From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Mon, 2 Sep 2019 13:46:59 +0900 Subject: Initial commit --- fonts/missaali/doc/missaali.tex | 3201 +++++++++++++++++++++++++++++++++++++++ 1 file changed, 3201 insertions(+) create mode 100644 fonts/missaali/doc/missaali.tex (limited to 'fonts/missaali/doc/missaali.tex') diff --git a/fonts/missaali/doc/missaali.tex b/fonts/missaali/doc/missaali.tex new file mode 100644 index 0000000000..340ac24528 --- /dev/null +++ b/fonts/missaali/doc/missaali.tex @@ -0,0 +1,3201 @@ +%% missaali.tex +%% Copyright 2016 Tommi Syrjönen +% +% This work may be distributed and/or modified under the +% conditions of the LaTeX Project Public License, either version 1.3 +% of this license or (at your option) any later version. +% The latest version of this license is in +% http://www.latex-project.org/lppl.txt +% and version 1.3 or later is part of all distributions of LaTeX +% version 2005/12/01 or later. +% +% This work has the LPPL maintenance status `maintained'. +% +% The Current Maintainer of this work is Tommi Syrjänen +% +% See file MANIFEST-Missaali.txt to a list of files that make up this +% work. +\documentclass[a4paper, 12pt]{article} +%% Author: Tommi Syrjänen (tssyrjan@iki.fi) +%% +%% This software is distributed under the LPPL license + +%% This is the documentation file for Missaali OpenType textura font +%% and its related XeLaTeX style file missaali.sty + +\usepackage{xltxtra} +\usepackage{longtable} +\usepackage{xcolor} +\usepackage{graphics} +\usepackage{multicol} +\usepackage{missaali} +\usepackage{subfigure} + +\newcommand{\feature}[1]{\texttt{#1}} + +\newcommand{\sample}[1]{{\samplefont #1}} +\newcommand{\sampleabbr}[1]{{\fontsize{26}{12}\fontspec{Missaali}% + \hbox{\vbox to 10pt{\hbox{#1}}}}} + +\newcommand{\initsample}[1]{{\initsamplefont #1}} +\newcommand{\topalign}[2]{\hbox{\vbox to \ht#1 + {\hbox{#2}\vfill}}} +\newcommand{\midalign}[2]{\hbox{\vbox to \ht#1 + {\vfill\hbox{#2}\vfill}}} +\newcommand{\samplefont}{\fontsize{18}{18}\fontspec{Missaali}\spaceskip0.2em} +\newcommand{\initsamplefont}{\fontsize{36}{36}\fontspec{Missaali}\spaceskip0.2em} + +\newbox\tmpbox +\newcommand{\showlettertitle}[2]{% + \fbox{\hbox to 1.8em{\vbox to 2.5em{\hbox to% + 1.8em{\tiny\hfill#2\hfill}\hbox to 1.8em{\vbox to 2em{\vfill{\hbox% + to 1.8em{\hfill\samplefont{#1}\hfill}\vfill}}}}}}} + + +\title{\fontsize{36}{36}\fontspec[BoldFont=Missaali]{Missaali}Missaali} + +\author{Tommi Syrjänen \\ \texttt{tssyrjan@iki.fi}} + +\date{Version 1.004, 25 December, 2016} + +\setcounter{secnumdepth}{1} +\setcounter{tocdepth}{1} + +\begin{document} + + \maketitle + +\mbox{} + +\thispagestyle{empty} + +\begin{center} +{ + \mssetsizes{18}{6.65cm}{20} + \begin{mstexturablock} + \msaltpunctuation% + \msstartchapter{Q}{Uo usque tandem abu-}{% + tere, Catilina, pati\mstdacc{e}{en}tia} + nostra? \msabbr{quam} diu eti{am} furor iste + tuus nos eludet? qu{em} ad fin\mstdacc{e}{em} + se\msabbr{se} effr\mstdacc{e}{en}ata iactabit audacia? + Nihilne te noc\msabbr{tur}num \msabbr{prae}sidium + Palati, nihil urbis vigiliae, + nihil timor populi, nihil con- + cur\msabbr{sus} bonorum omnium, nihil + hic m\mstdacc{u}{un}itissi\msabbr{mus} hab\mstdacc{e}{en}di senatus + locus, nihil ho\msabbr{rum} ora voltus\msabbr{que} + moverunt? Patere tua \msabbr{con}silia + non sentis, \msabbr{con}strictam iam ho\msabbr{rum} + omnium scientia teneri \msabbr{con}iura- + tionem tu\mstdacc{a}{am} non vides? Quid + \msabbr{pro}x\mstdacc{i}{im}a, \msabbr{quid} su\msabbr{per}iore nocte egeris, + ubi fueris, \msabbr{qvo}s {con}vocaveris, + {quid} consilii ceperis, quem + nostr{um} ignorare arbitraris? + \end{mstexturablock} +} +\end{center} + +\newpage + +\thispagestyle{empty} + + +The text in the previous page is the beginning of Marcus Tullius +Cicero's \emph{Oratio in catilinam primo} that has been used to set +typographical speciments at least since the days of Gianbattista Bodoni +(1740–1813). In modern fonts its text reads: + +\begin{quote} + Quo usque tandem abutere, Catilina, patientia nostra? quam diu etiam + furor iste tuus nos eludet? quem ad finem sese effrenata iactabit + audacia? Nihilne te nocturnum praesidium Palati, nihil urbis + vigiliae, nihil timor populi, nihil concursus bonorum omnium, nihil + hic munitissimus habendi senatus locus, nihil horum ora voltusque + moverunt? Patere tua consilia non sentis, constrictam iam horum + omnium scientia teneri coniurationem tuam non vides? Quid proxima, + quid superiore nocte egeris, ubi fueris, quos convocaveris, quid + consilii ceperis, quem nostrum ignorare arbitraris? +\end{quote} + +C.\,D. Yonge~\cite{yonge} translated the paragraph as: + + \begin{quote} + When, O Catiline, do you mean to cease abusing our patience? How + long is that madness of yours still to mock us? When is there to be + an end of that unbridled audacity of yours, swaggering about as it + does now? Do not the nightly guards placed on the Palatine Hill—do + not the watches posted throughout the city—does not the alarm of the + people, and the union of all good men—does not the precaution taken + of assembling the senate in this most defensible place—do not the + looks and countenances of this venerable body here present, have any + effect upon you? Do you not feel that your plans are detected? Do + you not see that your conspiracy is already arrested and rendered + powerless by the knowledge which every one here possesses of it? + What is there that you did last night, what the night before—where + is it that you were—who was there that you summoned to meet + you—what design was there which was adopted by you, with which you + think that any one of us is unacquainted? + \end{quote} + + +\vfill + + +The font Missaali is copyrighted by Tommi Syrjänen, 2016. It may be +used and distributed under the Open Font License 1.1 (see +page~\pageref{pg_license} for details). + +The documentation and LaTeX style files are also copyrighted by Tommi +Syrjänen, 2016, and they may be distributed under the terms of Latex +Project Public License 1.3c (see the accompanying file +\texttt{lppl.txt} for details or refer to +\texttt{http://www.latex-project.org/lppl.txt}). + +\newpage + + +\begin{center} +\fbox{ + \begin{minipage}{0.8\linewidth} + \begin{center} + \textbf{The Short Version of Important Stuff} + \end{center} + \begin{itemize} + \item \Missaali\ is a free OpenType/CFF font with two application + areas: + \begin{enumerate} + \item as a Gothic display font; and + \item for emulating late-medieval manuscripts. + \end{enumerate} + + \item It should be used in a large size (18+ points). + + \item It is licensed under Open Font License (see the end of the document + for details). + + \item It is a 15th century typeface. It contains a large number of + symbols (see + pages~\pageref{tab:ghota_abbr}–\pageref{tab:ghota_abbr_general}, + \pageref{tab:other_abbrs}, and + \pageref{pg:symbols_start}–\pageref{pg:symbols_end}) that are no + longer in common use but it lacks many symbols (like Arabic + numbers) that are essential for setting longer modern texts. + + \item It has a large number of OpenType features that control its + behavior. See pages~\pageref{tab:feature_summary} and + \pageref{pg:features_start}–\pageref{pg:features_end} for details. + + \item It is designed to be used with XeLaTeX. See pages + \pageref{pg:latex_start}–\pageref{pg:latex_end} for details. + + \item \Missaali\ works in recentish programs. Some old font + renderers will mess up the spacing between letters. This happens + at least in some old versions of MS Word. Newer programs shouldn't + have problems. However, some care is necessary when using + abbreviation symbols with XeLaTeX, see + page~\pageref{pg:fontspec_problems} for details. + +\end{itemize} + \end{minipage} + + +} + +\end{center} + + + +\newpage +\tableofcontents +\reversemarginpar + +\section{Introduction} + +\Missaali\ is a free unicode OpenType font that has two main purposes: +it is a blackletter display font that can also be used to emulate +late-Medieval formal manuscripts. + +The letterforms are based on \emph{Missale + Aboense}~\cite{missale_aboense} that Bartholomew +Ghotan\index{Ghotan, Bartholomew} printed in Lübeck in 1488. It was +the first book printed for Finland and was commissioned by Konrad Bitz +who was at the time the bishop of Turku diocese. His aim was to +harmonize the church services of the parishes of the diocese and the +missal contains texts and instructions for all masses that are held +over a year. + +Ghotan followed the standard practice of the time and set the missal +using \emph{textura}, a type based on \emph{textualis formata} that +was the prevalent late-Medieval script in Germany for the most +valuable manuscripts. Thirty years earlier Gutenberg had used the same +script for his famous Bibles. + +\begin{figure}[t] + \centering + \sample{ABCDEFGHIKLMNOPQRSTUVWXYZ} \\ + \sample{{\addfontfeature{RawFeature=-liga;-calt;}abcdefghijklmnopqr\rotundar{}ſstuvwxyz}} \\ + \caption{The basic alphabet. Capital letters \emph{W}, \emph{Y}, and + \emph{Z} do not occur in \emph{Missale Aboense} so they have been + made from scratch.} + \label{fig:alpha} +\end{figure} + +\emph{Missale} also has a number of large initials that are mostly set +in the Lombardic style. This font includes the initials that were +printed using leaden slugs among its symbols, but leaves out the large +woodcuts as well as most of the hand-written ones. + +Old printing inks spread more and more randomly than the modern ones. +This means that two impressions created by the same slug are not identical. +In the design I aimed for a look that is somewhat spread. Most corners +are rounded and there are few sharp edges. + +\begin{figure} + \centering + \begin{tabular}{cccccc} + \initsample{\msinit{A}} & \initsample{\msinita{A}} & + \initsample{\msinit{B}} & \initsample{\msinit{C}} & + \initsample{\msinit{D}} & \initsample{\msinita{D}} \\ + A & A & B & C & D & D \\ + \initsample{\msinit{E}} & \initsample{\msinit{F}} & + \initsample{\msinit{G}} & \initsample{\msinit{H}} & + \initsample{\msinit{I}} &\initsample{\msinita{I}} \\ + E & F & G & H & I & I \\ + \initsample{\msinit{J}} & + \initsample{\msinit{K}} & \initsample{\msinit{L}} & + \initsample{\msinit{M}} & \initsample{\msinit{N}} & + \initsample{\msinit{O}} \\ + J & K & L & M & N & O \\ + \initsample{\msinit{P}} & \initsample{\msinit{Q}} & \initsample{\msinit{R}} & + \initsample{\msinit{S}} & \initsample{\msinita{S}} & + \initsample{\msinit{T}} \\ + P &Q & R & S & S & T \\ + \initsample{\msinit{U}} & \initsample{\msinit{V}} & \initsample{\msinit{W}} & + \initsample{\msinit{X}} & \initsample{\msinit{Y}} & + \initsample{\msinit{Z}} \\ + U & V & W & X & Y & Z \\ + \end{tabular} + \caption{Lombardic initials. Several letters have two alternate + forms. These correspond with the larger size of printed + \emph{Missale Aboense} initials except for \emph{X} that occurs + only in the smaller size and \emph{W}, \emph{Y}, and \emph{Z} that + do not occur at all. The variant form for \emph{I} is based on a + hand-written initial and it needs to be used in a very large size.} + \label{fig:lombardic_initials} +\end{figure} + +The set of symbols in the 15th century textura is very different from +what we use nowadays. It retained many of the abbreviations that were +in common use during middle ages while many modern symbols are +missing. Most notably Ghotan didn't use number symbols preferring +instead to either spell the numbers out or write them using Roman +numberals. While I designed a few missing glyphs for the font (most +important being \emph{W}, \emph{Y}, and \emph{Z} that don't occur in +the book), I decided against including numbers.\footnote{Largely + because of lack of suitable samples for 15th century textura + numbers.} This means that Missaali is even less suitable for setting +body texts of ordinary documents than blackletter in general. However, +the limitation is not serious for the intended uses of the font. + +Most of the symbols in the font cannot be found from modern keyboard +layout charts. They can be accessed by turning on a suitable +combination of OpenType features that are present in Missaali. They +may also be entered directly if the program used supports inputting +arbitrary unicode code points. All symbols in the font have code +points assigned to them, and those that are not present in the unicode +standard are put into the private use area.\footnote{Some symbols have + duplicates that are not assigned code points to make searching + resulting text files easier. See page~\pageref{pg:symbols_start} for + details.} Where possible, I have put the symbols to the same places +as \emph{MUFI character recommendation 3.0}.\footnote{MUFI is the + Medieval Unicode Font Initiative (\texttt{http://www.mufi.info}) + whose purpose is to bring Medieval scribal symbols into unicode.} +However, Missaali contains only a small part of the full +recommendation and it has some symbols that are not present in it. + + +\subsection{OpenType}\index{OpenType} + +OpenType is a technology that combines two different approaches of +creating fonts under one package: Microsoft's \emph{true type} +(OpenType/TT) and Adobe's \emph{type 1} (OpenType/PS or OpenType/CFF) +fonts. The PS technology is older and it originated in the 80s for +defining digital fonts for printing. The true type fonts were designed +primarily for high-quality screen fonts for Windows. + +Missaali is a PS font that has been designed explicitly for printing +and it is not very usable a screen font. The lack of numbers is one +obstacle, but more seriously it is difficult to distinguish between +strings of \emph{m}, \emph{n} and \emph{u} letters in small size. It +works best in a large size. + +\paragraph{OpenType features}\index{feature} + +OpenType fonts may contain a number of \emph{features} that alter +their behavior. The most common ones that are used with European +languages are ligature substitutions where two individual characters +are replaced by a glyph that contains both of them. For example, in +textura the letters 'd' and 'o' are fused together when they occur as +a pair: + +\newbox\foobox +\setbox\foobox\hbox{\sample{o}} +\newcommand{\aqsample}[1]{\midalign{\foobox}{#1}} + +\begin{center} + \sample{d} \aqsample{+} \sample{o} \aqsample{=} \sample{do} +\end{center} + +Different programs use different conventions for selecting features. +For example, in Photoshop the features are specified in a well-hidden +menu that's shown in figure~\ref{fig_photoshop}. + +\begin{figure} + \centering + \includegraphics[width=8cm]{pics/pic-1.png} \\ + \includegraphics[width=8cm]{pics/pic-2.png} \\ + \caption{Photoshop OpenType menu}\label{fig_photoshop} +\end{figure} + +Unfortunately many programs offer only a limited support for +features.\footnote{I myself use XeLaTeX that supports arbitrary + combinations of features and Photoshop that doesn't.} In particular, +they often allow the user to choose them from a predefined set of +feature identifiers (called \emph{tags}) and different programs have +different sets of allowed tags. For this reason Missaali implements +most of the features with two different tags: as a stylistic set that +can be used with MS Word and as a randomly selected unrelated tag that +Photoshop recognizes. Figure~\ref{fig:word} shows the advanced tab of +Word 2010 that can be used to change the set of features in +use.