Alphabets Alive! – Criss-cross Row (Horn-books)

According to Peter Hunt, the first example of teaching the English alphabet with illustrations appears to be John Hart’s A Methode, or Comfortable Beginning for All Unlearned (1570); it is even the first instance of “A is for Apple”. John Amos Comenius’ Orbis Sensualium Pictus (1658), a later example of a pictorial Latin alphabet, was translated into English is 1659. But these are not the earliest alphabet tutorials. In History of the Horn-Book (1897), still the most authoritative book on the subject, Andrew White Tuer traces the earliest record “of a real horn-book with horn and not a mere alphabetical table” back to an equally important date in the history of printing and publishing: 1450. See the Online Exhibition Bonus below, however, for Erik Kwakkel’s challenge on this date.

The display case in Oxford for “Alphabets Alive!” included some of the Bodleian’s earliest examples of the horn-book. Here are some of the other works also shown there as well as some novelties and Tuer’s book. [Links in the captions will take you to more images and details.]

Van Hornbook tot ABC-Prentenboek (2003) Kees Baart, Dick Berendes, Henk Francino and Gerard Post van der Molen

Online Exhibition Bonus!

On his website Medievalbooks, Professor Erik Kwakkel has challenged Andrew White Tuer’s estimated date for the horn-book’s first appearance. Here is his discovery from the treasures in the Bodleian, right under the nose of the Alphabets Alive! exhibition:

Vita gloriossime virginis Mariae atque venerabilis matris filii dei vivi veri et unici (unidentified work).Italian manuscript, Venice. Oxford, Bodleian Library, Canon. Misc. 476 (14th century). Folio 047v.
Noted by Erik Kwakkel, “Book on a Stick“, Medievalbooks (Leiden), 10 April 2015 and accessed 10 November 2025.

As for the earliest ABC primer, Evelyn Shuckburgh proposed this mid-16th century candidate:

Evelyn S. Shuckburgh, ed. The ABC Both in Latyn & Englyshe (1889). A facsimile edition of a mid-16th century alphabet book and reader.

A horn-book beeswaxer, dusted with gold mica, 152 x 152 mm. The design comes from an antique Springerle cookie mould.

The Thread Gatherer

Although Tuer (below) devotes several pages to gingerbread horn-books made from cookie moulds, he does not mention any predecessors to this other home craft spin-off.

History of the Horn-Book (1897)
Andrew White Tuer

In the upper left corner of the image on the double-page spread can be seen the image of the cross from which the horn-book picked up its nickname “criss-cross row”. The three horn-books displayed atop the double-page spread were included in the limited edition of the book. The deluxe edition included five!

Facsimile horn-books. Real cow horn is used for the cover of the horn-book at the lower left.

Gene Wilson

With Mechanical Horn-book (2025), an homage to Anglo-Saxon times, Ashley Thayer has added an historical stepping stone from her Runic Alphabet above.

Return to List of Displays in Alphabets Alive!

Alphabets Alive! – Bibliography

Bailey, Merridee L. 2013. “Hornbooks“. Journal of the History of Childhood and Youth. 6.1, pp. 3-14.

Beckett Sandra L. 2013. Crossover Picturebooks : A Genre for All Ages. London: Routledge.

Bernal, Martin. 1990. Cadmean Letters : The Transmission of the Alphabet to the Aegean and Further West Before 1400 B.C. Winona Lake IN: Eisenbrauns.

Blamires, David. 1990. Adults Alphabets : Examples of English Press Alphabet Books from the Last Hundred Years with an Alphabetical Description Copious Illustrations and a Checklist of Press Alphabet Books. Church Hanborough: Hanborough Parrot. Bodleian.

Blamires, David. 1987. Alphabet Books. Manchester: John Rylands University Library. Bodleian.

Blinder, C. (2023). “An unmade book: Walker Evans’s 1970s Polaroids of Letters”. In The photobook world. Manchester, England: Manchester University Press. Retrieved 7 June 2023. From the abstract: “When Walker Evans died in 1975 he had been in the process of completing a photo-book, a sort of literary typology based on a series of Polaroids taken by him of roadside signs, traffic markings, advertisements and other urban ephemera. The aim, according to Jeff L. Rosenheim, curator of the Evans Archives at The Met, was to create ‘an alphabet book based on individual letters’. … Evans’s Polaroids have since been published, the fragmented letters as well as portraits and landscapes in a collected format but it is worth reconsidering how his painstaking attention to the objects of everyday life might have brought together writing on the streets into a photobook of letters; a new visual language indicative of a new photographic one as well.”

Boeckeler, Erika Mary. 2017. Playful Letters : A Study in Early Modern Alphabetics. Iowa City: University of Iowa Press. Bodleian.

Bromer, Anne, and Julian I. Edison. Miniature Books : 4,000 Years of Tiny Treasures. New York: Abrams, 2007. Bodleian.

Chiera, Edward, and George G Cameron. 1938. They Wrote on Clay : The Babylonian Tablets Speak To-Day. Chicago Ill: University of Chicago Press. Bodleian.

Clodd, Edward. 1913. The Story of the Alphabet. London: Hodder and Stoughton. 1913. Bodleian. Superseded by several later works, but is freely available online with line illustrations and some black and white photos.

Cooper, Cathie Hilterbran. 1996. ABC Books and Activities : From Preschool to High School. Lanham, Md.: Scarecrow Press. Bodleian.

Cornell University. 2017. Wake the Form: Artists’ Books in Context. Website. See the sections “Abecedarium” and “Child’s Play”.

Crain, Patricia. 2002. The Story of A: The Alphabetization of America from the New England Primer to the Scarlet Letter. Stanford CA: Stanford University Press. Bodleian.

Davies, Lyn. 2006. A Is for Ox : A Short History of the Alphabet. London: Folio Society. Bodleian.

De Hamel, Christopher, and Lovett, Patricia. 2010. The Macclesfield Alphabet Book : Bl Additional Ms 88887 : A Facsimile. London: British Library. Bodleian.

De Looze, Laurence. 2016. The Letter and the Cosmos : How the Alphabet Has Shaped the Western View of the World. Toronto: University of Toronto Press. Bodleian.

Delamotte, F. 1862. The Book of Ornamental Alphabets Ancient and Medieval: From the Eighth Century with Numerals:…. Fourth ed. London: E. & F.N. Spon. Bodleian.

Diringer, David, and Regensburger, Reinhold. 1968. The alphabet: a key to the history of mankind. London: Hutchinson. Bodleian. A standard, beginning to be challenged by late 20th and early 21st century archaeological findings and palaeographical studies.

Diringer, David. 1953. Staples Alphabet Exhibition Sponsored and Arranged by Staples Press London 1953; the Alphabet Throughout the Ages and in All Lands. Staples Press: London. Bodleian.

Donaldson, Timothy J. 2008. Shapes for Sounds. 1st ed. New York City NY: Mark Batty. Bodleian.

Drucker, Johanna. 1999. The alphabetic labyrinth: the letters in history and imagination. New York, N.Y.: Thames and Hudson. Bodleian.

Drucker, Johanna. 2022. Inventing the Alphabet : The Origins of Letters from Antiquity to the Present. Chicago: University of Chicago Press. Bodleian.

Druker, Elina, and Kümmerling-Meibauer, Bettina. 2015. Children’s Literature and the Avant-Garde. Amsterdam: John Benjamins Publishing Company.

Dyer, M.A., and Hibben, Y., 2012. Developing a Book Art Genre Headings Index. Art Documentation: Bulletin of the Art Libraries Society of North America, 31(1), pp.57–66.

