand” (Dutch version of the French Italienne Batarde).
17th century
DAVIES of HEREFORD (John), manuscript specimens
COCKER (Edward), manuscript specimen.
BODDINK (Niklaas), Het tweede A.B.C, 1639.
GETHING (Richard), Chiro-graphia, or, A booke of copies containing sundrie examples, 1645.
COCKER (Edward), The pen’s celerity, 1667.
16th century
SCOTTOWE (John), Alphabet of ornamental capitals used as initials in specimen pages of calligraphy, 1592.
I don’t have any information about this calligrapher. This is a collection of manuscripts in a style very similar to what we find in Baildon and Beauchesne’s book.
15th century
LE FEBVRE (Matthieu), Book of models (manuscript).
Interesting manuscript models in the typical style of French copybooks in the late 15th century (similar to Beauchesne).
January 2025
18th century
WASER (Anna and her sisters, Elisabeth and Anna Maria), Schreibüebung…, 1708 (Zürich)
This one of few copybooks published by women, and in this case it was a family affair ! Anna was a Swiss painter and engraver, and she is responsible for the beautiful engraving of this copybook. Her sisters did most of the writing, but if you look at the signatures you’ll notice they all contributed with pen and ink. This short book of exemplars displays models of gothic and “italian” writing styles : Fraktur, Kurrent, Roman capitals, Gothic initials, and a page of Italian Bastarda.
February 2024
16th century
FRANCO (Giacomo), Il Franco modo di scrivere Cancellaresco moderno…, 1595.
17th century
Italy
ZANELLA (Sebastian), Nouo Modo di Scriuere Cancellaresco Corsiuo, 1605.
France
VIGNON (Robert), Tivoly, ou jardin d’escriture, auquel est représenté les plus belles fleurs tant de la lettre françoyse que de la lettre italienne, 1600.
Flamboyant example of the Italian hand done by a French master of renown. The book also contains examples of the French gothic cursive.
MOREAU (Pierre), Les vrays caractheres de l’escriture financiere selon le naturel de la plume, 1626.
MOREAU (Pierre), Nouvelles exemples de P. Moreau ou sont contenues les plus secrettes particularitez de la lettre italienne bastarde à la mode, c.1639.
Pierre Moreau was a parisian writing master . He endeavoured to create moveable type fonts that imitate the handwriting styles officially promulgated in 1633 (Financière and Italienne Bâtarde) and eventually became a printer working for the king. The books printed with his type are particularly sought after by collectors. This is his last writing copybook, which certainly contains some examples of his fonts. The exemplars are in the “fashionable” French hands and show the distinctive French style of flourishing also seen in Barbedor’s works.
MOREAU (Pierre), Lettre financiere escrite et burinée, c.162-.
PETRE (Jean), Les exemples de l’art d’escriture de finance et italienne bastarde, 1647.
PETRE (Jean), Nouveau livre d’écriture contenant une nouvelle metode, c.1650.
SENAULT (Louis), Aux amateurs des escritures de finance italienne bastarde et romaine, c.1660-1680.
SENAULT (Louis), Livre des rares et curieuses escritures italiennes bastardes à la mode, after 1670.
SENAULT (Louis), Nouveau livre d’escriture d’italienne bastar, c.1680.
MAINGUENEAU (Louis), Modeles d’écriture financiere de presan en usage, 1683.
SENAULT (Louis), Escritures financières et italiennes bastardes suivant l’usage, after 1693.
BEREY (Claude-Auguste), Nouveaux exemplaires d’écriture de finance et d’italienne bâtarde, 1694.
DUVAL (Nicolas), Nouveau livre d’écriture de finance et bâtarde à la mode, 1697.
18th century
Great Britain
RICHARDS (William), The Compleat Penman, 1738.
New link showing the full book, the previous one was just a partial presentation.
SERLE (Ambrose), The art of writing, 1776.
Not a copybook, because it doesn’t contain any examples… but an externsive discourse on the theory of writing, with mathematical projections and so on.
France
HUË (Louis), Livre nouveau d’écriture batarde italienne et coulée pour apprendre de soy mesme et sans maitre à bien ecrire, 1750.
