Independently altogether of its bearing upon art, the study of monograms has a certain amount of interest. There is a class of adventurers at the present day who make a livelihood from the curiosity or credulity of the public, by professing to decipher the peculiarities of an individual's character, and to read his probable destiny, in any specimen of his handwriting which may be submitted for their inspection. Without carrying the theory to these absurd lengths, it is impossible not to feel some interest about the autograph of any celebrated individual, and some tendency to compare its leading characteristics with our preconceived notions regarding him. A still wider field for speculation than that which grows out of the handwriting, is afforded by a device like the monogram, which, being in a great measure arbitrary, may naturally be expected to exhibit more decidedly the workings of the judgment, the fancy, or perhaps the caprice, of the artist.
The monogram, as we have seen, is a substitute for the full-length signature of the artist--the mode of marking their works originally adopted by the ancients. It is found in an almost infinite number of varieties.
The earliest, as well as the most natural and easy substitute, was a simple contraction of the name--as, 'augs ca.,' for Augustinus Caraccius; or JVL. ROM., for Julius Romanus. This contraction, however, cannot properly be called a monogram at all; and the same is to be said of the form of signature adopted by many of the most eminent painters--the simple, unconnected initials of the name. The idea of a monogram supposes that the characters, whatever may be their number considered separately, shall be all connected so as to form one single device.
The first such form which will occur to one's mind is the mere combination of the initial letters of the name--as, for example, AB, or AK, which are the actual monograms of Andrew Both, the celebrated Flemish landscape painter, and of Antony Kölbel, a distinguished Austrian artist of more modern times. In some instances, the monogram is found appended to the full signature of the artist, as in Albert Dürer's beautiful engraving of Adam and Eve, and in other less celebrated works, especially those of the early engravers. It is to be observed, however, that some artists were by no means uniform in the style of monogram which they employed. The device of the same artist often varies, not only in the size and figure of the letters which form it, but sometimes even in the letters themselves. Many artists have employed two, three, four, and even a greater number of devices; and of the celebrated engraver just named, Albert Dürer, we ourselves have seen not less than thirty different modifications of the letters A D, the initials of his name.