Ege, Otto. 1921/1998. The Story of the Alphabet, Its Evolution and Development… Embellished Typographically with Printer’s Flowers Arranged by Richard J. Hoffman. Van Nuys, CA: Richard J. Hoffman. A miniature. The type ornaments chosen by Hoffman are arranged chronologically by designer (Garamond, Granjon, Rogers) and printed in color.

Evetts, Leonard. 1979. Roman Lettering : A Study of the Letters of the Inscription at the Base of the Trajan Column with an Outline of the History of Lettering in Britain. New York: Taplinger. Bodleian.

Ferraro, Cari. 2010. “Sacred Script: Ancient Marks from Old Europe“. Cari Ferraro: Prose & Letters. Accessed 4 January 2022. Also published in Alphabet : the journal of the Friends of Calligraphy. Volume 35.3. San Francisco Friends of Calligraphy. Bodleian.

Findlay, James A. 2000. ABC Books and Related Materials: Selections from the Nyr Indictor Collection of the Alphabet. First ed. Ft. Lauderdale Fla: Bienes Center for the Literary Arts Broward County Library.

Firmage, Richard A. 2001. The Alphabet: The Story of One of Civilisation’s Greatest Inventions. London: Bloomsbury.Bodleian.

Fischer, Steven Roger. 2008. A history of writing. London: Reaktion Books. Bodleian.

Flanders, Judith. 2021. A Place for Everything : The Curious History of Alphabetical Order. London: Picador an imprint of Pan Macmillan. Bodleian.

Folmsbee, Beulah. 1965. A Little History of the Horn-Book. Third Printing with Illustrations and a Map. Boston: Horn Book. Bodleian.

Gagné, Renaud. 2013. “Dancing Letters: The Alphabetic Tragedy of Kallias”. In Choral Mediations in Greek Tragedy, ed. R. Gagné and M. Hopman, Cambridge University Press 282-307. Bodleian.

Gannon, Megan. 10 April 2019. “Cave Markings Tell of Cherokee Life in the Years Before Indian Removal“. Smithsonian Magazine. Accessed 14 July 2023.

Goetz, Sair. 11 June 2020. “Letterforms / Humanforms“. Letterform Archive News. Accessed 30 January 2022.

Goldman, David J. 1994. A is for ox: the story of the alphabet. New York: Silver Moon Press. Bodleian.

Haley, Allan. 1995. Alphabet : The History Evolution and Design of the Letters We Use Today. New York: Watson-Guptill Publications. Bodleian.

Heller, Steven, and Anderson, Gail. 2014. The Typographic Universe : Letterforms Found in Nature the Built World and Human Imagination. New York New York: Thames & Hudson. Bodleian.

Hoptman, Laura J. et al. 2012. Bulletins of the Serving Library #3: Ecstatic Alphabets / Heaps of Language. Berlin/New York: Sternberg Press/Dexter Sinister. Bodleian. Catalogue and essays tied to a group exhibition at The Museum of Modern Art, New York, from May 6 to August 27, 2012. “It brings together forty-four modern and contemporary artists and artists’ groups working in all mediums including painting, sculptutre, film , video, audio, spoken word, and design, all of whom concentrate on the material qualities of written and spoken language–visual, aural, and beyond.”(P. 181). See also Maia Conlon’s altered book version.

Hunt, Peter, and Butts, Dennis. 1995. Children’s Literature : An Illustrated History. Oxford: Oxford UP. Cites the first picture alphabet as John Hart’s 1570 A Methode or Comfortable Beginning for All Vnlearned Whereby They May Bee Taught to Read English in a Very Short Time with Pleasure: So Profitable As Straunge Put in Light by I(Ohn) H(Art). Chester Heralt. Henrie Denham: London.

Illich, Ivan, and Sanders, Barry. 1988. ABC: The Alphabetization of the Popular Mind. London: Boyars. Bodleian.

Jackson, Donald. 1997. The story of writing. Monmouth, England: Calligraphy Centre. Bodleian.

Jacquillat, Agathe, and Vollauschek, Tomi. 2011. The 3d Type Book. London: Laurence King. Bodleian. Reference.

Kottke, Jason. 2005-23. “kottke.org posts about alphabet“. Accessed 28 September 2023.

Lawson, Alexander S. 2010. Anatomy of a Typeface. 5th print ed. Boston: David R. Godine.

Little, Laura. 2015. “A Practice‐Based Exploration of the Relationship between Artists’ Books and Children’s Picturebooks“. Anglia Ruskin University. PhD thesis.

Mackey, Bonnie, and Watson, Hedy Schiller. 2017. Alphabet Books : The K-12 Educators’ Power Tool. Santa Barbara California: Libraries Unlimited. Bodleian.

Maffei, G., 2007. “Artists, books, children”. In: Dehò, Valerio. 2007. Children’s Corner : Libri D’artista Per Bambini = Artists’ Books for Children Exhibition. Merano Italy: Edizioni Corraini. pp.26–27.

McLean, Ruari. 1976. The Noah’s Ark A.b.c. and 8 Other Victorian Alphabet Books in Color. New York: Dover Publications. Bodleian.

Moziani, Eliyahu. 1984. Torah of the Alphabet or How the Art of Writing Was Taught Under the Judges of Israel (1441-1025) : -The Original Short Course in Alphabetic Writing Conceived by Israel in Sinai. Herborn: Baalschem.

Myers George. 1986. Alphabets Sublime : Contemporary Artists on Collage & Visual Literature. Washington D.C: Paycock Press. Bodleian. Includes essay by Ludwig Zeller.

Ory, Norma R. 1978. Art and the Alphabet : An Exhibition for Children May 26-September 3 1978 Masterson Junior Gallery the Museum of Fine Arts Houston. Houston, TX: Museum. Bodleian.

Ouaknin, Marc-Alain. 1996. Mysteries of the Alphabet: The Origins of Writing. New York: Abbeville Press. Bodleian. HxW mm. 384 pages. Part One provides a short history of writing and deal with the author’s view of the Latin alphabet’s origin in the proto-Sinaitic alphabet. Part Two proceeds letter by letter through the history of the alphabet’s development; each letter’s chapter concludes with a summary table: Name (in English and Hebrew); Classic Forms in Classical and Modern Hebrew; Original Meanings; Derivative Meanings; Acquired Meanings Perpetuated by the Hebrew Language; and Numeric Value. Part Three explains the author’s principle of archeography: “the analysis and interpretation of words based not only on their etymological roots but also on the original graphic form of the letters of the alphabet, as it was first encountered in proto-Sinaitic script, … and the origins and development of that first alphabet.” p. 352.

Nesticò, B. 2007. “Ó.P.L.A. The Home of Artists’ Books for Children”. In: Dehò, Valerio. 2007. Children’s Corner : Libri D’artista Per Bambini = Artists’ Books for Children Exhibition. Merano Italy: Edizioni Corraini. pp.17–19.

Nodelman, Perry. 2017. David A. Carter, Alexander Calder, and the Childlikeness of the Moveable Book: Children as “Children of All Ages”. The Free Library (June, 22). Accessed 17 September 17 2022.

Pflughaupt, Laurent. 2008. Letter by letter: an alphabetical miscellany. New York: Princeton Architectural Press. Bodleian.

Pollinger, Gina. Alphabet Gallery : An ABC of Contemporary Illustrators. London: Mammoth, 1999.