\footnote{I have very little experience in using Word and I + haven't debugged \Missaali\ with it except to note that it doesn't + work in the legacy document modes. So, if you have problems with + Word start by ensuring that the document mode is at least Word 2010 + and that the "use contextual alternates" checkbox is marked. Other + than that I can't help.} Table~\ref{tab:feature_summary} has a +summary of all available features and they will be described in detail +later. +\begin{table} + \centering + \begin{tabular}{l|c|c|c|l} + \textbf{Feature} & \textbf{All?} & \textbf{Tag} & \textbf{Alt.} & \textbf{Photoshop menu} \\ + \hline + Long \emph{s} and rotunda \emph{r} & $\times$ & \feature{calt} & + \feature{calt} & Contextual alternates \\ + Textura ligatures & $\times$ & \feature{liga} & \feature{liga} & Standard ligatures \\ + Old æ and œ & $\times$ & \feature{hist} & \feature{swsh} & Swash + \\ + Ghotan's abbreviations & & \feature{dlig} & \feature{dlig} & + Discretionary ligatures \\ + Scandinavian ligatures & & \feature{ss01} & \feature{subs} & + Subscript \\ + \hline + Additional abbreviations & & \feature{ss02} & \feature{ornm} & + Ornaments \\ + Alternate abbreviations & & \feature{ss03} & \feature{frac} & + Fractions \\ + Abbreviation marks & & \feature{ss04} & \feature{salt} & + Stylistic alternates \\ + Add tilde & & \feature{ss05} & — & \\ + Add dieresis & & \feature{ss06} & — & \\ + \hline + Add r-abbreviation & & \feature{ss07} & — & \\ + Add shorter tilde & & \feature{ss08} & — & \\ + Add a-abbreviation & & \feature{ss09} & \feature{onum} & Oldstyle + \\ + Add ring & & \feature{ss10} & — & \\ + Add diagonal slash & & \feature{ss11} & \feature{sups} & + Superscript \\ + \hline + Add ur-abbreviation & & \feature{ss12} & — & \\ + Add horizontal strike & & \feature{ss13} & — & \\ + Add loop & & \feature{ss14} & — & \\ + Use liturgical symbols & & \feature{ss15} & \feature{smcp} & Small + caps \\ + Old Finnish ortography & $\times$ & \feature{ss16} & + \feature{ordn} & Ordinals \\ + \hline + Alternate punctuation & $\times$ & \feature{ss17} & — & + \\ + Use po-ligature & $\times$ & \feature{ss18} & — &\\ + Alternate form for z & $\times$ & \feature{ss19} & — & \\ + Initial capitals & & \feature{ss20} & \feature{titl} & Titling alternates \\ + Add dot accent & & \feature{ss21} & — & \\ + \hline + Alternate form for G & $\times$ & \feature{ss22} & — & \\ + Alternate initials & & \feature{ss23} & — & \\ + \end{tabular} + \caption{OpenType features. Those marked with $\times$ may be + enabled for the whole document, the others should be turned on + only for affected characters.\index{feature!table of}} + \label{tab:feature_summary} +\end{table} + + +\begin{figure} + \centering + \includegraphics[width=12cm]{pics/word_features.png} + \caption{MS Word 2010 font feature dialog where selecting + 'Historical and Discretionary' option for ligatures turns on + abbreviation for \emph{que}. For proper working of the font you + should always leave the 'use contextual alternates' mark selected. + } + \label{fig:word} +\end{figure} + +\subsection{Open Font License v.1.1}\index{Open Font License} + +\Missaali\ may be used and distributed under the conditions of the +Open Font License v.1.1. The full text of the license is at the end of +this document. It and answers to frequently asked questions about it +are available at \texttt{http://scripts.sil.org/OFL}. The most +important features of OFL are: +\begin{enumerate} +\item You may freely use the font in your documents, including + embedding it in it. + +\item You may freely give the font to whoever you want, but you should + give the whole package (including the documentation files). You may + also sell it as long as you comply with the few restrictions that + are enumerated in the text of the license. + +\item You may freely modify the font, but if you distribute the + modified font you should give it a different name and release it + under OFL. +\end{enumerate} + +\subsection{Latex Project Public License version 1.3c} + +The documentation files and the LaTeX style file are distributed under +the Latex Project Public License (LPPL version 1.3c). The exact +conditions of the license are defined in the file \texttt{lppl.txt} +that should been included in the font package but is also available at +\texttt{http://www.latex-project.org/lppl.txt}. + +The terms of LPPL are similar to those of the OFL. The short and +incomplete version is: +\begin{enumerate} +\item You may freely use the files however you want. + +\item You may freely distribute the package in its original form. + +\item If you modify the files, you may distribute them but you must + document what changes you have made in the files, make it clear that + the changed version is not the original, and distribute either the + original version or information on how it can be obtained with it. +\end{enumerate} + +\newpage +\section{Missale Aboense} + +\begin{figure} + \centering + \includegraphics[width=12cm]{pics/missale-preface.png} + \caption{Hand-colored woodcut from the preface of \emph{Missale + Aboense} (reduced size). In the middle is Saint Henry treading + on his killer Lalli. He is surrounded by bishop Konrad Bitz and + dean Magnus Nicolai Särkilahti. Back left is the printer + Bartholomew Ghotan. The identity of the priest back right is not + certain, but he might be the proofreader, Daniel de Egher. The + text starts: \emph{Reverendus in cristo pater et dominus, dominus + Conradus Bystz dei et apostolice sedis grande praesul ecclesie + Aboense.} — Reverend Father in Christ and Lord, Lord Konrad Bitz + of the Apostolic See, bishop of the Turku diocese.} + \label{fig:titlepage} +\end{figure} + +\paragraph{Historical background} + +About 1000 years ago the area of modern Finland was essentially a +sparsely-populated forest between Sweden and Novgorod. The inhabitants +belonged to three tribes: \emph{Suomalaiset} (Finns), +\emph{Hämäläiset} (Tavasts) and \emph{Karjalaiset} (Karelians) that +each had several subgroups. At the time the name 'Finland' meant only +the South West part where Finns lived, and it took hundreds of years +before the word acquired its modern sense and the term \emph{Finn} +came to encompass all people living in the area. + +It is impossible to know exactly when Christianity first arrived in +the area as there are no reliable written sources. The first surviving +accounts about the history of Church in Finland seem to have been +composed in the late 13th century and their historical value is not +great. According to them and later medieval and early modern texts, +King Eric IX of Sweden conducted a crusade to the land of Finns +sometime around 1150 to baptize them and that he was accompanied by +bishop Henry of Uppsala. The modern view is that Eric may have +conducted a campaign in Finland—it is not certain—, but the aim was +more to obtain tribute than to spread Christianity. + +Archealogical evidence suggests that first Christians were baptized in +the 6th century and that by Eric's time most people in South West +Finland were already Christian while the people living inlands were +still pagan. There were infuences from both Western and Eastern +Churches, but Finland wasn't integrated with either, yet. + +What happened in the mid 12th century was that the Swedish crown +extended its rule over the Finns and during the next century also over +the Tavasts. The area of Karelians was divided between Sweden and +Novgorod with Novgorod getting the larger share. + +\paragraph{The Legend of Saint Henry} The legend of Saint Henry dates +from the late 13th century. According to it, Henry was an English +clergyman who had moved to Sweden and became the bishop of Uppsala. He +urged King Eric to go on to the crusade and joined the venture +himself, baptizing the first Finns and then staying behind in Finland +to organize the church when the king returned to Sweden. + +The legend further tells that he was killed the next winter. The +killer was a murderer who was enraged at Henry because he had imposed +'church discipline' on him in addition to the penalty that the law +decreed from murder. The text doesn't detail the exact natures of +either punishment, but at the time killers typically paid weregild to +the family of the victim. The legend tells that Lalli got a divine +punishment for his deed: he put the bishop's cap on his head, and when +he removed it, his whole scalp came off with it. This was considered +to be the first miracle attributed with St Henry. + +Later sources add details to the short legend. They make the mass +baptism to happen at the spring of Kupittaa that nowadays lies inside +the borders of the city of Turku, and also give the name of the killer +and the place of the murder. The murder happened on the ice of Lake +Köyliö and the killer was called Lalli.\footnote{It is interesting to + note that \emph{Lalli} is a form of \emph{Laurentius} so it is a + Christian name, which speaks against those versions of the story + that describe him as a pagan.} They also give two alternate +explanations for the motive: he either didn't want to pay tithes to +the church or he got angry when Henry requested food from his farm. +The divine retribution against Lalli was also extended, and the +stories tell that he was eaten alive by mice on an island of +Hiirijärvi lake. + +Almost nothing is known about the historical bishop Henry. Even his +whole existence is uncertain as it has proven impossible to identify +him from contemporary sources. Whether he was a historical person or a +completely invented saint is an open question. If he was real, it is +very unlikely that he was a bishop at Uppsala because in that case he +should have left a written trace of himself. + +There is an alternative explanation for his origins. The English +cardinal Nicolaus Albanus\footnote{Known also by his English name + Nicholas Breakspear. He later became Pope Adrianus IV.} was a papal +legate in Scandinavia in early 1150s. His mission was to integrate the +Scandinavian episcopal sees tighter with the Catholic church. It is +possible that Henry was one of his assistants who stayed behind when +Nicolaus returned to Rome. It is plausible but far from certain that +he left Henry behind to organize the churches in Finland. + +What is certain is that St. Henry's cult existed in the latter half of +the 13th century and in 1300 or shortly before bones that were +believed to belong to him were moved from the village of Nousiainen to +the new Turku cathedral. Even though he was venerated as a saint in +Finland and Sweden, he was never officially canonized by the Vatican. + +Henry's skeleton vanished during the Great Northern War of 1700–21. It +had been moved to a side chamber of the cathedral after the +reformation, and Czar Peter~I gave an order to send the bones to +St.\,Petersburg. After that their whereabouts are unknown. Today only +a small piece of tibia can certainly be attributed to him. It survived +by being buried with Blessed Bishop Hemmingus (c.1290–1366). Hemmingus +would probably have been canonized as a saint but the reformation +stopped the process. + +There is also a skull that was dated to the 12th century using +radiocarbon dating that was found hidden inside the cathedral. It is +possible that the person who hid it believed that it was Henry's +skull. The skull is over 100 years older than the cathedral so it +cannot belong to anyone whose first burial was inside it. + +\paragraph{Turku diocese} It is not known for certain when the Turku +diocese was really established, but it existed at the beginning of the +13th century. During the middle ages the diocese was a part of the +archdiocese of Uppsala but it did not follow the same liturgical +tradition. Instead, Turku diocese was heavyly influenced by the +Dominican tradition starting from the time of bishop Thomas +(c.1220–45) who belonged to the order. The influence was strengthened +by the Dominican convent that was built in Turku in 1249. + +Finland was far from the learned centers of Europe. While several +dozens of Finnish clergymen studied in the continental universities +over the years, most priests were trained at the Turku cathedral +school and their education was not very deep and the church could not +root out all old pagan traditions. There was a scriptorium that +produced many illuminated manuscripts, but they couldn't write enough +for all parishes in the diocese and imported books were excessively +expensive. + +In the 1480s bishop Konrad Bitz\footnote{A bishop between 1460–89.} +and dean Magnus Nicolai Särkilahti\footnote{A dean in 1465–1489, then + bishop 1489–1500.} started a project to improve the literary +situation of the parishes in the diocese. They started by organizing a +group order for \emph{Psalterium cum Canticis} that was printed by +Bartholomew Ghotan, and next started to plan for a missal. + + +\paragraph{Bartholomäus Ghotan}\index{Ghotan, Bartholomew} +Ghotan was the foremost authority on printing liturgical texts at the +time. He had previously worked as a priest at Magdeburg where he +learned about book printing and decided to start a new career. His +clerical training made him an expert on the subject of liturgical +books and he printed the very first missal, \emph{Missale + Praemonstratense} there in 1479. + +Ghotan moved to Lübeck that had become the center of bookprinting in +Northern Europe and continued to make liturgical books. In 1486 he was +invited to Stockholm where he printed several books for Swedish +dioceses, including \emph{Missale Strengnense}. In 1487 he had a +disagreement with the government led by regent Sten Sture and returned +to Lübeck where he printed \emph{Missale Aboense} the next year. + +Bartholomew Ghotan continued printing books in Lübeck for several +years before deciding to open a printing shop at Novgorod in 1493. His +timing proved to be unfortunate as a short while later the conflict +between the Hanseatic League and Czar Ivan the Great intensified and +culminated in the desctruction of the Hansa office Peterhof. Ghotan +vanishes from historical records and he probably died in Novgorod in +1494. Some suspect that he was killed in the disturbances but the real +cause of death is unknowable. + +\paragraph{Printing \emph{Missale Aboense}} + +It seems likely that the project for Turku missal was started during +Ghotan's time in Stockholm. Even though Bitz was the official head of +the project, the practical side was handled mostly by Magnus Nicolai. +From the beginning Ghotan intended to print a multi-purpose book. The +liturgy of Turku was close enough to the standard Dominican tradition +that it would be possible to sell the book also to the order. + +A manuscript for the book was prepared in Turku and it was sent to +Daniel de Egher for review and corrections. He was a Dominican and the +Professor of Holy Theology at the University of Paris. In his proofing +he used as a source a Dominican missal printed in Venice in 1484, +which explains how the feast days of several Hungarian saints ended up +in a Finnish calendar. Though the text was checked, the quotations +from the Bible have some small differences from the text of official +version of the Latin \emph{Vulgate} Bible. + +The printing started in 1488. Ghotan apparently first printed the +general Dominican missal and then he customized it for Turku by adding +a prologue, a different calendar, and a section of texts specific to +the diocese. The prologue was dated on August 17, 1488. + +Copies were printed on both parchament and paper. The total size of +the printing is not known but was probably in the range of 120–200. +Twenty copies still exist and most are incomplete. Only one parchament +copy is still in the original bindings. It is the copy of the Halikko +parish that was stolen by Danes in 1509 and it is now at the Kongelike +Biliotek in Copenhagen. Three complete parchament copies have been +reconstructed from separated pages that had been torn out and used as +covers for archival documents in the late 16th century. The rest +sixteen books are incomplete copies printed on paper. + +\begin{figure} + \centering + \rule{9.92cm}{0.1pt} + \includegraphics[width=9.82cm]{pics/missale-normal.png} + \rule{9.92cm}{0.1pt} + \caption{Sample from \emph{Missale Aboense} containing text in + normal and small sizes, several abbreviations, and four initials. + The red ones are two sizes of printed Lombardian initials while + the two blue ones are drawn by hand. Note how the other initials + are inside the text block but the flourished initial \emph{I} in + \emph{In} is drawn completely in the gutter between the columns. + Also note now the abbreviated rubric \emph{Oratio} + (\missaali{\rmstdt{Or}o}) is set at + the right end of the first line of the section. + \label{fig:normalfont}} +\end{figure} + +The book was printed in large folio size with large letters. There are +four different text sizes in use: +\begin{itemize} +\item The main body of text that is approximately 26 points in modern + terms; + +\item Smaller main body text approximately 22 points in size. This was + set with the same line height as the main font; + +\item Small text in a simpler typeface (\emph{textus preacissus}) of + about 14 points; and + +\item Large text for the initial part of the mass (\emph{Te igitur}) + approximately 48 points in size. +\end{itemize} + +\begin{figure} + \centering + \rule{8.84cm}{0.1pt} + \includegraphics[width=8.84cm]{pics/missale-tinyfont.png} + \rule{8.84cm}{0.1pt} + \caption{The smallest \emph{Missale Aboense} font that is based on + \emph{textus preacissus} instead of \emph{textus quadrata}.