(Glossario Morettiano in Inglese)



A ANGLES (Angoli A): handwriting with a, o, and derivatives pointed or blunted at the base resentment or touchiness, easy irritability, self-defence, unwilling to accept suggestions and observations.

B ANGLES (Angoli B): handwriting with two or more sharp or blunted angles in a, o, and derivatives tenacity or obstinacy, will generally resist, insist, and quibble to sustain own ideas.

C ANGLES (Angoli C): handwriting with A and B Angles which are blunted, with curves that turn, with artistic curves and some intertwining, with some sharp angles, with fluidity = know-how, cunning, sense of opportunity, discrimination, sagacity, organization.

ANGULAR (Angolosa): writing that proceeds with thickening, obstacles, narrowing, and corners egoism, attachment to self, exaggerated defence of ones rights, and attack on the rights of others.

ARTHRITIC (Artritica): handwriting with swollen straight strokes and blots in curves that turn, pastiness in the closing of loops agitation, fixation of ideas, lack of moral discernment, easy excitability, enthusiasm to the point of fanaticism.

ARTIFICIALLY GRACEFUL (Vezzosa civetteria): spontaneous writing with

strokes and flourishes that are not excessive. A certain aesthetic appearance physical, mental and moral vanity.

AUSTERE (Austera); writing which has rigidly produced strokes, letters, and finals. Spaces between the letters are consistent throughout, as are spaces between words rigid behaviour and customs, sober expression, and firm conduct.

BOLD (Ardita): handwriting traced with certainty, arrogance, and truncated

strokes intellectual and moral confidence.

CALIBRE (Calibro): height of the small letters without extensions, a, e, u, o, c,

m, n, etc; the signs Large, Medium, Meticulous, and Small refer to calibre.

DISORDERLY (Disordinata): handwriting with irregular calibre, without harmony, without connections, with sudden jerks or sudden smudges in a writing of light pressure; here and there letters are larger or smaller without proportion muddling of ideas, cloudy thought and feeling, disorganization.

DRY (Secca): very angular writing; tight letters and narrow space between letters;

total absence of flourishes moral, material, and intellectual avarice.

DYNAMIC (Dinamica): writing with some letters connected to each other in spirals, others disconnected in skeleton form, but truncated, with fleeting strokes continual activity of thought and action, exuberance of energy.

ELEGANT (Elegante): handwriting with methodical irregularities formed with flair, naturally and correctly with gentle curves spontaneity, dignity, natural aesthetics, taste for beauty, good sense of proportion.

ENROLLED (Accartocciata): scroll-shaped letters and final strokes with an inward hook = intellectually and psychologically lacking in self-confidence.

ENTANGLED (Aggrovigliata): writing with entanglements in the body of the

letters accumulation of ideas, images, aspirations.

EXPANDED (Dilatata): when the distance between letters exceeds the maximum limits of Profuse the writing is defined as Expanded. This sign shows a greater oscillation in the baseline and the writing is always very extended, not only horizontally but also vertically.

EXTENSIONS CONCAVETO LEFT (Aste col concavo a sinistra): handwriting

with upper or lower extensions that curve towards the right repulsion, fastidiousness, mistrust.

EXTENSIONS CONCAVETO RIGHT (Aste col concavo a destra): handwriting with upper or lower extensions that curve towards the left submission, acquiescence, inclined to concede.

FINE (Fine): handwriting of medium size with light pressure, written with

natural spontaneity and care sensitive and refined feelings.

FLEXIBLE (Sinuosa): handwriting in which the letter axes bend gently towards those of their neighbours psychological talent, intellectual penetrability, sympathy for others.

FLEXUOUS (Flessuosa): very spontaneous handwriting, loose with pleats and appropriate curves, on the whole elegant convenient altruism, shrewdness, substantial insincerity.

FLUENT (Fluida): the writing moves with suppleness and regularity without

stops ease, spontaneity, continuity of thought, feeling and action.

GRACEFUL includes the signs Artificially graceful and Naturally graceful.

GROSS (Grossolana): handwriting with strong pressure, written in a neglected

way coarse and careless in thought, feeling, affection, and action.

HESITANT (Titubante): letters fold on themselves and touch each other, they may fall or rise slightly from the baseline delay in resolving due to indecision, difficulty in making up ones mind, withdrawal into self due to fear.

IMPATIENT (Impaziente): handwriting where words and letters are not well defined or even neglected by a nervous hand = psychic unrest, irritability, lack of self control.

LABOURED (Stentata): writing that proceeds with difficulty; detached letters with sudden blockages, thickenings, twists to letters bothered, difficulty in making up mind, tendency to anger.

