Documentation Images:
Anonymous Typografiia (locations all unidentified)

Evangelie – 1553

Remarks on the editions of the Anonymous Tipografiia:

The typefaces used are strikingly graceful in their design, and they successfully preserved the distinctive "chiseled" look and feel of manuscripts while forging ahead with a then-new technology. It is truly a shame that the matrices for these typefaces were not copied or preserved by other typographers, but have been allowed to fall into disuse. The capital forms of most of the letters had an appearance that has not been widely preserved. Likewise, numerous alternate letter forms and ligatures were used, but as these seemed to be experimental, they were not preserved by later generatons of Slavonic typeface designers. Notice also that the words frequently lack spacing, which is a remnant space-saving feature of the manuscript tradition.

002_1.png – The lower case letter "on" had three forms: narrow, round, and initial (also round, but slight wider than the standard form).

002_2.png – "The narrow on" was sometimes accented.

002_3.jpg – The letter "yat" had an alternate decorative form.

002_4.jpg – The letter "t" had an alternate space-saving form.

003.jpg – The "dobro-izhe" titlo was used in these editions.

008.png – The "izhe-titlo" (or possibly a "double grave") was used with certain words. Positive identification of this glyph is difficult.

009.jpg – The word for the number two (dve) often had a "double grave" accent as a visual aid in identifying the number.

010.png – The "hard sign" had an alternate form.

015.png – "The narrow on" was sometimes accented.

016_1.png – The initial form of the digraph letter "oy" was often used in all positions, not just in initial position.

016_2.png – The dual case words for the number two and the word "both" had a distinctive double-o form of the letter "o", functioning as a visual cue.

017_s.png – The letter "S" had an alternate larger form which was usually reserved for initial position.

020.png – The word for the number two (dve) often had a "double grave" accent as a visual aid in identifying the number.

025.jpg – The Slavonic word for "eye" (oko) had a distinctive dotted form of the letter "o", functioning as a visual cue.

030.png – The Slavonic word for "eye" (oko) had a distinctive dotted form of the letter "o", functioning as a visual cue. It was likewise used with other gramatical forms of the word.

034.png – The Slavonic word for "around, round about" (okrest) had a distinctive crossed form of the letter "o", functioning as a visual cue.

038.jpg – The Slavonic word for "eyes" (plural: ochi, ochesa, ochima) had a distinctive double-dotted form of the letter "o", functioning as a visual cue.

055.png – The "zemlia titlo" had a distinctive form.

062.png – The medium-sized exclamatory "O!" was used in these editions.

071.png – The word for the number two (dve) often had a "double grave" accent as a visual aid in identifying the number.

100.png – The dual case words for the number two and the word "both" had a distinctive double-o form of the letter "o", functioning as a visual cue.

102_d.png – "The narrow on" was sometimes accented.

373.jpg – A ligature was used in the tables of Gospel readings in the back of the book, representing the phrase "ot Luki".

 


Triod' Postnaia – 1555-56

002_1.png – The word for the number two (dve) often had a "double grave" accent as a visual aid in identifying the number.

002_2.png – An alternate truncated form of the letter "r" was used to avoid collisions with letters in the following line of text.

002_3.png – The ends of paragraphs frequently had a distinctive ornamental mark, instead of the standard period.

003.png – The Slavonic word for "eyes" (plural: ochi, ochesa, ochima) had a distinctive double-dotted form of the letter "o", functioning as a visual cue.

004.png – the "dobro-izhe titlo"; notice also the smaller "in-line" capital letters (as opposed to the larger "drop caps" used elsewhere).

009.png – The "double grave" is used in a manner which is puzzling. Notice also the use of the "paerok" at the end of the fourth line, following the later Kievan usage.

022.png – see remarks above

029.png – Notice the shape of the unitial "u", and the lack of word spacing.

ligature_raduisja_1.jpg – In addition to other features mention above, the Slavonic word for "rejoice" (raduisia) was frequently abbreviated with a ligature (lines 3 and 4).

ligature_raduisja_2.jpg – See the previous remark.

(See HERE for extra images.)

 


Evangelie – 1558

This edition is virtually the same as the 1553 edition, with all the same details.

 


Psaltyr – 1564-65

003_1.png – The letter "S" had an alternate larger form which was usually reserved for initial position.

003_2.png – "The narrow on" was sometimes accented.

012.png – Both forms of the letter "z" were used, as well as the titlo form.

015.png – The large "e" is distinctive in its shape.

044.png – Here we have a grave stress combined with the "dobro titlo", an unusual circumstance.