} + \label{fig:smallfont} +\end{figure} + +\begin{figure} + \centering + \rule{10.26cm}{0.1pt} + \includegraphics[width=10.26cm]{pics/missale-largefont.png} + \rule{10.26cm}{0.1pt} + \caption{A large woodcut initial and the start of the \emph{Te + igitur} in large font size. The initial is not colored in the + facsimile reprint of \emph{Missale} but it probably was + hand-colored in many copies.} + \label{fig:largefont} +\end{figure} + + +The main text was printed with black ink with red captions, +instructions, and initials. Ghotan used four different types of +initials: +\begin{itemize} +\item Large woodcuts of initials; + +\item Two lines high printed Lombardic initials; + +\item One line high printed Lombardic initials; + +\item Leaving a two or three-line square empty space for hand-drawn + initials. + +\end{itemize} + +Many of the surviving copies have blue hand-drawn initials that are +very close in style with each other, so it is likely that there was a +workshop — probably in Lübeck — that initialed some of the copies +before they were sent to their recipients. + +The woodcut initials as well as the few woodcut illustrations were +colored by hand, and some copies had also a bit of burnished gold +added to illustrations. + + +\section{Textura} + +In late medieval times different types of texts were written using +different scripts. The most refined hand that was used for the most +valuable — and usually religious — German manuscripts was +\emph{textualis formata} in its \emph{textus quadrata} form. I will be +calling it \emph{textura} in this document. Since it was considered +the highest form of writing, it was natural that Johannes Gutenberg +modeled his Bible typefaces on it and Bartholomew Ghotan followed his +example for his liturgical books. + +Textura is a very angular script that has high contrast between parts of +the letter. There are wide usually vertical strikes and thin usually +diagonal hairlines. The letters are spaced closely together and while +the word spaces are not very wide, they are wide enough to clearly +distinguish the words. +\begin{center} + \sample{Quick red fox jumped et cetera.} +\end{center} + +One of the distinguishing features of textura is that the letter +\emph{f} does not have a descender like it has in cursive Gothic +scripts. Another feature is that the vertical strikes of lowercase +letters have small quadrangles at their feet. This is most notable in +the letter \emph{m}. + +\paragraph{Text body} Textura was set in justified rectangular blocks. +The text was set in continuous lines and there was no line break +between paragraphs. A new paragraph was marked by either a colored +initial or by the paragraph symbol. The last line was also justified +if at all possible. Justification was done by a combination of +increasing word spaces and by using abbreviations. When a word was +split at the end of the line, the hyphen was often left out. For +example, in figure~\ref{fig:normalfont} \emph{leticia} has a hyphen +but \emph{hereditate} in the following row doesn't. When used, a +hyphen is two short diagonal strokes. + +\paragraph{Fusions} + +When writing textura two adjacent bowls of letters were fused together +into one stroke. Ghotan fused together the following combinations: +\begin{center} + \begin{tabular}{ccccccc} + \sample{be} & \sample{bo} & \sample{de} & \sample{do} & \sample{pe} + & \sample{ve} \\ + be & bo & de & do & pe & ve \\ + \end{tabular} +\end{center} + +The surprising thing is that Ghotan didn't use the \emph{po} fusion +systematically. It is used in some places of the text, but usually +they are kept separate. He also fused together double \emph{p}: +\begin{center} + \sample{pp} +\end{center} + + +\paragraph{Letter variant forms} + +Like all Gothic scripts, textura has two forms of the lower case +letter \emph{s}: 'short' \missaali{s} and 'long' \missaali{ſ}. It also +has two forms of \emph{r}: the 'straight' \missaali{r} and the 'round' +\missaali{\rotundar} that is usually called \emph{r}-rotunda. + +\begin{center} + \begin{tabular}{cccc} + \sample{s} & \sample{ſ} & \sample{r} & \sample{\rotundar} \\ + Short \emph{s} & Long \emph{s} & Straight \emph{r} & Rotunda + \emph{r} \\ + \end{tabular} +\end{center} + +The rules for the use of long and short \emph{s} became quite complex +over centuries, but Ghotan followed the simple medieval rules: short +\emph{s} is used only if it is the last letter of the word and the +long \emph{s} is used in all other places.\footnote{\Missaali\ uses + the opentype feature \feature{calt} to automatically insert long + \emph{s} and \emph{r}-rotunda in places where Ghotan would have used + them. If you want to follow a later convention, you need to turn the + feature off.} For example, the Latin word \emph{servus} was written +as: +\begin{center} + \sample{servus} +\end{center} + +The round \emph{r} was used after letters whose right edge had a bowl +except when the \emph{r} was at the end of the word. In textura those +letters were traditionally \emph{b}, \emph{d}, \emph{h}, \emph{o}, +\emph{p}, \emph{v}, and \emph{y},\footnote{Other Gothic scripts used + different set of letters for \emph{r}-rotunda selection.} but Ghotan +used a straight \emph{r} after \emph{h} and Missaali follows that +convention. He also used rotunda \emph{r} at the end of the word if +the next to the last letter was not \emph{u} or \emph{v}: +\begin{center} + \begin{tabular}{ccccc} + \sample{soror} & \sample{quodra} & \sample{igitur}\\ + \end{tabular} +\end{center} +Ghotan wasn't completely consistent in his usage and you occasionally +find a rotunda \emph{r} in a place where you would expect a straight +\emph{r} or vice versa. + +\paragraph{The case of \emph{u} and \emph{i}} + +Textura had two other letters with variant forms. At the time \emph{v} +and \emph{u} were considered to be the same letter and similarly for +\emph{i} and \emph{j}. Ghotan used \emph{u} and \emph{v} +interchangeably and there is no clear rule for which letter he +selected except that \emph{U} was used almost always for the capital +letter. The capital \emph{V} was quite rare and it doesn't fit the +other capitals so well. +\begin{center} + \begin{tabular}{cccc} + \sample{U} & \sample{u} & \sample{V} & \sample{v} \\ + U & u & V & v \\ + \end{tabular} +\end{center} + +Symbols \emph{i} and \emph{j} were also considered to be forms of the +same letter but their use was more consistent. Ghotan used \emph{j} +for the last letter in a sequence of \emph{i}s. This occurred most +often in Roman numerals: +\begin{center} + \begin{tabular}{ccccc} + \sample{i} & \sample{ii} & \sample{iii} & \sample{iiii} + \end{tabular} +\end{center} +For an added complexity, some scribes used \emph{ÿ} in place of +\emph{ij}. However, Ghotan didn't do that. + + +\paragraph{Punctuation} There were no strict rules for applying +punctuation in the middle ages. Texts were usually read out loud and +punctuation was used to mark out pauses of different lengths. In the +body of text Ghotan used three different lengths of pauses and a +question mark: +\begin{center} + \begin{tabular}{ccccc} + \sample{:} & \sample{\addfontfeature{RawFeature=+ss17;}.} & + \sample{.} & \sample{?} + \end{tabular} +\end{center} +Ghotan used a colon for a shortish pause and centered dot for where we +would normally write an ordinary period. Both colon and dot were +usually placed so that there was as much space on both sides of it. He +used an ordinary period usually at the end of paragraphs. In several +places he used also the virgule \missaali{/} or a vertical bar +\missaali{|} for punctuation. + +The font has also few other medieval punctuation symbols that were in +common use. They are placed in the positions of different-length dashes: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{‒} & \sample{–} & \sample{—} + \end{tabular} +\end{center} + + +\newpage + +\section{Latin Abbreviations} + +Medieval scribes used many abbreviation symbols and there were +different abbreviation systems in different places and for different +scripts. They were particularly prominent in monastic and academic +texts, but also liturgical works had them. They fell slowly out of use +with the increase of literacy when the writers could not rely on their +non-specialist audience to understand them and also because many of +the symbols were specifically tailored for Latin and did not have much +use in vernacular texts. Early printed books used old abbreviations +but they fell out of use in the 16th century. Some holdouts survived +longer: using tilde to mark missing nasal consonants is relatively +common even in the 17th century in some areas and the ampersand is +still in use. + +Bartholomew Ghotan used two different systems of abbreviations in +\emph{Mis\-sale Aboense}: one for the main body of text and another +for the small 14~pt font. There is not much text in the small font and +it isn't possible to reconstruct his full system from it, but the +system for the larger font is quite complete. Some of the symbols that +he used were used in a different sense in different abbreviation +systems. I will first describe the system that he used and then add to +that some commonly-used symbols that are not found in \emph{Missale}. + +\begin{table} + \centering + \begin{tabular}{clcllccccc} + \multicolumn{5}{l}{\textbf{Abbreviations with specific meanings}}\\ + Symbol & Meaning & Feat & Entering & Notes \\ + \hline + \sample{\msabbr{bis}} & bis & \feature{dlig} & bis & + occasionally general \\ + \sample{\msabbr{con}} & con & \feature{dlig} & con \\ + \sample{\msabbr{et}} & et & \feature{dlig} & et \\ + \sample{\msabbr{etc}} & etc & \feature{dlig} & etc & et cetera\\ + \sample{\msabbr{hoc}} & hoc & \feature{dlig} & hoc & also + general \\ + \hline + \sample{\msabbra{m}} & m & \feature{dlig} & m & occasional final + form \\ + \sample{\msabbr{mur}} & mur & \feature{dlig} & mur \\ + \sample{\msabbr{Per}} & Per & \feature{dlig} & Per \\ + \sample{\msabbr{per}} & per & \feature{dlig} & per & occasionally + \emph{por} \\ + \sample{\msabbr{prae}} & prae & \feature{dlig} & prae & also general \\ + \hline + \sample{\msabbr{præ}} & prae & \feature{dlig} & præ & entered + with æ-ligature \\ + \sample{\msabbr{Pro}} & Pro & \feature{dlig} & Pro \\ + \sample{\msabbr{pro}} & pro & \feature{dlig} & pro \\ + + \sample{\msabbr{quae}} & quae & \feature{dlig} & quae \\ + \sample{\msabbr{quam}} & quam & \feature{dlig} & quam \\ + \hline + \sample{\msabbr{que}} & que & \feature{dlig} & que \\ + \sample{\msabbr{qui}} & qui & \feature{dlig} & qui \\ + \sample{\msabbr{quid}} & quid & \feature{dlig} & quid \\ + \sample{\msabbr{quia}} & quia & \feature{dlig} & quia \\ + \sample{\msabbr{quo}} & quo & \feature{dlig} & quo \\ + \hline + \sample{\msabbr{qvo}} & quo & \feature{dlig} & qvo \\ + \sample{\msabbr{quod}} & quod & \feature{dlig} & quod \\ + \sample{\msabbr{qvod}} & quod & \feature{dlig} & qvod \\ + \sample{\msabbr{quoque}} & quoque & \feature{dlig} & quoque \\ + \sample{\msabbr{rum}} & rum & \feature{dlig} & rum \\ + \hline + \sample{\msabbr{se}} & se & \feature{dlig} & se \\ + \sample{\msabbr{sed}} & sed & \feature{dlig} & sed & also other syllables with \emph{se}. \\ + + \sample{\msabbr{tur}} & tur & \feature{dlig} & tur \\ + \sample{\msabbr{us}} & us & \feature{dlig} & us & \\ + \sample{\msabbr{vs}} & us & \feature{dlig} & vs \\ + \hline + \sample{\msabbr{ver}} & ver & \feature{dlig} & ver & occasionally + \emph{vir} \\ + \end{tabular} + \caption{Bartholomew Ghotan's specific abbreviations in \protect\Missaali.} + \label{tab:ghota_abbr} +\end{table} + + +\begin{table} + \centering + \begin{tabular}{llllp{6cm}llccccc} + \multicolumn{5}{l}{\textbf{General abbreviations}}\\ + Symbol & Example & Meaning & Feat & Notes \\ + \hline + Tilde & \sample{\mstd{a}} & General & \feature{ss04} & usually \emph{m} or \emph{n} \\ + Dieresis & \sample{\rmstd{r}} & General & \feature{ss06} & + general abbreviation, an alternative to tilde \\ + Dot & \sample{\mstd{h}} & General & \feature{ss21} & + general abbreviation, an alternative to tilde \\ + Loop & \sample{\mstd{l}} & General & \feature{ss14} & + general abbreviation, an alternative to tilde. The looped l + (\missaali{l}) is available also as \feature{dlig} ligature + \emph{lum}. \\ + Squashed \emph{a} & \sample{\mstda{g}} & A-abbr + & \feature{ss09} & Something with \emph{a} \\ + Tailed dot & \sample{\mstdr{e}} & R-abbr & \feature{ss07} & + Something with \emph{r} \\ + Ring & \sample{\mstdo{q}} & O-abbr & \feature{ss10} & + Something with \emph{o} \\ + \end{tabular} + \caption{Bartholomew Ghotan's general abbreviations in \protect\Missaali.