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diff --git a/40023-0.txt b/40023-0.txt new file mode 100644 index 0000000..886430e --- /dev/null +++ b/40023-0.txt @@ -0,0 +1,814 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 40023 *** + +MONOGRAMS + +AND + +CIPHERS + + +[Illustration: ROYAL CIPHER] + + + + + +MONOGRAMS +& CIPHERS + +DESIGNED AND DRAWN BY +A. A. TURBAYNE +AND +OTHER MEMBERS OF THE +CARLTON +STUDIO + +[Illustration] + +LONDON T. C. & E. C. JACK +& EDINBURGH + + + + +INTRODUCTORY NOTE + + +In laying out this book I have put into it the experience of many years +of actual work in the designing of Monograms, Ciphers, Trade-Marks, and +other letter devices. I have given the work much careful thought in +order to present the most useful material, to give that material on a +good workable scale, and in such a way that any design can be quickly +found. By the arrangement of the designs the plates form their own +index. On Plate II will be found combinations of AA, AB, AC; on Plate +III combinations of AC, AD; on Plate IV, AE, AF, AG, etc. A device of +MB would be looked for under the letter of the alphabet first in order, +B; it will thus be found in the BM combinations on Plate XVI. + +Now the letters AA have only one reading; two different letters, AB, +can be read in two ways; while AAB can be read in three ways; and ABC, +or any three different letters, can be placed to read in six ways. + +A complete series of designs, AA, AB, BA, AC, CA, to ZZ, would run to +676 devices; add to this a series with a repeated letter, which would +be the next in order, giving one reading only, AAB, BBA, etc., of which +there are 650, and we get 1326 combinations. This would require, if +carried out with nine designs on a plate, 147 plates. Our book was not +to exceed 135 plates, and in addition to as complete a series as +possible of two-letter designs, there were to be included some plates +of sacred devices, designs of three different letters, and other matter +which would make a work of practical use. + +By limiting the number of combinations containing the I and J, and the +O and Q, which can easily be made interchangeable in the working, and +giving but a single reading of most of the devices containing the +letters X, Y, Z, which will be the least used, I have been able to +present a good working selection of two letters and a repeated letter +in 113 plates. + +Three different letters, as I have stated, can be read in six ways. +Take, for instance, the first three letters of the alphabet, and we +have-- + + ABC BAC CAB + ACB BCA CBA + +Add a fourth letter to the three, and we have four times six, or +twenty-four readings, as follows:-- + + ABCD BACD CABD DABC + ABDC BADC CADB DACB + ACBD BCAD CBAD DBAC + ACDB BCDA CBDA DBCA + ADBC BDAC CDAB DCAB + ADCB BDCA CDBA DCBA + + +It will thus be seen that books advertised as made up of three-and +four-letter combinations must be very fragmentary, as anything like a +complete work of these units would run to an enormous length. + +Now let us see what a work of three-letter designs would mean. ABC, +ABD, etc., giving an alphabet of one reading only, would run to 2600 +designs. A book of this sort would be of little use, as the design +looked for would probably not be there, for every one of these 2600 +groups can be placed to read six different ways; and to make a complete +work of three-letter designs, with no repeat letters even, would +require a showing of 15,600 Monograms or Ciphers. But what about the +three letters, one of which is a repeat? A glance through any list of +persons will show that these have a right to be included, though they +do not occur as frequently as three different letters. Add these to the +list for a complete three-letter book--there are 1976 of them, +including 26 combinations where the three letters are the same, AAA, +etc.