LARGE-NARROW (AltaAllungata): handwriting with calibre over 3 mm with vertical strokes of the letters a, o, and derivatives that are visibly longer than the horizontal ones exaggeration in showing thought and feeling, disproportionate judgement in the face of objective reality.

LARGE-PLUMP (Alia-Rotonda): handwriting with calibre over 3 mm with vertical strokes of the letters a, o, and derivatives that are proportional to the horizontal ones.

LEFTWARDSLANT (Rovesciata): handwriting with the slant of the letter axis

towards the left repulsion, touchiness, strangeness, antisocial.

LETTER BREADTH (Largo di lettere): handwriting with small letters o, a, and derivatives extended horizontally in proportion to their height measure of intellectual depth and understanding.

LIGHT (Filiforme): handwriting with light pressure on strokes and letters

delicate feeling, sensitivity, easily impressionable but in a staid way.

MEDIUM (Medio): handwriting with calibre between 2 and 3 mm and ideally

2.5 mm.

METHODICALLY IRREGULAR (Disuguale metodicamente): handwriting

with homo- geneous and harmonious differences in letter size originality, inventiveness, intuition, inspiration, cleverness.

METICULOUS (Minuziosa): small calibre handwriting with a low score for letter breadth, with numerous discontinuities and obstructions meticulous, tendency to exaggerate attention to detail.

NATURALLY GRACEFUL (Vezzosa grazia): handwriting with light pressure written spontaneously and with aesthetic consideration a sensitive thinker who is particularly tactful in expressing thoughts and feelings.

NEGLECTED (Sciatta): untidy handwriting with strokes and letters that appear to fall forgetful, ignorant of etiquette, poor moral stance, easily influenced.

NON-METHODICALLY IRREGULAR (Disuguale non metodico): equivalent

to Disorderly.

OBSCURE (Oscura): handwriting in which the calligraphic structure of letters

cannot be understood = cloudy in thought, expression, and action.

OPEN (Apertura a capo a0): handwriting with the letters a and o, and letters based on their shape, open at the uppermost point erotic feelings, inclined to be moved, easily influenced.

PARALLEL (Parallela): handwriting with identical slant on all letters

intellectually pedantic, poor sympathy, inclined to carry out tasks in a technical way.

PEDANTIC (Pedante); an apparently well thought out handwriting with a copy-book appearance and a strong to light pressure pattern conventional ideas, excessive politeness.

PLANTED ON THE LINE (Piantata sul rigo: writing with squared, faceted letters, as if they were prepared in advance to be positioned or planted onto the line serious in thought, will, propositions, virility, and courage.

POMPOUS (Spavalda): handwriting with letters, especially capitals, written disproportionately whether vertically or horizontally = megalomania, impudence, excessive self-confidence, bombastic.

PROFUSE (Profusa): handwriting which is very stretched vertically and horizontally with letters and strokes that appear to be thrown stressed expansion of thought and offeeling, lack of measure and balance.

PURE (Nitida): clear handwriting, with light pressure, devoid of smudges and

entanglements clarity of thought and expression.

RAPID (Veloce): handwriting penned with rapidity and without obstacles haste in everything, disregard for detail, tendency to draw quick conclusions.

REDUCED is sometimes used in this translation for small writing in general,

covering the signs Small and Meticulous.

REGULAR (Uguale): handwriting with no variety in either calibre or slant, showing monotonous rhythm technical and impersonal reproduction, a follower of habit or plans, lacking adaptability and spirit of flexibility.

RIGHTWARD SLANT (Pendente): handwriting with the axial direction of the letters towards the right ability to take new ideas on board, feelings of abandonment, melancholy, need to be considered.

RISING (Ascendente): handwriting which progressively climbs upwards from

the baseline fervour, inclination to perfect, enthusiasm, presumption.

SHARP (Acuta): horizontally tight handwriting with pointed angles at letter

tops and bottoms intellectual finesse, likely to contradict.

SLOW (Lenta): handwriting that proceeds in a lazy, phlegmatic way through a lack of freedom and dynamism inclined to be untroubled, slow to understand, think, and act.

SMALL (Minuta): writing with small letter vertical strokes of 2 mm or less, letter breadth not below /10, and absence of laboured movements deep and refined intelligence, spirit of observation, penetrating thought.

SMOOTH (Levigata): small or medium calibre handwriting with very light pressure and good fluency very polite and courteous, clear concepts, and ability to explain them clearly, with some affectation.

SOBER (Parca); small handwriting without flourishes conciseness of thought,

conceptions, expressions, actions, sober in conduct.

SOLEMN (Solenne): handwriting written with stiffness and pomposity, particularly evident in descenders and dignified strokes ambition, pomposity, harsh affection, exaggerated self-centredness.

