''w^ t><9 m ifr.l it , I'M 9.5 D BOOKS ARFTHE FOOD OF YOUTH, THE DELIGHT OF OLD AGE; THE ORNAMENT OF PROS- PERITY, TKF-: REFUGE AND COM- FORT OF ADVERSfTY; A DELIGHT AT HOME AND NO HINDRANCE ABROAD; COMPANIONS BY NIGHT, IN TRAVELING, IN THE COUNTRY. — Cicero. fyxmW ^mm^ | lihxm^ THE GIFT OF .te.i78.6 13 .lar./n ', ':^ To renew this book copy the call No. anafcivefet^w^ ■ : • ■- the fibrari an. "-.^vg::;- v/'V i*- HOME USE RULES. wftn^?!^ •-"^ jfc. i«et«-«4ii-j|i m ^- All Books subject to Recall. Books not used for instruction or research are returnable within 4 weeks. Volumes of periodi- cals and of pamphlets are held in the Ijbrary as much as possible. For spfecial purposes they are given out for a limited time. Borrowers should not use their library privileges for the bene- fit of other persons. Books ^ not needed during recfess peripds should be. returned to the library, or arrange- ments made for their return during borrow- er's absence, if wanted . Books needed by more than one .person are held on the reserve list. Books of special value and gifv'books, when the giver wishes it, are not allowed to circulate. Readers are;^asked to report all cases of books marked or muti- lated. Do not doface books by marki and writlne. Z250 P72°™*" ""'™''='*y '■''■"fy olin 3 1924 029 500 182 OLiN '"■''B'M'&M'"^' N JIWtt .^ ■t >,•.. GAYLORD PRINTED IN U.SA THE PLIMPTON PRESS NORWOOD, MASS. U.S.A. f June 5, 1911 Prof. Geo. W. Harris, Librarian, Cornell University, Ithaca, New York. My dear Mr. Rarris: In talking with Professor White of Cambridge on Saturday while incidently chasing the golf balls around the links, he mentioned the fact that you were not familiar with the work of the Plimpton Press. I am taking much pleasure, therefore, in sending to you by express pre- paid a copy of the Plimpton Press YEAR BOOK which is just issued, hoping that with your interest in new typography you may find it of interest, and also hoping that it may serve to "put us on the map" I With all good wishes, believe me. Cordially yours. For THE PLIMPTON PRESS. wdo/b Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029500182 QWING to the ^^ expense of pro- ducing this volume it is not practicable to make complimentary distribution except to those directly associ- ated with the manu^ facturing interests of the publishing houses with whom The Plimpton Press has the pleasure of business rela- tions, A limited nuniber will be sup- plied at $3,00 nety delivery prepaid^ upon application to The Plimpton Press Norwood y Mass, U.S.J, THE PLIMPTON PRESS YEAR BOOK T HE PRINTER'S MARK OF THE PLIMPTON PRESS symbolizes the Renaissance in Print- ing, — the basic solidarity and merit of the old- time workmen, vivified by modem conditions. The decoration is the acanthus leaf, — the foliage of the Renaissance. Aldus Manutius, who con- tributed more than any other early Master Printer, is shown at the left. The old is tjrpified by the ancient hand compositors and the old hand-press, — the new by the modehi composing machines and the power-press. In the center are the feathers and ring of the Medici family — patrons of the Renaissance. At the right is the Plimpton coat of arms. The bound volumes in the decoration are emblematic of the motto, " Perfect Book-making in its Entirety." COURTESY J. B. MILLET CO. DECORATION DESIGNED BY THE PLIMPTON PRESS STUDIO THE PLIMPTON PRESS YEAR BOOK AN EXHIBIT OF VERSATILITY NORWOOD-MASS -U-S-A 191 1 COPYRIGHT, 191 1 BY THE PLIMPTON PRESS ALL RIGHTS RESERVED The Decorations , Book Covers and Type Pages shown in this hook are designed and arranged by The Plimpton Press FOREWORD J. HIS volume has been prepared to assist those engaged in the making of books in their every-day experiences — particularly with The Plimpton Press — yet it is intended to be of general interest as an exhibit of types and typography, paper and press- work, designing, book cloths, and binding. As a matter of convenience, the names of the types, the leading, the different kinds of paper, the book cloths, etc., have all been carefully indicated, and those who make use of the volume are urged to familiarize themselves with the very full table of contents, which is intended as a complete index to everything except the Style Manual. The Style Manual has a separate index in order to prevent confusion. The decorations, book covers, and type pages shown in this volume were designed and arranged during the year 19 lo by The Plimpton Press, with the exception of the designs on pages 47, 5 1 , and 81, which were supplied by the publishers. All the presswork, plain, illustrated, and color, was executed by The Plimpton Press. [v] CONTENTS PAGE ARGUMENT FOR "COMPLETE MANUFACTURE" .... . 60 Illustration 66 COLOR PRINTING On coated paper, pebbled — frontispiece and facing .... 62 COMPARATIVE LIST OF VARIABLE SPELLINGS 93 DECORATIONS AND ORNAMENTS 223 Florets . . 240 Head-pieces . . . 226,228,229,245,246,248,249,250,251,252,253 Piece Borders 241, 242, 243 EGOTISTICA 70 History — equipment ■ — capacity — organization — quality — • accu- racy — typography — designing — paper — - presswork — binding — special bindings — storage — shipping — insurance — prices — reca- pitulation. EXHIBIT PAGES Bibliophile Society Tenth Year Book 53 Century Co. Life of Napoleon Bonaparte 43-4S Works of Charles Dickens 57 Christian Herald Life Work of Louis Klopsch 89 George H. Doran Co. Derby Day in the Yukon 3-5 DUFFIELD & Co. Cathedral Churches of England 13 A. H. Hall Old Bradford School Days SS Harvard University Program page 11 [Vii] CONTENTS PAGE D. C. Heath & Co. Physics 86 John Lane Co. The Christmas Mystery 51 Longmans, Green, & Co. The Intellectuals 88 Massachusetts Historical Society Diary of Cotton Mather 65 A. C. McClurg & Co. The Shogun's Daughter 7-9 Love, Friendship, and Good Cheer 27-29 My Voice and I 39-41 Faith, Hope, Love S9-^i Beyond the Mexican Sierras 69 Princess Sayrane 79 McGraw-Hill Book Co. A Manual of Fire Assays . . 85 The Measurement of High Temperature gi Charles E. Merrill Co. German Reader 77 J. B. Millet Co. > Oriental Series 63 Moffat, Yard & Co. Treason and Death of Benedict Arnold 23-25 Pilgrim Press For God and the People . . ij The Children's Pulpit . . 21 No Room in the Inn ... 47 The Cap and Gown 71-73 Beatrice 81 Presbyterian Board of Publication Solemnization of Marriage 17-19 Silver, Burdett & Co. History of the United States 7c A. V. Stewart Poems by Mary Baker Eddy 31-33 Frederick A. Stokes Co. The North Pole 3^_37 [ viii ] CONTENTS PAGE Sturgis & Walton The Donne Letters 87 Thompson, Brown & Co. Primer 67 S. D. Warren & Co. The Wonder Book 83 WeSSELS & BiSSELL Co. The Closed Door 49 Yale University Press Records of the Federal Convention 9° GLOSSARY 123 HALF-TONE PRINTING, examples— /aang 86 HALF-TONE PRINTING, in Doubletone ink— facing ... .^ . 142 INITIAL LETTERS 209 Alfred 212 Caslon 214 German 40-point and 56-point 222 German 72-point . 221 Jenson 212 Missal . . . . .211 Noname . . . 213 Serlio 40-point . 220 Serlio s8-point 219 Serlio 72-point . 215-216 Special Designs 78-point 210 Special Designs 90-point . 214 Special Designs 115-point 217-218 Special Designs 120-point ..213 JOB FACES Antique Inclined . 204 Black .... 206 Blanchard Light Face 204 Bold-face . . 204 Caslon Text 205 DeVinne . 206 German Faces 208 Gothic No. 14 6-point 202 Jenson lo-point 204 Lining Gothic 6-point . 202 [ix] CONTENTS PAGE JOB FACES (Continued) MacFarland 207 Old Style No. 79 . . 204 Philadelphia Lining Gothic 6-point to 36-point 201-202 Priory Text ' . 206 Satanick 206 Skinner Script . ... 207 Tiffany Text 207 Tudor Black 206 Winchell lO-point to 36-point 203 LEADING Sohd 147, 196 i-point .45, 149, 150, 151, 156 2-point 9, 11, IS, 25, 29, 33, 37, 47, SI, S3, 61, 63, 6s, 73, 75, 77, 79, 87, 89 3-po'nt 21, 157 4-point ....... 19, 41, 197 S-point • • 55 6-point . . . 19s, 198 8-point . 67 OLD-STYLE NAMES OF TYPE BODIES With their nearest size in point system 68 PAPER, EXHIBIT OF (Manufactured by S. D. Warren y Company, Boston) Antique Wove No. 62, White, so% "g. Basis 30^x41-90 i-xvi and 1-206 Artogravure Book. Basis 30! x 41—70 207—222 Cameo Plate Coated Book, Sepia. Basis 25 x 38-80 . . 223—238 Cameo Plate Coated Book, White. Basis 25 x 38-80. Doubletone exhibit facing page 142 and . 239-254 Lustro Coated Book. Basis 25 x 38—80. Exhibit fold facing page 254 Antique Wove No. 66, White. Basis 30! x 41-70 . . 255 to end Cumberland Coated Book, White. Basis 25 x 38-80. Three-color frontispiece (mounted on Cameo Plate, White) and exhibit fold facing page 62 PAPER SCALE and Table of Relative Sizes and Weights . Inside hack cover QUEST OF THE BOOK BEAUTIFUL, THE {An Essay) . . i The Supremacy of Italy . _ .... 10 " " " France ..." 16 " " " Belgium . . 24 " Holland 32 " England . 38 The Second Supremacy of France 42 " England 46 [X] Caslon {Monotype No. 57) 8-point . . " lo-point, 43 CONTENTS PAGE STANDARD TYPE FACES, (Antique folio indicates exhibit page) ... 145 Antique Old Style {Monotype No. 25) 8-point 171 " " " " " " 9-point .... 172 " " lO-point, IS, 47 .... 173 " " " " " li-point,S 174 " " " " " " i2-point .... 175 " " " " " " 6-pointto ll-point . . 176 154 155 Il-point, 90 156 l2-point, 21, 87 157 14-point ... 158 i8-point, 81 . . 159 6-point to 72 point . . . 160-164 Cheltenham 14-point to 72-point, 27 180-183 DiDOT Capitals, 17, 23, 31, 39, 71, 73, 81 170 French Old Style {Monotype No. ^i) 8-point 165 "1 " " " lo-point, 61, 85 ... 166 " " ii-point 167 " " i2-point, 53, 79 • • - 168 " " " " " " 6-point to 48-point . 169 Modern (Bruce) 14-point 196 " {Monotype No. S) 8-point 191 " " " " 9-point . . . 192 " " " " lo-point, 91 193 " " ii-point, 33, 7S 194 " " " " l2-point, 19 19s " " " " 6-point to 1 8-point 199-200 " {No. 4) 14-point . . 200 " " " i8-point 197 " (Wilson) i8-point, 67 198 Modern Bold-Face {Monotype No. 26) 8-point to lO-point . . . 177 Monotype No. 64 lo-point 29 . 178 " " " 12-point 179 " " " 8-point to 12-point .180 Old Style (Monotype No. $1) 7-point 4S " " " " " 8-polnt 147 " " " " " 9-point 148 " " " " " lo-point 49 149 « " " " " ii-point 86, 88 150 " " " " " 12-point 65 151 " " « " " 6-point to 40-point 152-153 [Xi] CONTENTS PAGE Scotch (Monotype No. 36) 8-point 184 " " " " 9-point 185 " " " " lo-point . 186 " " " " ll-point 73 . 187 " " l2-point 9, II, 25, 37, 41, 51, 55, 63,89 . 