--and we have 17,576 designs to be shown. Following the plan of +nine designs on a plate, we would require 1953 plates, making a work of +fourteen volumes the size of the present book. A bulky work of this +sort would not only be unpractical, but the cost of production and the +price at which such a work could be sold, would place it beyond the +reach of most of those workers to whom we hope to appeal. + +In the plan I have adopted the book is practically a complete work of +two-letter combinations in a single volume. A device of any two letters +will always be readily found, which should be sufficient to furnish the +designer or artisan with a base upon which to build a design of three +or more letters. + +There is to-day a growing taste for severe chaste forms in printing +types and lettering; the same influence is also directing a change of +style in the more decorative Monogram and Cipher. The florid +combinations of the last two centuries are gradually falling into +disuse, and are giving place to the very simplest forms. The aim of the +present work is towards simplicity, but in order that the book may +appeal to various tastes, and thus be of greater value, examples of +many styles are included. + +Each of these styles, while based on some familiar form which has long +been in use, has had its pruning, and as much of the superfluous +flourish not necessary to letter or design has been discarded. + +The styles included may be classed under five principal heads--Roman, +Gothic, Sans Serif, Cursive or Running, and what I might call Rustic. +These styles are treated in various ways, and in light and heavy +letters. Here and there throughout the work a design will be found that +may suggest a treatment for some particular device. These are odd +pieces that have occurred to me as the plates were in progress, the +execution of most of which would probably be more satisfactory in +embroidery than any other medium. There are three principal forms of +treating a device; I will call them the Imposed, Extended, and the +Continuous forms. By the Imposed form I mean a design where the letters +are written or interlaced directly over one another. In the Extended +form the letters are interlaced or written side by side. In the +Continuous form the device runs from beginning to end without a break. +In the Imposed form the principal letter, whether it is first or final, +should be accentuated, either by making it slightly larger, heavier, or +in some other way best suited to the material in which it is being +produced, it may be colour or texture. For the Extended form, if the +letters are to be read in the order in which they follow one another, +all may be treated alike. In this form, however, it is often advisable, +for design and balance, especially when filling a circular space, to +place the principal letter in the centre; in that case it may be drawn +larger, and in some other way made more important. The Continuous form +should read as the letters would be written, and care must betaken to +place them so that they will not appear to read in some other way. It +is intended that the Monograms and Ciphers shown in the following +plates be considered as outlines only, as models or working drawings. +The solid or tint grounds need not be taken as part of the design; they +are intended to show which are planned in a round, and which in a +square panel. There are but a few cases in which any detail is given +that would apply to a particular craft, or suggest the material in +which they are to be worked. Each artist or craftsman can use the +forms, supplying his own detail to suit the technique of the work in +hand. By this means the book should be equally useful to any craft. +With this broad rendering it will be noticed that some of the designs +do not appear to read in the order described; in such cases the +important letter requires that detail which I have suggested in some +instances with a tint or black. The order of description is followed +throughout the book for the sake of easy reference; it is only departed +from in a few places where one reading only is intended, as in the LRR +on Plate LXXXIV, the continuous Monogram NMN on Plate LXXXVII, and the +continuous Cipher WTW on Plate CX. + +Before proceeding further I should state the difference between a +Monogram and a Cipher. This is necessary, as the two devices are +constantly being miscalled; some authorities too, while correctly +describing a Monogram, give a Cipher for illustration. A Monogram is a +combination of two or more letters, in which one letter forms part of +another and cannot be separated from the whole. A Cipher is merely an +interlacing or placing together of two or more letters, being in no way +dependent for their parts on other of the letters. + +Of the two classes Monograms are the more interesting, probably on +account of their being more difficult to plan, though