Copybook engraved by a student of Rossignol.
ROYLLET [ROILLET] (Sébastien), Les vrais principes de l’art d’écrire, 1755.
ROLAND (André-François), Recueil de modèles de calligraphie gravé et publié par Le Parmentier, date unknown.
Copybook engraved after originals by Roland (not published by Roland himself).
Nouveau livre d’ecriture italienne batarde très utile aux Commercans, 1758.
New link for the full book : PAILLASSON (Charles), L’art d’écrire réduit à des démonstrations vraies et faciles…, 1760. (out of the Encyclopédie)
ROLAND (André-François), Principes démontrés des différentes écritures les plus usitées, 1766.
DEFARGUES (J.H), Traité de l’écriture sur l’enseignement ou Nouvelle méthode plus claire, 1787.
Detailed analysis of the structure of the Italienne Batarde, instructions and models.
SAINTOMER (Louis-Antoine l’ainé), L’Ecriture démontrée, c.1789. (alt. copy)
SAINTOMER (Louis Antoine l’ainé), Abrégé des principes de l’écriture par Saintomer l’ainé, c.1790.
Detailed and illustrated instructions on how to write.
JUMEL (l’ainé), Déclaration des droits de l’homme et du citoyen décrétés par l’Assemblée nationale, rédigés pour l’instruction de la jeunesse, 1790.
The articles of the Déclaration des Droits de l’Homme et du Citoyen, published by a writing master as models to be used in schools.
Germany
(Multiple authors), Scrapbook of models, possibly assembled for use by a writing master (Nuremberg ?), 1709.
Paritius, Georg Heinrich, 1675-1725 : German calligraphic display initials. [Nuremberg?, s.n., ca. 1700] ; Spiegel der Schreib-Kunst / von Berthold Ulrich Hofmann. [Nuremberg] : In Verlegung Joh. Christoph Weigels, [after 1703] ; Der Blhenden Jugend : Neue Anleitung zur teutschen Fractur Lankelen und Corrent Schrifft. Nürnberg : In Verlegung Johann Christoph Weigels, [after 1703] ; Lucidissimum artis scriptoriae speculum. [Nuremberg] : Joh. Christoph Weigel excudit Noribergae, n.d. ; Regensburgische Schreib-Schule / Georg Heinrich Paritius. [Regensburg : s.n.], a[nn]o 1710 ; Grn̈dliche Anweisung zur Schreib-Kunst / Georg Heinrich Paritius. [Regensburg] : Verlegt von Joh. Christoph Weigeln, anno 1709. With some pages by Jan van de Velde and Dutch masters…
19th century
Great Britain
THOMSON (William), Thomson’s alphabetical set of large text words : written for the improvement of youth London, 1803.
Containing straightforword examples of large round text words with no ornamentation.
SMITH (Duncan), The art of penmanship improved or Smith’s new universal penman, 1817.
A beautiful copybook with plates similar to those of Tomkins and Milns.
PATON (Walter), Paton’s flowers of penmanship, 1840.
A book of ornamental penmanship in the English round hand, with some beautiful capital variations and examples of titles.
France
Scrapbook of calligraphy models from the 16th to the 19th century, gathered by A.G. Taupier.
Taupier was a writing teacher and author of one of the popular writing methods published in the late 19th century. He collected pieces of calligraphy (manuscript and prints) which can be seen in this album.
The scrapbook contains letters exchanged with Walter Paton as well as an original by the British master…
SAINTOMER (Louis-Antoine père), Copies d’après Thomson, c.1800.
Thomson’s works, “translated” and copied by a French master.
TRESSE (A.), Collection de pièces d’écriture anglaise, c.1820.
Examples of the English round hand, engraved by d’Avignon.
BERNARD, Collection de modèles renfermant les principes des trois principaux caractères usités en France, 1820-1830.
Examples of Ronde, Batarde and Coulée.
MIDOLLE (Jean), Manuscript, 1833-1836.
Manuscript works roduced between 1833 and 1836, possibly in Strasbourg. Specimens, many signed and dated by Midolle, consist principally of display alphabets (mainly gothic variations), number series, and religious texts written in different calligraphic styles on heavy paper, which have then been affixed to the leaves of the album. Although many samples are done in black ink, others are done more elaborately with decorations and backgrounds in various colors.
