The regularity and monumental aspect of the Estranguélo script is in itself an aesthetical effect. This is obvious in all Syriac Gospels starting with the Codex Rabulensis (image 5), entirely written in Estranguélo, from the illustration pages to text pages, and is shown in many other Gospel manuscripts (images 7 and 8). The etymology of Estranguélo is from Sert Evanguélioun or ‘Script of the Gospel’. And on the left side: Mor Petros, Mor Andraos, Yaacouv bar Halphai and Shémeoun. On the right side: Mor Mattay, Toumo, Yaacouv and Mor Youhanon. All the names of the apostles appear in beautiful squarish Estranguélo. The sharpness of the squarish Maronite script appears once more in St John’s church in Zgorta (image 4) painted by Saliba Douayhi. Two natures, one God, indivisible, unchangeable. Trein kyonin / 7ad Aloho / Kad lo Plig / of lo msha7laf Next to the saint is a declaration of the Chalcedonian Christological dogma that defines the specificity of the Syriac Maronite Church compared to the rest of the Syriac Churches. The sculpture of St Morun in Bkerké (image 3) shows the same script even though it is very recent. This same sharpness of the Syriac Maronite script appears once again in the metal version of the biblical verse on Bkerké’s doors. The sharp squarish letters of the Syriac Maronite script are in full contrast with the curvilinear movements of the Arabic calligraphy. This biblical verse from Isaiah 60:13 is written in Syriac, Latin, and Arabic. Iqoro d’Lévnon métihév léh / The Glory of Lebanon will come unto thee. Its inscription (image 2) is on the pediment of the patriarchal monastery: “ néhwé sévyonokh” / May your will be done.īkerké is also a perfect example of the Maronite squarish script. On the wooden fragment we read a piece of the Pater: The geometrical forms are very obvious especially with the circle of the letter waw. This Maronite Estranguélo script appears again in the Church of Our Lady of Ilige on a peace of wood (image above).
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