A mix of informal and formal scripts, with many colophons and notes.
Mardin, Chaldean Cathedral, CCM 23, f. 5v, 18th/19th century (?)
This late hand is neither careful nor aesthetically appealing, but is nevertheless relatively uniform.
Fragments of the Miracles of Mary
Mardin, Chaldean Cathedral, CCM 23, f. 5v. Image provided by HMML.
Many, but not all of the alifs and lāms have a right-pointing serif at the top. See the examples in line 1.
The combination tāʾ-ḥāʾ in yanfataḥūna/ (line 2), yāʾ-ḥāʾ in fa-yaḥtariqu in the same line, and an atītum in the next line.
The ḍād of ayḍan (line 5) has an especially high tooth on the left.
The shape of the final mīm in maʿahum (line 6).
The strange shape of kullu, with the kāf seemingly bisecting the final lām at the bottom (line 9 and line 3 from bottom).
The connector before the final yāʾ of maḍá (line 9) is very high.
The overall shape of line-final yumaǧǧidūna (line 10) goes down and then up rather than sitting directly on the line, as with the line-final yaʿmalūna 5 lines from bottom.
Mardin, Chaldean Cathedral, CCM 379, p. 1, 18th/19th century
This page opens with more ornate lettering for the basmala and section title, but then turns to a kind of ruqʿa script. Generally, two dots on a letter are written as a line.
An Eisagoge (introduction to logic)
Mardin, Chaldean Cathedral, CCM 379, p. 1. Image provided by HMML.
The article and the first letter of al-ḥamdu (line 3) sit higher than the last two letters.
The sīn is generally a long horizontal line, as in al-insān (line 3).
The ṭāʾ of bi-l-naṭq (line 3) sits above the connector of the nūn.
The minimal final hāʾ in wa-ǧaʿalahu (line 4, also in li-llāh in line 3, and elsewhere).
The down-and-up overall shape of ʿumūm (line 6).
In line-final wa-l-aḏhān (line 7), the last letter sits higher than the rest of the word.
In the next-to-last line, note the very minimal shape of the dāl in aḥad.
Jerusalem, Saint Mark's Monastery, SMMJ 235, title page, 19th century
The script here is not that of a practiced hand, but it is nevertheless fairly clear. As elsewhere in more casual writing, the two dots of some letters are written as a straight line. [nb: the image is a clip from the page]
Curse + waqf-note in Arabic script on title page
Jerusalem, Saint Mark's Monastery, SMMJ 235, title page. Image provided by HMML.
The straight, descending line before the hoop of the final sīn in marqūs (line 2, of the Arabic text; similarly in bi-quds in the same line). The non-final sīn of al-suryān in the same line also has the simple horizontal line, without any teeth.
The šīn of al-šarīf (line 2) is lacking the expected three dots.
The lām of the article is written almost as an angled connector to the rāʾ in bi-l-rūḫ (line 3).
Jerusalem, Saint Mark's Monastery, SMMJ 235, fol. 1r, 19th century
From the same manuscript as the previous page, this marginal note is written in a more ornate script. [nb: the image is a clip from the page]