By Lewis Foreman Day

This can be a iteration Of the unique 1910 variation.

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232. Nuremberg — Bronze. 233. German 234. 235. 236. About etc. German. 1550. —Bronze. 1560. Italian — Painted on faience. Brushwork. brushwork — 16th or 17th century. Italian —From a chorale. Penwork. ) 16th century. 237. gilt 238. figures on a dark ground —Brushwork. 239. brass, grounded out — 16th century. — 16th century. 240. painted on glass 241. brushwork— 16th or 17th century. 242. rothenburg — Cut in way round. It is 4 suggests the origin of an ordinary 4 turned part 1634. roman numerals in relief, The stone.

Modern pen drawn letters — Rather fantastically treated German. 224. roman capitals— By Franz 225. , dating from the 7th Stuck. AMPERZANDS. to the 15th centuries. 226. amperzands — Free renderings of instances dating from the 16th century to the present day. letters , Note. — ET, of which it is may be & and the In the top row traced the connection between the accepted a contraction. Other examples of amperzands occur in illustrations 134, 136, 137, 138, 141, 142, 155, 167, 171, 176, 178, 189, 208,212, 218, 222.

These " characters ''wedge-shaped" or "arrowas we know, in stone, in which again they were about the simplest thing to cut. Three, or at most four, direct like came to be copied, headed cuts give the Ninevite character, as the famous bas-reliefs. forms, but it was its cut. we know it in descended from clay own mother was the stone out of which The chisel It is was Even its father. in inscriptions as late as the 18th century or there- abouts, the stone-cutter lapses, as opposite, into more may be seen or less wedge-shaped incisions the chisel tempted him, and he yielded to its persuasion.

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