MIDOLLE (Jean), Spécimen des écritures modernes comprenant les romaines fleuronnées, gothiques nouvelles, fractures françaises, anglaise, italienne et allemande exécutées à la plume, 1835.
A collection of various alphabets and exemplars drawn and lithographed by a renowned calligrapher and designer. A few plates show “l’Anglaise” and other cursives popular at the time.
REGNIER (Ainé), L’Ecriture des gens du monde, 1837.
A book of exercises and examples of the running hand typical of the 19th century. The first title page is actually manuscript.
COOPER (from New York), Formules d’actes usuels mises en exemples d’écriture, c.1830-40.
Examples of letters and documents written by a penman from New York. The style represented the most is the 19th century running hand.
MIDOLLE (Jean), Traité complet d’écritures en tous genres et d’ornements moyen-âge, 1840.
A proper copybook covering sevral writing styles, with instructions and illustrated examples.
REGNIER (Ainé), Méthode générale d’écriture, 1842.
Step by step instructions to learn the english running hand.
SILVESTRE (Joseph Balthazar), Alphabet-Album, collection de soixante feuilles d’alphabets historiés et fleuronnés, 1843.
A collection of 60 decorative alphabets, engraved by Jules Girault.
REGNIER (Ainé), Le Livre des compositions en écriture anglaise expédiée, 1843.
Contains examples of compositions done in a beautiful English Running hand.
REGNIER (Jeune), Méthode complète d’écriture en 12 planches, 1843.
MIDOLLE (Jean), Recueil ou alphabet de lettres initiales historiques avec bordures et fleurons d’après le 14 et 15 siècles, 1846.
A book in the spirit of the Arts and Crafts movement with imitations of ancient illuminated manuscripts, printed in color including gold. The borders and illustrations are beautifully done and will surely inspire many calligraphers out there.
MIDOLLE (Jean), Album d’enluminures : 12 dessins aquarellés, no date.
Manuscript containing illuminated images and calligraphed texts embellished with flourished borders.
CASSAGNE (E), Méthode E. Cassagne. L’écriture commerciale et administrative, 1885.
Examples of all the hands used for commercial and administrative jobs in France : Ronde, Bâtarde and English round hand.
SPAIN
TORIO DE LA RIVA (Torcuato), Arte de escribir, 1802. (Second ed)
USA
New link for BECKER (George J.), Becker’s ornamental penmanship, 1854.
March 2023
17th century
VAN DEN VELDE (Jan), Manuscript, c.1598. (added : May 2020)
A manuscript from the young master, a few years after he won 3rd prize at the “Prix de la Plume Couronnée” (he was 29 at this point). These page give a nice view of the master’s talent before he published his first books.
ANON, Off hand portraits, date unknown.
Manuscript containing a series of off-hand portraits in the ornamental style of the late 17th century in France.
18th century
ANON, Manuscript, 1709.
This manuscript is kept in a French library, which means it could have been made in France. Written in German Kurrentschrift.
May 2022
17th century
Netherlands (Low Countries) :
VANDEN STEENE (Erasmus), Untitled book containing calligraphy models, c. 1676.
Vanden Steene was a writing teacher in Ghent. Models inspired by the works of early 17th century Dutch masters (like Velde), in gothic cursive and French Batarde. Some pages are taken from his Tresoor (1687).
VANDEN STEENE (Erasmus), Tresoor van diverssche curieuse gheschriften met haere fondamenten, 1687. (Link to an other copy)
The works of a master very inspired by French copybooks. The models mainly show his interpretation of the French ‘Italienne Batarde’ (post 1633)
March 2022
17th century
Netherlands (Low Countries) :
BOISSENS (Cornelis), Groote ende kleine capitalen tot dienst der penn’constlievende, c.1594-1610.
A small book of Gothic capitals.
Van der LAECH (Willem), Exemplaer boeck, 1643.
Van der Laegh was the only specialized script engraver still working in the 1650s in the Republic. He worked for Jean de la Chambre, among others. This was written and engraved by the author, in Amsterdam.
