The overall aspect is upright, wide, and rounded. This effect is created by:

• Vertical uprights:
  

• Though there are more curved than straight letters, the verticals are conspicuously thick, and even clubbed, i.e. they get thicker towards the top.

  especially on b, l, and d.

• There are marked ascenders:
  

• and descenders:
  

  which give a sense of verticality, and to us suggest a 'lower-case' script.

• Letters without ascenders and descenders are wider than they are high:

  	o is roughly 1:1.45,		e is roughly 1:1.3,
  	c is roughly 1:1.25,		while m is roughly 1:2.7.

• Many strokes which had been straight in the majuscule scripts are now slightly curved, and angles have been simplified into curves. In some cases this leads to new letter-forms:

  	Roman Uncial L has become our 'lower-case' l.
  	Roman Uncial t has become much more curved. Its headstroke is very fine, and tilts downwards.
  	Warning: do not mix it up with c!
  	Roman Uncial F has become much more like our 'lower-case' f.

Spacing and Proportions

• Space between lines is about 1½ times the height of the space between headline and baseline, to allow for the long ascenders and descenders. The page looks fairly clear though a little crowded: ascenders and descenders, not to mention abbreviation marks, do in fact encroach on each other's space.

• Ascenders and descenders are about the same height again as the body of the text:
  
  

  though the ascenders on l, b, and d are usually taller than those on h, and the curved ascenders of s and f:

• Spacing is fairly though not completely regular, and letters are close to each other. The flourish on x overlaps adjacent letters:
  

• For aspect ratios, see above.
• The cross-stroke of e is slightly above the middle of the letter. The cross-stroke of f is nearly on the head-line. All horizontal strokes (there are not many) are extended to touch the following letter.

• The ends of curved letters also tend to join with the following letter:

Though this is not yet 'joined-up writing', the curves and the letters which touch give a cursive feel overall.

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© MEG TWYCROSS 1998