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From: Norbert Preining <norbert@preining.info>
Date: Mon, 2 Sep 2019 13:46:59 +0900
Subject: Initial commit

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+%% 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