Van der LAECH (Willem), Exemplaer van verscheyde schriften… Vol. 1, 1644.
Is this part of a pair with the previous book (1643) ?
HEUVELMAN (Johannes), Stichtich ABC tot nut der jeucht geschreven, 1659.
Heuvelman was an important and well-known calligrapher, whose name invoked a high standard of calligraphy practice in the early 18th century.
Only two pages. Each page consists of “slips” meant to be cut and copied one by one. There should have been at least 26 slips (one for each letter of the alphabet).
HEUVELMAN (Johannes), Exemplaarboek, c.1660.
Is this the “Kleyn exempel-boeck” cited in the master’s library inventory ?
France :
DUVAL (Nicolas), Le Livre d’écriture & d’Orthographe, 1670.
Containing rules for spelling and writing models.
18th century
England :
LANGFORD (Robert), The beauties of Penmanship illustrated in a variety of examples…, 1797.
Langford’s largest copybook, inspired by the works of Tomkins and Champion.
France :
Collection of French writing masters’ plates, c. 1725-1779.
This is a collection of many French copybook plates, some I haven’t seen in other books referenced here. The masters’ names include : Rossignol, Le Boeuf, Alais, Duval, Lesgret, Barbedor, Liverloz, Roland, Senault, Paillasson. The original books were published in the 17th and 18th century. One page from the Universal Penman, by Champion.
TRESSE (l’aîné), Fables moralisées en quatrins, 18th century.
According to the title page, Tresse was a teacher of writing and mathematic in Paris. This book includes drills and basic principles as well as writing models.
19th Century
France :
BEGAT, Principe d’écriture exécuté pour l’intelligence des enfants, 1814.
Italy :
GIARRE (Gaetano), L’arte di bene scrivere, 1813.
PELLICIOTTI DEL GESSO (Pietro), Essemplare di diversi caratteri…, c.1830.
February 2022
16th century
Italy :
DA CARPI (Ugo), Thesauro de scrittori, 1535.
Ugo Da Carpi was a Roman printmaker, known for his works in woodblock printing. He had engraved Arrighi’s Operina and later printed his own version including the second part Il modo…
This book is described as an anthology of foereign alphabets, “extracted from celebrated authors”, including Fanti, Arrighi and Tagliente. There were various editions of this book, not all containing the same models.
SCALZINI (Marcello, “Il Camerino”), Varie e diverse maniere di lettere cancelleresche, correnti, formate et formatelle, c. 1575.
A manuscript copybook kept in the Vatican Library. This was judged “a mediocre performance” by James Wardrop (who participated in the revival of the Chancery in England). I will note that Scalzini was just 19 at the time. In any case, this gives us an opportunity to see the difference between handwritten and engraved models.
DA MONTE REGALE (Conretto), Vn novo et facil modo d’imparar’ a scriuere, 1576.
Conretto was a writing master and teacher of arithmetic and geometry. His models are similar to Cresci’s, but he was less talented.
CRESCI (Francesco), Il Perfetto Cancellaresco Corsivo, 1579.
The third part of Cresci’s works. No fancy borders this time, but some very cursive examples of his “cancellaresca moderna”.
CURIONE (Ludovico), Il Cancelliere…, 1582.
Curione was with Scalzini, seen as a rival of Cresci. Their works were the most important contemporary influences in Italy, the Netherlands and in France, in the last two decades of the 16th century. In this book printed from engraved copperplates, you will see some beautiful examples of the cursive chancery hand. Curione published his 4 books in a weird order, he had them all ready in 1582 but probably couldn’t afford all publications at once. This is n°4 (see title page).
GAGLIARDELLI (Salvadore), Soprascritte, 1583.
Gagliardelli was a pupil of Cresci. This is a guide to the correct way of addressing correspondence : using the correct abbreviations and wording was important. Adding a few flourishes on the address was a way of attracting the addresse’s attention. Each of the ‘soprascritte’ (267 of them !) is written using the Chancery cursive. This book shows the degreee of specialization some scribes developped at the time, clearly Gagliardelli paid a lot of attention to ‘first impressions’.