Public Domain Review. “The Human Alphabet“. 3 November 2016. The Public Domain Review. Accessed 10 February 2023.

Raptis, Sotirios. 18 February 2011. “Human Alphabets 1“. Slideshare.net. Accessed 10 February 2023.

Raptis, Sotirios. 18 February 2011. “Human Alphabets 2“. Slideshare.net. Accessed 10 February 2023.

Raptis, Sotirios. 13 August 2016. “Human Alphabets 3“. Slideshare.net. Accessed 10 February 2023.

Raptis, Sotirios. 13 August 2016. “Human Alphabets 4“. Slideshare.net. Accessed 10 February 2023.

Reinhard, S., 2010. “The Children’s Picture Book as Artist’s Book: Turning the American Children’s Picture Book Form ‘Topsy & Turvy.’International Journal of the Book, 7(4), pp. 99–126.

Robinson, Andrew. 1995. The story of writing. London: Thames and Hudson. Bodleian.

Rosen, Michael. 2013. Alphabetical: How Every Letter Tells a Story. London: John Murray. Bodleian.

Rostankowski, C. C. 1994. “A Is for Aesthetics: Alphabet Books and the Development of the Aesthetic in Children“. Journal of Aesthetic Education, 28(3), 117–127.

Rothenstein, Julian, and Gooding, Mel. 2018. A2Z: Alphabets & Signs. New York: Princeton Architectural Press. Bodleian.

Rothenstein, Julian, and Gooding, Mel. 1995. Alphabets & Other Signs Reprinted ed. London: Thames and Hudson. Bodleian.

Rothenstein, Julian, and Gooding, Mel. 2003. ABZ. San Francisco Calif: Chronicle Books. Bodleian.

Sacks, David. 2003. Language visible: unraveling the mystery of the alphabet from A to Z. New York: Broadway Books. Bodleian.

Samoyault, Tiphaine. 1996, 1998 trans. Alphabetical order: how the alphabet began. New York: Viking. Bodleian. Children’s book.

Scott, C. 2014. “Artists’ books, Altered books, and Picturebooks”. In: Kümmerling‐Meibauer, N., ed. Picturebooks: Representation and Narration. London, New York: Routledge. Scott points out the many design techniques that artists’ books and children’s alphabet books share : the arranging, folding and cutting of pages and the various ways of organizing them — “scrolls, sewn or pasted folios, accordion folds, or attached triangles or circles that open or unfold in various ways”; tunnel books, “fans, shadow boxes, windows, doors, and drawers … an assortment of Shepherd’s Purse and related folds, some of which may be drawn from the origami tradition, and which might be opened like a map, or form a pocket holding inserts. These methods of order provide a direction for the experience of the viewer/reader, a journey through the work of art that, like the picturebook, offers a form of linearity that combines graphic vision with a kind of narrative path from experience to experience. Notions of narrative perspective, the unfolding of a story and emotional involvement of the reader are as significant for artists books as they are in picturebooks. And the physical action of turning the page, so important to young children’s understanding of the way a book works, is replicated in artists’ books with their many different modes and sometimes complex methods of activation.” p.42

Shaw, Gary. 15 April 2021. “Ancient ABCs: The alphabet’s ‘missing link’ discovered in Israel“. The Art Newspaper.

Steiner Deborah. 2021. Choral Constructions in Greek Culture : The Idea of the Chorus in the Poetry Art and Social Practices of the Archaic and Early Classical Period. Cambridge: Cambridge University Press. See chapter 8 for the story on Kallias and dancing the alphabet.

Thompson, Tommy. 1952. The ABC of our alphabet. London: Studio Publications. Bodleian. Not a fine press publication, but its layout, illustrations and use of two colors bear comparison with the Davies book. It too is out of print and unfortunately more rare.

Tuer, Andrew W. 1897. History of the Horn-Book. London: Leadenhall Press. Bodleian.

Verheyen, Peter. 1998. “Definition of the Artist’s Book; What is a Book; BSO’s (Book Shaped Objects); Art vs. Craft“. The Book Arts Web. Online.

Warner, Arabella. 27 July 2023. “A is for Ox“. The Oxford Sausage. More than a review of Alphabets Alive!, this personal essay concludes with a superb online alphabet exhibition.

Webb, Poul. 2017-“Alphabet Books — Parts 1-8” on Art & Artists. Google has designated this site “A Blog of Note”, well deserved for its historical breadth in examples, clarity of images and insight.

Wise, Jennifer. 1998. Dionysus Writes : The Invention of Theatre in Ancient Greece. Ithaca,NY/London: Cornell UP. Bodleian.

Witkovski, Matthew S., and Mayerová, Milča. 2004. “Staging Language : Milča Mayerová and the Czech Book Alphabet.” The Art Bulletin Vol. 86 No. 1, March 2004:114-135. Bodleian.

Wong, Kate. 5 June 2023. “This Small-Brained Human Species May Have Buried Its Dead, Controlled Fire and Made Art”. Scientific American. Online. Accessed 5 June 2023.

Zink, Michel. 2004. Le Moyen Age à La Lettre: Un Abécédaire Médiéval. Paris: Tallandier. Bodleian.

Webliography of Abecedaria

The following links (archived in the Wayback Machine) lead to sites showing artists’ alphabet books held by the institution or an illustrated exhibition on the topic.

Abecedarium:NYC (associated with New York Public Library)

California College of the Arts

Cornell University

Guild of Book Workers, 1998-99 Exhibition

Harvard University

Louisiana State University

Museum of Modern Art, NY (Artists’ Alphabets and Ecstatic Alphabets/Heaps of Language)

Rhode Island School of Design, Fleet Library

Skidmore College (caveat: search result filtered by “artists’ books” and “alphabet books”)

Trinity College, Hartford, CT

University of Utah, J. Willard Marriott Library (“ABC: An Artists’ Book Abecedarium” – a brilliant predecessor to “Alphabets Alive!”)

Return to List of Displays in Alphabets Alive!

Alphabets Alive! – The ABCs of Form & Structure

“The shapes a bright container can contain!” (Theodore Roethke)

Artists’ books take on as many structural forms as artists can imagine. They may take them from the organizational structures of the traditional codex: page, columns, front and back matter, chapter, part, volume and binding. They may take them from ancient structures: the scroll, leaf books or the orihon (what the West calls the leporello, concertina or accordion structure). Or take the form of a simple wrapped or boxed portfolio. They may adopt more playful forms — flipbook, flagbook, tunnel book, volvelle and more — many of which have a long tradition in children’s books, especially the alphabet book.

When the letters of the alphabet are added to these structural sources of inspiration, a kaleidoscope of bright containers emerges, so let’s begin with Kathleen Amt’s Kaleidoscopic ABCs. [Links in the captions will take you to more images and details.]

Kathleen Amt, Kaleidoscopic ABC’s (1991)*. What rests inside the paper box is a flexagon, six paper pyramids bound together to create a “fidget toy” alphabet book of 24 “pages” (4 panels x 6 pyramids) to be read by turning it inside out again and again. Look for the tricky panel page at the end.

Matsumasa Anno, Anno’s Magical Alphabet (1981)*. An anamorphic alphabet requires great skill from the illustrator and a bit of effort from the reader. To read the pages of this alphabet, the reader removes a piece of mirrored paper from the envelope at the back of the book, furls it into a column and places it in the center of each page. Then the image at the bottom and the letter at the top of the page take their proper shapes in the mirror. To see the letter, though, the reader must spin the page around or go to the other side of the table. The physics of vision meets the physics of reading.