I think they are +rarely as pleasing to the eye as the Cipher, except in the very +severest forms. Compare the whole plate of Ciphers, CXIV, with the next +plate, CXV, composed entirely of Monograms. + +The difficulty in designing Monograms does not so often lie in being +able to plan the Monogram, as in being able to produce one that will be +read by others, and where all the letters will read, and those only +that are intended. When we begin to put two or three letters together +that are made up of one another into a single unit, other letters are +suggested or occur in the device not intended; or again, two or three +of the letters will be so apparent that the third or fourth will only +be known to the designer or owner. Take, for instance, the PQR on Plate +CXV; the small device is the better one of the two, but few will read +it other than PQ, QR, or PR. Personally I prefer a design that is a +little obscure, if the lines are good, if it is a fine piece of +ornament. + +A Monogram or Cipher is in all cases intended for ornament, whether +used as a mark of ownership by private individuals, or for a company, +or a trade-mark. For purposes of commerce it is of course important +that the device should be distinct and easily read. The same might +apply also to the design for a club or society mark. For private use, +however, where the device is to enrich a piece of jewellery, plate, the +binding of a book, a piece of furniture, or part of the decoration of a +house, it should in the first place be a good design. If the conceit is +legible to the owner, and is of such fine proportion as to be +thoroughly satisfying to the eye, why should it read like an +advertisement, or be like 'Everything in the shop marked in plain +figures'? + +Some of the most beautiful Ciphers I have seen are to be found on old +French bindings, many of which would be unintelligible if we did not +know for whom the books were bound. These Ciphers form in many +instances the sole decoration of the binding, sometimes but a single +impression appearing on each side, yet the book satisfies one as being +perfectly decorated. This is so often the case with the Monogram and +Cipher--it may be the only ornament that is to enrich a fine piece of +workmanship--that in such places it should be a piece of choice design. + +This brings us to that disputed point in this branch of art, the +reversing of letters. For my own part I have no hesitation whatever in +reversing a letter, or turning it upside down, or any other way, if it +will produce a good piece of ornament. It is just as easy to fill a +space, and fill it with good balance, with the letters facing as we are +accustomed to see them, but this method will rarely produce that grace, +beauty of line, and easy balance that letters of similar form turned +toward one another will give. As an instance of this I would go no +further than a single illustration which must be familiar to all--the +Monogram HDD of Henry II and Diana of Poitiers--Henri Deux, Diane. It +matters not where we find this, in the decoration of a ceiling, in +enamel or painted ornament, or as a tooled book-binding, it has a +dignity and feeling of easy repose that is never tiring. It would have +been just as simple for the designer to have made a Monogram of these +letters without reversing one of the D's, but no other possible +arrangement would give the grace of line we find in this device. +Another excuse for the reversing or turning upside down of a letter is, +that when the letters A, B, C, D, E, K, M, N, S, V, W, and Y occur +repeated, you often get by turning a letter over or upside down a +design that will read the same from all points of view. This advantage +must be apparent to all, where the Monogram or Cipher is to be seen +from different positions, as it will be, for instance, in the top of an +inlaid table, a ceiling, a tiled or inlaid floor, or in the decoration +of some small object like a finely bound book that will lie on a table, +and on many a piece of the goldsmith's and silversmith's work. + +The H, I, N, O, S, X, and Z can be drawn in Roman so as to appear the +same upside down, and do not require to be turned over or stood on +their heads; but with the letters A, M, V, W, and Y, though they will +not require reversing where two occur in a combination, one will have +to be turned upside down to make the design read