188 " " " " 6-point to 30-point . .... 189-190 RULES z-point dotted, 2-point hair-line, 2-point parallel hair-line, 3-point parallel hair-line, 6-point parallel combination, 3-point parallel face, 5-point parallel face, light Oxford, heavy Oxford, l-point face, 2-point face, 3-point face, 5-point face, 6-point face 177 STYLE MANUAL 255 [xii] THE QUEST OF THE BOOK BEAUTIFUL EXHIBIT PAGES HE QUEST OF THE BOOK BEAUTIFUL is something more than an imaginary pilgrimage. Today in America the con- ditions are more nearly analogous to those existing in Italy at the time of the Renaissance than the world has since seen. In other words, the American people have made themselves pros- perous through the medium of trade; and, find- ing themselves thus prosperous, those things which previously were luxuries have now be- come necessities. Twenty years ago even small libraries were limited to a comparative few, today the possession of books is considered a matter of course by every self-respecting family. The cheap chromos have been replaced by the artistic photographs of real objects of art. The prosperous artisan now aspires to give his chil- dren an education far beyond the possibilities within the reach or thought of his own parents, and succeeds in doing so. THE PLIMPTON PRESS YEAR BOOK With the change which transforms the luxury into a necessity comes a growing appreciation of the difference between the good and the bad. In the matter of books, this appreciation ex- tends from the real lover of the expensive edition down to the purchaser of the thirty- five-cent edition of some classic, happy in the possession of a well-made volume, built con- sistently in proportion to the price paid. For it is possible to supply this last demand with volumes worthy of the name. It is a matter of natural wonder that in the four hundred and fifty years which have elapsed since the so-called "invention" of printing no books have been issued to surpass — and almost none to equal — those made by the early German and Italian printers. Modern facilities have increased a thousandfold, yet the masterpieces of Gutenberg, Aldus, and Jenson still occupy their proud positions as the representative ex- amples of printing as an art. It is true that the sentimental love of books, such as that felt by Lorenzo de' Medici and the Duke of Urbino, is now confined to a limited few, and largely to those whose resources do not permit them to gratify their appreciation. It is true that the possession of a library does not today give to its owner the prestige which the patrons of the art enjoyed during the fifteenth century. It is true that the political necessity of keeping books from the hands of the masses, [2] Exhibit Page andomer loems ofmG Narmland aeoxaei\Dmin:\ffmpam COURTESY GEORGE H. DORAN COMPANY DESIGNED BY THE PLIMPTON PRESS STUDIO THE PLIMPTON PRESS YEAR BOOK lest they teach argument and become a men- ace to the State, has passed. All these factors entered into the high standard set for the printed book during the first fifty years after the use of movable types became practical, but none explains the apparent inability of the modern printer to achieve the distinction of having produced the Book Beautiful. Cobden-Sanderson, of the Doves Press, Lon- don, has best defined what the Book Beauti- ful must be. He says: "It is a composite thing, made up of many parts, and may be made beautiful by the beauty of each of its parts — its literary content, its material or materials, its writing or printing, its illumination or illustra- tion, its binding and decoration — or each of its parts in subordination to the whole which collectively they constitute: or it may be made beautiful by the supreme beauty of one or more of its parts, all the other parts subordinating or even effacing themselves for the sake of this one or more, and each in turn being capable of playing this supreme part, and each in its own peculiar and characteristic way. On the other hand, each contributory craft may usurp the functions of the rest and the whole, and growing beautiful beyond all bounds, ruin for its own the common cause." Bearing this definition in mind, it is of interest to book-lovers to trace the evolution, as repre- sented by the masterpieces of each century, of [4] Kxhibit Page GREETING SHAKE; Pard! I'm mighty proud o' you I (I'm know'd as " Yukon BiU ") ; You blazed th' traU an' blazed it true ; Some o' my friends I see y' knew On old Che-cha-ko Hill; Y But say, old man, y' clean forgot my friend, " Swiftwater BiU!" OU was a kid in pettic'uts When I went in, a man; Grub-stakin' with two other goats We sow'd th' last of our wild oats An' th' new, clean life began; We was th' fu'st (an' p'raps th' wu'st) Five Fingers' Rapids ran. [It] COURTESY COMPOSED IN II-POINT OLD STYLE GEORGE H. DORAN COMPANY ANTIQUE (mONOTYPE NO. 25) 3-POINT LEAD THE PLIMPTON PRESS YEAR BOOK printing as an art — to follow the efforts of each leading printer of his time, and to consider the influences which brought his work into being and the influences which his work exerted. We are all familiar with the statement that "printing, like Minerva, sprang fully armed from the brow of Jove," and the question has naturally arisen in our minds as to the reason why the products of the fifteenth century, when the art was in its infancy, should have passed down to posterity as unequaled, or, at any rate, unsurpassed by the work of later craftsmen. There are distinct reasons for this technical excellence. The earliest printers, for instance, in order to show cause for their existence, com- peted not with other printed volumes, but with the written book, which the patronage of kings and princes had developed to the highest point of perfection. Fifty years later the scribes had either died or given up the struggle; printing- presses were to be found within the very monas- teries themselves, and then, and not until then, could the printer afford to be careless. The striking similarity between the printed and the manuscript volumes in any particular city shows how successfully the early printer competed with the best of the professional scribes. It may not be known to all that the hero in the famous story of Dr. Faustus and the Devil was no other than Fust of the early printing- house of Fust and Schoeffer, Gutenberg's asso- [6] Kxhibit Page THE SHOGUN'S DAUGHTER BY ROBERT AMES BENNET Author of "Fcrr the White Christ," "Into the Primitive," etc. WITH B PICTURES IN COLOR BY W. D. GOLDBECK CHICAGO A. C. McCLURG & CO. 1910 THE PLIMPTON PRESS YEAR BOOK ciates and successors. He carried to Paris a number of Bibles which he and Schoefifer had printed, and disposed of them as manuscripts, since at this time the discovery of the art of printing was not known in France. At first he reaUzed as much as 500 or 600 crowns a volume, — the full price for a hand-written Bible. Later he reduced the price to sixty crowns, which caused universal astonishment; but when he finally came down to thirty crowns, and pro- duced the volumes in rapid succession, all Paris became agitated. The uniformity of the copies only increased the wonder and alarm of the people, as it seemed to them to be beyond the power of human invention. Information was given to the police, charging him with being a magician; his lodgings were searched, and a large number of Bibles were found and seized. The red ink with which they were embellished was said to be his blood, and he was adjudged as being in league with the devil. He was cast into prison, and in order to save his life he was obliged to make known the discovery of the art of printing. The authenticity of this story is perhaps questionable, but the fact remains that Fust died in Paris, of the plague, in 1466. Another reason for the decline in typograph- ical standards after the first fifty years is the fact that the book-buying public, limited at best, came to demand the contents of the book, at a cheaper price, rather than volumes of greater technical [8] Exhibit Page THE SHOGUN'S DAUGHTER CHAPTER I — Eastern Seas MY first cruise as a midshipman in the navy of the United States began a short month too late for me to share in the honors of the Mexican War. In other words, I came in at the foot of the ser- vice, with all the grades above me fresh-stocked with comparatively young and vigorous officers. As a consequence, the rate of promotion was so slow that the Summer of 1851 foimd me, at the age of twenty-four, still a middle, with my lieu- tenancy ever receding, like a will-o'-the-wisp, into the future. Had I chosen a naval career through necessity, I might have continued to endure. But to the equal though younger heir of one of the largest plantations in South Carolina, the pay of even a post captain would have been of small concern. It is, therefore, hardly necessary to add that I had been lured into the service by the hope of winning fame and glory. [1] COURTESY COMPOSED IN I2-POINT SCOTCH A. C. MCCLURG & CO. (MONOTYPE NO. 36) 2-POINT LEAD. WITH SPECIALLY DESIGNED SERLIO INITIAL THE PLIMPTON PRESS YEAR BOOK excellence, at a correspondingly higher price. Sweynheim and Pannartz ruined themselves by their experiments in Greek; the Aldine Press was saved from bankruptcy only by the intervention of Paul IV.; Henry Stephens was bankrupted by his "Thesaurus"; and Plantin, of Antwerp, was almost brought to ruin by his Polyglot Bible, and only retrieved his fortunes by issuing meaner publications. History has repeated itself even down to the present time, for no printer or publisher sets himself the task of producing his "ideal book" with any thought of profit. This is because the publisher erroneously con- siders "ideal" and "expensive" as synonymous, when, as a matter of fact, it is quite as possible to produce an "ideal" volume at a popular price as a limited edition de luxe at a price beyond the reach of most. Cobden-Sanderson's definition applies equally to the cheaper volume, when it is made beautiful by its harmony, con- sistency, and perfection of workmanship. THE SUPREMACY OF ITALY A FTER Gutenberg demonstrated the prac- tical use of movable types, devised by the Koreans six hundred years earlier, the art of printing passed to Italy, which had become the home of learning, and Venice thus became the Mecca of printers. Men who had served appren- [10] iLxbtbit Page Amebica Henry Carey (?) M Y country! 