VEROVIO (Simone), Essemplare di XIIII lingue principalissime, 1587.
Simone Verovio originated in the XVII provinces (now Netherlands and Belgium), and had come to Rome to flee war and find success. He was a papal chancery scribe who also had a print shop and edited books of music and writing books. The engraving was done by Martin Van Buyten (a fellow Dutch), who was one of the best letter engravers (in copper) of his time. Like many of his compatriots, he went to Italy where he engraved for several great masters such as Curione. This is a single sheet showing various styles of writing in 14 languages. The printer, Nicolas van Aelst (also named on the plate) was also of Dutch origins, exiled in Italy. Both worked in Rome.
VEROVIO (Simone), Il Primo Libro Delli Essempi, 1587.
This is one of Verovio’s writing books. It contains sample sentences for use in letters and other written communication. All plates are written in the cursive chancery inspired by Cresci’s innovations, includes some flourished ornamentation. Engraving by Martin Van Buyten. Verovio also published a few books of music sheets, where you will see other samples of his writing (here).
CURIONE (Ludovico), Il teatro delle cancellaresche, 1593. (additional pages)
N°3 of Curione’s 4 books, and the last to be published.
BLANCO (Cristoforo), several broadsides, 1598. One – Two – Three – Four
These are large sheets of paper printed on one side, use as specimen sheets showing various writing hands. In this case, the Chancery hand is dominant. Cristoforo Blanco was a letter engraver working in Rome. These sheets may have been used to show sample of his work.
Various works at the Newberry Library, Calligraphy samples for the study of Italian paleography, 15th-17th century.
On this page, you will find a series of handwritten books filled with samples of calligraphy. All are interesting in their own way, some look more professional than others. This collection shows the evolution of the Chancery in Italy during the Renaissance and Early Modern period.
Low Countries :
SILVIUS (Willem), Variarum Scripturarum Exempla, c.1550.
A small manuscript copybook that served as Silvius’ personal writing book when he was a writing master in Louvain. He probably used it to attract customers. In 1562, Silvius was active as printer, he requested and was granted a privilege allowing him to publish this work in print. However, no printed copies are known today, the project may have never been completed. This book contains a large array of writing styles, including all the hands useful in the Low Countries at the time… Mutliple hands in various languages, German, French, Italian, Spanish, Dutch, Latin, all written in the appropriate national hands, as well as samples in Hebrew and Greek.
HOUTHUSIUS (Jakob), Exemplaria Sive Formvlæ, 1591. (Link to another copy)
Another beautiful copybook. The structure and format are inspired by Perret’s Exercitatio, as is the title plate with its ornate border. It contains exemples of writing in multiple European languages and writing styles.
17th century
Italy :
GIERONIMI (Rocco), Vaghe et varie inuentioni di caratteri di lettere cancellare. Libro primo, 1602.
This book displays models of the modern Cancellaresca (Cresci’s cursive version). The writing itself is of interest, although the execution is not always the best. Some examples are very ornate, with off-hand pictural flourishes, as well as on-hand flourishes. Engraved by Christoforo Paulini. The author and engraver were both Venetians.
RUINETTI (Tomaso), Ideo del buon scrittore, 1619. (Alternative link)
Ruinetti is known for his enthusiastic use of opulent off-hand flourishes.
France :
SENAULT (Louis), Nouueau liure d’escriture ronde et bastarde comme on la pratique, c.1672.
Written and engraved by Senault, in Paris. Dedicated to the Duke of Chartres.
SENAULT (Louis), Les rares Escritures financieres et Italiennes bastardes, c.1669-1693.
Another beautiful book engraved and written by Senault. Including some simpler models of the French “commercial hand” and models of the Ronde. A few pages are presented in a more practical way : the page is printed horizontally, which make it easier to have the book on the desk while writing.
SENAULT (Louis), Heures Nouvelles tirées de la Sainte Ecriture, c.1680.
Not a copybook, but a pretty little book of prayers written and engraved by Louis Senault.
SENAULT (Louis), La beauté de l’Escriture…, 1681.