} + \label{tab:ghota_abbr_general} +\end{table} + +There are two basic ways to mark abbreviations: either by adding small +marks over the letters to signify places where things are left out or +to add new symbols to the running text. + +\begin{table} + \centering + \begin{tabular}{clcllccccc} + \multicolumn{5}{l}{\textbf{Alternate set of abbreviations}}\\ + Symbol & Meaning & Feat & Entering & Notes \\ + \hline + \sample{\msabbralt{bis}} & bis & \feature{ss03} & bis & + occasionally general \\ + \sample{\msabbralt{con}} & con & \feature{ss03} & con \\ + \sample{\msabbralt{et}} & et & \feature{ss03} & et \\ + \sample{\char`^^^^a770} & et & \feature{ss03} & \emph{X}et & + in middle of a word \\ + \sample{\msabbralt{hoc}} & hoc & \feature{ss03} & hoc & \\ + \hline + \sample{\msabbralt{lum}} & lum & \feature{ss03} & lum & \\ + \sample{\msabbralt{mur}} & mur & \feature{ss03} & mur & \\ + \sample{\msabbralt{par}} & par & \feature{ss03} & par & \\ + \sample{\msabbralt{Per}} & Per & \feature{ss03} & Per \\ + \sample{\msabbralt{per}} & per & \feature{ss03} & per & \\ + \hline + \sample{\msabbralt{prae}} & prae & \feature{ss03} & prae & \\ + \sample{\msabbralt{Pro}} & Pro & \feature{ss03} & Pro \\ + \sample{\msabbralt{pro}} & pro & \feature{ss03} & pro \\ + \sample{\msabbralt{prop}} & prop & \feature{ss03} & prop \\ + \sample{\msabbralt{qua}} & qua & \feature{ss03} & quaa \\ + \hline + \sample{\msabbralt{quae}} & quae & \feature{ss03} & quae \\ + \sample{\msabbralt{quam}} & quam & \feature{ss03} & quam \\ + \sample{\msabbralt{que}} & que & \feature{ss03} & que \\ + \sample{\msabbralt{qui}} & qui & \feature{ss03} & qui \\ + \sample{\msabbralt{quo}} & quo & \feature{ss03} & quo \\ + \hline + \sample{\msabbralt{ris}} & ris & \feature{ss03} & ris \\ + \sample{\msabbralt{rum}} & rum & \feature{ss03} & rum \\ + \sample{\msabbralt{sec}} & sec & \feature{ss03} & sec & also sed \\ + \sample{\msabbralt{sed}} & sed & \feature{ss03} & sed & also sec \\ + \sample{\msabbralt{ter}} & ter & \feature{ss03} & ter & \\ + \hline + \sample{\msabbralt{tur}} & tur & \feature{ss03} & tur & \\ + \sample{\msabbralt{uer}} & uer & \feature{ss03} & uer \\ + \sample{\msabbralt{us}} & us & \feature{ss03} & us & \\ + \sample{\msabbralt{ver}} & ver & \feature{ss03} & ver + \end{tabular} + \caption{Alternate set of abbreviations.} + \label{tab:alternate_abbr} +\end{table} + + + +\subsection{Abbreviation marks} + +Ghotan used at least five semantically different abbreviation marks +that were written over letters and a few of the symbols have also +variant forms that are used over some specific letters. The basic +marks are: +\begin{center} + \begin{tabular}{cccccccc} + \sampleabbr{\char`\^^^^02dc} & \sampleabbr{\char`\^^^^02c6} & \sampleabbr{\char`\^^^^00b4} & + \sampleabbr{\char`\^^^^02c7} & \sampleabbr{\char`\^^^^030a} \\ + abbreviation & \emph{a}-abbr. & \emph{r}-abbr. & + \emph{ur}-abbr. & \emph{o}-abbr. \\ + \end{tabular} +\end{center} + +\paragraph{Tilde} The tilde is used in three different senses: +\begin{enumerate} +\item to denote that a nasal consonant (\emph{m} or \emph{n}) is left + out; +\item over \emph{p} and \emph{q} it denotes syllables \emph{prae} and + \emph{quae}; and +\item as a general abbreviation mark that is used when the + abbreviation doesn't have a specific notation. +\end{enumerate} + +\begin{center} + \begin{tabular}{lcl} + \sample{omnes} & \aqsample{$\Longrightarrow$} & + \sample{o\mstd{m}es} \\ + \sample{praesul} & \aqsample{$\Longrightarrow$} & + \sample{\msabbr{prae}sul} \\ + \sample{dominus} & \aqsample{$\Longrightarrow$}& + \sample{d\mstd{n}s} + \end{tabular} +\end{center} + +Here the tilde is used in the first sense in \emph{omnes}, the second +in \emph{praesul} and in the third in \emph{dominus}. The mark has a +different form over some letters such as \emph{d} and \emph{r}. +Letters with ascenders use different conventions to represent the +general abbreviation. In \emph{h} and \emph{b} it is replaced by a dot +placed on the right side of the letter, in \emph{l} it forms a +loop at the right top, and in \emph{S} it is a diagonal stroke: +\begin{center} + \begin{tabular}{cccccccc} + \sample{\mstd{d}} & \sample{\rmstd{r}} & \sample{\mstd{b}} & + \sample{\mstd{h}} & \sample{\mstd{l}} & \sample{\mstd{S}} + \end{tabular} +\end{center} + +\paragraph{A-abbreviation} The symbol for \emph{a}-abbreviation is +very close to the tilde but it has two strokes. It represents an +\emph{a} that is left open and squashed flat. It is used to signify +that the abbreviated portion contains an \emph{a} somewhere in it. For +example, +\begin{center} +\begin{tabular}{lcl} + \sample{magna} & \aqsample{$\Longrightarrow$} & + \sample{m\mstda{g}a} \\ + \sample{psalmis} & \aqsample{$\Longrightarrow$} & + \sample{p\mstda{s}} +\end{tabular} +\end{center} + +\paragraph{R-abbreviation} A dot that ends in a short diagonal tail is +used to signify that the abbreviated part contains a letter \emph{r}. +Ghotan used it most often for denoting the \emph{er}-syllable. For +example, \emph{propter} could be use the \emph{r}-abbreviation in two +different ways: +\begin{center} +\begin{tabular}{lcl} + \sample{propter} & \aqsample{$\Longrightarrow$} & + \sample{prop\mstdr{t}} \\ + \sample{propter} & \aqsample{$\Longrightarrow$} & + \sample{propt\mstdr{e}} +\end{tabular} +\end{center} + +The dot has a different form over \emph{u} and \emph{v} where it looks +like a squished and turned tilde and in both cases it denotes the +syllable \emph{ver}: +\begin{center} + \begin{tabular}{lclcccccccccc} + \sample{universitas} & \aqsample{$\Longrightarrow$} & \sample{uni{\msabbr{ver}sitas}} + \end{tabular} +\end{center} + +In the instructions for mass \emph{ver} set in red denotes a versicle +that the officiant sings and that is answered by the choir in +response. + +\paragraph{Ur-abbreviation} Ghotan used a sideways hook over \emph{t} +and \emph{m} to denote the syllables \emph{tur} and \emph{mur}: + +\begin{center} +\begin{tabular}{lcl} + \sample{nocturnus} & \aqsample{$\Longrightarrow$} & + \sample{noc\msabbr{tur}nus} +\end{tabular} +\end{center} + +\paragraph{O-abbreviation} The least used abbreviation mark in +\emph{Missale Aboense}\footnote{That I have noticed.} is a small ring +that usually marks that something with an \emph{o} has been left out. +Ghotan used it in two different \emph{q}-related abbreviations: + +\begin{center} +\begin{tabular}{ccc} + \sample{\msabbr{qvo}} & \sample{\msabbr{quoque}} \\ + quo & quoque +\end{tabular} +\end{center} + +\subsection{Abbreviation glyphs} + +Ghotan had about a dozen special symbols for abbreviations that he +then combined with abbreviation marks and ligatures to create a +large amount of abbreviations for the text. By far the largest +group is the symbols for Latin syllables starting with a \emph{q} with +the next largest being symbols for \emph{p}. I will now go through his +abbreviations in alphabetical order by the base symbol. + +\paragraph{C} The syllable for \emph{con} is abbreviated with a turned +\emph{c} with a cedilla: +\begin{center} + \begin{tabular}{lcl} + \sample{contra} & \aqsample{$\Longrightarrow$} & \sample{\msabbr{con}tra} + \end{tabular} +\end{center} + +This occurs almost exclusively in the first syllable. + +\paragraph{E} Missaali uses the Tironian \emph{et} symbol in place of +an ampersand. The symbol was named so after its inventor Marcus +Tullius Tiro who was Cicero's scribe. +\begin{center} + \begin{tabular}{ccc} + \sample{\&} \\ + \emph{et} + \end{tabular} +\end{center} + +Ghotan used the symbol only for the word \emph{et} and it does not +occur as a part of longer words even though many scribes used it that +way. + +\paragraph{M} There are no special symbols for abbreviating syllables +containing \emph{m} but Ghotan occasionally set \emph{z} in place of +\emph{m}, mimicking the custom of scribes to write the \emph{m} +sideways if it didn't otherwise fit. This form is used only at the end +of the word and it is quite rare. For example, in one place +\emph{alligatam} is written as: +\begin{center} + \sample{alligataz} +\end{center} + +In manuscripts this form was used almost exclusively at the end of a +line, but Ghotan used it also in the middle of line in places where +the word was followed by punctuation. + +\paragraph{P} Three symbols based on \emph{p} occur in \emph{Missale}. +Two of them are very common and they correspond with syllables +\emph{per} and \emph{pro} while the 'squirrel tailed' \emph{prae} is +uncommon as the syllable is usually represented by \emph{p} tilde. Two +of the symbols have capital letter versions: +\begin{center} +\begin{tabular}{cccccccc} + \sample{\msabbr{Per}} & \sample{\msabbr{per}} & + \sample{\msabbr{Pro}} & \sample{\msabbr{pro}} & + \sample{\msabbr{præ}/\msabbr{prae}} \\ + Per/Por & per/por & Pro & pro & prae \\ +\end{tabular} +\end{center} + +There's a ligature for \emph{pro} and \emph{p}. For example, the word +\emph{prophete} is often abbreviated as: +\begin{center} + \begin{tabular}{lclcccccccc} + \sample{prophete} & \aqsample{$\Longrightarrow$} & + \sample{\msabbr{prop}\mstd{h}e} + \end{tabular} +\end{center} + + +\paragraph{Q} There are three different abbreviation symbols based on +the letter \emph{q} and they are combined with abbreviation marks to +create more. In addition to the three that Ghotan used, I added a +fourth symbol as a ligature even though Ghotan set it with two +separate slugs of type.\footnote{Handling ligatures in OpenType + features is a bit simpler than handling separate glyphs.} The +\emph{q}-based symbols are:\label{pg_que} + +\begin{center} + \begin{tabular}{cccccccccccc} + \sample{\msabbr{que}} & & \sample{\msabbr{quod}} & & + \sample{\msabbr{quo}} & & \sample{\msabbr{quia}} \\ + que & & quod & & quo & & quia + \end{tabular} +\end{center} +Here \emph{quia} is my addition and Ghotan used ordinary \emph{q} and +\emph{r} rotunda to set it. The composed \emph{q}-based abbreviations +are: +\begin{center} +\begin{tabular}{cccccccccccc} + \sample{\msabbr{quae}} & \sample{\msabbr{qvo}} & + \sample{\msabbr{qua}} & +\sample{\msabbr{qui}} & \sample{\msabbr{quoque}} & + \sample{\msabbr{quam}} & \sample{\msabbr{quid}} \\ +quae & quo & qua & qui & quoque & quam & quid \\ +\end{tabular} +\end{center} + +It is very easy to confuse \emph{quae} with \emph{qua} and \emph{quam} +with \emph{quid} as in both cases the only difference is the shape of +the tilde. + +Ghotan had two different ways to abbreviate \emph{quo} and \emph{quod} +and it is not clear to me how he chose which form to use: +\begin{center} + \begin{tabular}{lcl} + \sample{quo} & \aqsample{$\Longrightarrow$} & + \sample{\msabbr{quo}/\msabbr{qvo}} \\ + \sample{quod} & \aqsample{$\Longrightarrow$} & \sample{\msabbr{quod}/\msabbr{qvod}} + \end{tabular} +\end{center} + +\paragraph{R} There are two \emph{r}-based abbreviations but one of +them occurs amost exclusively in the instructions for the mass:\label{pg_response} +\begin{center} + \begin{tabular}{cccccccccc} + \sample{\msabbr{rum}} & & \sample{\mstdl{r}} \\ + -rum & & response + \end{tabular} +\end{center} + +Both of them are essentially the same symbol that denotes the suffix +\emph{rum}, but one of them is based on the straight \emph{r} and the +other in small caps rotunda. A red response symbol is very common in +the instructions, but it occurs in the text set in black in a handful +of places where it means \emph{respondit}. Ghotan did not use lower +case \emph{rum} rotunda and instead set the straight \emph{rum} after +all letters. + +The straight \emph{rum} was used also in some other abbreviations. For +example, the Easter litany of saints uses it to ask each saint to pray +for us: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{ora pro nobis} & \aqsample{$\Longrightarrow$} & \sample{O\msabbr{rum}} + \end{tabular} +\end{center} + +\paragraph{S} The word \emph{sed} is denoted by the eszet \emph{ß} +ligature: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{\msnoliga{se}d} & \aqsample{$\Longrightarrow$} & \sample{\msabbr{sed}} + \end{tabular} +\end{center} + +In some places the same symbol is used also for other syllables +starting with \emph{se-}. It is notable that Ghotan did not use it to +represent double \emph{s} in any place. + +He had also an \emph{se} ligature that he occasionally used that I +have decided to interpret as an abbreviation symbol as it is not used +consistently: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{se} & \aqsample{$\Longrightarrow$} & \sample{\msabbr{se}} + \end{tabular} +\end{center} + + + +\paragraph{U} There are two different symbols for the syllable +\emph{-us} that are used for different grammatical endings: +\begin{center} +\begin{tabular}{cccccccccc} + \sample{\msabbr{vs}} && \sample{\msabbr{us}} \\ + Dative && Other \\ + suffix \emph{us} && suffix \emph{us}. +\end{tabular} +\end{center} + +The dative suffix \missaali{\msabbr{vs}} occurs also in words that end +in \emph{-bus} even if they are in a different case. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{{deus}} & \aqsample{$\Longrightarrow$} & + \sample{\msabbr{deus}} \\ + \sample{{omnibus}} & \aqsample{$\Longrightarrow$} & + \sample{omni\msabbr{bus}} \\ + \sample{{tribus}} & \aqsample{$\Longrightarrow$} & + \sample{tri\msabbr{bus}} \\ + \end{tabular} +\end{center} + + +\paragraph{V} The only specific symbol based on~\emph{V} is used only +to denote versicle and it is set in red in all places: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{\mstdl{v}} \\ + versicle + \end{tabular} +\end{center} + +\subsection{Other abbreviation symbols} + +Missaali has several abbreviation symbols that don't occur in +\emph{Missale Aboense} but that were in use when it was printed. These +abbreviations are enabled using other OpenType features and are shown +in table~\ref{tab:other_abbrs}. Most of them represent the suffix +\emph{-um} that is denoted by adding a diagonal stroke to a base letter. + +\begin{table} + \centering + \begin{tabular}{clcllccccc} + \multicolumn{5}{l}{\textbf{Abbreviations with specific meanings}}\\ + Symbol & Meaning & Feat & Entering & Notes \\ + \hline + \sample{\msabbra{dum}} & dum & \feature{ss02} & dum & \\ + \sample{\msabbra{is}} & is & \feature{ss02} & is & \\ + \sample{\msabbra{mum}} & mum & \feature{ss02} & mum & \\ + \sample{\msabbra{num}} & num & \feature{ss02} & num & \\ + \sample{\msabbra{par}} & par & \feature{ss02} & par \\ + \sample{\msabbra{que}} & que & \feature{ss02} & que & \\ + \sample{\msabbra{qve}} & que & \feature{ss02} & qve & \\ + \sample{\msabbra{rum}} & rum & \feature{ss02} & rum & rum + rotunda \\ + \sample{\msabbra{sunt}} & sunt & \feature{ss02} & sunt \\ + \sample{\msabbra{sm}} & sm & \feature{ss02} & sm \\ + \end{tabular} + \caption{Other abbreviation symbols} + \label{tab:other_abbrs} +\end{table} + +\paragraph{D} The syllable \emph{dum} at the end of a word was +occasionally abbreviated by adding a diagonal stroke to \emph{d}: + +\begin{center} + \begin{tabular}{c} + \sample{\msabbra{dum}} \\ + \emph{dum} + \end{tabular} +\end{center} + + +\paragraph{M} The syllable \emph{mum} was abbreviated in the same way +by adding a diagonal stroke: + +\begin{center} + \begin{tabular}{c} + \sample{\msabbra{mum}} \\ + \emph{mum} + \end{tabular} +\end{center} + + +\paragraph{N} The syllable \emph{num} was abbreviated in the same way +by adding a diagonal stroke: + +\begin{center} + \begin{tabular}{c} + \sample{\msabbra{num}} \\ + \emph{num} + \end{tabular} +\end{center} + + +\paragraph{P} Adding a dieresis on top of \emph{p} was a common way to +represent \emph{par}. It is a bit surprising that it does not occur in +\emph{Missale Aboense}. + +\begin{center} + \begin{tabular}{c} + \sample{\msabbra{par}} \\ + \emph{par} + \end{tabular} +\end{center} + +\paragraph{Q} The syllable \emph{que} could be abbreviated in many +different ways. Missaali contains two additional ways in addition to +Ghotan's convention shown on page~\pageref{pg_que}. Simpler gothic +scripts as well as early books printed in the roman type often used a +semicolon after \emph{q} for the syllable, and some abbreviation +conventions (including Ghotan's one for small size script) used a +diaresis over~\emph{q}: + +\begin{center} + \begin{tabular}{ccc} + \sample{\msabbra{que}} & & \sample{\msabbra{qve}} \\ + \emph{que} & & \emph{que} + \end{tabular} +\end{center} + +\paragraph{R} Ghotan didn't use rotunda version of \emph{rum} except +for the response\footnote{See page \pageref{pg_response}.