'tis of thee, Sweet land of liberty, Of thee I sing; Land where my fathers died! Land of the Pilgrims' pride! From every mountain side Let freedom ring! My native country thee — Land of the noble free — Thy name I love; I love thy rocks and rills, Thy woods and templed hills; My heart with rapture thrills Like that above. Our fathers' God! to Thee, Author of liberty. To Thee we sing; Long may our land be bright With freedom's holy light; Protect us by Thy might. Great God, our King! S. F. Smith, D.D. COURTESY HARVARD UNIVERSITY composed in i2-point scotch (monotype no. 36) 2-point lead.. with specially designed serlio initial THE PLIMPTON PRESS YEAR BOOK ticeship in Germany sought out the country where princes were ready to become patrons of the new art, where manuscripts were available for copy, and where a public existed both able and willing to purchase their products. The Venetian Republic was particularly far-sighted in offering protection and encouragement, and the city itself was the best market in the world for the distri- bution of goods, facilitated by the cheapness of sea transportation. Among the many printers attracted to Venice was Aldus Manutius. He came thither from Carpi in his forty-fifth year. "I have resolved," he writes in 1490, " to devote my life to the cause of scholarship. I have chosen in place of a life of ease and free- dom an anxious and toilsome career. A man has higher responsibilities than the seeking of his own enjoyment: he should devote himself to honorable labor; living that is a mere exist- ence can be left to men who are content to be animals. Cato compared human existence to iron. When nothing is done with it, it rusts; [12] Exhibit Page THE CATHEDRAL CHURCHES OF ENGLAND THEIR ARCHITECTURE • HISTORY AND ANTIQUITIES • WITH BIBLIOGRAPHY ITINERARY & GLOSSARY A PRACTICAL HANDBOOK FOR STUDENTS AND TRAVELLERS By HELEN MARSHALL PRATT ILLUSTRATED NEW YORK DUFFIELD AND COMPANY 1910 COMPOSED IN SCOTCH CAPITALS THE PLIMPTON PRESS YEAR BOOK it is only through constant activity that polish or brilliancy is secured." The weight of responsibility felt by Aldus in becoming a printer may be better appreciated when one stops to realize that this vocation included also those of publisher and editor. The printer of today receives his manuscripts from the publisher; the publisher accepts or declines manuscripts which are submitted to him by their authors, — and the editing of manu- scripts, if considered at all, is put in the hands of still another. The old-time printer, however, was obliged to search out his manuscripts and to superintend their editing — not from pre- vious editions, but from copies transcribed by hand, frequently by careless scribes. Thus his reputation depended not only upon his skill as a printer, but also upon his sagacity as a pub- lisher and his scholarship as shown in his text. And in addition to all this, there were no estab- lished bookstores to assist him in the sale of his finished product. He must create the demand as well as the supply. The great scheme which Aldus had conceived was the publication of the Greek classics. Up to this time but four of the Greek authors had been published in the original, — .^sop, Theocritus, Homer, and Isocrates. Aldus gave to the world for the first time in printed form, Aristotle, Plato, Thucydides, Aristophanes, Euripides, Sophocles, Demosthenes, Plutarch, and Pindar. [14] Exhibit Page Exhibit Page MORNING PRAYERS GOD, we thank thee for the sweet refreshment of sleep and for the glory and vigor of the new day. As we set our faces once more toward our daily work, we pray thee for the strength sufficient for our tasks. May Christ's spirit of duty and service ennoble all we do. Uphold us by the consciousness that our work is useful work and a blessing to all. If there has been any- thing in our work harmful to others and dis- honorable to ourselves, reveal it to our inner eye with such clearness that we shall hate it and put it away, though it be at a loss to our- selves. When we work with others, help us to regard them, not as servants to our will, but as brothers equal to us in human dignity, and equally worthy of their full reward. May there be nothing in this day's work of which we shall be ashamed when the sim has set, nor in the eventide of our life when our task Is done and we go to our long home to meet thy face. [27] Y 1530 Itahan preeminence in printing, owing to the death or downfall of her noble patrons, had passed away, and Francis I. of France, eager to gain for himself the credit which the Italian princes had acquired from their patronage, became the Father of Letters and the Maecenas of the Arts. He determined to have his own printer, and to eclipse even the high standard the Italian printers had estab- lished. This ambition was not wholly gratified, but under his encouragement Robert Stephens, or Estienne, who succeeded Neobar as royal [16] Exhibit Page THE ORDER FOR THE SOLEMNIZATION OF MARRIAGE FROM THE BOOK OF COMMON WORSHIP A- , ^>; THE PRESBYTERIAN BOARD OF PUBLICATION PHILADELPHIA I9II ^ COURTESY PRESBYTERIAN BOARD OF PUBLICATION COMPOSED IN IMPORTED DIDOT CAPITALS AND SMALL CAPITALS THE PLIMPTON PRESS YEAR BOOK printer in 1540, produced editions which were, in point of typographical excellence, far superior to any others of their period, while the volumes he printed in what are known as the "French Royal Greek Types " surpassed any Greek print- ing which preceded them, and are supe- rior, in the opinion of many, to any produced since. Robert Stephens found the French people of this period in exactly the same frame of mind as Aldus found the Italians. They wanted to learn. They desired books, not to place upon shelves, but to read, in order to know. They wanted to know the truth in the matter of religion, and the cause and remedies of moral and material evils by which they felt themselves oppressed. Stephens, who possessed much of the Humanist spirit, was heartily in sympathy with them, but nothing could have been further from the intention of Francis I. when he called him to become "printer to the King." Thus Robert Stephens, the greatest printer of his [18] ROBERT STEPHENS (OR ESTIENNe) Rxhibit Page W upon these Thy servants the seal of Thine approval, and Thy fatherly benediction : granting unto them grace to fulfil, with pure and steadfast affec- tion, the vow and covenant between them made. Guide them together, we beseech Thee, in the way of right- eousness and peace, that loving and serving Thee, with one heart and mind, all the days of their life, they may be abundantly enriched with the tokens of Thine everlasting favour, in Jesus Christ our Lord. Amen. OUR Father which art in heaven. Hallowed be Thy Name. Thy kingdom come. Thy will be done in earth, As it is in heaven. Give us this day our daily bread. And forgive us our debts. As we forgive our debtors. And lead us not into temptation. But deliver us from evil: For Thine COURTESY PRESBYTERIAN BOARD OF PUBLICATION composed in i2-p0int modern (monotype no. 8) 4-point lead THE PLIMPTON PRESS YEAR BOOK time, corrector, publisher, editor, and author, was forced, within ten years, to flee for his life to Geneva for having violated the Edict of 1534, which forbade any printer to print any- thing whatever without the royal license, under pain of death. The Royal Greek types cannot be called a new departure. EarUer fonts had been based upon the same principle of making the Greek letters reproductions, as closely as possible, of the elaborate, involved, current writing hand of the day. These new fonts simply carried out the principle to a degree until then unat- tained. The drawings were made by the cele- brated calligrapher, Angelos Vergetios, who was employed by Francis I. in making transcripts of Greek texts for the royal collection, and whose manuscript volumes may still be seen in the Bibliotheque Nationale in Paris. But the real success of the undertaking was due to the skill of Claude Garamond, the famous punch-cutter and type-founder. Pierre Victoire says: "Be- sides gathering from all quarters the remains of Hellenic literature, Francis I. added another benefit, itself most valuable, to the adornment of this same honorable craft of printing: for he provided by the offer of large moneys for the making of extremely graceful letters, both of Greek and Latin. In this also he was fortu- nate; for they were so nimbly and delicately devised that it can scarce be conceived that [20] Exhibit Page THE FINEST MEDICINE IN THE WORLD THERE ARE MANY KINDS OF medicine, some of which are taste- less, a few have a pleasant flavor, but most of them are very unpleasant to take. How you dislike most of them! But who of you likes to give medicine? "Not I," most of you answer. Wait a minute. There is one fine medicine, the finest in the world, and I like to have the boys and girls give me large doses of it. A very wise man tells about it in this proverb, "A merry heart doeth good like a medicine." You hear older people talk about psycho- therapy, homeopathy, allopathy, osteopathy, but never mind those. The thing for you to practise is " merryopathy." Have a merry [I] COURTESY COMPOSED IN I2-POINT THE PILGRIM PRESS CASLON OLD STYLE (MONOTYPE NO. 37) 3-POINT LEAD, DECORATIVE HEAD THE PLIMPTON PRESS YEAR BOOK human wit may compass anything more dainty and exquisite; so that books printed with these types do not merely invite the reader, — they draw him, so to say, by an irresistible attrac- tion." No one, even in modern times, disputes the facts that for evenness of color, for precision of casting, and for the exactness of alignment and justification, these fonts are unsurpassable. Since then, however, there has come a convic- tion that handwriting can be no more trans- lated directly into the form of types in Greek than a painted picture can be translated directly into a tapestry, without losing, in so doing, the characteristic features of each. In addition to this, later printers found it necessary to modify the type, owing to the complications it offered to the compositors, and the consequent additional expense. There is, however, no doubt that in securing faces which are easier to read and cheaper