MUFI Character Database

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Number of characters in database: 1530

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Glyph EntityNumericCodepoint ChartDescriptionVersion Andron
F106&Csqu;F106PUA-varLATIN CAPITAL LETTER C SQUARE FORMUni.:
MUFI: 3.0
F10A&Eunc;F10APUA-varLATIN CAPITAL LETTER E UNCIAL FORMUni.:
MUFI: 3.0
F10E&Gsqu;F10EPUA-varLATIN CAPITAL LETTER G SQUARE FORMUni.:
MUFI: 3.0
F110&Hunc;F110PUA-varLATIN CAPITAL LETTER UNCIAL HUni.:
MUFI: 3.0
F11A&Munc;F11APUA-varLATIN CAPITAL LETTER UNCIAL MUni.:
MUFI: 3.0
F126&Sclose;F126PUA-varLATIN CAPITAL LETTER S CLOSED FORMUni.:
MUFI: 3.0
F127&slongdes;F127PUA-varLATIN SMALL LETTER LONG S DESCENDINGUni.:
MUFI: 3.0
F128&sclose;F128PUA-varLATIN SMALL LETTER S CLOSED FORMUni.:
MUFI: 3.0
F130&arscapligsup;F130PUA-7COMBINING LATIN SMALL LIGATURE A SMALL CAPITAL RUni.:
MUFI: 3.0
◌
F135&eogonsup;F135PUA-7COMBINING LATIN SMALL LETTER E WITH OGONEKUni.:
MUFI: 3.0
◌
F136&emacrsup;F136PUA-7COMBINING LATIN SMALL LETTER E WITH MACRONUni.:
MUFI: 3.0
◌
F13A&Asqu;F13APUA-varLATIN CAPITAL LETTER A SQUARE FORMUni.:
MUFI: 3.0
F13E&oogonsup;F13EPUA-7COMBINING LATIN SMALL LETTER O WITH OGONEKUni.:
MUFI: 3.0
◌
F13F&omacrsup;F13FPUA-7COMBINING LATIN SMALL LETTER O WITH MACRONUni.:
MUFI: 3.0
◌
F142&ET;F142PUA-4LATIN ABBREVIATION SIGN CAPITAL ETUni.:
MUFI: 3.0
The small form of the above character is 204A TIRONIAN SIGN ET in General Punctuation (p. 64).
F149&thornbarslash;F149PUA-5LATIN SMALL LETTER THORN WITH DIAGONAL STROKEUni.:
MUFI: 3.0
F153&urrot;F153PUA-6COMBINING ABBREVIATION MARK SUPERSCRIPT UR ROUND R FORMUni.:
MUFI: 3.0
◌
F158&etslash;F158PUA-4LATIN ABBREVIATION SIGN SMALL ET WITH STROKEUni.:
MUFI: 3.0
F159&de;F159PUA-4LATIN ABBREVIATION SIGN SMALL DEUni.:
MUFI: 3.0
Used for Denar, Denier and Pfennig, and should therefore be distinguished from the italic form of 00F0 LATIN SMALL LETTER ETH. It should, however, be unified with F159 LATIN ABBREVIATION SIGN SMALL DE (p. 106 above). The previous code point, F2E5, should be retained and not used for any new character. Also defined as LATIN SMALL LETTER D ROTUNDA WITH BAR (&drotbar;).
F160&punctinter;F160PUA-8PUNCTUS INTERROGATIVUSUni.:
MUFI: 3.0
F161&punctelev;F161PUA-8PUNCTUS ELEVATUSUni.:
MUFI: 3.0
This form of the punctus elevatus is typically found in English manuscripts and is sometimes seen as the default form. Sometimes called ‘tick and point’, e.g. by N.R. Ker, English Manuscripts in the Century after the Norman Conquest, Oxford, 1960, p. 46.