Marion Bataille, ABC3D (2008).* More than an alphabet pop-up book, this is a book of shapes, moving parts, optical illusions and visual puns. It demonstrates Bataille’s preeminence as a paper engineer and book artist.

Carol DuBosch, Rainbow Alphabet Snowflake (2013).* Magnets hidden in the front and back covers hold this star book open in its standing sculptural form.

Karen Hanmer, The Spectrum A to Z (2003). Compare this tunnel book with Amy Lapidow’s below. Such similar concepts but distinctive interpretations.

Helen Hiebert, Alpha Beta (2010).* In this lantern-structure book, each panel displays an alphabet letter cutout casting a shadow against a second layer of handmade paper. 

Ron King, Alphabeta Concertina majuscule (2007) and alphabeta concertina miniscule (2007). On one side, the uppercase of A-M (or a-m), and on the other, that for N-Z (or n-z), these works combine pop-up structure with the double-sided concertina (or leporello). It’s surprising how little of each letter we need to recognize it whether it is lowercase or uppercase.

Ron King, ABC Paperweights .* Not really “bookish”, but they display in a pure sculptural form the artist’s eye for the minimal lines and spaces in the three basic geometric shapes — triangle, square and circle.

Amy Lapidow, Spiralbet (1998).* The spectrum of colors and the sequence of A to Z are so locked in a spiral that perhaps this tunnel book should be termed a “funnel book”.

Scott McCarney, Alphabook 3 (1986).* In this two-volume leporello, the cover wrap for the first volume is cut, tabbed and slotted to suggest the letter A; that for the second, to suggest the letter Z. Like three-dimensional stencils, the letters show multiple ways in which the space inside a letter and outside that letter combine to define the letter.

Lisa McGarry, Twenty-six/Fragments (2012).* Although it folds down into a nearly miniature book, this meander fold book unfolds into a poster-sized single sheet that, like several works here, takes its artistic inspiration from how little it takes to be able to identify the letters.

Patrice Miller (Edward Gorey), The Eclectic Abecedarium (2022).* The flag-book structure, which has the reader twisting and peering from so many angles, provides an ideal form with which to celebrate Edward Gorey’s eclectic vignettes and mysterious rhyming couplets.

Jeff Morin and Steven Ferlauto, Sacred Space (2003).* This flat-pack kit of parts becomes a model of the collapsible and portable shed celebrated as the sacred space in the book that comes in the wooden box holding the flat-pack kit.

Published to commemorate the Movable Books Society’s 25th anniversary, A to Z Marvels in Paper Engineering (2018) is aptly subtitled. A video created by Christopher Helkey gives 26 brief cameos to the contributing artists in which they demonstrate those marvels.

An alphabet-related work that underscores Picasso’s calling Bruno Munari “our Leonardo” is ABC con fantasia (1973/2008). If we are to believe Fra Luca Pacioli, it was Leonardo da Vinci who inspired his “straight lines and curves” exposition for creating letters. Following in their footsteps, Munari provides the linear and curvilinear basics for the collector and offspring to join the game.

Bruno Riboulot, ABCD’Air (2005).* Codex of letters made from the “air” around and in them — formed by cut0uts, torn pages and “reveals” with different colored papers.

Merrill Shatzman, Calligrafitti #3 (2011).* While there are several leporellos on the exhibition, this one displays the letters of multiple alphabets in an intricate, handcut form.

Emmett Williams, abcdefghijklmnopqrstuvwxyz (1963).* In progress More than seven feet in length, this alphabet scroll was originally published around 1961 by Verlag Kalender, the same publisher that published the Kalender Rolle, whose form influenced this work. Intended for performance, the scroll is gradually unfurled and read aloud.

Online Exhibition Bonus!

Helen Hajnoczky, alpha seltzer (2023)*. Meant to hang from its beginning or ending loop and be read vertically to see the alpha seltzer tablets fizzing down or floating up, this double-sided structure is a blend of the double-sided leporello and palm leaf structure.

Karen Hanmer, A²Z (2013). In progress. As this flip-book shows, there is more than one way to get from A to Z. Scott McCarney’s Alphabook 13 (below) provides another.

Ron King, The White Alphabet (1984). This double-sided leporello’s larger scale offers another opportunity to explore how light, paper, folds and cuts interact to provide the simple clues we need to distinguish a letter — and, by comparing it with the smaller versions, the chance to see how King has changed those sculptures over the years.

Scott McCarney, Alphabook 13 (1991). Another flip-book (see Helen Hanmer’s above), but only the A and Z appear.

Scott McCarney, Alphabook 10 (2015) This book combines the alphabet sequence with the harlequinade (“flap-book”, “turn-up”, “metamorphosis” or “lift-the-flap”) structure invented in 17th century, in which the book’s narrative unfolds as each flap is lifted.

Patrice Miller (Edward Gorey), Figbash Acrobate (2023). In progress Likewise the tumbling Jacob’s ladder structure is perfect for reading the Figbash acrobats as they bend and twist into the shapes of the letters. See also “Alphabets Alive! B is for Bodies”.

Thomas Ockerse, The A-Z Book (1969/2014). In progress Ockerse’s spiral-bound harlequinade does not proceed from A to Z. Instead, a turn of the page demonstrates how an A can become a V, which then becomes an M, which then becomes an E. It has more in common with Munari’s ABC con fantasia than McCarney’s alphabetically sequenced Alphabook 10.

Maria Pisano, XYZ (2002). Two important features distinguishing this leporello from others are its miniature status and its being made with pulp paint.

Borje Svensson & James Diaz, Letters (1982). Tunnel block. This little diorama reveals itself inside a small cardboard box designed to look like an alphabet block. The author and illustrator teamed up to create another on the theme of A for animals.

Return to List of Displays in Alphabets Alive!

Books On Books Collection – Kevin M. Steele

The Movable Book of Letterforms (2009)

The Movable Book of Letterforms (2009)
Kevin M. Steele
Pop-up book. 210 x 210 mm. 22 pages. Edition of 3. Acquired from the artist, November 2022.
Photos: Books On Books Collection. Displayed with permission of the artist.


Letterforms have a tangibility that exceeds their two-dimensional representation on paper and even on screen. How better to educate the viewer to their tactility and three-dimensionality than with movable book techniques such as the volvelle, pop-ups, flaps and tab pulls?

The Movable Book of Letterforms (2009) is a work of art that does just that: it enacts a basic introduction to the origins and unique characteristics of letterforms. A limited edition of three, all of its movable parts have been cut and assembled by hand. The printing is digital on Mohawk Superfine 80lb, and the box and book are covered in Laval velour bookcloth debossed with polymer plate. The only element the artifact is missing is metal.

For a monumental display of Steele’s book and paper engineering, a visit in the UK to the National Maritime Museum in Greenwich is urged. It can also be found in the following collections:

Metropolitan Museum of Art, New York
Wits Art Museum, Johannesburg
University of Iowa, Iowa City
Indiana University, Bloomington
Western Michigan University, Kalamazoo
Michigan State University, East Lansing

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

BOOKNESS speaks to Kevin Steele“. 18 December 2023. Oxford: Bodleian Libraries.

Chen, Julie. 2013. 500 Handmade Books. Volume 2. New York: Lark. P. 29 (The Deep).

Lawson, Alexander S. 2010. Anatomy of a Typeface. 5th print ed. Boston: David R. Godine.

McNeil, Paul. 2017. The Visual History of Type. London: Laurence King Publishing.