to produce, much has been lost in beauty and variety. There were three distinct sizes cut for the Royal Greeks — great primer, pica, and a smaller size which is merely a reduction of the great primers with minor variations. Robert Stephens himself gives the reason for cutting this small size, in his introduction to his New Testament of 1546: "O the marvellous liber- ality of our King," he says, "that most excel- lent and noble prince! for feeling that such [22] TREASON AND DEATH OF BENEDICT. ARNOLD JOHN JAY CHAPMAN BOUND IN IMPORTED DESIGNED BY Exhibit Page THE TREASON «& DEATH OF BENEDICT ARNOLD A PLAY FOR A GREEK THEATRE BY JOHN JAY CHAPMAN MOFFAT. YARD & COMPANY 1910 COMPOSED IN IMPORTED DIDOT CAPITALS AND SMALL CAPITALS THE PLIMPTON PRESS YEAR BOOK were needed to bring together into a narrow compass books of large volume, he bade engrave these smaller Greek characters, which in ele- gance rival the former, though those were of all letters the most beautiful." THE SUPREMACY OF BELGIUM V RANGE lost its claim to preeminence in the art of printing when Robert Stephens was forced to flee to Geneva, where he and his son Henry carried on a printing business until his death in 1559, and that of his son a few years later. During this period Henry Stephens pro- duced his "Thesaurus" — the only important work of that period. The quest of the Ideal Book, therefore, passed out of France, and was taken up by another Knight Adventurous in the person of Chris- tophe Plantin, in Belgium. He had settled near Antwerp in 1549 as a bookbinder, but six years later he began printing. The early books from his press showed accuracy and excellence of workmanship, but it was his great undertak- ing of the Biblia Polyglotta which won him his place among the great master-printers. In 1566 the preaching of Luther had attracted the attention of the Christian world more par- ticularly than ever to the Bible. The Protest- ants considered it the single basis of their faith, [24] Kxhibit Page TREASON AND DEATH Calling to you, his sons and daughters, summoning you at his need. Stoop, daughters of ether, ye clouds of the mountains! Rise, sons, of the sea, most ancient re- tainers, Flow towards your father's need! the River calls — Father Hudson summons his children. [Enter simultaneously Chorus of Waves, (men) on one side, and on the other. Chorus of Clouds (women). They flock slowly into the orchestra, approaching each other, and sing as they assemble.] Both Choruses. Father Hudson, we are coming, we are streaming, we are foaming From the sky and from the earth, Down the mountains. Through the fountains, We are streaming, steaming forth; We, the children of your will. Bom to serve you, and to fill All your banks and all your margin With the fulness of enlarging, With the plentitude of rivers, [10] COURTESY COMPOSED IN I2-P0INT SCOTCH MOFFAT, YARD & CO. (MONOTYPE NO. 36) 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK and upon their familiarity with it depended their present and future welfare. It was natural, therefore, that they should attach the greatest importance to the possession of the most authen- tic edition of the original text. Among the Catholics the ef- fect of this move- ment was equally felt. The coun- ter-reform, born in the Church of Rome, after the separation of the dissenting sect, did not Hmit itself to a moral purifi- cation, but under- took with great seriousness a pro- found study of the Bible. What more glorious task, then, could a printer take upon himself than to provide correct texts, to translate them with a scrupulous exactitude, and to produce with the greatest perfection the single book upon which was based the welfare of men and of empires! This was the inspiration which came to Christophe Plantin, and which took form in the Biblia Polyglotta. On the left-hand page should appear the original Hebrew text, and on [26] CHP4S'70PHOP.i^ PLylNTIKXlf Kxhibit Page COMPOSED IN CHELTENHAM CAPITALS THE PLIMPTON PRESS YEAR BOOK the same page should be a rendering into the Vulgate. On the right-hand page the Greek version would be printed, and beside it a Latin translation. And at the foot of each page should be a Chaldean paraphrase. Plantin at once opened negotiations with Philip II. of Spain, and was finally successful in securing his promise to subsidize the under- taking — a promise which, unfortunately, was never fully kept. It is probable that the King was influenced towards a favorable decision by the struggle which occurred between Frankfort, Heidelberg, and even Paris for the honor of having the great work produced. At all events, Philip agreed to subscribe for thirteen copies upon parchment, and to pay Plantin 21,200 florins for them. He stipulated, however, that the work should be executed under the personal supervision of one Arias Montanus, whom he would send over from Spain. Plantin accepted this condition with some misgivings, but Mon- tanus, upon his arrival, captivated all by his personal characteristics and his profound erudi- tion. In February, 1565, Plantin commissioned one Robert Grandjon, an engraver at Lyons, to cut the Greek characters for the work, basing the font upon Robert Stephens' Royal Greeks. In the recutting, however, the type lost much of its original beauty. Grandjon also supplied him with his Roman and some of his Hebrew types. [28] Exhibit Page LOVE ^ Love finds the need it fills. George Eliot ^ They who love are but one step from Heaven. Lowell. What is love? 'T is nature's treasure; 'T is the storehouse of her joys; 'T is the highest heaven of pleasure; 'T is a bliss which never cloys. Thomas Challerlon. ^Some one has written that love makes people believe in immortality, because there seems not to be room enough in life for so great a tenderness, and it is inconceivable that the most masterful of our emotions should have no more than the spare moments of a few years. Stevenson. ^ To love is to ask of another the happiness that is lacking in ourselves. Rochepedre. ^ Love is never lost. If not reciprocated, it will flow back and soften and purify the heart. Washington Irving. [1] COURTESY A. C. McCLURG & CO. composed in id-point no. 64 (monotype) 2-point lead decoration designed by the plimpton press studio THE PLIMPTON PRESS YEAR BOOK The balance was cut by Guillaume Le Be, of Paris, and Corneille de Bomberghe. His paper was purchased at Antwerp at prices ranging from sixty-two sous to thirty-six florins a ream; and the parchment came from the same source at an expense of forty-five sous per dozen — about one-eighth the present price. The first edition consisted of 1213 copies. The publication of the eight massive volumes was accomphshed between the years 1569 and 1573; but aside from the glory and gratification which came to Plantin, their final appearance meant disaster to him. The undertaking itself had been a prodigious one. King Phihp had delayed in all his payments, and defaulted in some; the privileges which had been promised were slow in coming, and some were later revoked; the censors, who must finally pass upon every volume, would not consider it until entirely completed, so all expense for edit- ing, typesetting, and printing must be incurred before any one could know whether or not the pubUcation could be issued. As a result of these and many other complications, the ex- pense far exceeded any possible return. Plantin pledged everything he owned to stem the tide of adversity, and only succeeded in recovering his financial standing by the commercial success attained by his later and meaner productions. Without detracting from the accompHshments of Plantin, it should be noted that he belongs [30] Exhibit Page ^AKER. EDDY -H : WINTERBOTTOM IMP. P- R- I DESIGNED BY THE PLIMPTON PRESS STUDIO Exhibit Page POEMS BY MARY BAKER EDDY AUTHOR OF "SCIENCE AND HEALTH, WITH KEY TO THE SCRIPTURES" BOSTON, U.S.A. Published by ALLISON V. STEWART FALMOUTH AHD ST. PAUL STREETS I9II COMPOSED IN IMPORTED DIDOT CAPITALS AND SMALL CAPITALS THE PLIMPTON PRESS YEAR BOOK both chronologically and in point of personal prestige to the second rather than to the first grade of the early master-printers. His was a great work, achieved in spite of such obstacles as civil and foreign wars, the censorship of the Church, the broken faith of kings, his own exces- sive optimism, and constant financial complica- tions. Yet, on the other hand, the century which had elapsed since Gutenberg had removed for him many of the technical difficulties which his predecessors had been obliged to endure. He could now secure printed copy for his com- positors, which he could edit and improve; printing machinery could be purchased; the sale and distribution of books had been sys- tematized; and scholars were easily attainable from the universities for editorial purposes. Plantin availed himself of all these improved conditions and added to them, estabhshing a business which continued from 1555 down to 1867, at which date the city of Antwerp pur- chased the entire outfit, and established the famous Plantin Museum. THE SUPREMACY OF HOLLAND Gi ERMANY, Italy, France, and Belgium each attained, for a period, supremacy in the art of printing, and then passed the crown on to an- other country, with apparently hardly an effort [32] Exhibit Pa ge POEMS OLD MAN OF THE MOUNTAIN ^IGANTIC sire, unfallen stiU thy crest! Primeval dweller where the wild winds rest, Beyond the ken of mortal e'er to tell What power sustains thee in thy rock-bound cell. Or if, when first creation vast began. And far the universal fiat ran, "Let there be hght" — from chaos dark set free, Ye rose, a monument of Deity, Proud from yon cloud-crowned height to look henceforth On insignificance that peoples earth, Recalling oft the bitter draft which turns The naind to meditate on what it learns. 