F193&dcurl;F193PUA-varLATIN SMALL LETTER D WITH CURLUni.:
MUFI: 3.0
F194&fcurl;F194PUA-varLATIN SMALL LETTER F WITH CURLUni.:
MUFI: 3.0
F195&kcurl;F195PUA-varLATIN SMALL LETTER K WITH CURLUni.:
MUFI: 3.0
F196&gcurl;F196PUA-varLATIN SMALL LETTER G WITH CURLUni.:
MUFI: 3.0
F198&ccurl;F198PUA-varLATIN SMALL LETTER C WITH CURLUni.:
MUFI: 3.0
F199&tcurl;F199PUA-varLATIN SMALL LETTER T WITH CURLUni.:
MUFI: 3.0
F19A&nflour;F19APUA-varLATIN SMALL LETTER N WITH FLOURISHUni.:
MUFI: 3.0
F19B&rflour;F19BPUA-varLATIN SMALL LETTER R WITH FLOURISHUni.:
MUFI: 3.0
F1A5&USbase;F1A5PUA-4LATIN ABBREVIATION SIGN SPACING BASE-LINE CAPITAL USUni.:
MUFI: 3.0
This character is positioned on the base line and has capital form (full height).
F1A6&usbase;F1A6PUA-4LATIN ABBREVIATION SIGN SPACING BASE-LINE USUni.:
MUFI: 3.0
This character is positioned on the base line, but not with full height.
F1A7&ETslash;F1A7PUA-4LATIN ABBREVIATION SIGN CAPITAL ET WITH STROKEUni.:
MUFI: 3.0
F1AC&sem;F1ACPUA-4LATIN ABBREVIATION SIGN SEMICOLONUni.:
MUFI: 3.0
The character 003B SEMICOLON can be used for the frequent abbreviation sign of similar shape. However, some encoders might want to have a separate character, in which case we recommend using F1AC LATIN ABBREVIATION SIGN SEMICOLON. Neither character should be unified with F1EA PUNCTUS VERSUS, which is a punctuation mark (see p. 145 below).
F1BB&chlig;F1BBPUA-1LATIN SMALL LIGATURE CHUni.:
MUFI: 4.0 auto
F1BC&foumllig;F1BCPUA-1LATIN SMALL LIGATURE F O WITH DIAERESISUni.:
MUFI: 3.0
F1BD&smallzero;F1BDPUA-11SMALL BASE LINE ZERO SIGNUni.:
MUFI: 3.0
This sign is commonly used in editions to indicate illegible characters. It has the same shape as the digit ‘0’, but is only of ‘x’ height: ‘x  x’.
F1BE&Vmod;F1BEPUA-11MODIFIER CAPITAL LETTER VUni.:
MUFI: 3.0
F1BF&Xmod;F1BFPUA-11MODIFIER CAPITAL LETTER XUni.:
MUFI: 3.0
The three raised Roman numerals I, V and X are used by Ordbog over det norrøne prosasprog in rendering manuscript signatures. The rst of these can be encoded with 1D35 MODIFIER CAPITAL LETTER I in Phonetic Extensions (see p. 46 above), the second with 2C7D MODIFIER LETTER CAPITAL V in Latin Extended-C (see p. 72 above), while the last one has been added here.
F1C0&arbar;F1C0PUA-6COMBINING ABBREVIATION MARK BAR ABOVE WITH DOTUni.:
MUFI: 3.0
◌
F1C1&rabar;F1C1PUA-6COMBINING ABBREVIATION MARK SUPERSCRIPT RA OPEN A FORM WITH BAR ABOVEUni.:
MUFI: 3.0
◌
F1C2&urlemn;F1C2PUA-6COMBINING ABBREVIATION MARK SUPERSCRIPT UR LEMNISKATE FORMUni.:
MUFI: 3.0
◌
F1C5&combcurlhigh;F1C5PUA-6COMBINING CURL HIGH POSITIONUni.:
MUFI: 3.0
◌
The COMBINING CURL HIGH POSITION is an intermediate solution for the positioning of a curl above tall letters. It should be deprecated when smart font software allows correct positioning of 1DCE COMBINING OGONEK ABOVE above all letters, irrespective of height or width.
