u used in the initial, medial or final position, without signifying vocalic or consonantal use; e.g., oeuures (modern form: oeuvres)
v used in the initial position, without signifying vocalic or consonantal use; e.g., vtilita (modern form: utilita)
I used in all positions, without signifying vocalic or consonantal use; e.g., Iuan (modern form: Juan)
V used in all positions, without signifying vocalic or consonantal use; e.g., Vrsprung (modern form: Ursprung)
A gradual shift took place over time, from the late fifteenth century through the middle of the seventeenth century, with U/u coming to phonetically signify a vowel and V/v to signify a consonant, regardless of case or position in the word. Likewise with i and j, although the shift was more irregular, with I/i coming to phonetically signify a vowel and J/j a consonant. In the modern 26-letter Latin alphabet, i and j and u and v are all considered separate letters.
G4.2. Transcription. When the rules for capitalization require converting I or V to lowercase or i, j, u, or v to uppercase, follow the pattern of usage in the text to determine which letterform to use in the transcription.26 Establish the pattern of usage by examining text in the same script (i.e., roman, italic, or gothic) in the material being described. Look for letters expressed in the opposite case from the letterforms to be converted, but having the same function (vowel or consonant) and same relative position (appearing in initial, medial, or final positions) as the letterforms to be converted. If the pattern of usage differs according to script, follow the pattern of usage identified for each script. If a pattern of usage can be determined for one but not all of the scripts present, follow the single pattern of usage for all scripts. If no pattern of usage can be determined within a reasonable amount of time, use this conversion table as a solution of last resort.
Uppercase letterform to be converted
|
Lowercase conversion
|
I (vowel or consonant) anywhere in word27
|
i
|
II at end of word
|
ij
|
II elsewhere in word
|
ii
|
V (vowel or consonant) at beginning of word
|
v
|
V (vowel or consonant) elsewhere in word
|
u
|
VV representing single letter28
|
vv
|
Lowercase letterform to be converted
|
Uppercase conversion
|
i (vowel or consonant) anywhere in word
|
I
|
j (vowel or consonant) anywhere in word
|
I
|
u (vowel or consonant) anywhere in word
|
V
|
v (vowel or consonant) anywhere in word
|
V
|
vv representing single letter27
|
VV
|
G5. Letter w
G5.1. Historical background. The representation of the letter w is not to be confused with the developments of the u/v letterforms. The w letterform was part of the standard alphabet for Germanic languages. Most early printing was in Latin, shifting gradually to include a greater proportion of vernacular languages throughout Europe. W and w must have been scanty in cases of roman type, and they appear to have been frequently exhausted when setting text in Dutch, English, or German. When that happened, compositors usually did one of two things: used VV or vv to stand in for W or w, or permanently altered V or v type pieces—achieved by filing or shaving one of the serifs, often the right serif on the left piece—so that the two type pieces would sit closely together in the forme, thereby more closely resembling a w. In early German texts, printers sometimes used a curved r followed by a v to approximate a w.
G5.2. Transcription. When VV and vv letterforms have been used to represent the single letter W or w, transcribe them as VV or vv as appropriate. When there is clear evidence of the filing of one or both pieces of type showing the intention of creating the W or w letterform, transcribe as W or w, making an explanatory note if considered important. In cases of doubt, transcribe as VV and vv. When separate rv letterforms have been used by the printer to approximate the single letter W or w, transcribe as W or w, making an explanatory note if considered important.
Forms of W
|
Source
|
Transcription
|
Example
|
Transcription of example
|
Notes
|
|
vv
|
|
vvhole
|
|
|
w
|
|
whole
|
|
|
w
|
|
weysse
|
|
G6. Common abbreviations in early modern English manuscripts (Heather to reformat table to match DCRM(B) table.