Salamony, Sandra, and Peter and Donna Thomas. 2012. 1,000 Artists’ Books : Exploring the Book as Art. Minneapolis: Quarto Publishing Group USA. P. 181 (Le Meschere della Commedia dell’Arte).

Books On Books Collection – Sonia Delaunay

Alphabet (1972)

Alphabet (1972)
Sonia Delaunay
Casebound, illustrated paper over boards. H285 x W255 mm. 54 pages. Acquired from Argosy Bookstore, 7 August 2021.
Photos: Books On Books Collection.

Building on a French scientist’s exposition of how perception of colors changes depending on the colors around them, Sonia and Robert Delaunay claimed that rhythmic, musical and spatial synesthetic elements were also at play.  At least one page in Sonia Delaunay’s Alphabet suggests that this theory of simultanéisme may have extended to the sense of taste.

The lithographs that led to Alphabet appeared ten years before Delaunay’s death, so maybe it is greedy to wish for at least a fine press edition rather than this trade edition. Given the effort and inspiration needed to fuse the elements of alphabetic art with the elements of book art, it is definitely greedy to wish for an artist’s book edition.

Sonia Delaunay’s genius for merging colors, shapes, canvas, paper and fabric was celebrated in “Sonia Delaunay – A Retrospective” at the Tate Modern in 2015. Asserting a family bond with Delaunay, the artist Alla Malomane revived Maison Sonia Delaunay in 2014. In 2019, Kitty Maryatt re-created Delaunay and Blaise Cendrars’ famous work of book art, which they called le premier livre simultané — La Prose du Transsibérien et de la petite Jehanne de France. And more recently, the exhibition “Maison Sonia” appeared at the Kunstmuseen Krefeld in Germany. So perhaps Sonia Delaunay’s spirit endures, and a greedy wish may be fulfilled by some quarter. Since Maryatt’s effort, a pochoir revival certainly seems to be afoot.

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

La Prose du Transsibérien Re-Creation” by Kitty Maryatt”. 5 October 2020. Books On Books Collection.

Le Cadratin“. 8 February 2022. Books On Books Collection.

Cohut, Maria. 17 August 2018. “Synesthesia: Hearing colors and tasting sounds“. Medical News Today. Accessed 2 February 2022.

Campen, Crétien van. 26 July 2012. “Bibliography: Synesthesia in Art and Science“. Leonardo. Accessed 2 February 2022.

Cytowic, Richard E. 2018. Synesthesia. Cambridge, MA: MIT Press.

Delaunay, Sonia, Katia Baudin-Reneau and Waleria Dorogova. 2022. Maison Sonia Delaunay. Berlin: Hatje Cantz.

Books On Books Collection – Menena Cottin

El libro negro de los colores (2006)
The Black Book of Colors (2009)
Menena Cottin and Rosana Faría
Dustjacket, casebound, black doublures, sewn. H180 x W290, 24 unnumbered pages. Acquired 17 October 2017.
Photos: Books On Books Collection. Displayed with author’s permission.

Menena Cottin refers to her works as “concept books”, and there are multiple concepts at work in The Black Book of Colors. Generically, it is a children’s book introducing the reader to colors — but by the absence of color. In white on black, it addresses sighted readers. In Braille, it addresses unsighted readers. With Thomas, who “likes all the colors because he can hear them and smell them and touch and taste them”, the book introduces to sighted and unsighted readers who are not synesthetic the concept of synesthesia and, through it, a new sense of empathy and imagination. The sighted encounter someone with a sensory anomaly, not a disadvantage. In the company of their imagined unsighted co-readers, the sighted may come to empathize with those with sensory differences. The unsighted encounter someone whose sensory anomaly is an advantage. especially as the book favors their own heightened sense of touch.

Thomas says that yellow tastes like mustard, but is as soft as a baby chick’s feathers.

Thomas likes all the colors because he can hear them and smell them and touch and taste them.

Breaking boundaries in ways similar to those employed by book artists, Cottin manipulates character and narration, also the picturebook’s genres of color recognition and letter recognition (Braille in this case) as well as some of the basic elements of the book (layout, printing in reverse-out and debossed printing). In one of the most sophisticated examples of this, double-page spreads fuse concepts by turning a rainbow into a gathering of raised images of the synaesthetic objects with which colors have already been associated in the book (chick’s feathers, strawberries, leaves).

And when the sun peeks through the falling water, all the colors come out, and that’s a rainbow.

The Black Book uses synesthesia to go beyond the color recognition genre to introduce more complex concepts: the nature of light and water’s lack of color, taste and smell. This stepping outside the genre is another example of the boundary-breaking that artists’ books often perform.

Thomas thinks that without the sun, water doesn’t amount to much. It has no color, no taste, no smell.

The book ends by asserting its membership in the alphabet book genre by presenting the alphabet in lowercase white on black and in Braille. Across from this verso page, there is no set of raised images on the recto page as there has been so far throughout the book. Knowing from touch that this is the end of the book and noting the absence of any image, sighted and unsighted readers might find this coda a prompt to return to the beginning and “re-read” the images with a greater reliance on touch.

Other books in the Books On Books Collection worth comparing with The Black Book of Colors are

Like a Pearl in My Hand (2016) Carina Hesper

Vladimir Nabokov: AlphaBet in Color (2005) Jean Holabird

Blindness (2020) Masoumeh Mohtadi

Voyelles (2012) Arthur Rimbaud/Le Cadratin

Darkness Visible (2017) Sam Winston

The Blind Men and the Elephant (2019) Xiao Long Hua

La Doble Historia de un Vaso de Leche (2019)

La Doble Historia de un Vaso de Leche (2019)
Menena Cottin
Casebound landscape, paper over boards, with orange-yellow doublures, sewn. H160 x W310 mm. 24 unnumbered pages. Acquired from the artist, 2022.
Photos: Books On Books Collection.

The Double Story of a Glass of Milk opens and closes with a line that echoes the start of William Carlos Williams’ “The Red Wheelbarrow” but is at once more straightforward and just as surprising — as the visual story spills out.

Todo depende del ángulo en que lo miras. A veces un cuadrado puede también ser un circulo y una larga linéa luce como un punto y algo que está solo a medias parece que está lleno. Un mismo cuerpo tiene diferentes caras per a veces te confunde mostrándote una misma forma. Solo si miras a su alrededor descubres que … eso que de frente parece tan discreto desde arriba luce muy escandaloso. Todo depende del ángulo en que lo miras.

“Everything depends on the angle from which you look at it. Sometimes a square can also be a circle and a long line looks like a dot and something only half full looks full. The same body has different faces but sometimes it confuses you by showing you a different shape. Only if you look you discover that … what from the side looks so innocent looks shocking from above. Everything depends on the angle from which you look at it.”

Equilibrio (2019)

Equilibrio (2019)
Menena Cottin
Casebound landscape, paper over boards, with red doublures, sewn. H160 x W310 mm. 25 unnumbered pages, last page on inside of flyleaf. Acquired from the artist, 23 August 2022.
Photos: Books On Books Collection. Displayed with the author’s permission.

The three colored balls on the cover give their colors to the three i’s in Equilibrio on the title page, announcing the statement to come: El equilibrio es cuestión de balance (“Equilibrium is a question of balance”).

El equilibrio es cuestión de balance. De tomar siempre en cuenta el movimiento del otro y reaccionar para mantenerlo, calculando, arriesgando, y experimentado. Algunos se ponen a jugar sin pensar en las consecuencias entonces se rompe el equilibrio y cada quien hace lo que quiere … pero luego sienten deseos de regresar y cada quien busca su lugar.

