Additional, to fantasy map there are a few pages from Grand Chronicles of Old Land describing the random legends and events from history of the continent.
fol. 170r of the Book of Ballymote (AD 1390), part of the Auraicept na n-Éces, explaining the Ogham script. the page shows varianst of Ogham, nrs. 43 to 77 of 92 in total, including shield ogham (nr. 73).
One of the stranger ancient scripts one might come across, Ogham is also known as the ‘Irish Tree Alphabet’. Estimated to have been used from the fourth to the tenth century CE, it is believed to have been named after the Irish god Ogma. Ogham actually refers to the characters themselves, the script as a whole is more appropriately named Beith-luis-nin after the order of alphabet letters BLFSN.
Description
The script originally contained 20 letters grouped into four groups of five. Five more letters were later added creating a fifth group. Each of these groups was named after its first letter. There are some four to five hundred surviving ogham inscriptions throughout Britain and Ireland with the largest number appearing in Pembrokeshire. The rest of the inscriptions were located around south-eastern Ireland, Scotland, Orkney, the Isle of Man and around the border of Devon and Cornwall. Ogham was used to write in Archaic Irish, Old Welsh and Latin mostly on wood and stone and is in tradition of ascribing the name of trees to individual characters. The inscriptions containing Ogham are almost exclusively made up of personal names and marks of land ownership.
The Book of Ballymote also includes ninty-two recorded secret modes of writing Ogham written in 1390-91 CE.
This Qur’an belongs to a small group of similar Qur’ans all of which were copied in Southern Spain. They are all fairly small, this being one of the larger of the group, and are similar in layout and illumination. All are square, and written in a small neat script which has been described as the Valencian script. Nine of the group have colophons, of which six were copied in Valencia. They have an opening page or pages of illumination, which here is sadly lacking. The sura headings are in gold kufic with illuminated palmettes and the text is written on rather white parchment with tightly spaced lines of around 21-28 lines to the page. […]
Spanish Qur’ans are few in number compared to North African Qur’ans as many were deliberately destroyed by the Christian conquerors of Spain. None exists in Spain itself with but few remaining in libraries in North Africa and the East, poignant reminders of Spain’s glorious Islamic heritage.
Hi! I’ve been pondering a formatting issue for a while now, and after doing a google search (and coming up fruitless) I figured I’d ask your opinion. I utilize prophecies in my novels, the long and winding ‘Harry Potter’ sort. I just never know how to format it within the manuscript. I tend to space it out like a multi-lined poem, but I never know if I should center and italicize it or keep it in line with the rest of the paragraphs, to the left. Thoughts?
Well! This is actually a good question, and, to be honest, I’ve never actually looked up the proper manuscript formatting for long quotes or special passages or songs/poems. I pretty much simply relied on MLA formatting for long quotes, and in regards to how songs are formatted, I figured The Lord of the Rings got it right enough.
So, I looked this one up, and the answer is a bit buried and debated depending on which editor you ask. The answer I’d go with is revealed and explained here.
Basically, I was more or less correct: block-quote your special text. Indent where necessary. Obviously, songs would not have indents, and would be separated by stanza.
What’s with the #? The hash symbol (AKA pound sign) most often dictates a new scene to your editor (usually where you might see “*” or “***”). It means an extra space between paragraphs, or some special scene divider image that goes in later.
In this case, the # means an extra space between the special passage. Your manuscript formatting will be double-spaced, but the book formatting won’t be, so this extra space separates the special passage from the rest of the narrative.
Don’t worry about italics, and by god, don’t use fancy font. (At least, do whatever you want while writing, but make sure to make it the appropriate Standard Manuscript Formatting before querying the publishing world.) If any special fancy font is to be used for the actual book form, that’s something that will come later.
Detail of a lovely original medieval breviary leaf. Circa 1300, northern France or Flanders. Litany of the Saints. Large painted initial in blue, gold, orange and white and 5 initials with delicate pen flourishes in red and blue $500.00 For more information and scans contact me at [email protected] #medieval #bookofhours #manuscript #medievalmanuscript #france #oldbook #antiquebook #breviary #art #interiordecorating #decorating #design #antique https://www.instagram.com/p/BPYKKJHl16w/?utm_source=ig_tumblr_share&igshid=cw19ihpsqaky
All right – all right. You want to know. I’ll tell you. You won’t be content until I tell you, will you – until you’ve ripped it out of me – I stopped seeing him because I wanted him. Can you understand – because I wanted him. (Pause) Now what good has that done you?
Dirk Bogarde’s hand-written scriptwriting additions on his Victim (1961) shooting script, BFI