F1C7&erang;F1C7PUA-6COMBINING ABBREVIATION MARK ZIGZAG ABOVE ANGLE FORMUni.:
MUFI: 3.0
◌
F1C8&ercurl;F1C8PUA-6COMBINING ABBREVIATION MARK ZIGZAG ABOVE CURLY FORMUni.:
MUFI: 3.0
◌
F1CA&combdothigh;F1CAPUA-6COMBINING DOT ABOVE HIGH POSITIONUni.:
MUFI: 3.0
◌
The COMBINING DOT ABOVE HIGH POSITION is an intermediate solution for the positioning of dot above tall letters. It should be deprecated when Smart Font allows correct positioning of 0307 COMBINING DOT ABOVE above all letters, irrespective of height or width.
F1CC&combcurlbar;F1CCPUA-6COMBINING CURLY BAR ABOVEUni.:
MUFI: 3.0
◌
Combining abbreviation marks
F1D2&tridagger;F1D2PUA-8TRIPLE DAGGERUni.:
MUFI: 4.0 auto
Cf. 2020 DAGGER and 2021 DOUBLE DAGGER in General Punctuation (p. 59–60 above).
F1DA&midring;F1DAPUA-9MIDDLE RINGUni.:
MUFI: 3.0
Vertical and oblique bars
F1DB&ramus;F1DBPUA-9PALM BRANCHUni.:
MUFI: 3.0
F1E0&medcom;F1E0PUA-8MEDIEVAL COMMAUni.:
MUFI: 3.0
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 301. According to Parkes, this mark “appears most frequently in the work of fourteenth- century Italian scribes” (p. 303).
F1E1&parag;F1E1PUA-8PARAGRAPHUSUni.:
MUFI: 3.0
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 12, 43, 305.
F1E2&posit;F1E2PUA-8COMMA POSITURAUni.:
MUFI: 3.0
The positura is similar to COMMA 002C, but should be kept apart from this punctuation mark due to a different and more specialised usage. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 306.
F1E3&ductsimpl;F1E3PUA-8HIGH COMMA POSITURA (SIMPLEX DUCTUS)Uni.:
MUFI: 3.0
Similar form as the positura, but positioned above the ‘x’ height. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 307.
F1E4&punctposit;F1E4PUA-8PUNCTUS WITH COMMA POSITURAUni.:
MUFI: 3.0
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 306.
F1E5&colmidcomposit;F1E5PUA-8COLON WITH MIDDLE COMMA POSITURAUni.:
MUFI: 3.0
Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 306.
F1E6&tridotscomposit;F1E6PUA-8THREE DOTS WITH COMMA POSITURAUni.:
MUFI: 3.0
This punctuation mark looks like an upwards-poiting triangle of dots with a comma between (and below) the two lower dots. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301 and 307. See also 2234 above in Mathematical Operators.
F1E7&punctexclam;F1E7PUA-8PUNCTUS EXCLAMATIVUSUni.:
MUFI: 3.0
Early form with two dots below each other and a diagonal stroke on top of them. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 301.
F1E8&punctintertilde;F1E8PUA-8PUNCTUS INTERROGATIVUS HORIZONTAL TILDEUni.:
MUFI: 3.0
This is a variant of the question mark where the swash (tilde) is horizontal. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 301.
F1EA&punctvers;F1EAPUA-8PUNCTUS VERSUSUni.:
MUFI: 3.0
Similar in shape to the semicolon (003B), but should be kept apart from this mark. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301, 306.
