Fraktur has its origins in folk art traditions from Alsace, Switzerland, and the Rhineland, but in America it became more colorful, elaborate, and freehand, and far more apt to dominate the script it sought to embellish. The genre’s golden age was the period between 1790 and 1830 — a time when the American religious context was still strong, but the European influence less stultifying. The forms are highly stylized. Hearts, flowers, angels, and various birds are repeated over and over, to soothing effect. The palette favors bold primary colors, traditionally made of inks concocted from berries, iron oxide, and apple juice. The composition is orderly. The tidy leaves of the tidy vines are perfectly equidistant, and the flowers pared down to floral symbols. The goldfinch that appears in many fraktur images is drawn in such a specific way it’s still known by its German name: distelfink. Symmetry reigns, and when it doesn’t, the composition is otherwise balanced. One of the most common fraktur motifs is the “three-heart design” wherein a large heart is complemented by two smaller hearts on either side of its apex — in fraktur, even the most curvaceous of shapes assumes the rootedness of a square.