the same from all +points of view. If there are only the two letters, this will be simple, +but if three or four letters are to be put together, it will depend on +what the third or fourth letter is whether this is possible or not. I +do not hold with doubling one of the letters in a device simply to turn +over and make symmetry. If there is not a repeat letter, or a letter of +similar form in the combination of letters to be put together, all +letters should be doubled if symmetry, or reading from various points +of view, must be had. On Plate LXXXV will be found a Cipher LT, planned +without reversing to read the same upside down; a third letter, H, N, +O, S, X, or Z, could be introduced without altering the LT, so that the +combination of three letters would read in the same way, whether looked +at from the top or the bottom. There are but few letters that will plan +in this way. When it is required of a design that it will read from all +points of view, Roman letters will usually be found to give the most +satisfactory result. + +Intermixture of styles should always be avoided. If the Roman and +Gothic are found too severe to suit a given subject, the Cursive and +Rustic letters with their easy flowing lines can be made to fill almost +any space one will be called upon to fill with either Monogram or +Cipher. + +A device besides being of one style of letter should also be pure as a +whole; plan either a Monogram or a Cipher, but don't combine the two. +The only excuse that might be advanced for the mongrel form, would be +where a combination of three or more letters contained conjoined or +hyphened words, represented by, say, AB-B or BC-D. Here the B-B and the +C-D would form Monograms, the A and the B separate letters interlaced +into them. I have given illustrations of this mixed device on Plate II, +BBA; and on Plate XLII, EEO. For this last device there is no excuse, +except as a trade-mark to be written quickly; a circle with three +horizontal strokes, an upright stroke connecting the three in the +centre, forming a solid device, EEO, on the lines of the Cipher FFO on +Plate XLIX. + +When planning a device avoid, if it is at all possible to do so, having +three lines crossing at the same point, making three planes. There is +always a confusion in the interlacing if there are more than two +planes, which produces a clumsy appearance in the design. There are +cases when slanting or curved lines come across a straight line, where +three crossings could only be avoided by contorting one of the letters; +in such a place it will be better to allow the three planes. Examples +of Ciphers having three crossings at one point will be found on Plate +XL, KE, Plate LXXXIX, MMT, and on Plate XCI, YM. Ciphers not +interwoven, but placed side by side forming decorative lines, will be +found on Plates XXIII, XXXIX, XLVII, and LX. One with the letters +written one within another, a useful form for trademarks, is the CCG on +Plate XXII. + +A number of the plates have the nine designs carried out in one style. +These should be useful as examples of the different characters of +letters, as specimen pages for styles. I have grouped them under four +heads as follows:-- + + + =ROMAN.= + + Plate LXXXI, light. Plate LXXXII, light, with cord and + tassel. Plate LXXXVII, uniform stroke, small serifs. Plate + XCVII, sans serif, with cord and tassel. + + + =GOTHIC.= + + Plate XII, heavy. Plate LXXXVIII, light, pointed. Plate XCII, + heavy, ending in leaf-forms. Plate XCIII, heavy, suggesting + low relief, for stone-or wood-carving. Plate C, black-letter. + + + =CURSIVE.= + + Plates XIII and XV, foliated, embroidery. Plate LXXXIII, + continuous. Plate LXXXIV, half-cursive, upright. Plate LXXXV, + slanting. Plate LXXXVI, upright, uniform stroke. Plate XC, + cursive-Roman, thin, uniform stroke. Plate XCIX, light, + upright, flourish. + + + =RUSTIC.