Patterns of text layout in Pompeian verse inscriptions

This article explores patterns of formal text layout of the metrical graffiti of Pompeii. After a brief discussion of the importance of formal text layout for linguistic research in general (and its relevance for poetic texts), a representative sample of poetic graffiti is discussed and analysed in detail. It is argued, then, that nature of the surface and sentence structure in particular can take precedence over the ‘default solution’ (coincidence of verse and line structures).

Alverata: Latin, Greek and Cyrillic typeface

Alverata: a typeface design for Europe This typeface is a response to the extraordinarily diverse forms of letters of the Latin alphabet in manuscripts and inscriptions in the Romanesque period (c. 1000–1200). While the Romanesque did provide inspiration for architectural lettering in the nineteenth century, these letterforms have not until now been systematically considered and redrawn as a working typeface. The defining characteristic of the Romanesque letterform is variety: within an individual inscription or written text, letters such as A, C, E and G might appear with different forms at each appearance. Some of these forms relate to earlier Roman inscriptional forms and are therefore familiar to us, but others are highly geometric and resemble insular and uncial forms. The research underlying the typeface involved the collection of a large number of references for lettering of this period, from library research and direct on-site ivestigation. This investigation traced the wide dispersal of the Romanesque lettering tradition across the whole of Europe. The variety of letter widths and weights encountered, as well as variant shapes for individual letters, offered both direct models and stylistic inspiration for the characters and for the widths and weight variants of the typeface. The ability of the OpenType format to handle multiple stylistic variants of any one character has been exploited to reflect the multiplicity of forms available to stonecutters and scribes of the period. To make a typeface that functions in a contemporary environment, a lower case has been added, and formal and informal variants supported. The pan-European nature of the Romanesque design tradition has inspired an pan-European approach to the character set of the typeface, allowing for text composition in all European languages, and the typeface has been extended into Greek and Cyrillic, so that the broadest representation of European languages can be achieved.

Die metrischen inschriften der römischen republik

Edited volume, containing a huge variety of cutting-edge contributions on the Roman verse inscriptions of the Republican period.

Römische Inschriften und Wackernagels Gesetz : Untersuchungen zur Syntax epigraphischer Texte aus republikanischer Zeit

Linguistic study of the placement of 'esse' and the unstressed personal pronoun in the Roman Republican inscriptions.

Tree Inscriptions: restoring a lost facet of the Graeco-Roman epigraphic habit

This article for the first time considers all extant ancient evidence for the habit of carving inscriptions on tree trunks. It emerges a picture that bears remarkable resemblances to what is known from the habit of graffiti writing (with important addition to that latter field to be derived from the findings), for individual and technical texts.