“Equilbrium is a question of balance. Of always taking into account the movement of the other and reacting to maintain it, calculating, risking, and experimenting. Some people start to play without thinking about the consequences, then the balance is broken and everyone does what they want … but then they feel the desire to return and everyone looks for their place.”.

As in The Black Book of Colors, there is more than one concept at play, the lesson of equilibrium coming with lessons in community and relationships.

El Tiempo (2018)

El Tiempo (2018)
Menena Cottin
Casebound portrait, paper over boards, with orange-yellow doublure at front, orange-yellow/black at back, sewn. H310 x W160 mm. 24 unnumbered pages. Acquired from the artist, 23 August 2022.
Photos: Books On Books Collection. Displayed with author’s permission.

Cottin introduces the concept of Time with two metaphors — one verbal, one visual.

Verbally: El tiempo es una cadena de instantes que se suceden uno tras otro hasta el infinito. [Time is a chain of instants one following another until infinity.] Visually: Instants of time are like pages, pages from a diary.

Even in an hour glass, the instants of time are golden pages — Se divide en pasado, presente y futuro que es lo mismo que antes, ahora y después. — [dividing the past, present and future which is the same as before, now and after].

When the future runs out, that is of course when the pages run out, visually and tactilely.

Ana con A, Otto con O (2015)

Ana con A, Otto con O (2015) [Ana with an A, Otto with an O]
Menena Cottin
Bradel binding with cloth spine, paper over boards, yellow doublures, leaves in Chinese fold. H85 x W260 mm. 42 unnumbered pages. Acquired from the artist, 23 August 2022.
Photos: Books On Books Collection. Displayed with author’s permission.

With this little book, Menena Cottin has secured a place among the Oulipians. Where Georges Perec wrote a novel without the letter E, Cottin has written and created an artist’s book in which the characters have a somewhat opposite challenge.

Ana es una muchacha adorable, pero tiene un problema: habla español solamente con A. Otto es un muchacho encantado, pero tiene un problema: habla español solamente con O. Un domingo por la mañana, en isla de Margarita, Ana sale a caminar por la playa. Otto sale a caminar por la playa. De repente, Ana se tropieza con alguien …
–Aah!
–Oh!

[Ana is a lovely girl, but she has a problem: she speaks Spanish only with words that have an A. Otto is a lovely boy, but he has a problem: he speaks Spanish only with words that have an O. One Sunday morning, on Margarita Island, Ana goes for a walk on the beach. Otto goes for a walk on the beach. Suddenly, Ana bumps into someone …
–Aah!
–Oh!]

When they make small talk about the weather, Ana says, Clara mañana [Clear tomorrow] with which Otto agrees, Con sol [With sun]. Ana tries again with a leading Gran playa, la mar calmada … agradar andar acá. [Great beach, calm sea… it’s nice to walk here.], but Otto can only come up with ¡Como, no! [Of course!].

Eventually Otto catches on and proposes they go for a swim. After, as they walk along the beach being serenaded by a guitar-playing singer whose nonsense refrain is with syllables that have only U, Otto invites Ana to lunch at the beachside restaurant El Pez [The Fish]. There they meet the friendly waiter Pepe, who likewise has a problem: he speaks Spanish only with words that have an E. When their meal ends and Otto sees the bill, he grows pale, suspiciously throws himself to the ground, cries out he’s been poisoned, and then runs off with Pepe in pursuit of payment. Poor Ana wanders back down the beach, but bumps into another character, more handsomely drawn and simpatico: Allan with an A. Colorín colorado, as the Spanish say [And that’s the end of this story], but not until the last page where the character who has been lounging in a beach chair all along now stands, revealing her name on her chair — Iris — and holding a sign that reads Fin.

The rule-abiding dialogue strings the reader along as effectively as the horizon line that runs from page to page over the Chinese folded folios from the beginning to the end. It is a design feature that will be much easier to reproduce than will a translation into English or any other non-Romance language that is as delightful as — or as “consonant” with — Ana, Pepe, Iris, Otto and the singer singing

Las Letras (2008/2018)

Las Letras (2018) [Letters]
Menena Cottin
Casebound portrait, illustrated paper over boards, endpapers. H200 x W205 mm. 24 unnumbered. Acquired from the artist, 23 August 2022.
Photos: Books On Books Collection. Displayed with author’s permission.

Las Letras has appeared in two editions (2008 and 2018). There are slight grammatical differences, but the meaning remains unchanged. As in Equilbrio, where Cottin finds in an abstract concept a metaphor for interdependence in human relationships, in Las Letras Cottin finds a metaphor for tolerance and communication in the alphabet. Even letters themselves celebrate our differences.

Las personas son como las letras, cada una es diferente a la otra, con su propia forma, su propia forma, su propia voz y su personalidad. Pueden ser gordas, flacas, sencillas o complicados. Algunas son muy populares y se les ve por todas partes, en cambio, a las más tímidas les gusta salir poco.

[People are like letters, each one is different from the other, with its own form, its own shape, its own voice and its own personality. They can be fat, skinny, simple or complicated. Some are very popular and are seen everywhere, while the shyer ones don’t like to go out much. …]

Other children’s/artists’ books in the Books On Books Collection worth comparing with Las Letras are:

Dessine-moi une lettre (2004) Anne Bertier

A is for Bee (2022) Ellen Heck

One & Everything (2022) Sam Winston

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

Beckett Sandra L. 2013. Crossover Picturebooks : A Genre for All Ages. London: Routledge.

Cave Roderick and Sara Ayad. 2017. A History of Children’s Books in 100 Books. London: British Library Publishing Division, pp. 26-27.

Nikolajeva, Maria, and Carole Scott. 2007. How picturebooks work. New York: Routledge Taylor & Francis Group.

Outlaw, Christopher. 17 April 2017. “FILBo 2017“. The Bogotá Post. Accessed 30 October 2011.

Scott, Carole. 2014. “Artists’ books, Altered books, and Picturebooks”. In: B. Kümmerling‐Meibauer, ed., Picturebooks: Representation and Narration. London, New York: Routledge.

Books On Books Collection – Department of Special Publications, The Museum of Metropolitan Art

Animalphabet (1996)

Animalphabet (1996)
Department of Special Publications, The Museum of Metropolitan Art
Hardcover, casebound sewn. H120 x W150 mm, 60 unnumbered pages. Acquired from Aardvark Books, 1 August 2021.
Photos: Books On Books Collection.

Animalphabet is a reminder of the close connection between animals and alphabet books. Think of the several same-titled works, e.g., Julia Donaldson’s Animalphabet (2018) or Sharon Werner and Sharon Forss’ AlphaBeasties (2009) or Alan James Robinson and Suzanne Moore’s A Fowl Alphabet (1986). It also highlights an aspect of book art.

Although the museum’s little book does not rise to the level of art, its self-reflective textual/visual puns are a hallmark of much book art. In it, the museum staff selects an ink scroll depiction of donkeys by Huang Chou for “Ass-embly”, François Pompon’s Polar Bear for “Bear Minimum”, and a 10th-11th-century bookcover carving of the emblem of Luke the Evangelist for “Holy Cow”. The Met’s choice of Pompon’s Minimalist bear to pun on the art movement comes closest to the rampant punning of homages to Ed Ruscha’s “various” iconic works of book art, distilled in Various Small Books (MIT Press, 2013).

Because it is hard to think of a textual/visual/genre pun among artists’ books that is more multilevel than the Met’s final letter, the little book should have the last word.