} but it was +in a common use at the time. + +\begin{center} + \begin{tabular}{ccc} + \sample{\msabbra{rum}} \\ + \emph{rum} + \end{tabular} +\end{center} + +\paragraph{S} There are three additional symbols based on the long +\emph{s}. The syllable \emph{is} adds a loop to it, \emph{sm} a high +horizontal stroke, and \emph{sunt} a diagonal stroke: + +\begin{center} + \begin{tabular}{ccccccc} + \sample{\msabbra{is}} & & + \sample{\msabbra{sm}} & & + \sample{\msabbra{sunt}} \\ + \emph{is} & & + \emph{sm} & & + \emph{sunt} + \end{tabular} +\end{center} + + +\section{Old Finnish Ortography} + +Missaali has support for typesetting Finnish using late 17th century +ortographical conventions. It is anachronistic as textura was no +longer in use at the time as it had been replaced by swabacher and +fraktur during the 16th century. + +Finnish was not a written language when \emph{Missale Aboense} was +printed. Latin was the educated language, and everyday matters were +written in Swedish or German. Surviving Finnish texts are few and +almost all are translations of prayers. + +The first long texts in Finnish were written by Mikael Agricola in the +16th century. He was the reformer of Finland and he translated the New +Testament and large parts of the Old to Finnish. His texts are very +difficult to read nowadays, as he based his ortography on Latin, +Swedish, and German, all languages very different from Finnish. Over +time it became evident that the written language should be +systematized. This happened with the 1642 Bible translation, \emph{Se + Coco Pyhä Ramatu}. This translation fixed the way Finnish was +written for 150 years, and there were only small changes until the +early 19th century. + +Missaali has an OpenType feature (\feature{ss16}, \feature{ordn}) that +implements a number of contextual substitutions for cases where the +1642 Bible systematically used characters that are different from +modern Finnish. + +\paragraph{\emph{K}} + +The most complex phoneme in 1642 was \emph{K}. Mikael Agricola had +eight different ways to represent it in different contexts, and the +translators cut it down to five. The rules for its use were: + +\begin{enumerate} +\item In most cases it is written with \emph{c}: + {\fontspec{Missaali:+ss16}kansa}, {\fontspec{Missaali:+ss16}katko}; + +\item Before a front vowel (\emph{e}, \emph{i}, \emph{y}, \emph{ä}, + \emph{ö}) it is \emph{k}: {\fontspec{Missaali:+ss16} käpy}, + {\fontspec{Missaali:+ss16} kiire}; + +\item Double \emph{k} is written \emph{ck}: {\fontspec{Missaali:+ss16} sakko}, + {\fontspec{Missaali:+ss16} takki}; + +\item Combination \emph{ks} is written with \emph{x}: + {\fontspec{Missaali:+ss16} yksi}, {\fontspec{Missaali:+ss16} suksi}; + +\item After letters \emph{n} and \emph{l} it is replaced by \emph{g}: + {\fontspec{Missaali:+ss16} lanka}, {\fontspec{Missaali:+ss16} jalka}; + +\end{enumerate} + +There were a few combinations where these rules were not always +followed. If a word started with \emph{Sk}, it was occasionally +written with \emph{k} even if the next letter was a back vowel: +\missaali{Skåne}, \missaali{Skoulu}. Some writers continued the +medieval tradition of using \emph{q} in front of the diftong +\emph{ui}: \missaali{quin}, \missaali{quinga}. + +\paragraph{\emph{S}} The short \missaali{s} was used according to the +word-final convention, so it was short only at the end of the word or +at the end of the first part of a compound word. This is the default +behavior of Missaali but it differs from the 19th century black letter +conventions. + +Marking the double \emph{s} was inconsistent and a text might use +different ways to the same word in different parts of the text. The +three options were: + +\begin{enumerate} +\item using the eszet ligature: \missaali{kißa}; + +\item using the long \missaali{ſ} for both: \missaali{kissa}; or + +\item using only one long \missaali{ſ}: \missaali{kisa}. +\end{enumerate} + +The combination \emph{ts} was usually written using the \emph{tz} +ligature. Missaali does not have it in its set of characters, but the +feature still replaces \emph{ts} with \emph{tz}: +{\fontspec{Missaali:+ss16} katse}, {\fontspec{Missaali:+ss16} Ruotsi}. + +\paragraph{Ä and Ö} The letters \emph{ä} and \emph{ö} were written +with \emph{æ} and \emph{œ} ligatatures, except that the \emph{e} was +written over the original letter: {\fontspec{Missaali:+ss16}ä}, +{\fontspec{Missaali:+ss16}ö}. The modern convention of using two dots +gained prevalence in the early decades of the 19th century. + + +\paragraph{Consonant softening} It was mentioned above that \emph{k} +was replaced with \emph{g} in combinations \emph{nk} and \emph{lk}. +The letters \emph{t} and \emph{p} were similarly softened in some +contexts: + +\begin{enumerate} +\item Combinations \emph{lt} and \emph{nt} were written as \emph{ld} + and \emph{nd}: {\fontspec{Missaali:+ss16} kulta}, +{\fontspec{Missaali:+ss16} lintu}; and + +\item The combination \emph{mp} was written \emph{mb}: + {\fontspec{Missaali:+ss16} ompi}. + +\end{enumerate} + +\paragraph{\emph{V} and \emph{W}} The letter \emph{v} is never used +when setting Finnish in black letter and a \emph{w} is always used in +its place, even in names: {\MsOldFinnishStyle \missaali{kasvi}}, +{\MsOldFinnishStyle \missaali{Vaasa}}, +{\MsOldFinnishStyle\missaali{Olavi}}. However, if the name is in a +different language, it is written as in the original language: +\missaali{Verdun}, \missaali{Riviera}. + +\paragraph{Comma} + +A virgule was used instead of a comma: {\fontspec{Missaali:+ss16},}. + +\paragraph{Sound length} + +In principle the sound length was marked the same way as in modern +Finnish, that is, a long sound is written with a doubled letter, but +its use was inconsistent. Missaali does not try to alter the sound +lengths, but if you want to emulate the 17th century conventions by +hand, you can follow the following three rules: + +\begin{enumerate} +\item if the sound length changes the meaning of the word, then it is + marked. For example, \missaali{tuli} and \missaali{tuuli} are + always written with the correct vowel length; + +\item a long vowel that occurs in the first syllable is always marked: + \missaali{päällä}. + +\item otherwise, if there is no possibility of confusion, the sound is + often written with only one letter. For example, + {\fontspec{Missaali:+ss16}viisaks} instead of + {\fontspec{Missaali:+ss16}viisaaks} and + {\fontspec{Missaali:+ss16}puhtaks} instead of + {\fontspec{Missaali:+ss16}puhtaaks}.\footnote{The final \emph{i} is + missing from both words as the most writers used the Turku dialect + and the dialect has lost it from the transitive suffix.} +\end{enumerate} + + +\section{OpenType Features} +\label{pg:features_start} + +This section describes the OpenType features of Missaali. Many of the +features have secondary names and these names do not usually +correspond with the standard behavior of those features. This is +because this font is intended for special uses and there are no +standard tags for describing its behaviors. Abusing the existing +standard tags is the only way to get the features to work in programs +that do not support arbitrary tags. + +The features implementing abbreviation marks have two additional names +defined for them. This is because of how the current version of the +\texttt{fontspec} package of XeLaTeX works. The problem is that +turning features on and off blocks the contexts of contextual +substitutions, which means that the rules for \emph{r}-rotunda do not +work correctly. I had to split the abbreviation mark features into two +because of this, one feature that adds the symbols to everything +except \emph{r} and another that adds it just to \emph{r}. See +page~\pageref{pg:fontspec_problems} for details. + + +\paragraph{\feature{aalt} — All alternatives} + +This tag maps all letters to all variant forms and abbreviations that +make use of the symbol. This is a special feature that is supported by +some programs. However, none of those that I have easy access to +supports it, this isn't debugged and it may or may not work. + +\paragraph{\feature{calt} — Contextual alternatives} + +The \feature{calt} tag defines the substitution rules for long +\emph{s} and rotunda \emph{r}. The tag implements the rules in the +form that Bartholomew Ghotan used them that differ from the standard +rules of later typography. This feature should be turned on unless you +specifically want to follow more modern conventions. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{{\addfontfeature{RawFeature=-calt}Missaali}} & + \sample{Missaali} \\ + \feature{-calt} &\feature{+calt} \\ + \end{tabular} +\end{center} + +There is a duplicate version of the short \emph{s} glyph in the font +that you can use if you want to insert one in the middle of a word +without turning \feature{calt} off. It is at the position +\texttt{U+F509}, and similarly there is a straight \emph{r} at +\texttt{U+F4EB}. + +Some old versions of MS Word provide only partial support for +\feature{calt}: they substitute the characters but do not change the +spacing within the word, so a long \emph{s} is shown with the spacing +of a short \emph{s}. + +\paragraph{\feature{dlig} — Ghotan's abbreviations} + +Most of Bartholomew Ghotan's abbreviations for Latin are enabled with +\feature{dlig}. The table~\ref{tab:ghota_abbr} on +page~\pageref{tab:ghota_abbr} contains a list of them. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{que, hoc, urbis} & \sample{\msabbr{que, hoc, urbis}} \\ + \feature{-dlig} & \feature{+dlig} + \end{tabular} +\end{center} + +\paragraph{\feature{hist}, \feature{swsh} — Historical forms} + + +This form changes the \emph{æ}, \emph{œ}, \emph{ä}, and \emph{ö} +characters to medieval forms where \emph{e} is set over the top of +\emph{a} or \emph{o}. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{ä, æ, ö, œ} & \sample{{\addfontfeature{RawFeature=+hist;} + ä, æ, ö, œ}} \\ + \feature{-hist} & \feature{+hist} + \end{tabular} +\end{center} + +\paragraph{\feature{liga} — Standard ligatures} + +The feature \feature{liga} implements the standard ligature +substitution. This implements the fusion of bowls of adjacent letters +as well as several substitutions for \emph{f} and long \emph{s}. This +should usually be turned on for the whole document. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{\msnoliga{deus}} & \sample{deus} \\ + \feature{-liga} & \feature{+liga} + \end{tabular} +\end{center} + +\paragraph{\feature{ss01}, \feature{subs} — Scandinavian vowel + ligatures} + +Nordic texts often used fused vowels to denote either long vowels or +diphtongs. These fusions are not present in \emph{Missale Aboense}, +but I added them to the font: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{aa, ao} & + \sample{{\addfontfeature{RawFeature=+ss01}aa, ao}} \\ + \feature{-ss01} & \feature{+ss01} + \end{tabular} +\end{center} + +\paragraph{\feature{ss02}, \feature{ornm} — Additional abbreviations} + +This feature enables some abbreviations that are not in \emph{Missale + Aboense}. The details are shown in table~\ref{tab:other_abbrs}. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{mum, sm, que} & + \sample{{\addfontfeature{RawFeature=+ss02}mum, sm, que}} \\ + \feature{-ss02} & \feature{+ss02} + \end{tabular} +\end{center} + +\paragraph{\feature{ss03}, \feature{frac} — Alternate abbreviations} + +This set works like \feature{dlig} but it uses a different +abbreviations for some letter combinations. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{que, con, habet} & \sample{\addfontfeature{RawFeature=+ss03}{que, con, habet}} \\ + \feature{-ss03} & \feature{+ss03} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss04}, \feature{salt}, \feature{lt04}, \feature{lr04} — Generic abbreviations} + +This feature adds a generic abbreviation symbol on the top of a letter +or ligature. For most of the letters it uses a tilde, but some letters +use something different. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{a, h, l, do, r, d} & + \sample{\addfontfeature{RawFeature=+ss04}{a, h, l, do, r,d }} \\ + \feature{-ss04} & \feature{+ss04} + \end{tabular} +\end{center} + +\paragraph{\feature{ss05}, \feature{lt05}, \feature{lr05} — Tilde} Adds a tilde on top of most +letters. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{a, n, q, r} & + \sample{\addfontfeature{RawFeature=+ss05}{a, n, q, r}} \\ + \feature{-ss05} & \feature{+ss05} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss06}, \feature{lt06}, \feature{lr06} — Dieresis} Adds a dieresis on top of most +letters. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{a, x, r, z} & + \sample{\addfontfeature{RawFeature=+ss06}{a, x, r, z}} \\ + \feature{-ss06} & \feature{+ss06} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss07}, \feature{lt07}, \feature{lr07} — + R-abbreviation} Adds an \emph{r}-abbreviation over most letters. +Note that in this font the acute accent is used to mark the +\emph{r}-abbreviation tailed dot. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{a, e, t} & + \sample{\addfontfeature{RawFeature=+ss07}{a, e, t}} \\ + \feature{-ss07} & \feature{+ss07} + \end{tabular} +\end{center} + +\paragraph{\feature{ss08}, \feature{lt08}, \feature{lr08} — Shorter + tilde} Adds a shorter tilde over most letters. Ghotan used this +occasionally in places where a normal tilde would have not fit well, +most often over \emph{i}. In this font this is implemented as a grave +accent: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{e, i, u} & + \sample{\addfontfeature{RawFeature=+ss08;}{e, i, u}} \\ + \feature{-ss08} & \feature{+ss08} + \end{tabular} +\end{center} + +Note that in case of letters where the normal tilde is already short, +it uses the same symbol as \feature{ss05} + + + +\paragraph{\feature{ss09}, \feature{onum}, \feature{lt09}, \feature{lr09} — A-abbreviation} Adds a +squashed open \emph{a} that looks like a two-part tilde over most +letters. This marks that something containing an \emph{a} has been +abbreviated out: +\begin{center} + \begin{tabular}{cccccccccc} + \sample{g, s, q} & + \sample{\addfontfeature{RawFeature=+ss09;}{g, s, q}} \\ + \feature{-ss09} & \feature{+ss09} + \end{tabular} +\end{center} +This mark is implemented as the circumflex accent. + + +\paragraph{\feature{ss10}, \feature{lt10}, \feature{lr10} — O-abbreviation} + +Adds a ring over most letters. This denotes that something containing +an \emph{o} is abbreviated out. This is implemented as the ring accent. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{q, u} & + \sample{\addfontfeature{RawFeature=+ss10;}{q, u}} \\ + \feature{-ss10} & \feature{+ss10} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss11}, \feature{sups} — Um-abbreviation} + +This feature adds a diagonal slash to some letters that is in most +contexts used for abbreviating \emph{um}. The only one of these that +occurs in \emph{Missale Aboense} is straight \emph{rum}. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{k, d, r, R} & + \sample{\addfontfeature{RawFeature=+ss11;}{k, d, r, R}} \\ + \feature{-ss11} & \feature{+ss11} + \end{tabular} +\end{center} + +As you can see from the example, this feature turns capital \emph{R} +into \emph{rum} rotunda. + +\paragraph{\feature{ss12}, \feature{lt10}, \feature{lr10} — Ur-abbreviation} Adds a hook that denotes +\emph{ur} over most letters. This is implemented as the caron accent. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{m, t} & + \sample{\addfontfeature{RawFeature=+ss12;}{m, t}} \\ + \feature{-ss12} & \feature{+ss12} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss13} — Horizontal strike} Adds a horizontal stroke +to some letters. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{k, p, q} & + \sample{\addfontfeature{RawFeature=+ss13;}{k, p, q}} \\ + \feature{-ss13} & \feature{+ss13} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss14} — Loop} Adds a loop to some letters. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{s l o} & + \sample{\addfontfeature{RawFeature=+ss14;}{s l o}} \\ + \feature{-ss14} & \feature{+ss14} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss15}, \feature{smcp} — Liturgical symbols} +Changes some of the letters into liturgical symbols used in +\emph{Missale Aboense}. +\begin{center} + \begin{tabular}{ccccccccc} + \sample{. r v V } & \sample{\addfontfeature{RawFeature=+ss15;}{. + r v V}} \\ + \feature{-ss15} & \feature{+ss15} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss16}, \feature{ordn}, \feature{ofin} — Old Finnish ortography} + +This changes text to correspond to syntactic conventions that were in +use in late 17th century Finnish texts (the so-called \emph{1642 Bible + Translation} ortograhpy).\footnote{The Finnish translation of + \emph{In Catalinam} in the following example is by K.~Laurila \cite{laurila}.} + +\begin{center} + \begin{tabular}{lp{8cm}} + Input & + Kuinka pitkälle aijot sinä, Catilina, käyttää väärin meidän + kärsivällisyyttämme? Kuinka kauvan luulet sinä vielä voivasi + hurjuudessasi pitää meitä pilkkana? Mihin määrään saakka kohoo + sinun rajaton röyhkeytesi? \\ + \feature{+ss16}& + \begin{minipage}{8.5cm} + {\sample{\addfontfeature{RawFeature=+ss16} + \spaceskip0.2em plus 0.1 em minus 0.05em + Kuinka pitkälle + aijot sinä, Catilina, käyttää väärin meidän + kärsivälli\-syyttämme? Kuinka kauvan luulet sinä vielä + voivasi \mbox{hurjuudessasi pi-} + tää meitä pilkkana? Mihin + mää\-rään saakka kohoo sinun rajaton röyhkeytesi?}} + \end{minipage} + \end{tabular} +\end{center} + +\paragraph{\feature{ss17} — Alternate punctuation} + +Replaces comma by colon, period by centered period and the exclamation +sign by period. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{, . ! } & \sample{\addfontfeature{RawFeature=+ss17;}{, . + !}} \\ + \feature{-ss17} & \feature{+ss17} + \end{tabular} +\end{center} + +\paragraph{\feature{ss18} — Fuse po} +Enables the \emph{po} fusion. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{po} & \sample{\addfontfeature{RawFeature=+ss18;}{po}} \\ + \feature{-ss18} & \feature{+ss18} + \end{tabular} +\end{center} + +\paragraph{\feature{ss19} — Alternative z} + +Use alternative form for \emph{z}. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{z} & \sample{\addfontfeature{RawFeature=+ss19;}{z}}\\ + \feature{-ss19} & \feature{+ss19} + \end{tabular} +\end{center} + +\paragraph{\feature{ss20}, \feature{titl} — Initials} + +Turn capital letters into Lombardic initials + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{A B C} & \sample{\addfontfeature{RawFeature=+ss20;}{A B + C}} \\ + \feature{-ss20} & \feature{+ss20} + \end{tabular} +\end{center} + +\paragraph{\feature{ss21}, \feature{lt21}, \feature{lr21} — Dotaccent} +Adds a dot to most letters. + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{b o v} & + \sample{\addfontfeature{RawFeature=+ss21;}{b o v}} \\ + \feature{-ss21} & \feature{+ss21} + \end{tabular} +\end{center} + + +\paragraph{\feature{ss22} — Alternate G} +Use alternative form for \emph{G}. +\begin{center} + \begin{tabular}{cccccccccc} + \sample{G} & + \sample{\addfontfeature{RawFeature=+ss22;}{G}} \\ + \feature{-ss22} & \feature{+ss22} + \end{tabular} +\end{center} + +\paragraph{\feature{ss23} — Alternate initials} + +Changes some of the Lombardic initials into their alternate forms: + +\begin{center} + \begin{tabular}{cccccccccc} + \sample{A D S} & \sample{\addfontfeature{RawFeature=+ss23;}{A D S}} \\ + \feature{-ss23} & \feature{+ss23} + \end{tabular} +\end{center} + + + +\label{pg:features_end} + +\section{LaTeX interface} + +\label{pg:latex_start} + +\newcommand{\ltxenv}[1]{\texttt{#1}} +\newcommand{\ltxncmd}[1]{\texttt{\textbackslash{}#1}} +\newcommand{\ltxcmd}[2]{\texttt{\textbackslash{}#1\{#2\}}} +\newcommand{\ltxcmdtwo}[3]{\texttt{\textbackslash{}#1\{#2\}\{#3\}}} +\newcommand{\ltxcmdthree}[4]{\texttt{\textbackslash{}#1\{#2\}\{#3\}\{#4\}}} +\newcommand{\ltxcmdfour}[5]{\texttt{\textbackslash{}#1\{#2\}\{#3\}\{#4\}\{#5\}}} + + +The file \texttt{missaali.sty} defines the package \texttt{missaali} +that contains a number of convenience environments and macros for +using the font together with XeLaTeX. All features of the font are +available with the system, but accessing some of them is a bit +cumbersome. This is partly because of how \texttt{fontspec} works and +partly because the TeX typesetting algorihms are intended for modern +typesetting conventions. + +\paragraph{The problem with \texttt{fontspec} contexts} + +\begin{figure} + \centering \fbox{\begin{tabular}{llll} + \multicolumn{2}{l}{Problem} & \multicolumn{2}{l}{Solution} \\ + \hline \multicolumn{2}{l}{Short \missaali{s} in place of + \missaali{ſ}} & + \multicolumn{2}{l}{Move \emph{s} inside the macro:} \\ + &\sample{concurs\msabbr{us}} & &\sample{concur\msabbr{sus}} \\ + &\texttt{concurs\ltxcmd{msabbr}{us}} & + & \texttt{concur\ltxcmd{msabbr}{sus}} \\ + \\ + \multicolumn{2}{l}{Straight \emph{r} after initial} & + \multicolumn{2}{l}{Use + \ltxcmd{rotundar}{}} \\ + & \sample{\msparinitial{P}ro} & & \sample{\msparinitial{P}\rotundar{}o} + \\ + & \texttt{\ltxcmd{msparinitial}{P}ro} & & \texttt{\ltxcmd{msparinitial}{P}\ltxcmd{rotundar}{}o}\\ + \\ + \multicolumn{2}{l}{Straight \emph{r} after abbreviation} & + \multicolumn{2}{l}{Move \emph{r} inside macro} \\ + & \sample{\msabbr{per}ry c\mstdr{u}ru} & & + \sample{\msabbr{perr}y c\mstdr{ur}u} \\ + &\texttt{\ltxcmd{msabbr}{per}ry c\ltxcmd{mstdr}{u}ru} & & + \texttt{\ltxcmd{msabbr}{perr}y c\ltxcmd{mstdr}{ur}u} \\ + \\ + \multicolumn{2}{l}{Missing mark over \emph{r}} & + \multicolumn{2}{l}{Use the \emph{r} versions of macros} + \\ + & \sample{m\mstd{r}is co\mstd{r}s} & & + \sample{m\rmstd{r}is c\rmstd{or}s} \\ + & \texttt{m\ltxcmd{mstd}{r}is co\ltxcmd{mstd}{r}s} & & + \texttt{m\ltxcmd{rmstd}{r}is c\ltxcmd{rmstd}{or}s} \\ + \end{tabular}} + \caption{Solving the LaTeX \texttt{fontspec} problems.} + \label{pg:fontspec_problems} +\end{figure} + + +Missaali has contextual substitutions where different forms of letters +are substituted based on where in the word they occur. The most +important of these are the rotunda \emph{r} and the long \emph{s}. The +current version of \texttt{fontspec}\footnote{Version 2.3c in Texlive + 2013} has the problem that the feature boundaries break the +substitution contexts. This happens with abbreviation symbols as well +as when using colored initials. For example, here are three different +ways to write \emph{usque}:\footnote{Command \ltxcmd{msabbr}{}{} is a + macro that enables the abbreviation ligatures defined by + \feature{dlig}.} + +\begin{center} + \begin{tabular}{lcl} + \sample{usque} & & \texttt{usque} \\ + \sample{us\msabbr{que}} & & \texttt{us\ltxcmd{msabbr}{que}} \\ + \sample{u\msabbr{sque}} & & \texttt{u\ltxcmd{msabbr}{sque}} + \end{tabular} +\end{center} + +Here the middle line has short \emph{s} because \texttt{fontspec} +broke the context at the point where the abbreviation starts so it +thinks that the \emph{s} is occurring at the end of the word. The last +line has the correct long \emph{s} because it is moved inside the +\ltxcmd{msabbr}{} command so it belongs to the same context. Since +\emph{s} does not have any abbreviation marks defined for it and +\emph{sed} is the only abbreviation ligature starting with it, moving +it inside the macros don't cause any problems. + +However, doing the same for \emph{r} does cause problems because it +has abbreviation marks. Moving~\emph{r} to the same context will force +both symbols to have the same mark. The solution that Missaali uses is +to define two additional features for each abbreviation mark feature, +one that abbreviates only~\emph{r} and another for all other letters: + +\begin{itemize} +\item \feature{ssXX} — the base feature that adds abbreviation symbol + to all letters; +\item \feature{ltXX} — adds abbreviation to all letters except \emph{r} +\item \feature{lrXX} — adds abbreviation only to \emph{r}. +\end{itemize} + +For example, the behavior of the standard abbreviation macros is: +\begin{center} + \begin{tabular}{ccccccc} + \sample{or} & & \sample{\addfontfeature{RawFeature=+ss04}or} & & + \sample{\mstd{or}} & & \sample{\rmstd{or}} \\ + Normal & & \feature{ss04} & & \feature{lt04} & & \feature{lr04} + \end{tabular} +\end{center} + +The package has two versions of for all abbreviation marks, one using +the \feature{ltXX} feature and another using \feature{lrXX}. + +\subsection{Typesetting Textura Blocks} + +Textura was set using two justified columns with only 24–26 characters +per line. Automatic typesetting algorithms, including the one used by +TeX, work very poorly with justified short lines. It is necessary to +help the algorithm by selecting suitable line break points and +hyphenating words by hand. Using abbreviations makes setting the lines +a bit easier, but the cost is that the modern audience will not +understand them. + +The style file defines four environments: \ltxenv{mstextura}, +\ltxenv{mstexturablocks}, and \ltxenv{mstexturablock} for setting the +text. The first sets complete two-column pages in Missaali, the second +sets two-column Missaali that is intended to fit inside one page that +may contain also modern typography, and the last sets one column of +text that is intended to fit inside one page. + +The environments make the following changes to the ordinary TeX +layout:\label{pag:environments} +\begin{enumerate} +\item they turn on the \ltxncmd{obeylines} so that LaTeX will force a + line break at newlines of the text; +\item they add infinitely stretchable glue to the word space to force + justification; and +\item they add space also to the left side of punctuation symbols. +\end{enumerate} + +When \ltxncmd{obeylines} is in effect, LaTeX doesn't hyphenate any +words automatically so all hyphenations have to be added by hand. + +When setting text with Missaali, I've used the following approach: + +\begin{enumerate} +\item Set the font and textura block sizes. + +\item Set the beginning of the text by placing possible rubrics in red + at the start as well as the two first lines that contain the + initial. + +\item Go down through the text block adding line breaks to good places + if XeLaTeX puts them in ugly places. + +\item Further adjust the text by adding hyphenation points manually as + well as abbreviation symbols. + +\item If the text ends with a partial line, go back few lines altering + them so that the last line is also full. +\end{enumerate} + +\subsection{Defining Font and Block Sizes} + +There are four parameters that alter the layout of textura blocks. + +\begin{itemize} +\item font size (default 18 pt); +\item text block width (default 6.4 cm); +\item text block height (default 34 lines); and +\item width of the gutter between columns (default 1 cm). +\end{itemize} + +The first two affect all three textura environments, the third only +\ltxenv{mstextura} and the last affects environments with two columns. +Each parameter has a macro for defining its value, and there is a +combined macro for setting the first three at one time. See +figure~\ref{fig:text_sizes} for examples. + +\begin{figure} + \centering + \begin{tabular}{ll} + & \begin{minipage}{15cm} + {\mssetfontsize{22} + \mssetblockwidth{7.70cm} + \begin{mstexturablock} + Nihilne te noc\msabbr{tur}num \msabbr{prae}sidium + Palati, nihil urbis vigiliae, + nihil timor populi, nihil con- + cur\msabbr{sus} bonorum omnium, nihil + \end{mstexturablock}} + \end{minipage}\\ + \\ +& \begin{minipage}{15cm} +\begin{verbatim} + \mssetfontsize{22} + \mssetblockwidth{7.70cm} + \begin{mstexturablock} + Nihilne te noc\msabbr{tur}num \msabbr{prae}sidium + Palati, nihil urbis vigiliae, + nihil timor populi, nihil con- + cur\msabbr{sus} bonorum omnium, nihil + \end{mstexturablock} +\end{verbatim} + \end{minipage}\\ + \\ + & \begin{minipage}{15cm} + {\mssetfontsize{18} + \mssetblockwidth{6.40cm} + \begin{mstexturablock} +Nihilne te noc\msabbr{tur}num \msabbr{prae}sidium + Palati, nihil urbis vigiliae, + nihil timor populi, nihil con- + cur\msabbr{sus} bonorum omnium, nihil + \end{mstexturablock}} + \end{minipage} \\ + \\ +& \begin{minipage}{15cm} +\begin{verbatim} + \mssetfontsize{18} + \mssetblockwidth{6.40cm} + \begin{mstexturablock} + Nihilne te noc\msabbr{tur}num \msabbr{prae}sidium + Palati, nihil urbis vigiliae, + nihil timor populi, nihil con- + cur\msabbr{sus} bonorum omnium, nihil + \end{mstexturablock} +\end{verbatim} + \end{minipage}\hfill\\ + \end{tabular} + \caption{Examples of text size macros} + \label{fig:text_sizes} +\end{figure} + +\paragraph{\ltxcmd{mssetfontsize}{size in points}} + +This sets the font size. This is implemented as an independent +variable because it is used for calculating the height of the text +block. + +\paragraph{\ltxcmd{mssetblockwidth}{width as a dimension}} + +This sets the width of the textura block to a given dimension. + +\paragraph{\ltxcmd{mssetblocklines}{number of lines}} + +This sets how many lines of text there are on each page of the +\ltxenv{mstextura} environment. The height of the text block is +calculated by multiplying the number of lines with the font size. + +\paragraph{\ltxcmd{mssetgutterwidth}{width as a dimension}} + +This sets the gutter width between the columns to its argument. + +\paragraph{\ltxcmdthree{mssetsizes}{font size}{block width}{block + lines}} + +This sets the font size, text block width, and the number of lines on +a page in one call. + +\subsection{Initials} + +\begin{figure} + \centering + \begin{tabular}{ll} + & \begin{minipage}{6.65cm} + \fontsize{18}{18}\fontspec[RawFeature=+ss17;]{Missaali}\msmanualspacing + \msstartchapter{Q}{Uo usque tandem abu-}{% + tere, Catilina, pati\mstdacc{e}{en}tia} + nostra? \msabbr{quam} diu eti\mstdacc{a}{am} furor iste + \end{minipage} \\ + \\ +& \begin{minipage}{10cm} +\begin{verbatim} + \msstartchapter{Q}{Uo usque tandem abu-}{% + tere, Catilina, pati\mstdacc{e}{en}tia} + nostra? \msabbr{quam} diu eti\mstdacc{a}{am} furor iste +\end{verbatim} + \end{minipage}\\ + \multicolumn{2}{l}{\hspace{3cm}\textbf{(a)}} \\ + \\ +& \begin{minipage}{6.65cm} + \fontsize{18}{18}\fontspec[RawFeature=+ss17;]{Missaali}\msmanualspacing + \msstartchapterblue{Q}{Uo usque tandem abu-}{% + tere, Catilina, pati\mstdacc{e}{en}tia} + nostra? \msabbr{quam} diu eti\mstdacc{a}{am} furor iste + + \end{minipage} \\ + \\ +& \begin{minipage}{10cm} +\begin{verbatim} + \msstartchapterblue{Q}{Uo usque tandem abu-}{% + tere,Catilina,pati\mstdacc{e}{en}tia} + nostra? \msabbr{quam} diu eti\mstdacc{a}{am} furor iste +\end{verbatim} + \end{minipage}\\ + \multicolumn{2}{l}{\hspace{3cm}\textbf{(b)}} \\ + \\ +& \begin{minipage}{6.3cm} + \fontsize{18}{18}\fontspec[RawFeature=+ss17;]{Missaali}\msmanualspacing +\msstartchapterwithrubric{Lectio}{R}{Egnante illus-\ }{trissimo rege sancto} +Erico in Svecia, venerabilis + \end{minipage} \\ + \\ +& \begin{minipage}{10cm} +\begin{verbatim} +\msstartchapterwithrubric{Lectio}{R}{% + Egnante illus-\ }{trissimo rege sancto} + Erico in Svecia, venerabilis +\end{verbatim} + \end{minipage}\\ + \multicolumn{2}{l}{\hspace{3cm}\textbf{(c)}} \\ + \\ +& \begin{minipage}{6.3cm} + \fontsize{18}{18}\fontspec[RawFeature=+ss17;]{Missaali}\msmanualspacing +\msrubric{De vita sancto henrici e\mstdacc{p}{piscop}i} +\msstartchapterwithrubricblue{Lectio}{R}{Egnante illus-\ }{trissimo rege