1 COURTESY COMPOSED IN II-POINT MODERN ALLISON V. STEWART (MONOTYPE NO. 8) WITH ALFRED INITIAL AND DIDOT HEADING 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK to retain it. The history of typography had now reached a point, namely the end of the sixteenth century, when for definite reasons, printing had lost much of its art and had become a trade. This, perhaps, is not to be wondered at, for by this time, as has been seen, the list of disasters which had overtaken without exception all those printers who had striven for glory was an ominous one; while, on the other hand, the demand for low-priced books was considerable. In addition to this, cheaper paper, made in Switzerland, had come into the market, and this inferior, unbleached variety replaced the Itahan and the French manufactures, which had con- tributed no small part to the beauty of the pages printed upon them. Ink makers had learned how to produce cheaper and poorer ink, and the types themselves, from constant use, had become worn down to an extent which made real excel- lence impossible. For over a century, therefore, the world was deluged with a mass of wretched examples of book-making, and for this reason the work of the Elzevirs, in Holland, stands out in far greater relief than if it were to be compared with that of the great Italian and French master-printers. This family of printers first became known as bookbinders in 1540, their first printing-press being set up by Isaac in 161 7. For the next twenty-six years the products from their press attracted world-wide admiration, the summit of [34] Exhibit Page (^(lutal l^ubbatu Ctiftion THE NORTH POLE ITS DISCOVERY IN 1909 UNDER THE AUSPICES OF THE PEARY ARCTIC CLUB BY ROBERT E. PEARY WITH AN INTRODUCTION BY THEODORE ROOSEVELT AND A FOREWORD BY GILBERT H. GROSVENOR DIRECTOK AND EDITOB, NATIONAL GEOGRAPHIC SOCIETY WnU EIGHT FULI^PAGE ILLUSTRATIONS REPRODUCINO PHOTOGRAPHIC ENLARGEMENTS COLORED BY HAND; ONE HUNDRED ILLUSTRATIONS IN BLACK-AND-WHITE. FROM PHOTOGRAPHS; AND WITH A MAP IN COLORS BY GILBERT H. OROSVENOB NEW YORK FREDERICK A. STOKES COMPANY 1910 1 COMPOSED IN SCOTCH CAPITALS AND SMALL CAPITALS (monotype NO. 36) THE PLIMPTON PRESS YEAR BOOK their excellence being attained by Bonaventura and Abraham Elzevir in the editions of Terence, Caesar, and Pliny in 1635. The originality of the Elzevirs consisted prin- cipally in the cut of their types and in the small size of many of their volumes. Naturally these innovations met with certain criticism. The scholar De Put, writing to Heinsius, in 1629, says: "The Elzevirs are certainly great typographers. I can but think, however, that their reputation will suffer in connection with these trifling little volumes with such slender type." In time, how- ever, the new typographical format established itself firmly. The Elzevir model was copied by the best publisher-printers in France and Italy, and the folios and quartos of the preceding ages were entirely out of favor. The Elzevirs show a decided advance in busi- ness organization over any of their predecessors. Freed from the oppressive censorship, they were able to issue many volumes, which they disposed of through connections established in the prin- cipal book centers of Italy, France, Germany, and Scandinavia, as well as throughout the Netherlands themselves. There is no record of any publication of theirs proving so burdensome a failure as some of those already considered; nor, on the other hand, can it be said that they accomplished as much for the art to which they devoted themselves as did the master-printers in whose steps they followed. [36] Kxhibit Page THE NORTH POLE 77 « twenty-two men, seventeen women, ten children — and two hundred and forty-six dogs. The Roosevelt, as usual, was loaded almost to the water's edge with the coal that had been crowded into her, the seventy tons of whale meat which we had bought in Labrador, and the meat and blubber of nearly fifty walruses. We parted company from the Erik and steamed north on the 18th of August, an intensely disagree- able day, with driving snow and rain, and a cutting wind from the southeast which made the sea very rough. As the two ships separated, they signaled "good-by and good luck" with the whistles, and our last link with civilization was broken. Since my return I have been asked if I did not feel deep emotion on parting with my companions on the Erik, and I have truthfully replied that I did not. The reader must remember that this was my eighth expedition into the Arctic, and that I had parted from a supply ship many times before. Constant repetition will take the edge from the most dramatic experience. As we steamed north from the harbor of Etah, my thoughts were on the condition of the ice in Robeson Channel; and the ice in Robeson Channel is more dramatic than any parting — save from one's nearest and dearest, and I had left mine three thou- sand miles below at Sydney. We had some three hundred and fifty miles of almost solid ice to negoti- ate before we could reach our hoped-for winter quarters at Cape Sheridan. I knew that beyond Smith Sound we might have to make our slow way rod by rod, and sometimes literally inch by inch, butting and ramming and dodging the mountainous ice; that, if the Roose- COURTESY COMPOSED IN I2-POINT FREDERICK A. STOKES CO. SCOTCH (mONOTYPE NO. 36) 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK THE SUPREMACY OF ENGLAND In considering the best examples of typography during the eighteenth century, Baskerville's Vir- gil, printed in Birmingham, England, in 1757, may be selected. Benjamin Franklin wrote, in presenting a copy to the Har- vard College Li- brary, that it was "thought to be the most curiously printed of any book hitherto done in the world"; and Ma- caulay says, " It was the first of those magnificent editions which went forth to astonish all the hbrarians of Europe." John Baskerville is one of the most mysterious personages in the typographical hall of fame. It is known that he was born in 1706, that he died in 1775, that he was in turn a footman, a writing master, and the proprietor of a success- ful japanning establishment. He became famous as a printer only a little more than a century ago, but no one has discovered where he was educated, or where he learned the art of printing. [38] JOHN BASKERVILLE Exhibit Page AND (x'ii 0,*^' ■;i;:;/:;T:- Cl^vRA ' KAPHLEBN - ROGEItS ( CJLARA DORIA 'I','.; '.vi>'> Hii ,'''fi ""rt' ' :.l iOTH : HOLLISTON T 281 DESIGNED BY THE PLIMPTON PRESS STUDIO Exhibit Page MY VOICE AND I OR THE RELATION OF THE SINGER TO THE SONG BY CLARA KATHLEEN ROGERS (CLARA DOEIA) Author of " The PkiloBopky of Singing " CHICAGO A. C. McCLURG & CO. 1910 COMPOSED IN SCOTCH CAPITALS MAIN TITLE IN IMPORTED DIDOT CAPITALS THE PLIMPTON PRESS YEAR BOOK Yet he would naturally seek to obtain some knowledge of the rudiments of typography before taking upon himself such responsibilities. In 1 750 he became a type-founder, in which art Caslon was his only competitor of importance. He experimented for several years, and expended upwards of ;^6oo before he succeeded in pro- ducing a letter which satisfied him, "and some thousands," Hutton adds, "before the shallow stream of profit began to flow." With his type perfected, he issued circulars announcing his intention of printing an edition of Virgil. Baskerville's anxiety to produce a work of lasting typographical importance is shown in his letters to Dodsley, and, judged by the standards of the day, it must be admitted that Dibden is not extravagant when he speaks of the Virgil as "one of the most finished specimens of typography." Dibden also comments upon his work as follows: "The typography of Basker- ville is eminently beautiful. He united in a singularly happy manner the elegance of Plantin with the clearness of the Elzevirs. He seems to have been extremely curious in the choice of his paper and ink, the former being in general the fruit of Dutch manufacture and the latter partaking of a peculiarly soft luster, bordering on purple." Another authority tells us that his method of presswork was to have " a constant succession of hot plates of copper ready, between which, as soon as printed (aye, as they were [40] Kxhibit Page My Voice and I singer's task to identify himself properly with the bewitched lover, but alas! I am compelled to own, that more often than not, when this song is heard, it sounds as if it were only about a brook. Much has been said in the past about the artist "throwing himself into his part," and really feeling what he is singing; but this is simply indiscriminate talk, and many an unwary young singer has gone wrong as an exponent of dra- matic music through trying to perform this mental acrobatic feat without having anything but a vague idea of what he was trying to do. The idea of "throwing himself" into any part suggests a sort of artificial exaltation, which results in squirmings, restlessness, lack of poise, uncertainty of tone, and every quality calculated to make the auditors uncom- fortable. From this extreme, the placid, colorless, unemotional singer shines forth in grateful relief; for at least he preserves [156] COURTESY COMPOSED IN I2-P0INT SCOTCH A. C. MCCLURG CO. (MONOTYPE NO. 36) RUNNING HEAD IN I2-P0INT SCOTCH ITALIC. 