Written and engraved by Senault. Includes a demonstration of the Italienne Batarde with explanations as well a models for the French hands. It was really difficult and time consuming to print both text (printed on a letterpress) and images (printed on a roller press) on the same page and publishers would usually avoid it, but here Senault shows that he masters this technique.
Germany :
SCHMIDT (Johann Baptista), Kurtze Fürweisung der gebreuchlichsten deutsch. und lateinischen schriffte, 1621 ?
In this manuscript book, you’ll find a majority of Gothic hands. A few pages show Romans and cursive Cancellaresca (end).
Spain :
(New link for) CASANOVA (Jose de), Primera Parte del arte de escrivir..., 1650.
Casanova displays a variety of hands in this book, but the examples that I find most striking are those demonstrating the Italic script (cancellaresca formata). Casanova also dedicated a lot of plates to the Bastarda, with some very pretty lowercase variations.
PALOMARES (Francisco Xavier de Santiago), Arte de Escribir, 1789.
Palomares gives a full course on how to write the Spanish hand, beginning with the parts of letters and ending with full pages to copy.
Low Countries :
BOERS (Bastiaan) & BOERS (Maarten), Album with calligraphic examples, c.1660.
An example of the Dutch round hand that Perling came to master a few years later. Bastiaan Boers was also Schoolmaster in a French School and a glass engraver, Maarten was his son. It is not clear which of the two is responsible for the writing.
18th century
England :
WRIGHT (Andrew), Court Hand Restored, 1775.
This is not a copybook, but an instruction manual for how to read the court hand. The English court hand was used in deeds, charters and legal documents but was abandoned and replaced by the Round Hand during the 18th century. It is quite interesting that such a manual was needed in 1775 : some writing masters were still providing models of it in their books.
TOMKINS (Thomas), The beauties of Writing, 1777. (New link, in color)
France :
(CHIQUET ?), Nouveau Livre d’Ecriture présentement en usage, avec des principes et règles…, 1707.
(Alternative link for) ROSSIGNOL (Louis), L’art d’écrire Nouvellement mis au jour…, 1741.
Sweden :
BECKMAN (Carl), Grunderne Til Skrif-konsten, 1794.
An interesting book, containing a preface expalining the art of writing in Swedish. The plates seem to be directly inspired by French copybooks of this period. Models of French, English, German cursives.
Germany :
BAURENFEIND (Michael), Der zierlichen Schreib-Kunst…, 1716.
This copybook shows the German hands (Kurrent and Fraktur) in great detail, as well as foreign models, including several variations of the Cancellaresca, the French hands. The second part seems to be giving plenty of technical explanations. Plates illustrating how to cut the quill, draw flourishes and ornate gothic capitals (deconstruction of the different steps) and more models of various writing styles (many plates seem to be copies of foreign copybooks). The third part is another German copybook, by a J.G. VOGEL.
MERKEN (Johann), Liber artificiosus alphabeti maioris, c.1782.
A copybook done by someone who liked ornamentation a lot. It looks like it was also meant as a manual for drawing. The models are for German hands and French hands.
Spain :
AZNAR DE POLANCO (Juan Claudio), Arte nuevo de escribir, 1719.
Plenty of commentary and a few plates showing the Spanish hands and a few others.
Italy :
New link for FROSINI (Giovacchino), Nuovo metodo e regole performare un bel carattere all’uso moderno, 1797.
Examples of a hand inspired from the French Ronde and Batarde, that was quite frequent in early 19th century italian copybooks.
19th century
Great Britain :
JONES (William), Poikilographia, or various specimens of Ornamental Penmanship comprising twenty-two alphabets, c.1830.
If you are looking for ornamental designs mixing a few different hands on the same page, with extra flourishes… typical of the 19th century style… You will enjoy this book.
WILME (B.P.), A manual of writing and printing characters, both ancient and modern, 1845.
A manual showing and explaining a variety of styles, including an analysis of the English Round hand, with a plate showing precise characteristics of the hand. The title mentions that the manual is meant for architects, engineers, engravers… but not for penmen. So this is more of a lettering manual than a writing manual.
January 2022
16th century
Italy :
FANTI (Sigismondo), Theorica et pratica de modo scribendi…, 1514.