SPACE BETWEEN LETTERS (Largo tra lettere): distance between one letter

and another in the same word = measure of judgement, avarice, fairness, or generosity.

SPACE BETWEEN WORDS (Largo tra parole): distance between one word

and another = measure of reasoning, of criticism.

SPADIFORM (Spadiforme): handwriting in which progressive diminishing and enlarging is found in the calibre of letter groups, words, or the entire line initial enthusiasm followed by progressive feebleness or vice versa.

SPIKY (Irta): handwriting with extremely pointed letter tops and bottoms with limited horizontal extension spirit of contradiction and quibbling to the point of exasperation.

SPRINGING (Scattante): handwriting with sudden lowering and lifting of the

letters from the line vehemence, nervousness, unexpected outbursts in action and thought.

STABLE BASELINE (Mantiene il rigo: handwriting which moves horizontally

without rising or falling from the baseline firmness of character, constant, reliable in duties, mental balance.

STRAIGHT EXTENSIONS (Asterette): handwriting with axes of letters with

upper or lower extensions that are straight from top to bottom inflexibility of character.

STROKES OF AFFECTATION (Ricci dellammanieramento): handwriting with artistic strokes at the beginning, middle, and ends of words, written carefully and in an affected way tendency to hypocrisy, flattery, and irony, lack of sincerity or loyalty.

STROKES OF CONCEALMENT (Ricci del mascondimento): handwriting in which the final stroke of the word is thrown below the last letter and turned towards the left reserved, reticent, inclined to conceal ego.

STROKES OF CONFUSION (Ricci della confusione): handwriting where tbars or similar strokes go rightwards or leftwards, and intertwine with other letters or even the whole word = rambling and heaping of ideas, feelings, and gestures.

STROKES OF MYTHOMANIA (Ricci della mitomania): final strokes of words are prolonged upwards in a straight line above the letter height, or thrown beneath the next word, or pressed and written in a straight line beneath the letter itself inclined to fixation to an idea, to invent imaginary facts, to subjectively interpret real facts.

STROKES OF PHLEGMATISM (Ricci della flemma): where final strokes of words point forwards in a lazy, slow way, falling under the letter, then returning above, or falling under the line in a small final hook barely visible, or pointing downwards in a short straight stroke or a small curve lack of fervour and enthusiasm, renunciation of struggle and sacrifice, negligence.

STROKES OF POMPOSITY (Ricci della spavalderia): curved handwriting, excessively elongated leftwards, that can also turn decisively backwards excessive sureness of self, sense of superiority, inclined to show off, pompous, with affectation in behaviour.

STROKES OF SOBRIETY (Ricci della sobrietà): handwriting with only the essential strokes which are barely pronounced at word ends laconic gesture, staid look and deliberately jovial, moderate smile, spontaneous and simple gait, sense of dignity, interior sedateness.

STROKES OF SUBJECTIVISM (Ricci del soggettivismo): handwriting with final strokes of words that are extended horizontally and straight, written neatly and with certainty inclined to form opinions that are not based on reality, but on their own feelings and self-interests; pretentiousness, feeling of superiority, lack of spontaneity and sincerity.

THICK (Grossa): handwriting with strokes and characters heavily written, with unvarying pressure both in downstrokes and upstrokes coarse expression and feeling, little sensitivity.

THICKENED TYPE I (Imtozzata I modo): handwritingwith downstrokes more marked than upstrokes ambition to give orders, spirit of independence, imposing presence, arrogance.

THICKENED TYPE II (Intozzata II modo): handwriting with sudden heavy

pressure or shading in extensions, letters, and particularly in turning movements emotivity, impulsivity, inclination to exaggerate.

THREADY (Slanciata): handwriting that is written recklessly with letters thrown

forward = extraversion, impulsivity, rashness, enterprise, poor reflection.

TOUCHING (Addossate); small letters crowded and touching each other in a small or medium size handwriting = mental, intellectual, and emotional anxiety.

TRIPLE WIDTH (Triplice larghezza): a term combining the three widths of

Letter breadth, Space between letters, and Space between words.

TRUNCATED (Recisa): handwriting written in a blunt, curtailed way, especially

in letter and word finals resolution, decision, substance.

WISTED (Contorta): handwriting where letter axes bend brusquely towards those of their neighbours inclination to check and verify, predisposed to question.

UPRIGHT (Dritta); writing with letter axes that are perpendicular to the

baseline reserved in all expression.

WAVERING (Tentennante); writing with groups of letters that have different axial directions, sometimes upright, sometimes left slanted, sometimes right slanted = indecision, uncertainty of judgement, instability.