sancto} +Erico in Svecia, venerabilis + \end{minipage} \\ + \\ +& \begin{minipage}{10cm} +\begin{verbatim} +\msrubric{De vita sancto henrici e\mstdacc{p}{piscop}i} +\msstartchapterwithrubricblue{Lectio}{R}{% + Egnante illus-\ }{trissimo rege sancto} + Erico in Svecia, venerabilis +\end{verbatim} + \end{minipage}\\ + \multicolumn{2}{l}{\hspace{3cm}\textbf{(d)}} \\ + \end{tabular} + \caption{Examples for chapter start macros}\label{fig:chapterstarts} + +\end{figure} + +The style file contains four macros for setting the first two lines of +a text. They set a Lombardic initial in either red or blue, and +possibly an additional partial line rubric in red at the end of the +first line. See figure~\ref{fig:chapterstarts} for examples. + +\paragraph{\ltxcmdthree{msstartchapter}{initial}{first line}{second + line}}\mbox{}\\ + +This sets a two-line \texttt{initial} in red, and then the +contents of the \texttt{first line} and the \texttt{second line} to +its right indented by the proper abount. This is shown in +figure~\ref{fig:chapterstarts}a. + +\paragraph{\ltxcmdthree{msstartchapterblue}{initial}{first line}{second line}}\mbox{}\\ + +This sets a two-line \texttt{initial} in blue, and then the +contents of the \texttt{first line} and the \texttt{second line} to +its right indented by the proper abount. This is shown in +figure~\ref{fig:chapterstarts}b. + + +\paragraph{\ltxcmdfour{msstartchapterwithrubric}{rubric}{initial}{first}{second}}\mbox{}\\ + +This sets a two-line \texttt{initial} in red, and the +contents of the \texttt{first line} and at its end the \texttt{rubric} +in red. The second line is set as in the previous commands. +See figure~\ref{fig:chapterstarts}c. + + +\paragraph{\ltxcmdfour{msstartchapterwithrubricblue}{rubric}{initial}{first}{second}}\mbox{}\\ + +This sets a two-line \texttt{initial} in blue, and the contents of the +\texttt{first line} and at its end the \texttt{rubric} in red. The +second line is set as in the previous commands. See +figure~\ref{fig:chapterstarts}d. That figure also shows how to add a +rubric in red in front above the chapter start using the command +\ltxncmd{msrubric}. + +\paragraph{Alternate initial I} The macro \ltxncmd{initialI} sets the +tall version of initial I in blue into the margin or gutter using a +very large size. As the letter is not in the text block, the next line +doesn't have to indented. If the line has a partial rubric on it, then +the text has to be entered with macros \ltxncmd{mspartialrubric} and +\ltxncmd{mspartialline}. For example, the blue initial on +page~\pageref{pg_carmina_sample} is created with: + +\begin{verbatim} +\mspartialrubric{Incognit\msabbr{\msrubric{us}}} +\mspartialline{\initialI{}N taberna qu\mstdacc{a}{an}do } + sumus: non curam{us} {quid} sit +\end{verbatim} + +The \ltxncmd{mspartialrubric} and \ltxncmd{mspartialline} have to be +always used as a pair where rubric is first and the line is next. + +\subsection{Abbreviations} + +There are two different ways how abbreviations are handled in +\texttt{missaali.sty}. The abbreviations with specific meanings are +handled as ligatures while abbreviation marks are simple letter +substitutions. There are three different commands for ligature +substitutions and each abbreviation mark has four different commands +defined for it. + +Different commands for the abbreviation marks are needed because +otherwise r-rotunda would not work correctly. Thus, there is a command +that puts the mark over all letters except for \emph{r}, and one that +puts it only on \emph{r}. This makes it possible to put \emph{r} +inside the abbreviation context to get a correct form for it. There +are also two variants on whether an additional unabbreviated text is +added also to the pdf using the actual text mechanism. This makes it +easier to search text on advanced pdf viewers. The commands for +abbreviation marks are shown in table~\ref{tab:abbr_commands}. + +\begin{table} + \centering + \begin{tabular}{llccll} + & Command & Marks \emph{r} & Actual text & Sample & Code \\ + \hline + \multicolumn{2}{l}{Generic abbreviation} \\ + & \ltxncmd{mstd} & & & \sample{\mstd{or}} & \ltxcmd{mstd}{or} \\ + & \ltxncmd{mstdacc} & & $\times$ & \\ + & \ltxncmd{rmstd} & $\times$ & & \sample{\rmstd{or}} & \ltxcmd{rmstd}{or} \\ + & \ltxncmd{rmstdacc} & $\times$ & $\times$ & \\ + \hline + \multicolumn{2}{l}{A-abbreviation} \\ + & \ltxncmd{mstda} & & & \sample{\mstda{or}} & \ltxcmd{mstda}{or} \\ + & \ltxncmd{mstdaacc} & & $\times$ & \\ + & \ltxncmd{rmstda} & $\times$ & & \sample{\rmstda{or}} & \ltxcmd{rmstda}{or} \\ + & \ltxncmd{rmstdaacc} & $\times$ & $\times$ &\\ + \hline + \multicolumn{2}{l}{R-abbreviation} \\ + & \ltxncmd{mstdr} & & & \sample{\mstdr{or}} & \ltxcmd{mstdr}{or} \\ + & \ltxncmd{mstdracc} & & $\times$ & \\ + & \ltxncmd{rmstdr} & $\times$ & & \sample{\rmstdr{or}} & \ltxcmd{rmstdr}{or} \\ + & \ltxncmd{rmstdracc} & $\times$ & $\times$ & \\ + \hline + \multicolumn{2}{l}{O-abbreviation} \\ + & \ltxncmd{mstdo} & & & \sample{\mstdo{or}} & \ltxcmd{mstdo}{or} \\ + & \ltxncmd{mstdoacc} & & $\times$ & \\ + & \ltxncmd{rmstdo} & $\times$ & & \sample{\rmstdo{or}} & \ltxcmd{rmstdo}{or} \\ + & \ltxncmd{rmstdoacc} & $\times$ & $\times$ &\\ + \hline + \multicolumn{2}{l}{Specifically tilde} \\ + & \ltxncmd{mstdt} & & & \sample{\mstdt{or}} & \ltxcmd{mstdt}{or} \\ + & \ltxncmd{mstdtacc} & & $\times$ & \\ + & \ltxncmd{rmstdt} & $\times$ & &\sample{\rmstdt{or}} & \ltxcmd{rmstdt}{or} \\ + & \ltxncmd{rmstdtacc} & $\times$ & $\times$ & \\ + \hline + \multicolumn{2}{l}{Short tilde accent} \\ + & \ltxncmd{mstdst} & & & \sample{\mstdst{or}} & \ltxcmd{mstdst}{or} \\ + & \ltxncmd{mstdstacc} & & $\times$ & \\ + & \ltxncmd{rmstdst} & $\times$ & &\sample{\rmstdst{or}} & \ltxcmd{rmstdst}{or} \\ + & \ltxncmd{rmstdstacc} & $\times$ & $\times$ & \\ + \hline + \multicolumn{2}{l}{Specifically dieresis} \\ + & \ltxncmd{mstdd} & & & \sample{\mstdd{or}} & \ltxcmd{mstdd}{or} \\ + & \ltxncmd{mstddacc} & & $\times$ & \\ + & \ltxncmd{rmstdd} & $\times$ & &\sample{\rmstdd{or}} & \ltxcmd{rmstdd}{or} \\ + & \ltxncmd{rmstdacc} & $\times$ & $\times$ &\\ + \hline + \multicolumn{2}{l}{Diagonal stroke} \\ + & \ltxncmd{mstddg} & & & \sample{\mstddg{Sr}} & + \ltxcmd{mstddg}{Sr} \\ + & \ltxncmd{mstddgacc} & & $\times$ & \\ + & \ltxncmd{rmstddg} & $\times$ & &\sample{\rmstddg{Sr}} & \ltxcmd{rmstddg}{Sr} \\ + & \ltxncmd{rmstdgacc} & $\times$ & $\times$ &\\ + + \end{tabular} + \caption{LaTeX commands for abbreviation marks}\label{tab:abbr_commands} +\end{table} + +The commands are named systematically so that if the base name of the +macro is \texttt{X}, then the commands have the form: + +\begin{enumerate} +\item \ltxncmd{X}: adds the mark to all other letters except for + \emph{r}, does not add the actual text to the pdf. +\item \ltxncmd{rX}: adds the mark only to \emph{r}, does not add the + actual text to the pdf. +\item \ltxncmd{Xacc}: adds the mark to all other letters except for + \emph{r}, adds the second argument as the actual text to the pdf; + and +\item \ltxncmd{Xacc}: adds the mark only to \emph{r}, adds the second + argument as the actual text to the pdf. +\end{enumerate} + +\subsection{Other macros} + +There are several additional macros for accessing other symbols of the +font. + +\paragraph{\ltxncmd{msmanualspacing}} Turns on the manually-adjusted +spacing for text. See page~\pageref{pag:environments}. + +\paragraph{\ltxncmd{msaltpunctuation}} Switches to use alternate +punctuation marks. + +\paragraph{\ltxcmd{msparinitial}{character}} +Sets a one-line high Lombardic initial in red. + +\paragraph{\ltxcmd{msparinitialblue}{character}} +Sets a one-line high Lombardic initial in blue. + +\paragraph{\ltxcmd{msinit}{letter}} + +Inserts a Lombardic initial using the current size and color. + +\paragraph{\ltxcmd{msinita}{letter}} + +Inserts an alternate form of a Lombardic initial using the current +size and color. + +\paragraph{\ltxcmd{msrubric}{text}} + +Inserts \texttt{text} in red. + +\paragraph{\ltxcmd{msrubricblue}{text}} + +Inserts \texttt{text} in blue. + +\paragraph{\ltxncmd{mspara}} + +Inserts a red paragraph symbol. + +\paragraph{\ltxcmd{mstdl}{character}} +Turns on the liturgical variants of the symbols. Namely, it turns +\emph{r} to the response symbol, \emph{v} and \emph{V} to two +different versicle symbols, and the period to the cross. + +\paragraph{\ltxncmd{rotundar}} + +Inserts a forced \emph{r}-rotunda to a place where ordinary contextual +substitution rules would place a straight \emph{r}. + +\paragraph{\ltxncmd{straighr}} + +Inserts a forced straight \emph{r} in a place where the contextual +substitution rules would place a \emph{r}-rotunda. + +\paragraph{\ltxncmd{shorts}} + +Inserts a forced short \emph{s} in a place where the contextual +substitution rules would place a long \emph{s}. + +\paragraph{\ltxncmd{longs}} + +Inserts a forced long \emph{s} in a place where the contextual +substitution fules would place a short \emph{s}. + + +\paragraph{\ltxcmd{msnoliga}{text}} Turns off the standard ligature +substitution for its argument. + + +\paragraph{\ltxcmd{mspartialrubric}{text}} Sets \texttt{text} at the +right end of the current line in red. This has to be used together +with \ltxncmd{mspartialline} and in the correct order with rubric +coming before the line. + +\paragraph{\ltxcmd{mspartialline}{text}} Sets \texttt{text} +right end of the current line in red. This has to be used together +with \ltxncmd{mspartialrubric} and in the correct order with rubric +coming before the line. + + + +\subsection{Package options} + + +When \texttt{missaali.sty} is inlcuded in the document, there are some +package-level options available: + +\paragraph{\feature{OldAE}} Use old variant forms for \emph{ä} and +\emph{ö} where there is a small \emph{e} letter in place of dieresis +(\feature{hist}). + +\paragraph{AltG} Use variant form of \emph{G} (\feature{ss22}). + +\paragraph{AltZ} Use variant form of \emph{Z} (\feature{ss19}). + +\paragraph{FusePo} Use fused \emph{po}-ligature. + +\paragraph{\feature{OldFinnish}} Use 1642 Finnish ortographic +conventions (\feature{ss16}). + +After setting the options, you can change to Missaali using the +command \ltxncmd{texturafamily}. This command also changes the +\ltxncmd{emph} command to use red color for emphasis instead of +italics and sets paragraph indentation to zero. + +\subsection{Style Definition Macros} + +There are several style definition options for enabling some features. +This should be placed before the \ltxncmd{fontspec} command or the +macro or environment that calls it. + +\paragraph{\ltxncmd{MsNormalStyle}} + +Revert back to the standard style, cancels the effect of other style +definition macros. + +\paragraph{\ltxncmd{MsAltAEStyle}} + +Changes the \emph{æ} and \emph{œ} ligatures to the form where the +\emph{e} is set above the letter instead of being fused into it. This +also converts \emph{ä} and \emph{ö} to the same form. + +\paragraph{\ltxncmd{MsAltPunctuationStyle}} + +Changes the comma, the period, and the explanation mark to symbols +that Ghotan used in \emph{Missale Aboense} for similar purposes. His +punctuation conventions don't match the modern usage so this only a +convenient approximation. + +\paragraph{\ltxncmd{MsAltZStyle}} + +Changes the shape of the lower case \emph{z} to a slightly different +form. + +\paragraph{\ltxncmd{MsAltGStyle}} + +Changes the shape of the upper case \emph{G} to a different form. + +\paragraph{\ltxncmd{MsOldFinnishStyle}} + +Turns on the emulation for late 17th century Finnish ortography. + +\paragraph{\ltxncmd{MsPoFusionStyle}} + +Enables the {\MsPoFusionStyle \missaali{po}} fusion ligature for +\emph{po}. + + + +\label{pg:latex_end} + +\section{How This Font Was Made} + +I started the work by looking through the reproduction of +\emph{Missale Aboense} searching for good examples for all different +symbols that were used there. Next, I scanned the symbols in and +created a separate 1000x1000 pixel image for each, making sure to not +alter their relative sizes. + +At this point I also consulted Derolez~\cite{derolez}, +Cappelli~\cite{cappelli}, and various internet sources trying to +identify the various abbreviation symbols. A very successful strategy +was to search the internet for words next to the abbreviated part as +in most cases the results would contain a page with the full text of +the section. I ended on many different pages and didn't keep track on +what I used. + +The first phase of making the actual font was to draw the glyphs based +on the scanned images. I did the tracing by hand as my experiences +with automatic tracing haven't been very encouraging. I used Glyphs +for making the font as it has a good support for OpenType features and +it is much easier to use than FontForge. The version that I used +(1.4.2 (554)) had an annoying bug where it occasionally deleted the +undo history, but on the whole it is the best of all font editors that +I've tried. + +After making the basic alphabet and the basic ligatures, I turned to +creating the missing letters \emph{W, Y}, and \emph{Z}. The \emph{Z} +is essentially an enlarged \emph{z} while the other two letters are +based on \emph{U}. + +The next step was to run the \texttt{checkOutlines} script of the +\emph{Adobe FDK} took suite to check that the glyphs were valid. Most +weren't and had to be fixed. At this point I also created the +BlueValues and stem width arrays that are used for hinting the +letters. However, I didn't pay very much attention for them as textura +shouldn't be used at font sizes where hinting is needed. + +Creating glyphs with abbreviation marks was a large task, but Glyphs +has a good support for them so it wasn't as overwhelming as it would +have been with TypeTool that I have used for my previous fonts. + +Because there isn't any existing font with exactly the same initials +that Ghotan used, I decided to add them to the font also. Again, some +of them were missing and had to be created from scratch. The +initial~\emph{X} is enlarged from a half-size initial, \emph{Y} is +based on \emph{U}, \emph{Z} is a mirrored alternate form of \emph{S}, +and \emph{W} is a rotated \emph{M}. Rotated initials were relatively +common in incunabulas. Ghotan himself used a rotated~\emph{C} in place +of a \emph{D} in several places, and I've seen a text where the +typesetter used a rotated~\emph{Q} for a \emph{D}. + +I created the features using a combination of copy-pasting and a few +auxiliary scripts. I found out the \texttt{fontspec} problem with +contextual substitutions by accident and the result was that I had to +almost triple the number of features so that all would work correctly +with XeLaTeX. + +The anachronistic Old Finnish feature was originally made for the font +Fraktuura that is based on late 19th century newspaper fraktur fonts. +That font is still unpublished as it needs one more editing pass +before it is ready for wider audience. + +The last major change for the font was a complete renaming of most of +the glyphs. I didn't follow the recommended conventions for glyph +names from the start as I wasn't aware of how important they really +are for pdf usability. At this point I also created a large number of +duplicate glyphs so that one copy has no code point assigned to it and +the other has. This makes it possible to use the one without the point +in software that supports the relevant features and so get searchable +pdfs, while making the symbol available also in software with no +support for that feature, though, with the cost that the typeset file +might not be searchable. + +The very