F1EC&renvoi;F1ECPUA-8SIGNE DE RENVOIUni.:
MUFI: 3.0
Looks like two dots over a single dot. Used to connect a marginal note to a place in the text. Looks similar to TWO DOTS OVER ONE DOT PUNCTUATION below, but has a different usage and the dots are more widely spaced.
F1F0&punctelevdiag;F1F0PUA-8PUNCTUS ELEVATUS DIAGONAL STROKEUni.:
MUFI: 3.0
Variant form of the punctus elevatus.
F1F1&punctinterlemn;F1F1PUA-8PUNCTUS INTERROGATIVUS LEMNISKATE FORMUni.:
MUFI: 3.0
Attested in Old Icelandic, but very marginal. For examples, see Holm perg 15 B 4to (cf. Hreinn Benediktsson, Early Icelandic Script, Reykjavík 1965, pl. 8:13 and 8:19).
F1F2&bidotscomposit;F1F2PUA-8TWO DOTS OVER COMMA POSITURAUni.:
MUFI: 3.0
Attested in Old Icelandic, e.g. in Holm perg 15 B 4to (see Hreinn Benediktsson, Early Icelandic Script, Reykjavík 1965, pl. 8:14) and in GKS 2365 4to (Codex Regius of the Eddic poems).
F1F4&virgsusp;F1F4PUA-8VIRGULA SUSPENSIVAUni.:
MUFI: 3.0
Looks like a solidus with a dot in the middle. Used to mark a very brief pause or hesitation in the text. Cf. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 307.
F1F5&punctflex;F1F5PUA-8PUNCTUS FLEXUSUni.:
MUFI: 3.0
Looks like the digit 7 with a dot below, sometimes referred to as ‘seven and point’ (e.g. by N.R. Ker, English Manuscripts in the Century after the Norman Conquest, Oxford, 1960, p. 47). Also called PUNCTUS CIRCUMFLEXUS. Used to mark sentence-medial pauses, especially in liturgical texts where the pitch of the voice drops. Cf. also Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, pp. 301, 306. Note that the shape in Parkes’ book looks more like an open ‘a’ than ‘7’, but this is basically a question of variance.
F1F7&virgmin;F1F7PUA-8SHORT VIRGULAUni.:
MUFI: 3.0
Looks like a virgule, but confined within the ‘x’ height (like a half-height slash), e.g. ‘x  x’. Attested in late paper manuscripts of Medieval Nordic verse and not to be unified with the ordinary comma.
F1F8&hidot;F1F8PUA-8DISTINCTIOUni.:
MUFI: 3.0
Described by the grammarian Donatus, who distinguishes between three positions of the dot: on the baseline (to be unified with 002E FULL STOP), middle height (to be unified with 00B7 MIDDLE DOT) and the high dot, shown here. See also Isidore of Sevilla, Etymologiae I 20. Malcolm B. Parkes, Pause and Effect, Aldershot, 1992, p. 13, says that the distinctio was used to indicate “a final pause, after a periodus, or where the sententia is completed”.
F1F9&wavylin;F1F9PUA-8WAVY LINEUni.:
MUFI: 3.0
Frequently used in English manuscripts in the 12th century in the form of a wavy line or sometimes a straight line. Placed slightly above the base line.
F1FA&punctelevhiback;F1FAPUA-8PUNCTUS ELEVATUS WITH HIGH BACKUni.:
MUFI: 3.0
Variant form of the punctus elevatus found in manuscripts in the Low countries, eastern France and the Rhineland.
F1FB&punctelevhack;F1FBPUA-8PUNCTUS ELEVATUS WITH ONSETUni.:
MUFI: 3.0
Variant form of the punctus elevatus found in manuscripts from southern Germany.
F1FC&combtripbrevebl;F1FCPUA-6COMBINING TRIPLE BREVE BELOWUni.:
MUFI: 3.0
◌◌
Used below character sequences like ‘sch’ in the “Rheinische Dokumenta”, a semi-official phonetic notation of Low German dialects.
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