Fanti was an Italian architect, astrologer, mathematician, and writing-master. This publication was the first illustrated manual on the art of writing, and the first book illustrated with calligraphic models of the alphabet (Roman caps). It provided practical advice on selecting implements, making ink, on the correct way of holding the pen, and on spacing letters.
CRESCI (Francesco), Il Perfetto Scrittore, 1570.
Cresci’s second book, containing more illustrations of his modern Cancellaresca. This is a copy of the first edition, containing copies of a knotted alphabet of capitals printed from copperplates engraved by Andrea Marelli (at the end of the book). While the first part of the book was being carved in woodplates, Cresci realized the potential of copper engraving, which was being introduced for the reproduction of illustrations, and he designed the alphabet as an addition to his book. More info on this subject here.
England :
BAILDON (John) & BEAUCHESNE (Jean de), A booke containing diverse sortes of hands, 1571.
This is the first big copybook of this kind published by an English master in England. Little is known about Baildon, Beauchesne was an exiled French Huguenot, who later published other copybooks in French. The French influence in the composition of the book is very clear (look at the French copybooks of this period). The plates show the various hands in use in England at the time, including the Secretary and court hand, ad well as Roman and italian hands inspired by the works of Cresci.
18th century
France :
after ROSSIGNOL, Nouveau Livre d’Ecriture D’apres les plus belles Pieces de ROSSIGNOL Pour l’Instruction de la Jeunesse et la Satisfaction des Curieux, 1744.
The “famous” French master Louis Rossignol never had any of his work engraved, according to Charles Paillasson, who was one of his students. However, two books bearing his name were published after his death. This is the second one, engraved by Hyacinthe Aubin. (more info, in French, here)
ROSSIGNOL (Louis), PECQUET (Pierre), Traité d’Écriture de Rossignol, (c. 1792-1803).
Louis Rossignol (1694-1739) was the most admired French writing master of the 18th century, but he never published his work. Several books came out after his death, engraved from the manuscripts that were collected by his numerous admirers. of course, they weren’t all of good quality and didn’t only contain pages executed by the master… This is one of those books. The plates included here are destined to guide the beginner in his learning of the Ronde, the Bâtarde and the Coulée. Two plates are signe “Pecquet”, the author was probably the writing master Pierre Pecquet, who was active as a writing master after Rossignol’s death (1755- c. 1784). (more info, in French, here)
19th century
France :
LAURENT (Gabriel), Les principes de l’écriture, 1816.
Gabriel Laurent was a writing master in Paris from 1771 until his death circa 1822. This publication focuses on the French scripts and ignores the English round hand, which had become the new standard cursive hand in Europe by then. (more info, in French, here)
ANDRE (Anatole), Le livre d’écriture, 1895.
A typical writing manual destined to be used in schools. Interestingly, the models are shown on graph paper guidelines. The style is a mix of Copperplate (lowercases) and ronde-like capitals. The French Ronde is also shown in the models.
Spanish (Argentina) :
SASTRE (Marcos), Metodo Eclectico de escritura Inglesa…, 1886 (Buenos Aires).
This is a manual of exercises for “Copperplate”. The last pages show examples of Gothic and French ronde.
USA :
HILL (Thomas Edie), Hill’s manual of social and business forms : a guide to correct witing, 1832-1915.
Similar to Gaskell’s compendium. This book offers instruction on proper writing etiquette as well as some models of American handrwiting systems.
March 2021
16th century
Italy :
ROMANO (Giacomo), Il primo libro di scrivere di Iacomo Romano…, 1589.
CURIONE (Ludovico), Folder with loose pages, with no title page…, 1593.
Examples of the work of Curione, including a page of manuscript italian hand, although this may not be by the master himself.
17th century
Netherlands :
VAN SAMBIX (Felix), Untitled manuscript, c.1700.
Examples written by Van Sambix in Delft, for his disciple Pieter Coenrad, several dates are mentionned, between 1607 and 1614.
VAN DEN VELDE (Jan), Schoonschrift van Jan van den Velde, c.1700.