final step was to run the \emph{autohint} tool of the +\emph{Adobe FDK} to create the font hints. The tool gave a number of +suggetstions how the glyphs could be changed for better hinting. I +followed some but not all of the suggestions as hinting is not so +important for a large-size font as it is for body text fonts. + + +\section{Symbols in Missaali} + +\newcommand{\thd}[1]{\vbox to 4em{\vspace{1em}\hbox{\textbf{#1}}}} + +There is a dilemma in creating OpenType fonts that have symbols that +are not included in Unicode: whether to assign code points from the +private use area to them or not and rely completely on OpenType +features to access them. The advantage of assigning code points is +that then the symbols can be used in programs that don't support the +features by entering them via Character Map or some similar utility +program. + +The disadvantage is that using the private use area breaks the search +functionality of most if not all pdf viewers. If the fusion +\missaali{do} is placed into the private use area, then searching for +\emph{door} does not work because the viewer doesn't recognize the +fusion as the letters \emph{d} and \emph{o}. + +I resolved this dilemma by making two identical copies of a number of +symbols: one that has a code point and thus can be entered with +Character Map and one that hasn't that can be searched. The +\missaali{do}-fusion that is automatically created as a ligature +substitution can be found with search but the one entered with +Character Map cannot. + +I added duplicates for symbols that are substituted into text using +features \feature{calt}, \feature{liga}, \feature{dlig}, and +\feature{ss01}. The long~\emph{s} and rotunda~\emph{r} are there even +though they have actual unicode code points because not all viewers +can recognize that they are variants of the respective letters. + + +\label{pg:symbols_start} + +\input{symbols.tex} + +\label{pg:symbols_end} + + +\section{Examples} + +This section has two longish examples of how medieval latin text can +be set using Missaali. The first example is a page containing one poem +and parts of two others, and the second is the first half of the +Legend of St. Henry. + +The complete poem is Quintus Horatius Flaccus's \emph{Integer + vitae}~\cite{horatius}, from his first book of Odes. The text has +divided opinions on whether it is Horace intended it to be taken as a +serious exultation of honest life or a satire of such poems. The text +has been a popular students' song since Friedrich Flemming composed a +melody for it in the early 19th century. + +The first partial poem are three verses from \emph{Estuans + intrinsecus} by The Archpoet. He was a poet who was active around +the mid-12th century and was somehow associated with Rainald of +Dassel, Archbischop of Cologne. \emph{Estuans intrinsecus} was very +popular during the middle ages and it survives on over 30 manuscripts, +including the famous \emph{Carmina Burana}~\cite{carmina}. The verses +in this sample belong to the \emph{Meum est propositum} segment of the +poem. + +The final partial poem is a snippet from \emph{In taberna} that is +also from \emph{Carmina Burana}. + +The second example contains first five of the nine lections of the +legend of Saint Henry. They contain the \emph{vita} or the biography +of the saint as well as the first of the miracles attributed to him. +The text follows the critical edition by Tuomas +Heikkilä~\cite{legenda} that is based on a large number of surviving +manuscripts. + + +\newpage +\label{pg_carmina_sample} + +\MsAltPunctiationStyle +\mssetsizes{18}{6.4cm}{33} +\begin{mstexturablocks} +\msrubric{Q Horatius fl carm{in}a \rmstdacc{pr}{prim}o} +\msstartchapterwithrubric{xxii}{I}{Nteger vitae scele- }{% + leris{que} pur\msabbr{us} n{on} eget} +mauris iaculis ne\msabbr{que} arcu nec +venenatis gravida sagittis, +Fusce, pharetra, sive \msabbr{per} syrtis +iter aestuosas sive factur\msabbr{us} {per} +in hospital{em} caucasum vel \msabbr{quae} +loca fabulos{us} lambit hyda- +spes. \msparinitial{N}am\msabbr{que} me silva lupus +in sabina, d{um} meam canto +lalagen et ultra termin\mstdacc{u}{um} cu- +ris vagor expeditis, fugit in- +ermem: \msabbr{qua}le portentum ne\msabbr{que} +militaris daunias latis alit +aesculetisnec Jubae tell\msabbr{us} ge- +nerat, leonum arida nutrix. +\msparinitial{P}one me pigris ubi nulla +campis arbor aestiva recrea\msabbr{tur} +aura, quod latus mundi ne- +bulae malusque Iuppiter +urget: p{on}e sub curru nimi- +um {pro}pin{qui} solis in terra +{dom}i\msabbr{bus} negata: dulce riden- +tem lalag{en} amabo, dulce lo- + +\msstartchapterwithrubric{Archipoeta}{M}{quentem. }{% +Eum est propositum} +in tabe{rn}a mori, ubi vina {pro} +xima morientis ori. tunc can- +tabunt leti{us} angelo\msabbr{rum} chori: +sit {deu}s \msabbr{prop}itius isti potatori. +\msparinitial{P}oculis accenditur animi +lucerna, cor imbutum necta- +re volat ad superna. michi +sapit dulcius vin{um} de taber- +na, {quam} quod aqua miscuit +{prae}sulis p\mstdacc{i}{in}cerna. \msparinitial{T}ales ver- +sus facio, {qua}le vinum bibo, +nichil possum fac\mstdracc{e}{er}e nisi s\mstdacc{u}{um}p- +to cibo: nichil valent \mstdacc{pe}{pen}itus, +{que} ieiunus scribo, Nasonem +post calices carmine preibo. + +\mspartialrubric{Incognit\msabbr{\msrubric{us}}} +\mspartialline{\initialI{}N taberna qu\mstdacc{a}{an}do } +sumus: non curam{us} {quid} sit +humus, sed ad ludum \msabbr{prop}era- +mus, cui semper insudamus, +mus, quid aga{tur} in taberna +, ubi nu{mm}us est pincerna, +hoc est opus, ut queratur, +sed {quid} loquar audia{tur}. +\msparinitial{Q}uidam ludunt, {qui}dam +bib\mstdacc{u}{un}t, {qui}dam indiscrete vi- +vunt, {sed} in ludo {qui} moran- +tur, ex his {qui}dam denudan- +tur, quid{am} ibi vestiun{tur}, +quidam saccis induuntur, ibi +nullus timet mortem, sed +pro Baccho mittunt sortem. +\end{mstexturablocks} + +\thispagestyle{empty} + +\newpage + + +\pagestyle{empty} + +\mssetsizes{18}{6.4cm}{33} +\begin{mstextura} +\msrubric{Incipit vita {\mstddgacc{S}{sancto}} henrici e\mstdacc{p}{piscop}i} +\msstartchapterwithrubric{Lectio}{R}{Egnante illus-\ }{trissimo rege sancto} +Erico in Svecia, venerabilis +pontifex beatus Henricus, in +Anglia ori\mstdacc{u}{un}d\msabbr{us}, \msabbr{con}spicuus vite +sanctiate et mo\msabbr{rum} honestate +preclarus, Upsalensem rege- +bat ecclesiam. Quibus quasi duobus magnis luminari\msabbr{bus} +populus terre ilius, ad veri +dei noticiam \msabbr{et} cultum magis +magis\msabbr{que} illustrabatur iugi\mstdracc{t}{ter} +ac informabatur. Sanctus +autem rex insignem ponti- +ficem, vita, moribus et eccle- siastice dignitatis culmine +prepollentem, intimi amoris +complectebatur affectu \msabbr{et} sue +specialis f\mstdacc{a}{am}iliaritatis gratia +plurimum honorabat. Felix +patria, \msabbr{quam} divina maiestas +concesserat talium ac tanto\msabbr{rum} +recto\msabbr{rum} eodem tempore mode- +ramine gubernari. Non erat +tunc formidini, ut regnum in +se divisum desolaretur, dum +ad gloriam dei, et iust\mstdacc{u}{um} tran- +quillumque regimen sub- dito{rum} capita populorum +tam concordit\mstdracc{e}{er} convenerunt. + +\msstartchapterwithrubric{Lectio}{E}{Dificabatur illo}{% +in t\mstdacc{e}{em}{por}e e{ccles}ia cres-} +cens in timore dei, rectifica- +bantur leges, {quas} simples +anti\msabbr{qui}tas vel minus recte c{on}- +diderat vel obli{qua}verat per- +versitas maligno{rum}. Stude- +ba\msabbr{tur} paci \msabbr{et} iusticie subdito\msabbr{rum}; +lupi rapaces dentes venena- +tos in insontes acuere non +audebant, cum rex {se}dens in +solio intuitu suo o\mstdacc{m}{mn}e malum +dissiparet {et} bonus pastor vi- +rili\mstdracc{t}{ter} vigilaret super custodi\mstdacc{a}{am} +gregis sui\mspara{}Cum vero plebs +Finlandie, tunc ceca et cru- +delis gentilitas, habitanti\msabbr{bus} +in Svecia gravia dampna +frequenter inferret, sanctus +rex Ericus, assumpto secum +ab ecclesia Upsalensi beato +Henrico collecto exercitu, +\msabbr{con}tra nominis Christi et po- +puli sui inimicos expedicion\mstdacc{e}{em} +dirigit. Qui\msabbr{bus} potenter fidei +Christi et suo subiugatis do- +minio, baptizatis plurimis +et fundatis in partibus illis ecclesiis, ad Sveciam cum gloriosa victoria remeavit. + +\msstartchapterwithrubric{L\mstdtacc{c}{ecti}o}{B}{% + Eatus aut\mstdacc{e}{em} Hen- }{% + ricus vinee domini cul-} + tor{em} \msabbr{et} custodem se divinit\msabbr{us} + constitutum considerans, ad +irrigandum ymbre celestis +doctrine novellas neophito\msabbr{rum} +plantulas et ad corroboran- +dum dei cultum in partibus +illis audacter remansit, non +metuens se \msabbr{qui}buslibet adversis +exponere, ut posset gloriam +dei dilatare. O quantus fidei +fervor, quantus ardor divini +amoris altare aure\mstdacc{u}{um} cordis +devotissimi p\mstdacc{o}{on}tificis accende- +rat, \msabbr{qui}, postpositis opulenciis +rerum {et} amico{rum} solaciis +et Upsalensis presulatus \msabbr{se}de +sublimi, {pro} paucarum et\, +pauperum ovium salvacione +multis se mortis periculis +exponebat. Illus imitacione +pastoris, \msabbr{qui} relictis nonag\mstdacc{i}{in}ta +novem ovi{bus} in deserto uni- +cam errantem sollicite re\msabbr{qui}- +vit et invent\mstdacc{a}{am} ad ovile \msabbr{prop}riis imposit\mstdacc{a}{am} h\mstdacc{u}{um}eris reportavit. + + +\msstartchapterwithrubric{L\mstdtacc{c}{ecti}o}{C}{% + Um \msabbr{ver} edificaci\mstdacc{o}{on}i\ }{% + et confirmacioni Fin- } +landensis ecclesie prudenter \msabbr{et} +fideliter insudaret, accidit, ut +homicidam \mstddacc{q}{que}ndam ob ipsius +facinoris i\mstdacc{m}{mm}anitatem eccle- +siastica disciplina vellet cor- rigere, ne facilitas nimia +venie incentivum delinquendi +preberet. \msabbr{quod} salutis remedium +infelix vir ille sanguinum +contempsit et in sue vertit +dampnacionis augmentum, +odio habens se salubriter +arguentem. In ministrum +ita\msabbr{que} iusticie \msabbr{et} in sue salutis +zelatorem funestus insiluit, +ipsum\msabbr{que} crudeliter trucidavit +Sic sacredos domini, acc- +eptabilis hostia divinis ob- +lata {con}specti{bus}, occumbens +\msabbr{pro} iusticia, templum superne +Iherusalem c\mstdacc{u}{um} g\mstdacc{l}{orio}si palma +triumphi feliciter introivit. + +\msstartchapterwithrubric{Lectio}{P}{% + Ostmodum ille}{% +scelest\msabbr{us} occisor, tollens} +de capite sancti p\mstdacc{o}{on}tificis bir- +retum, \msabbr{quod} gestare \msabbr{con}sueverat, +imposuit suo capiti, {et} re- +gressus domum, de commisso +flagicio se iactans \msabbr{quod} ursum +prostrasset, \msabbr{per} hoc significans +occisionem sancti viri, leta- +batur cum male fecisset, et +exultabat in rebus pessimis. +Dum autem birretum, quod +in suo posuerat capite, +amovere temptaret, cutis et +caro birreto coheserunt, et +illa insimul a testa capitis +amovebat: congrua profecto +divine ulcionis vindicta, ut +tali pena miserabiliter tor- +queretur, \msabbr{qui} non est veritus +christum domini truculenter +impetere et occisum spoliare. +\end{mstextura} + + +\newpage +\pagestyle{plain} + +\nocite{cappelli} +\nocite{derolez} +\nocite{opentype} +\nocite{type1} +\nocite{carter} +\nocite{laurila} +\nocite{yonge} +\nocite{kpt_historia} +\nocite{rapola} +\nocite{hakkinen} +\nocite{gutenberg} +\nocite{carmina} +\nocite{horatius} +\nocite{suomalainen_kirjallisuus} +\nocite{legenda} +\nocite{kirjallinen_kulttuuri_keskiajan_suomessa} + +\newpage + +\bibliographystyle{plain} + +\bibliography{./missaali} + +\newpage + + +\section{License} + +This font is licensed under the SIL Open Font License. The text of the +license has been written by Summer Institute of Linguistics +International (\texttt{http://www.sil.org}). I am not affiliated with +SIL and this font is not endorsed by SIL, so please don't bug them +about it. + +This user's manual and the XeLaTeX style file are licensed under the +LaTeX Project Public License. + +\subsection{SIL OPEN FONT LICENSE Version 1.1}\index{Open Font License} + +\label{pg_license} + +\subsubsection{PREAMBLE} + +The goals of the Open Font License (OFL) are to stimulate worldwide +development of collaborative font projects, to support the font +creation efforts of academic and linguistic communities, and to +provide a free and open framework in which fonts may be shared and +improved in partnership with others. + +The OFL allows the licensed fonts to be used, studied, modified and +redistributed freely as long as they are not sold by themselves. The +fonts, including any derivative works, can be bundled, embedded, +redistributed and/or sold with any software provided that any reserved +names are not used by derivative works. The fonts and derivatives, +however, cannot be released under any other type of license. The +requirement for fonts to remain under this license does not apply +to any document created using the fonts or their derivatives. + +\subsubsection{DEFINITIONS} + +"Font Software" refers to the set of files released by the Copyright +Holder(s) under this license and clearly marked as such. This may +include source files, build scripts and documentation. + +"Reserved Font Name" refers to any names specified as such after the +copyright statement(s). + +"Original Version" refers to the collection of Font Software components as +distributed by the Copyright Holder(s). + +"Modified Version" refers to any derivative made by adding to, deleting, +or substituting -- in part or in whole -- any of the components of the +Original Version, by changing formats or by porting the Font Software to a +new environment. + +"Author" refers to any designer, engineer, programmer, technical +writer or other person who contributed to the Font Software. + +\subsubsection{PERMISSION \& CONDITIONS} + +Permission is hereby granted, free of charge, to any person obtaining +a copy of the Font Software, to use, study, copy, merge, embed, modify, +redistribute, and sell modified and unmodified copies of the Font +Software, subject to the following conditions: + +\begin{enumerate} +\item Neither the Font Software nor any of its individual components, +in Original or Modified Versions, may be sold by itself. + +\item Original or Modified Versions of the Font Software may be bundled, +redistributed and/or sold with any software, provided that each copy +contains the above copyright notice and this license. These can be +included either as stand-alone text files, human-readable headers or +in the appropriate machine-readable metadata fields within text or +binary files as long as those fields can be easily viewed by the user. + +\item No Modified Version of the Font Software may use the Reserved Font +Name(s) unless explicit written permission is granted by the corresponding +Copyright Holder. This restriction only applies to the primary font name as +presented to the users. + +\item The name(s) of the Copyright Holder(s) or the Author(s) of the Font +Software shall not be used to promote, endorse or advertise any +Modified Version, except to acknowledge the contribution(s) of the +Copyright Holder(s) and the Author(s) or with their explicit written +permission. + +\item The Font Software, modified or unmodified, in part or in whole, +must be distributed entirely under this license, and must not be +distributed under any other license. The requirement for fonts to +remain under this license does not apply to any document created +using the Font Software. + + +\end{enumerate} + + +\subsubsection{TERMINATION} + +This license becomes null and void if any of the above conditions are +not met. + +\subsubsection{DISCLAIMER} + +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM +OTHER DEALINGS IN THE FONT SOFTWARE. + + +\end{document} + -- cgit v1.2.3