4-POINT LEAD THE PLIMPTON PRESS YEAR BOOK discharged from the tympan) the sheets were inserted. The wet was thus expelled, the ink set, and the trim glossy surface put on, all simul- taneously." Baskerville's work was greeted with much con- troversy, but, judged by the standards of the period, the printer seems fairly entitled to the position attained. THE SECOND SUPREMACY OF FRANCE M( lODERN book-printing may be said to take its beginning from the year 1800. By this time the so-called "modern-faced" types had come into popular favor, replacing for the time the Caslon and the Baskerville faces. The pro- ductions, in England, of Thomas Bewick, with his delicately engraved work, of Bodoni, in Italy, and particularly of the Didots, in Paris, won general applause. France welcomed the return of her typographical preeminence with much enthusiasm, which greatly aided the Didots in their advance — a marked contrast to the obstacles placed in the way of Basker- ville by his fellow countrymen. Pierre and Firmin Didot were of the third generation of printers in France, and added the final luster to the reputation of a great family. To them the world of printing owes a vast debt for advancements made by them in engraving, [42] Exhibit Page THE LIFE OF NAPOLEON BONAPARTE BY WILLIAM MILLIGAN SLOANE Ph.D., L.H.D., LL.D. Professor of History in Columbia University l^tU^z\y anti (Cnlatfffd WITH PORTRAITS VOLUME I NEW YORK THE CENTURY CO. 1 910 COMPOSED IN CASLON OLD STYLE CAPITALS AND ITALIC (monotype NO. 37) WITH XO-POINT CASLON TEXT THE PLIMPTON PRESS YEAR BOOK type-founding, stereotyping, and paper making. Their "Racine," published in 1801, was pro- nounced by a French jury to be "the most perfect typographical production of any country or of any age." It consists of three large quarto volumes of nearly five hundred pages each. The composition is most carefully planned throughout, the arrangement, spacing, and mar- gins showing superb balance. The page of dedication is a splendid piece of work, but the plain pages are no less satisfactory. The type itself is the result of the collaboration of Firmin Didot *' and Bodoni, and even the style of com- position in the volumes produced at this time by the two printers is remarkably similar. Didot surpassed his Italian competitor prin- cipally in his restraint, which adds materially to the elegance of his work. The type has been severely criticized, principally, however, by Wil- liam Morris and his disciples. Morris says:' "The sweltering hideousness of the Bodoni letter, the most illegible type that was ever cut, with its preposterous thicks and thins, has been mostly relegated to works which do not profess anything but the baldest utilitarianism." But the Didot volumes and the Bodoni volumes still find hosts of admirers, which they eminently deserve. The volumes contain a large number of mag- nificent steel engravings. The hand-made paper ' See Didot capitals among sample pages. [44] Kxhibit Page 362 INDEX Aimy of Egypt, advances on Syria, ii. 68, 69; abandoned by iV. in Egypt, 80; Adm. Bruix sent to relieve the, 79; its desolate plight, 80, 81. Anny of England, the, creation of, ii. 24; N. general of, 24, a; on the watch at Boulogne, 48; the right wing of, si; strength, 290, 291; ordered to march to the eastward, 362. Army of Helvetia, incorporated into the Army of the Rhine, ii. 140. Army of Holland, freed for active service, ii. 146. Anny of Italy, equipment of the, i. 196; campaign in the Alps, 213; N.'s service with and command of, 216, 224, 237, 25S, 318-22, 342; question of its sustenance, 239; strength and organization, 240, 241; iV.'s plans for the, 24s; Cor- sicans in the, 232; N.'s mono- graph on, 288; promised booty, 339, 340, 344; the question of its employment, 342, 343; joined to that of the Pyrenees, 343; desti- tution of, 344; strength (1796), 346; pillage in the, 351; reinforced from Vendfe, 387; popularity of, 419; growing arrogance of the, ii. 4; reinforced by the Army of the Alps, 9; speculations as to fur- ther employment, 32; restrained from pillage, 42; Moreau's service with, 72; division of, and disaster, 87; frauds in, 91; commanded by Massdna, 140, 186; scheme for raising money for, 154; N.'s mani- festo to, 159, 160; its line of oper- ations, 160; service on the Rhine, iv. SS. Army of Silesia, contemplated move- ment against, iv. 24; contem- plated movement of, 25. Anny of the Alps, Napoleon's plans for the, i. 245; combined with Army of Italy, ii. 9. Anny of the Danube, under com- mand of Jourdan, ii. 72. Army of the East (Allies), iv. 3. Army of the Elbe, formation of, iii. 393. Army of the Interior, the, i. 298; N. made second in command, 305; N. reorganizes, 308; 1796, 345; commanded by Augereau, ii. 7. Army of the Main, formation of the, iii. 393. Army of the Netherlands, service on the Rhine, iv. %%. Army of the North, conquers the Aus- trian Netherlands, i. 273; in J796, 347; operations on the Rhine, 434; Barras's schemes in regard to, ii. 6. Army of the North (Allies), in Bran- denburg, iv. 3; contemplated movement against the, 24. Anny of the Pyrenees, transferred to Maritime Alps, i. 342; joined to that of Italy, 344; service on the Rhine, iv. 55. Army of the Reserve, ordered to Italy, ii. 163, 164; expected to attack Melas, 170; crosses the Alps, 169-173. Army of the Rhine, the (French), N. seeks to join, i. 216; N. fails of admission, 224; commanded by Citizen Beauharnais, 314; the question of its employment, 342; fails to support N. in Italy, 43s; destitution of, ii. 6; Augereau commander of, 7; disbanded, 35; Moreau commanding, 140; N.'s manifesto to, 159; contempt for the Concordat in, 23s; the San Domingo expedition selected from, 236; N.'s method of quelling op- position in, 235-237; weakened to ensure success in Italy, 296. Army of the Rhine (Archduke Charles's), i. 425. Army of the Sambre and Meuse, wins battle of Fleurus, i. 273; campaigning in the Alps, 425; brought to Paris, ii. 7. Army of the South (Allies), iv. 3; pursues Murat, 26; Augereau attempts to hinder, 94; Francis joins, at Lyons, 97. Anny of the Tyrol (Austrian), re- treats to head waters of the Enns, iii. 216; Archduke John ordered to join, 216. COURTESY THE CENTURY CO. COMPOSED IN 7-POINT OLD STYLE (monotype NO. 31) WITH CATCH WORDS SET IN 7-POINT OLD STYLE ANTIQUE (monotype no. 25) I-POINT LEAD THE PLIMPTON PRESS YEAR BOOK upon which they are printed is a splendid example of fine manufacture, the ink is black and even, and the presswork superb. Taken as a whole, the Racine must always be consid- ered whenever the accomplishments of printing as an art are placed side by side. THE SECOND SUPREMACY OF ENGLAND E ^NGLAND again became preeminent when William Morris established the Kelmscott Press, and his masterpiece is admittedly the Kelmscott Chaucer. For this, the decorator-printer had a smaller size cut of his Gothic font, he secured the cooperation of Sir Edward Burne-Jones as illustrator, and set himself the task of designing the initial letters, borders, and decorations. This was in 1892, when Morris was in his six- tieth year. For five years they worked upon it, one delay after another coming up to make Morris fearful that it might never be com- pleted. He finished the decoration for the first page in March, 1893. He was entirely satis- fied with it, exclaiming, "My eyes! how good it is!" and then, for over a year, he devoted himself to his metrical version of "Beowulf." In the meantime Burne-Jones was experiencing great difficulty in having his designs satisfac- torily rendered upon wood, and Morris dole- [46] Exhibit Page ai /^) £1/ ^J V>^ j:;7 mm ^^OlIND IN IMPORTED Imitation parchment DESIGNED PLIMPTON PRE BY THE SS STUDIO Exhibit Page NO ROOM IN THE INN I. ALONG A BRIDLE-PATH WHEN shall I forget that night by the cook's fire in camp at Nablus! We had ridden all day in the glare of the Syrian sun, ridden on and on wher- ever the bridle-path foimd a way over plain and hill, until nightfall sent a quick chill through our weary bones. But at last we heard the voice of the stream that welcomes travelers where the path from Galilee emerges on the highway. So in good heart we rode for the lights of Nablus shining dimly through smoke in the valley, while Ebal and Gerizim loomed hugely in the dark on either hand. And then, supper being ended, and the night wind mist-laden, and the cook a friendly soul, we loimged in a tent snug with the warmth of a charcoal fire and stmdry savory odors, while our cot-tents waited in a spectral group outside, and dogs barked at the rising moon. But better even than such creature-comfort after a long day's riding is the talk of that night in my memory. There were four of us — Maloof and I, the mule- teer listening by the door and baring his white teeth with half imderstanding smiles between naps, and COURTESY THE PILGRIM PRESS COMPOSED IN lO-POINT OLD STYLE ANTIQUE (monotype NO. 25) 2-POINT LEAD CHELTENHAM INITIAL THE PLIMPTON PRESS YEAR BOOK fully remarks, after comparing notes with his friend and collaborator, "We shall be twenty years, at this rate, in getting it out." By June, 1894, however, the great work was fairly begun. "Chaucer getting on well," he notes in his diary, "such lovely designs"; and at the end of June he writes that he hopes to begin the actual printing within a month, and that in about three months more all the pictures and nearly all the borders will be ready for the whole of the Canterbury Tales. In the meantime Morris had been asked if he would accept the Poet-Laureateship, made vacant by Tennyson's death, if offered to him, and he had unhesitatingly declined. His health and strength were noticeably weakening, yet at the beginning of 1895, less than two years before his death, he was still busily engaged in his multifarious occupations. Two presses were running upon the Chaucer, and a third upon smaller books. He was designing new paper- hangings; he was writing new romances; he was collaborating in the translation of the Heims- kringla, and was seeing it through the press for the Saga Library; he was engaged in getting together his splendid collection of thirteenth- and fourteenth-century illuminated manuscripts. In May, of this year, he discovered that many of the sheets of the Chaucer had become dis- colored by some unfortunate ingredient of the ink, but to his immense relief he succeeded in [48] Exhibit Page THE IDEAL OHE prays so calm and white. I come to see Each day her kneehng figure and each day My deep amaze grows deeper at the peace That Ueth on her eyehds and her hands That tell the beads so slowly. Why she seems As far from me and others as the shrine Of Mother Mary o'er her and, as cold, As gentle and unknowing of the sin That tears my soul so deeply, as a rose That opens its white heart in misty morn. I come not here for service. Oh, I pray And Usp the Ave Marys, not for that. 