= + + Plate XI, jewellery. Plate XX, two-colour. Plate XXXV, + flourish. Plates XCI, XCIV, XCV, and XCVI, upright. Plate + XCVIII, quill-rustic. + + * * * * * + +Monograms and Ciphers of three different letters will be found on +Plates CXIV, CXV, and CXVI. On Plates CXVII to CXXI are firm-marks of +two letters joined with the Ampersand, &. Plates CXXII to CXXVII show +an alphabet with the '& Co.,' examples being given in round and square +form. The last one of these plates contains also five examples of +Numerals in Cipher, 1905, 1906, 1907, 1908, and 1909. Sacred Devices +and Names fill Plates CXXVIII to CXXXII. Plates CXXXIII and CXXXIV are +made up of Labels and three-letter Monograms. The letters for the +Monograms are taken at random from a list of authors. The last plate, +CXXXV, is a suggestion for the decorative treatment of Sacred +Inscriptions in Monogram and Cipher, following the style of the Italian +Renaissance. + +One plate has been added to the work, engraved by Mr. Thomas Moring, +which shows some few ways in which these designs can be intelligently +interpreted for a particular craft. It also shows how the character of +a design may be preserved while a change is made in the letters or in +their position. Plate L of the work was taken as the model. The PPF has +been altered to EPF; the FQ transposed and made to read QF; FR to read +FE; and RF to read RS. In the FFR the R has been made into a P, an R +substituted for the reversed F, and with a slightly different treatment +of the second F, the whole made to read RFP. In the sixth design the +reversed R has been turned back, a very slight difference of treatment +in all the letters being necessary to plan this well. The last three +designs continue in the same way. A comparison of the engraved plate +with Plate L will show with what little alteration a different +character or reading can be introduced into a design. + +I trust there will be found something in this book to please all +tastes, if only a single device. For any errors there may be in the +work I am alone responsible. In the drawing of the plates I have been +ably assisted by different members of the studio. I am also indebted +for the whole of Plate X. One error has passed me unnoticed till the +part was published. What should have been DP, on Plate XXXIV, I have +drawn OP; this, though a correct Cipher, is out of place on this plate. + + A. A. TURBAYNE. + +CARLTON STUDIO, +LONDON, _March 1906_. + + + + +MONOGRAMS + +AND + +CIPHERS + + +[Illustration: SUGGESTIONS AS TO VARYING TREATMENT +BY THE ENGRAVER OF THE DESIGNS IN THIS WORK] + + +[Illustration: VARIOUS TREATMENTS OF THE SAME DESIGN + +PLATE I--AA] + + +[Illustration: PLATE II--AA, AB, AC] + + +[Illustration: PLATE III--AC, AD] + + +[Illustration: PLATE IV--AE, AF, AG] + + +[Illustration: PLATE V--AG, AH, AI] + + +[Illustration: PLATE VI--AI, AJ, AK] + + +[Illustration: PLATE VII--AL, AM, AN] + + +[Illustration: PLATE VIII--AN, AO, AP] + + +[Illustration: PLATE IX--AP, AQ, AR, AS] + + +[Illustration: PLATE X--AS, AT, AU] + + +[Illustration: PLATE XI--AV, AW, AX, AY, AZ] + + +[Illustration: PLATE XII--BB, BC, BD] + + +[Illustration: PLATE XIII--BE, BF, BG] + + +[Illustration: PLATE XIV--BG, BH, BI] + + +[Illustration: PLATE XV--BI, BJ, BK, BL] + + +[Illustration: PLATE XVI--BL, BM, BN] + + +[Illustration: PLATE XVII--BN, BO, BP] + + +[Illustration: PLATE XVIII--BQ, BR, BS] + + +[Illustration: PLATE XIX--BT, BU, BV] + + +[Illustration: PLATE XX--BV, BW, BX, BY, BZ] + + +[Illustration: PLATE XXI--CC, CD, CE] + + +[Illustration: PLATE XXII--CF, CG, CH] + + +[Illustration: PLATE XXIII--CH, CI, CJ] + + +[Illustration: PLATE XXIV--CJ, CK, CL] + + +[Illustration: PLATE XXV--CL, CM, CN] + + +[Illustration: PLATE XXVI--CO, CP, CQ] + + +[Illustration: PLATE XXVII--CR, CS, CT] + + +[Illustration: PLATE XXVIII--CT, CU, CV] + + +[Illustration: PLATE XXIX--CV, CW, CX, CY, CZ] + + +[Illustration: PLATE XXX--DD, DE, DF] + + +[Illustration: PLATE XXXI--DG, DH, DI] + + +[Illustration: PLATE XXXII--DI, DJ, DK] + + +[Illustration: PLATE XXXIII--DK, DL, DM] + + +[Illustration: PLATE XXXIV--DN, DO, DP] + + +[Illustration: PLATE XXXV--DP, DQ, DR, DS] + + +[Illustration: PLATE XXXVI--DS, DT, DU] + + +[Illustration: PLATE XXXVII--DU, DV, DW, DX] + + +[Illustration: PLATE XXXVIII--DY, DZ, EE, EF, EG] + + +[Illustration: PLATE XXXIX--EG, EH, EI] + + +[Illustration: PLATE XL--EJ, EK, EL] + + +[Illustration: PLATE XLI--EL, EM, EN] + + +[Illustration: PLATE XLII--EN, EO, EP, EQ] + + +[Illustration: PLATE XLIII--EQ, ER, ES] + + +[Illustration: PLATE XLIV--ES, ET, EU] + + +[Illustration: PLATE XLV--EV, EW, EX, EY, EZ, FF] + + +[Illustration: PLATE XLVI--FG, FH, FI] + + +[Illustration: PLATE XLVII--FI, FJ, FK, FL] + + +[Illustration: PLATE XLVIII--FL, FM, FN] + + +[Illustration: PLATE XLIX--FN, FO, FP] + + +[Illustration: PLATE L--FP, FQ, FR, FS] + + +[Illustration: PLATE LI--FS, FT, FU] + + +[Illustration: PLATE LII--FV, FW, FX, FY, FZ] + + +[Illustration: PLATE LIII--GG, GH, GI, GJ] + + +[Illustration: PLATE LIV--GJ, GK, GL] + + +[Illustration: PLATE LV--GL, GM, GN] + + +[Illustration: PLATE LVI--GO, GP, GQ] + + +[Illustration: PLATE LVII--GQ, GR, GS] + + +[Illustration: PLATE LVIII--GT, GU, GV] + + +[Illustration: PLATE LIX--GV, GW, GX, GY, GZ, HH] + + +[Illustration: PLATE LX--HI, HJ, HK] + + +[Illustration: PLATE LXI--HK, HL, HM] + + +[Illustration: PLATE LXII--HN, HO, HP] + + +[Illustration: PLATE LXIII--HP, HQ, HR, HS] + + +[Illustration: PLATE LXIV--HS, HT, HU] + + +[Illustration: PLATE LXV--HU, HV, HW, HX, HY] + + +[Illustration: PLATE LXVI--HZ, II, IJ, IK] + + +[Illustration: PLATE LXVII--IL, IM, IN] + + +[Illustration: PLATE LXVIII--IO, IP, IQ, IR] + + +[Illustration: PLATE LXIX--IR, IS, IT, IU] + + +[Illustration: PLATE LXX--IU, IV, IW, IX, IY, IZ] + + +[Illustration: PLATE LXXI--JJ, JK, JL, JM] + + +[Illustration: PLATE LXXII--JM, JN, JO] + + +[Illustration: PLATE LXXIII--JO, JP, JQ, JR] + + +[Illustration: PLATE LXXIV--JR, JS, JT] + + +[Illustration: PLATE LXXV--JT, JU, JV, JW] + + +[Illustration: PLATE LXXVI--JW, JX, JY, JZ, KK, KL] + + +[Illustration: PLATE LXXVII--KM, KN, KO] + + +[Illustration: PLATE LXXVIII--KO, KP, KQ] + + +[Illustration: PLATE LXXIX--KR, KS, KT] + + +[Illustration: PLATE LXXX--KT, KU, KV] + + +[Illustration: PLATE LXXXI--KV, KW, KX, KY, KZ] + + +[Illustration: PLATE LXXXII--LL, LM, LN] + + +[Illustration: PLATE LXXXIII--LO, LP, LQ] + + +[Illustration: PLATE LXXXIV--LQ, LR, LS] + + +[Illustration: PLATE LXXXV--LT, LU, LV] + + +[Illustration: PLATE LXXXVI--LV, LW, LX, LY, LZ] + + +[Illustration: PLATE LXXXVII--MM, MN, MO] + + +[Illustration: PLATE LXXXVIII--MP, MQ, MR] + + +[Illustration: PLATE LXXXIX--MR, MS, MT] + + +[Illustration: PLATE XC--MU, MV, MW] + + +[Illustration: PLATE XCI--MW, MX, MY, MZ, NN, NO] + + +[Illustration: PLATE XCII--NO, NP, NQ, NR] + + +[Illustration: PLATE XCIII--NR, NS, NT] + + +[Illustration: PLATE XCIV--NT, NU, NV, NW] + + +[Illustration: PLATE XCV--NW, NX, NY, NZ, OO, OP] + + +[Illustration: PLATE XCVI--OP, OQ, OR, OS] + + +[Illustration: PLATE XCVII--OS, OT, OU, OV] + + +[Illustration: PLATE XCVIII--OV, OW, OX, OY, OZ] + + +[Illustration: PLATE XCIX--PP, PQ, PR, PS] + + +[Illustration: PLATE C--PS, PT, PU] + + +[Illustration: PLATE CI--PU, PV, PW, PX] + + +[Illustration: PLATE CII--PY, PZ, QQ, QR, QS, QT] + + +[Illustration: PLATE CIII--QT, QU, QW, QX, QY, QZ] + + +[Illustration: PLATE CIV--RR, RS, RT] + + +[Illustration: PLATE CV--RU, RV, RW] + + +[Illustration: PLATE CVI--RW, RX, RY, RZ, SS, ST] + + +[Illustration: PLATE CVII--ST, SU, SV, SW] + + +[Illustration: PLATE CVIII--SW, SX, SY, SZ, TT, TU] + + +[Illustration: PLATE CIX--TU, TV, TW] + + +[Illustration: PLATE CX--TW, TX, TY, TZ, UU, UV] + + +[Illustration: PLATE CXI--UW, UX, UY, UZ, VV] + + +[Illustration: PLATE CXII--VW, VX, VY, VZ, WW, WX] + + +[Illustration: PLATE CXIII--WY, WZ, XX, XY, XZ, YY, YZ, ZZ] + + +[Illustration: PLATE CXIV--THREE-LETTER CIPHERS] + + +[Illustration: PLATE CXV--THREE-LETTER MONOGRAMS] + + +[Illustration: PLATE CXVI--THREE-LETTER CIPHERS AND MONOGRAM] + + +[Illustration: PLATE CXVII--TWO LETTERS WITH THE &] + + +[Illustration: PLATE CXVIII--TWO LETTERS WITH THE &] + + +[Illustration: PLATE CXIX--TWO LETTERS WITH THE &] + + +[Illustration: PLATE CXX--TWO LETTERS WITH THE &] + + +[Illustration: PLATE CXXI--TWO LETTERS WITH THE &] + + +[Illustration: PLATE CXXII--COMPANY CIPHERS] + + +[Illustration: PLATE CXXIII--COMPANY CIPHERS] + + +[Illustration: PLATE CXXIV--COMPANY CIPHERS] + + +[Illustration: PLATE CXXV--COMPANY CIPHERS] + + +[Illustration: PLATE CXXVI--COMPANY CIPHERS] + + +[Illustration: PLATE CXXVII--COMPANY CIPHERS, YEARS] + + +[Illustration: PLATE CXXVIII--SACRED DEVICES] + + +[Illustration: PLATE CXXIX--SACRED DEVICES] + + +[Illustration: PLATE CXXX--SACRED DEVICES] + + +[Illustration: PLATE CXXXI--SACRED DEVICES] + + +[Illustration: PLATE CXXXII--SACRED DEVICES] + + +[Illustration: PLATE CXXXIII--LABELS AND MONOGRAMS] + + +[Illustration: PLATE CXXXIV--LABELS AND MONOGRAMS] + + +[Illustration: PLATE CXXXV--SACRED DEVICES] + + + + + +EDINBURGH +T. and A. CONSTABLE +Printers to His Majesty + + + + + + +End of Project Gutenberg's Monograms & Ciphers, by Albert Angus Turbayne + +*** END OF THE PROJECT GUTENBERG EBOOK 40023 *** |