Provisional Drogereit pdf

(p. 352), others with less spacing between letters and lines, show immaturity.
However, there is no mistaking this handwriting compared with those of the other
documents.
This hand is stronger than that of Ae. C. The greater height and density of the letters
give a restless impression, whereas the longer shafts and the seemingly reduced line
spacing emphasise the vertical appearance. Highly characteristic are the high, open
curves of the raised e. These resemble a bold swing of the quill, sometimes short, but
with a strong downward curve. This makes the restlessness even more pronounced
and the vertical effect more noticeable. Also, the individual letters are not formed or
drawn out in a careful, even fashion, one beside the other. We encounter a change in
the axis position of the individual letters within a word. The descenders constantly
taper off. Ascenders and descenders frequently extend onto the next line. The result is
a lively, structured script, given a firmness by the thickness of the letters.
Eadm. C comes from the same school as Ae C; the shape of almost every letter is the
same with both scribes.
The slender form of the cross has disappeared. With the vertical bar shortened, it
bears more resemblance to the Greek cross. The thickness of the two axes has become
more even, making the cross appear heavier. The fine end strokes of the verticals thin
somewhat upwards at the end, whereas those of the horizontal stroke bulge at the
ends. However, there is no sign of a triangular thickening as with Ae. C.
In the Acta line we have two different As. The capital A is plumper, differing visibly
from that of Ae. C in the upper horizontal stroke with its up-curved end (as with the
cross) and the long horizontal stroke at the lower end of the right side. The second A
is the raised small a. We also find this with Ae. C in the main body of the charter, but
not in the dating clause. Both raise the a 2 . Eadm. C, however, does not round off the
ascending right stroke in as artistic a semicircle, but rather lets it taper off vertically
downwards after the left curve. He enlarges the left side, rounding it at the same time
so that the lower three strokes of the trapezium form a curved line. The letter appears
much heavier.
The Ego seems stronger and more rigid. The E has longer arms, the top stroke of the
is below the middle arm of the E and the downstroke is no longer stretched, as
the larger lower curve is joined to the upper by an almost horizontal centre axis. The
has a more angular, squashed appearance than that of Ae.C. The o has shifted
a little and is characterised by a slant to the left.
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