'Her very presence brings a sort of peace, A something that I wished and never knew, A sanctuary, maybe, where I dare Not ope the doors and tremble when I see The walls, they are so spotless. If she knew! — I am so sick and weary. — Even now, I would not soil her garment with a kiss. She is my saintly lady. See her pray! I think her prayers are winged; she must know That they arise like spirits for she smiles, — She seems so very happy. — Let us go. [48] COURTESY COMPOSED IN lO-POINT WESSELS & BISSELL CO. OLD STYLE (MONOTYPE NO. 31) WITH 16-POINT TWO-LINE INITIAL THE PLIMPTON PRESS YEAR BOOK removing the yellow stain by bleaching. "The check of the Chaucer," he writes, "flattens life for me somewhat; but I am going hard into the matter, and in about a fortnight hope to know the worst of it." In December, the Chaucer was sufficiently near completion to encourage him to design a binding for it. Even here he found another difficulty. "Leather is not good now," he said; "what used to take nine months to cure is now done in three. They used to say, 'What 's longest in the tanyard stays least time in the market': but that no longer holds good. People don't know how to buy now; they'll take anything." Morris' anxiety over the Chaucer increased as it came nearer to completion. "I'd like it finished to-morrow," he answered to an inquirer; "every day beyond to-morrow that it isn't done is one too many." To a visitor in his library, looking through the printed sheets, who re- marked upon the added beauty of those sheets which followed the Canterbury Tales, where the picture-pages face one another in pairs, Morris exclaimed in alarm, "Now don't you go saying that to Burne-Jones or he '11 be want- ing to do the first part over again ; and the worst of that would be that he'd want to do all the rest over again because the other would be so much better, and then we should never get done, but be always going round and round in a circle." [50] Exhibit Page ;,?m M \ /^m A CHRISTMAS MYSTERY Lord Doyne also declining the whiskey, McCurdie swallowed a dram and declared himself to be better. The Professor took from his bag a foreign review in which a Ger- man sciolist had dared to question his interpretation of a Hittite inscrip- tion. Over the man's ineptitude he fell asleep and snored loudly. To escape from his immediate neighbourhood McCurdie went to the other end of the seat and faced Lord Doyne, who had resumed his gold glasses and his listless contem- plation of obscure actresses. Mc- Curdie lit a pipe, Doyne another black cigar. The train thundered on. Presently they all lunched together in the restaurant car. The windows steamed, but here and there through a wiped patch of pane a white world was revealed. The snow was falling. [25] COURTESY JOHN LANE CO. COMPOSED IN I2-POINT SCOTCH (monotype no. 36) 2-POINT LEAD RUNNING HEAD IN 8-POINT CAPS THE PLIMPTON PRESS YEAR BOOK The daily progress of the work upon the Chaucer was the one interest which sustained his waning energies. The last three wood blocks were brought to him on March 21, 1896. The Easter hohdays almost killed him. "Four mouldy Sundays in a mouldy row," he writes in his diary, "the press shut, and Chaucer at a standstill." On May 6, all the picture sheets were printed, and the block for the title-page was submitted for his approval, the final printing being completed two days later. On June 2 the first two bound copies were dehvered to him, one of which he immediately sent to Burne- Jones. The other, which he retained for himself, is now in the library of Mr. Marsden Perry, of Providence, R. I. Thus the Kelmscott Chaucer came to comple- tion. It had been five years in preparation, and nearly three and a half years in execution. The printing alone had required a year and nine months. The volume contains, besides eighty-seven illustrations by Burne-Jones, a full-page woodcut title, fourteen large borders, eighteen frames for the pictures, and twenty-six large initial words. Morris was the designer of all these, together with the smaller initials^ and the design for the binding, which was in white pigskin, with silver clasps, executed by Mr. Douglas Cockerell. It was William Morris* last work, his death occurring four months later; and it must always stand as a splendid monument [52] Exhibit Page In most parts of New England it is unusual to see a field of more than five or six acres, and many of the patches are so small that in cul- tivating them both ways with a horse, a large portion of the field is taken up by the turn- row at the sides and ends. In a majority of "the fields the boulders and ledges and stumps are so thick that the plowman and horse are kept constantly on the hop, skip and jump to keep clear of them. The western plow or cultivator would scarcely get half way across one of these rocky fields before being knocked out of commission. And yet with these hin- drances there is a cheeriness in the trees, hills and rocks not to be found on the treeless and rockless prairies of the West. The expense of clearing the land of rocks here is no inconsiderable item, as may be observed by the accompanying illustration, which is a reproduction of a photograph of a scene on my own place during the process of clearing a piece of land that had been alter- nately pastured and cultivated for more than a hundred years. Most of the stones shown in the picture were drilled and blown out of the ground with dynamite. Previous occupants of the farm who had cultivated the piece had worked only the open patches between the stqnes and ledges, and made no attempt to [10] COURTESY COMPOSED IN I2-POINT FRENCH THE BIBLIOPHILE SOCIETY OLD STYLE (MONOTYPE NO. 71) 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK to his art as a decorator and to his tenacity of purpose as a man. Passing from the story of the book to a con- sideration of it from a typographical standpoint, there is much diversity of opinion. Morris, speaking of the origin of the type, says: "The task I set myself was to redeem the Gothic character from the charge of unreadableness which is commonly brought against it. And I felt that this charge could not be reasonably brought against the types of the past two dec- ades of printing: that of Schoeffer at Mainz, Mentelin at Strasburg, and Gunther Rainer at Augsburg, which avoided the spiky ends and undue compression which lay some of the later types open to the above charge. Only the earlier printers (naturally following therein the prac- tice of their predecessors, the scribes) were very liberal of contractions, and used an excess of 'tied' letters, which, by the way, are very use- ful to the compositor. So I eschewed contrac- tions, except for the ' &,' and had very few tied letters, in fact none but the absolutely neces- sary ones. Keeping my end steadily in view, I designed a black-letter type which, I think, I may claim to be as readable as a Roman one, and, to say the truth, I prefer it to the Romaji." The type to which Morris refers is his Troy type, while the smaller size of the same design he named the "Chaucer" type. An examina- tion of these types will enable the student of [54] Exhibit Page ^LOTH : HOLLISTON X 9 VELLUM PLIMPTON PRESS STUDIO Exhibit Page OLD BRADFORD SCHOOL-DAYS the Ward Hill section of the town, and the small east-end school, not far from the Groveland line, the town of Brad- ford, Massachusetts, furnished only this one schoolroom for all the pupils between the ages of eight and eighteen. Although early for school I found many boys had come long before me and, climbing through a window, had entrenched themselves in the back seats, their books strapped in a pile before them as a sign of possession; but many of these were ousted when the big boys came and forced them from the back rows. Just before the school hour some new pupil would arrive — who had lately moved into town — accompanied by a smiling mother, or a dignified father, much to the amusement and open derision of the boys. The sheepish looks of COURTESY COMPOSED IN I2-P0INT SCOTCH A. H. HALL (monotype NO. 36) RUNNING HEAD IN 8-POINT CAPITALS 2-POINT RULE. 5-POINT LEAD THE PLIMPTON PRESS YEAR BOOK typography to consider whether or not Morris has lived up to his text of making a type which is "as readable as a Roman one " ; again, whether or not his instinct as a decorator did not over- come his judgment as a printer. To some, the volume seems distinctly overloaded with decora- tion. The decoration itself is superb, but, test- ing the volume by Cobden-Sanderson's definition of the ideal book, has not this "contributory craft " usurped the functions of the whole, and thus marred the common cause ? But the criti- cism of certain features of the book does not detract from its interest as a whole, or prevent an appreciation of its many sterling qualities. As Mr. Charles Ricketts says, "It shows design in every portion of it, from type to paper, and from build to decoration; therein lies its affinity with the grand volumes of the Italian and the German presses." It is less dangerous to select world-famous volumes from the past than from the present. Time has tempered both the admiration and the criticism, and one Is better able to judge of the motives which prompted and the principles which were carried out. Coming down to mod- ern times, we must make our selection without the assistance of these valuable aids and must therefore lay ourselves open, even to a greater extent, to a differing of opinion. At the present time the struggle for supremacy in the art of printing is clearly between England [56] Kxhibit Page DESIGNED BY THE , PLIMPTON PRESS STUDIO THE PLIMPTON PRESS YEAR BOOK and America. The revival, on both sides of the water, which followed Morris' work, evidenced the great desire on the part of both publics to welcome efforts to apply the principles which he made popular. Many believe that, as a whole, American printing to-day outranks the English. With our national characteristics American printers have been more daring in their efforts ancj, for that very reason, have made greater mistakes; but the mistakes them- selves are evidences of an effort to attain some- thing better and are therefore stimulating. In traversing, from 1456 to 1904, the road fol- lowed by the great printers who produced volumes entitling them to be considered for all time as masters of their art, many other volumes which might justly be called "accomplishments of printing" have necessarily been passed by. The endeavor has been to show the work which has produced the greatest effect upon typography as a whole, and to emphasize the obligations which the world owes to men like Aldus, Ste- phens, and Plantin, not only for their success as master-printers, but also for their constant struggle against any influence, whether pope or king, which stood between the people and the printing-press. William Dana Orcutt. [58] Exhibit Page COMPOSED IN ELZEVIR CAPITALS DECORATION DESIGNED BY THE PLIMPTON PRESS STUDIO ARGUMENT J. HERE is still another reason why modern book-manufacture as a whole falls below the early standard. In studying the work of these master-printers no one can fail to be impressed with the fact that each of their books represents in its conception a single idea from cover to cover. The publisher of today has his book put into type by one establishment, perhaps printed by a second, and bound by a third. The designs for cover or decoration are made by an artist entirely out of touch with the printer, and perhaps without knowledge of the face of type selected. For paper, the publisher may quite likely draw from his remnant list. All this, of course, applies to a trade volume, but the same principles of harmony in manufacture should be applicable in degree to the less expen- sive publications. If one examines the little volumes issued by Aldus in 1490, at fifty cents each, he will find that every factor entering into their manufacture has been as carefully con- sidered as in the more famous products of his press. Modern conditions make perfection in book- making more difficult than those which the old- time printers were forced to meet. The spirit of the times is speed, and absolute accuracy never goes with speed. The Plimpton Press [60] Exhibit Page FAITH \ Faith is the communication of the Divine Spirit by which Christ as the revealed God dwells in our heart. It is the awakening of ^ the Spirit of Adoption whereby we cry, "Abba "r^ Father."