The use of lettering in Renaissance painting has yet to be investigated systematically. I believe, however, that at this point a few general observations can be made. From a more or less systematic survey of the letter forms occurring in inscriptions in Quattrocento painting, we learn, as we might expect, that painted letters reflect changes which take place in the development of lettering in general. In the course of the 15th century reforms in lettering led from the Gothic to the humanistica script and to Roman capitals. Both the new script and the capitals assert themselves in painting. At the same time, painters do not oust Gothic letters. The process of assimilation leads to important observations inasmuch as palaeographical as well as epigraphical forms are treated by the Quattrocento painters aesthetically as well as iconographically.

That decisions of this sort must have caused some headache even to contemporary conductors may be guessed from Michael Praetorius’ practical editing of another item of the Monteverdi Vespers, ‘Ave maris Stella.’ These choral variations ‘a 8’ on a plain-chant melody are written for eight-part double choir, Basso continuo, with intersticial ritornelli, scored for an unspecified orchestra ‘a5’. There are variations for semi-chorus and for soloists. In the very end (‘Sit laus’) the composer unites both semi-choirs (without the usually preceding ritornelli).