-
Ao
|
Anno
|
|
Esq.
|
Esquire
|
Esquires
|
Ext, Exaite
|
Examinant
|
Examinante
|
Ho:, honoble
|
Honorable
|
honorable
|
Imp, inp
|
Imprimis, in primis (in the first place)
|
In primis
|
Itm, it
|
Item
|
Inprimis, Item, Item
|
La:, Lap
|
Lady; Ladyship
|
|
lre, lres
|
lettre, lettres
|
|
L:, Lo, Ld, Lp
Lls, Llps, Lopps
|
Lord or Lordship Lords or Lordships
|
|
Maty, Matie
|
Maiesty, Maiestie
|
|
Mr
|
Master or Mister
|
|
md, mem.
|
memorandum
|
|
Mrs, Mris
|
Mistress
|
|
or
|
our
|
|
pd
|
paid
|
|
Sr
|
Sir
|
|
worll, wor
|
Worshipful, worship
|
|
wch
|
which
|
|
wth, wt
|
with
|
|
ye
|
the
|
|
ym
|
them
|
|
yt
|
that
|
|
yor, yr
|
your
|
|
-mt
|
-ment
|
procurementes
|
-cõn,-sõn, -tõn
|
-cion, -sion, tion
|
affeccion
|
~ above m, n, or vowel
|
add an m or n
|
man
commendacions
|
&c.
|
et cetera, or etc.
|
|
xp
|
used for Christ (Greek chi & rho, the first two letters of the Greek word for Christ)
|
Christofer
|
-es graph
|
looped down stroke at end of word, signifying an -es
|
buttespoundeshazardes
|
-er graph
|
hook-shaped upstroke, usually for –er but could also be used for ar/or/re
|
euer neuerrecouer
aduertizedgenerallReuercions
|
-ur graph
|
superscript r, often at end of word
|
appurtenances
|
“special” p
|
pre-, pro-, par-, per-, depending on style and use
|
parte
persuadidpersonsparish person premisses and euery parte and parcell
premisses
prosperitie
|
pnt[-es graph]
|
presentes (often found in bargain and sale documents)
|
presentes
|
“special” s
|
ser- or sir
|
your seruaunt
|
“the” elisions
|
e is dropped
|
thonor, or “the honor”
|
Sometimes something looks like an abbreviation, but actually isn’t. It may contain a superfluous tilde or a letter that has been superscripted for no apparent reason.
accordinge
you
Sometimes a word is abbreviated, but not according to any of the rules above.
speciallgranted bargained
G7. Selected resources for reading early modern handwriting.
University of Cambridge, English handwriting, 1500-1700: an online course
http://scriptorium.english.cam.ac.uk/handwriting/
The National Archives, Palaeography: reading old handwriting 1500-1800, a practical online tutorial
http://www.nationalarchives.gov.uk/palaeography/
Scottish Archive Network, Online tuition in the palaeography of Scottish documents, 1500-1750
http://www.scottishhandwriting.com/
David Postles, Medieval and early modern paleography online seminar series
http://paleo.anglo-norman.org/empfram.html
Glossary
This glossary is intended to explain terms that need to be understood in order to apply DCRM(MSS). See also the glossaries in DACS, DCRM(B), AACR2 Appendix D, and RDA.
Access point. A name, term, keyword, phrase, or code that may be used to search, identify, and locate a descriptive record. See also Heading.
Accompanying material. Material that is a physically distinct component, typically in a different form, of the item being described, and intended to be used with that item.
Alternative title. The second part of a title proper that consists of two parts, each of which is a title; the parts are joined by the word “or” or its equivalent in another language, e.g., “The tempest, or, The enchanted island.”
Archival collection. An organic accumulation of items created, received, and/or used by a person, family, or corporate body in the natural course of conducting their affairs. It may also be an artificial collection, intentionally acquired and assembled by an archival repository, individual, or other institution that does not share a common provenance or origin but that reflects some common characteristic, e.g. a particular subject, theme, or form.
Archival description. A set of data that represents a collection or other unit of archival material, and that serves to identify, manage, and describe its origin, content, arrangement, and context, as well as its relationship to the entity that generated or accumulated it. See also Bibliographic description.
Attribution. The process of suggesting the nature or identity of some feature not explicit in the object described, especially authorship. The ascribing of a work to a particular creator.
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