© Metropolitan Museum of Art, 1977.

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

Buzz Spector“. 24 September 2021. Books On Books Collection.

Ximena Pérez Grobet“. 7 July 2021. Books On Books Collection.

Ron King“. 1 March 2021. Books On Books Collection.

Alan James Robinson“. 9 June 2023. Books On Books Collection.

Sharon Werner & Sharon Forss“.

Brouws, Jeffrey T., Wendy Burton, Hermann Zschiegner, Phil Taylor, Mark Rawlinson and Edward Ruscha. 2013. Various Small Books : Referencing Various Small Books by Ed Ruscha. Cambridge Massachusetts: MIT Press.

Donaldson Julia. 2018. Animalphabet. London: Pan Macmillan.

Books On Books Collection – Ada Yardeni

A- dventure- Z’ (2003)

A- dventure- Z’: The Story of the Alphabet (2003)
Ada Yardeni
Paperback. 220 x 220 mm. 86 pages. Acquired from Carta Jerusalem, 28 March 2023.
Photos: Books On Books Collection.

There is gray between what is unknown and known about the invention of shapes and signs for sounds. In the Books On Books collection, one side is reflected by works such as Cari Ferraro’s The First Writing (2004) and William Joyce’s The Numberlys (2014); the other, by Lyn Davies’ A is for Ox (2006) and Tiphaine Samoyault’s Alphabetical Order (1998). One engages myth, artistic extrapolation or fictional representation; the other, the rational, the evidentiary mundane or non-fictional presentation.

Ada Yardeni’s A- dventure- Z’: The Story of the Alphabet (2003) arches between them. She studied at the Bezalel Academy of Arts and Design in Jerusalem. As a designer at Koren Publishing, she created the font “Ada”, after which she went on to receive her doctorate under Joseph Naveh at Hebrew University in Jerusalem in 1991 and become an acknowledged expert in Hebrew palaeography.

Paired with intricate and annotated black and white diagrams, Yardeni’s illustrations use brilliant colors, an accomplished calligraphic hand and her palaeographic, historical and linguistic understanding of the alphabet to display the evolution of each letter based on its forms as they appear in ancient inscriptions. While most of the illustrations contain the cartoon figures seen below in the display of the Hebrew Bet and Arabic Ba:’, the illustration for the letter Samekh (on which the letter X is based) takes on the aspect of abstract pop art.

Alongside the diagrams, the clear, uncluttered text delivers a scholarly assuredness about the appearance, disappearance and changes of strokes in the early signs found in the Sinai, but the artistry somehow evokes the mystery that continues to envelop the invention of shapes and signs for sounds and the differences in the many writing and alphabetical systems around the world. Yardeni’s still more scholarly works are to be found elsewhere, but A- dventure- Z’: The Story of the Alphabet holds its own as a companion to any of the reference works noted below. With its graphics and its charming tale of a Canaanite king seeking a way to preserve his songs, it also holds its own with any of the children’s books noted below.

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

Children’s books

Cumptich, Roberto de Vicq de. Bembo’s Zoo: An Animal ABC Book (2000).

Dugan, William. How Our Alphabet Grew (1972).

Ferraro, Cari. The First Writing (2004).

Heck, Ellen. A is for Bee (2022).

Joyce, William. The Numberlys (2014).

Kipling, Rudyard, and Chloë Cheese.  How the Alphabet Was Made (1983).

Kipling, Rudyard, and Gerald Lange, The Neolithic Adventures of Taffi-Mai Metallu-Mai (1997).

Mavrina, Tatyana. Сказочная Азбука / Skazochnaia Azbuka / A Fairy Tale Alphabet (1969).

Rossi, Renzo. The Revolution of the Alphabet (2009).

Rumford, James. There’s a Monster in the Alphabet (2002).

Samoyault, Tiphaine. Alphabetical Order (1998).

Shahn, Ben. The Alphabet of Creation (1954).

Winston, Sam. One and Everything (2022).

Werner, Sharon, and Sharon Forss. Alphabeasties (2009).

Reference works

Clodd, Edward. The Story of the Alphabet (1913). Superseded by several later works, but is freely available online with line illustrations and some black and white photos.

Davies, Lyn. A is for Ox (2006).

Diringer, David, and Reinhold Regensburger. The alphabet: a key to the history of mankind (1968). A standard, beginning to be challenged by late 20th and early 21st century archaeological findings and palaeographical studies.

Donaldson, Timothy. Shapes for Sounds (cowhouse) (2008).

Drucker, Johanna. The alphabetic labyrinth: the letters in history and imagination (1999).

Ege, Otto. 1921/1998. The Story of the Alphabet, Its Evolution and Development… Embellished Typographically with Printer’s Flowers Arranged by Richard J. Hoffman (1921/1998). A miniature. The type ornaments chosen by Hoffman are arranged chronologically by designer (Garamond, Granjon, Rogers) and printed in color.

Firmage, Richard A. The alphabet (2001).

Fischer, Steven Roger, A history of writing (2008).

Goldman, David. A is for ox: the story of the alphabet (1994).

Jackson, Donald. The story of writing (1997).

Pflughaupt, Laurent. Letter by letter: an alphabetical miscellany (2008).

Robinson, Andrew. The story of writing (1995).

Rosen, Michael. Alphabetical: how every letter tells a story (2014).

Sacks, David. Language visible unraveling the mystery of the alphabet from A to Z (2003).

Thompson, Tommy. The ABC of our alphabet (1952).Not a fine press publication or artist’s book, but its layout, illustrations and use of two colors bear comparison with the Davies book. It too is out of print and unfortunately more rare.

Books On Books Collection – Renzo Rossi

The Revolution of the Alphabet (2009)

The Revolution of the Alphabet (2009)
Renzo Rossi
H215 x W165 mm. 32 pages. Acquired from 28 August 2022.
Photos: Books On Books Collection.

The invention of writing and subsequently the alphabet is a fascinating subject. With every archaeological discovery and paleographic insight, clarity and nuance and mystery increase. Sympathies to the children’s book authors and publishers who attempt to capture and hold their readers’ attention and do them and the domain justice.

Part of a series first appearing in Italian with Andrea Dué (Florence) in 2003, The Revolution of the Alphabet is a school library book aimed at ages 8 and up. It is the sort of illustrated reference book meant for browsing and supplementary reading. The mix of pen-and-ink drawings, watercolors, bold reproductions of scripts and letters and high-res color photographs of such items as the Phaistos disk and the ceramic Viterbo rooster encourages the browsing. It also subliminally delivers a message of the deep and live connection between the alphabet and art.

As can be gathered from the table of contents and text on these pages, the constraint of 32 pages for content that isn’t scattershot and jam-packed at the same time presents a challenge.

The Revolution of the Alphabet (2009)

Toward an alphabet
A Phoenician language
Hebrew writing
A Greek contribution
Poets and philosophers
The greatest library
An Etruscan mystery
The Latin alphabet
Tools for writing
Letters of the prophet
Fantastic forms
In India

Adding the other three volumes’ 96 pages does not overcome the challenge. Taken together, the disparate stories — that writing was a gift from the gods, that writing evolved from numbers and accounting, that only some writing systems generated alphabets, that alphabets changed with the tools and materials to hand — offer an entertaining montage of snippets that could lead a curious mind to be more curious.

