Fig. 78 is called Classic. It is a very useful character, elegant in its simplicity. The letters should be sketched and spaced as for Clarendon, the difference consisting merely in the serifs turning round into scrolls. The effect of this letter, when painted in black on glass with a diapered gold background, is very good. The addition of thickness and shading to this character, owing to the amount of
Fig. 78.
drawing required, is a work of some difficulty and time, whilst the appearance is not thereby improved.
The character shown in Fig. 79 goes by the name of Tuscan, but it is, as it were, an ornamental rendering of the Egyptian, within the outline of which it may very well be sketched. The letter is given as usually drawn.
This letter may be shaded, or rendered with thickness.
Fig. 79.
Fig. 80 shows another letter called open Tuscan. An inscription in this character in a light color on a dark ground with a darker line on the right and under side, and the pattern on the letter in a bright color, comes out, to use a technical phrase, very well. The main beauty of the letter, however, consists in the correctness of its form, and its rather angular character, and if these points are not observed, the painter may depend that all his colors, how-