This is a collection of 20 manuscript pages attributed to Velde. However, the quality of the calligraphy does not reflect the best of Velde’s work. The design of the pages also doesn’t look like Velde… However it could be part of his earlier work. I haven’t spotted any signature.
BOERS (Bastiaan), Untitled writing manual, c. end of 17th century.
This book displays examples in a style similar to that of Perling and Komans.
France :
BEAUCHESNE, (Jean de), Specimens of calligraphy, c.1610.
According to the note attached to this bound manuscript : This a copy-book that was written for Elizabeth of Bohemia, daughter of James I. Beauchesne, her writing master, proudly notes in his colophon that he was in his 73rd year when he wrote the book.
Italy :
ANON, Manuscript, 1600 ?
Bound manuscript pages in the Italian styles of writing.
Specimens of Italian writing and penmanship, 1500-1700.
Manuscript. This is not meant as teaching material, but shows actual specimens of writing that didn’t go through the engraving process.
BRONDOLI (Giovanni Francesco), Essemplare di lettere cancellaresche corsiue moderne, c.1600.
Manuscript.
GIORDI, Manuscript copybook, 1607.
CURIONE (Lodovico), Il Teatro delle Cancellaresche corsive…, 1609.
Curione’s third book, essentially containing italian hands. (See 16th century for the first one)
SEMPRONIO LANCIONE, Forma del bene… scrivere, c.1610.
PISANI (Dario), Specimens of calligraphy, 1619. Second Part.
Manuscript specimens. These may have been used for the book that was published in 1620 ?
ZABARELLI (Ascanio), Il primo libro di Ascanio Zabarelli ornato di lettere corsive…, 1650 ?
This is listed as a manuscript. Contains examples of the Italian hand.
SPADA (Valerio), Libro di diversi caratteri…, 1649-1679.
Scrapbook made up of 35 specimens of calligraphy mounted on 34 leaves, signed for the most part by Spada, and dated from 1649 to 1679.
SPADA (Valerio), Specimens of calligraphy, including initials, ornamented and in gold, various alphabets, borders, etc, 1653-1663.
Manuscript. Scrapbook of 61 mounted specimens, many signed Valerio Spada, and dated from 1653 to 1663 ; one signed Girolamo Spigliati.
18th century
England :
BICKHAM (George), The Universal Penman, 1733-1741.
New link to a complete copy !
Italy :
BERTOLOTTI (Francesco), L’arte dello scrivere, 1790.
Germany :
TOCHTERMANN (Hieronymus), Vorschrift…, 1731-1733.
This seems to be a manuscript, showing examples of German writing in color.
WESSEL (Johan Wilhelm), Sammlung kleiner Vorschriften zum Gebrauch für Lernende, 1790’s.
Examples of calligraphy in the English style followed by examples in Kurrent schrift. Some of the models mix the two styles in a way I haven’t seen elsewhere. The inspiration is certainly drawn from English copybooks.
19th century
France :
BERTRAND, Collection de modèles (manuscript), 1813.
A manuscript sample book of a student called Bertrand”, of the Academy in Paris.
Italy :
BERTOLOTTI (Francesco), Caratteri incisi da Fco. Bertolotti…, 1805.
GIARRE (Gaetano), Scuola Toscana di caratteri moderni, 1823.
FIANI (V.), untitled calligraphy manual, 1839.
Containing examples of the Italian version of the 19th century English Round Hand, including muscular exercices and drills.
SANTERINI (Biagio), Moderna Coltura Calligraphica, 1839.
Containing examples of the Italian version of the 19th century English Round Hand.
Netherlands :
DE LANGE (J.), Handleiding tot de Schijfkunst…, 1830’s.
A writing manual almost entirely typographed : only the last three photos are of written examples in the English round hand. The rest of the book gives detailed explanations on how to write, in Dutch.
USA :
TOWNDROW (Thomas), Towndrow’s Complete system of penmanship, 1839.
A manual containing pages of repetitive exercices of lowercase letters. The end of the book shows examples of hand lettered (drawn) alphabets as well as round hand capitals.
BECKER (George J.), Becker’s ornamental penmanship, 1854.
Full copy from the Letterform Archive in San Francisco. Stream only.