A Gift from the Gods (2009)

A secret writing
How hieroglyphs work
Everyday writing
Papyrus
The power of writing
In the Far East: China
Calligraphy
Chinese masters of writing
From China to Japan
Creating a Korean alphabet
In the land of the Maya
All bark

How Writing Began (2009)

The unwritten word
First numbers, then words
Taking count
Drawing words
Writing in Sumeria
A better way to write
One sign, many meanings
The job of writing
Books made of clay
Writing grows up
Cuneiform conquers the Near East
A wedge-shaped alphabet

The Age of the Book (2009)

Books for the few
Among the Slavic peoples
Parchment
Irish monasteries
The writing of Charlemagne
For the glory of God
In the shadow of the cathedrals
The paper revolution
Printing at last
But the Chinese were first
Characters and printers
A book for all

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

Lyn Davies“. 7 August 2022. Books On Books Collection.

Timothy Donaldson“. 1 February 2023. Books On Books Collection.

Cari Ferraro“. 1 February 2023. Books On Books Collection.

David J. Goldman“. Books On Books Collection. [In progress]

Rudyard Kipling and Chloë Cheese“. 15 February 2023. Books On Books Collection.

Abe Kuipers“. 15 February 2023. Books On Books Collection.

Don Robb and Anne Smith“. 26 March 2023. Books On Books Collection.

James Rumford. 21 November 2022. Books On Books Collection.

Tiphaine Samoyault“. 10 July 2023. Books On Books Collection.

Ben Shahn“. 20 July 2022. Books On Books Collection.

Tommy Thompson“. 21 August 2022. Books On Books Collection.

Ada Yardeni“. 10 July 2023. Books On Books Collection.

Bernal, Martin. 1990. Cadmean Letters : The Transmission of the Alphabet to the Aegean and Further West Before 1400 B.C. Winona Lake IN: Eisenbrauns.

Diringer, David, and Reinhold Regensburger. 1968. The alphabet: a key to the history of mankind. London: Hutchinson. A standard, beginning to be challenged by late 20th and early 21st century archaeological findings and palaeographical studies.

Drucker, Johanna. 1999. The alphabetic labyrinth: the letters in history and imagination. New York, N.Y.: Thames and Hudson.

Ege, Otto. 1921/1998. The Story of the Alphabet, Its Evolution and Development… Embellished Typographically with Printer’s Flowers Arranged by Richard J. Hoffman. Van Nuys, CA: Richard J. Hoffman. A miniature. The type ornaments chosen by Hoffman are arranged chronologically by designer (Garamond, Granjon, Rogers) and printed in color.

Firmage, Richard A. 2001. The alphabet. London: Bloomsbury.

Fischer, Steven Roger. 2008. A history of writing. London: Reaktion Books.

Jackson, Donald. 1997. The story of writing. Monmouth, England: Calligraphy Centre.

Moziani, Eliyahu. 1984. Torah of the Alphabet or How the Art of Writing Was Taught Under the Judges of Israel (1441-1025) : -The Original Short Course in Alphabetic Writing Conceived by Israel in Sinai. Herborn: Baalschem.

Pflughaupt, Laurent. 2008. Letter by letter: an alphabetical miscellany. New York: Princeton Architectural Press.

Robb, Don, and Anne Smith. 2010. Ox, house, stick: the history of our alphabet. Watertown, MA: Charlesbridge. Children’s book.

Robinson, Andrew. 1995. The story of writing. London: Thames and Hudson.

Rosen, Michael. 2014. Alphabetical: how every letter tells a story. London: John Murray.

Sacks, David. 2003. Language visible unraveling the mystery of the alphabet from A to Z. New York: Broadway Books.

Shaw, Gary. 15 April 2021. “Ancient ABCs: The alphabet’s ‘missing link’ discovered in Israel“. The Art Newspaper.

Books On Books Collection – William Dugan

How Our Alphabet Grew (1972)

How Our Alphabet Grew: The History of the Alphabet (1972)
William Dugan
Casebound, illustrated paper on board, illustrated endpapers and pastedowns. H320 x W227 mm. 72 pages. Acquired 14 March 2023.
Photos: Books On Books Collection.

Curiously, little information about William Dugan appears online. He was a prolific illustrator of children’s books — especially those published by Golden Press in the 1960s and 1970s. He also authored as well as illustrated several early childhood books — on insects, signs, machines and vehicles. Two of his books, however, are meant for older children — this one and All about Houses (1975), which is a forerunner to Dorling Kindersley‘s children’s reference books.

Dugan’s ability to alter his style as writer and illustrator to the ages of his audience is notable. Even more notable is the diversity and inclusiveness of his reference works for older children. Despite the date of publication, a young girl occupies the foreground of the illustration of archaeologists, a feature that would have brought a smile to Ada Yardeni and still might to Tiphaine Samoyault.

Further Reading

Abecedaries I (in progress)“. Books On Books Collection.

Lanore Cady“. 16 December 2022. Books On Books Collection.

Lyn Davies“. 7 August 2022. Books On Books Collection.

Timothy Donaldson“. 1 February 2023. Books On Books Collection.

Cari Ferraro“. 1 February 2023. Books On Books Collection.

David J. Goldman“. Books On Books Collection. [In progress]

Rudyard Kipling and Chloë Cheese“. 15 February 2023. Books On Books Collection.

Abe Kuipers“. 15 February 2023. Books On Books Collection.

Don Robb and Anne Smith“. 26 March 2023. Books On Books Collection.

Renzo Rossi“. 10 July 2023. Books On Books Collection.

James Rumford. 21 November 2022. Books On Books Collection.

Tiphaine Samoyault“. 10 July 2023. Books On Books Collection.

Ben Shahn“. 20 July 2022. Books On Books Collection.

Tommy Thompson“. 21 August 2022. Books On Books Collection.

Ada Yardeni“. 10 July 2023. Books On Books Collection.

Bernal, Martin. 1990. Cadmean Letters : The Transmission of the Alphabet to the Aegean and Further West Before 1400 B.C. Winona Lake IN: Eisenbrauns.

Diringer, David, and Reinhold Regensburger. 1968. The alphabet: a key to the history of mankind. London: Hutchinson. A standard, beginning to be challenged by late 20th and early 21st century archaeological findings and palaeographical studies.

Drucker, Johanna. 1999. The alphabetic labyrinth: the letters in history and imagination. New York, N.Y.: Thames and Hudson.

Ege, Otto. 1921/1998. The Story of the Alphabet, Its Evolution and Development… Embellished Typographically with Printer’s Flowers Arranged by Richard J. Hoffman. Van Nuys, CA: Richard J. Hoffman. A miniature. The type ornaments chosen by Hoffman are arranged chronologically by designer (Garamond, Granjon, Rogers) and printed in color.

Firmage, Richard A. 2001. The alphabet. London: Bloomsbury.

Fischer, Steven Roger. 2008. A history of writing. London: Reaktion Books.

Jackson, Donald. 1997. The story of writing. Monmouth, England: Calligraphy Centre.

Moziani, Eliyahu. 1984. Torah of the Alphabet or How the Art of Writing Was Taught Under the Judges of Israel (1441-1025) : -The Original Short Course in Alphabetic Writing Conceived by Israel in Sinai. Herborn: Baalschem.

Pflughaupt, Laurent. 2008. Letter by letter: an alphabetical miscellany. New York: Princeton Architectural Press.

Robb, Don, and Anne Smith. 2010. Ox, house, stick: the history of our alphabet. Watertown, MA: Charlesbridge. Children’s book.

Robinson, Andrew. 1995. The story of writing. London: Thames and Hudson.

Rosen, Michael. 2014. Alphabetical: how every letter tells a story. London: John Murray.

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