—!. H. Green. P^ \ Faith is a higher faculty than reason. — Bailey. If "Patience!" . . . "have faith and thy prayer will be answered!" — Longfellow. f The only faith that wears well and holds its color in all weathers is that which is woven of conviction and set with the sharp mordant of experience. — Lowell. \ And we shall be made truly wise if we be made con- tent, too, not only with what we can understand, but content with what we do not understand — the habit of mind which theologians call — and rightly — faith in God. — Charles Kingsley. [I] COURTESY COMPOSED IN lO-POINT FRENCH OLD STYLE A. C. MCCLURG & CO. (MONOTYPE NO. 22) 2-POINT LEAD DECORATION DESIGNED BY THE PLIMPTON PRESS STUDIO THE PLIMPTON PRESS YEAR BOOK aims to meet these conditions by its absolute control at all times of the details which enter into each piece of work. Whenever possible, it tries to demonstrate to its clients the advan- tages of allowing it to plan out each volume from start to finish, submitting its ideas in dummy form, and quoting a "price per copy" for the "complete manufacture," including composition, electrotyping, designing, illustrating, engraving, presswork, paper, binding, and deliveries. When the cUent prefers to separate the work into fac- tors. The Plimpton Press strives to carry out, with the minimum detail to the customer and the maximum standard of manufacture, the commissions entrusted to its care. This idea of "complete manufacture" and "price per copy" is by no means an experiment. During the past year The Plimpton Press has made for the leading publishers more than one hundred titles on this basis, varying in edition from one thousand to twenty-six thousand copies. The idea does not necessarily replace the manu- facturing man, but rather supplements him, and eliminates countless annoying details which add to his burdens and exact from the publisher an unnecessary and unseen expense. The limita- tion of the average publishing house, as far as output is concerned, is its manufacturing depart- ment. Its selling force could easily carry a larger number of titles without adding to the fixed expense; but there is a Umit to the num- [62] RUSSIA RUSSIA OF TO-DAY VOLUIIE III BY LUIGI VILLARI Volume \X1V J. B. MILLET COMPANY BOSTON AND TOKYO CoPYHIGHT, I9IO By J. B. MILLET CO. THE • Pt-IMPTON . PRESS [W ■ D •©] HORWOOD . MASS . U • 3 • A Exhibit Page KOREA CHAPTER I OUTLINE OF HISTORY DESPITE the survey work which has been aceompUshed in the past by the Japanese upon the coasts of Korea, Kttle knowledge of the numerous islands and archipelagoes, shoals and reefs which make its shores the terror of all mariners, exists at present. Until the voyage of the Alceste and Lyra in 1816, the locality of these detached groups of rocky islets was not marked on any of the Japanese or Chinese maps of the period. In the map of the empire prepared by the Jesuits at Pekin in the seventeenth century, the space now occupied by the Korean Archipelago was covered with the drawing of an elephant — the conventional sign of the ignorance of the cartographers of that time. In the older native maps, the mainland embraced groups of islands, the most imperfect knowledge of the physical configuration of their own shores pre- vailing among the Koreans. In quite recent days, however, the Korean government has recognised this fact, and in the early months of 1903 the Japa- nese government was requested to draw up a com- plete survey of the Hermit Kingdom. This work COURTESY COMPOSED IN I2-P0INT SCOTCH J. B. MILLET COMPANY (MONOTYPE NO. 36) 2-POINT LEAD. WITH SPECIALLY IMPORTED DIDOT CAPITAL THE PLIMPTON PRESS YEAR BOOK ber of titles the manufacturing department can handle with satisfaction to the authors and advantage to the house. And every time a manufacturing man is called upon to straighten out differences between typographer, printer, binder, and paper-maker regarding short count, poor register, etc., etc., his limitation is that much emphasized. This proposition of The Plimpton Press removes this limit and introduces greater variety, working in closest touch with the manufactur- ing man, and preserving the unity of his line. Volumes produced on this basis cost the pub- lishers no more, because of the economies which can be effected by handling all the various proc- esses beneath one roof. The very large amount of paper which The Plimpton Press purchases enables it to supply its clients at best market prices. Standard sizes and weights are con- stantly carried in stock, offering a distinct advantage in time and cost on small lots. What has been said of paper is equally true of engraving and other elements which enter into the making of the book. With absolute knowledge of the publisher's requirements, each factor which enters into the manufacture is on hand at the proper time. Constant familiarity with and experience in the making of books give a certain knowledge of what paper is required to secure the desired results from the plates, what kind of cloth produces the best [64] Kxhibit Page Diary of Cotton Mather 16811 \\2d.\ m. [March] This Day was filled with the Devo- tions and Enjoyments of a raised Soul. But there were especially two things, whereabouts the Salleyes of my Soul, were considerable, not only on this Day but at many other Times, in this part of my Life. One Thing, wherein I was more fervently concerned, was, that great Thing of, a Closure with the Lord Jesus Christ. In the Prosecution of this Matter I may truly say, t'was the Spirit of God, that was my Teacher: no man, or Book, showed mee the way of expressing this glorious Trans- action; but this Day, I used such Words as these among others, before the Redeemer of my Soul. "Oh! my Dear Lord; Thy Father hath committed my Soul, into thy Hands; there's a Covenant of Redemption, wherein I am concerned : I know my Election, by my Voca- tion, and my Concernment in that Covenant, by my being made Willing to come under the Shadow of thy Wings in the Covenant of Grace; Now, in that Covenant, the Father said unto the Son, su^h an elect Soul there is, that I will bring into thy Fold, and thou shall undertake for that Soul, as a Sufficient and an Eternal Saviour. Wherefore, I am now, in thy Hands, my Lord; Thy Father hath putt mee there; and I have putt myself there; O save mee! O heal mee! O work for mee, work in mee, the good Pleasure of thy ' The record begins thus abruptly. It was his custom to begin a new year's record on February 12, his birthday. The earlier pages covering the month's entries have been lost. As he was bom in 1663 he had completed his eighteenth year. 8S COURTESY COMPOSED IN I2-P0INT OLD STYLE MASSACHUSETTS (MONOTYPE NO. 31) HEADING IN HISTORICAL SOCIETY 3CI-POINT CASLON ITALIC 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK results from the dies, and vice versa. "Com- plete manufacture " gives the publisher the maxi- mum of service with the minimum of detail without increased expense. ILLUSTRATION 1 HE PLIMPTON PRESS has recently com- pleted the manufacture of twenty-four different titles, aggregating 48,000 volumes, for one of its clients upon the "complete manufacture" and "price per copy" basis. The delivery date was set some months in advance, and as it drew near, the publisher became anxious. "Are we surely going to receive the books on the date promised?" he asked. "Barring unforeseen accidents, they will be ready," the representative of the Press replied. " / can't believe it," the publisher insisted. "On every other set of books I have ever made I have had something happen each day to keep me in touch with the detail: the printer who was doing the presswork would call up to say that he had run out of plates or paper, or that something was the matter with one or both, and I would follow up the troubles and straighten them out; then the binder would report some tissue or plate missing, or bad register or short count, and I had that to follow up. Now, I don't hear anything about it, and I can't believe that things are really going forward. Tou are the only one I can get [66] Exhibit Page base pitch swift Charles home tTirn AT THE PLAYGEOUND Here we are. Come, boys! Let us have a ball game first. Who will pitch? I will, Mark. All right. Rex. You go on first base, Eob. 106 COURTESY THOMPSON BROWN COMPANY COMPOSED IN 18-POINT WILSON 8-POINT LEAD THE PLIMPTON PRESS YEAR BOOK at, and you simply say, ' The hooks will be ready.' I cant feel that I'm doing my duty, and I cant believe that I'm going to get my hooks on time." The volumes in question were delivered one day in advance of the date promised, absolutely satisfactory in every respect, and it can but he obvious that the publisher was able to make valuable use, in the furthering of his own busi- ness interests, of that time which he had previously devoted to "following up" the detail which prop- erly belonged to the manufacturing printer. NAMES OF OLD-STYLE TYPE BODIES WITH THEIR NEAREST SIZES IN THE POINT SYSTEM Diamond 4} Point Pearl 5 Point Agate 5 J Point Nonpareil 6 Point Minion 7 Point Brevier 8 Point Bourgeois 9 Point Long Primer 10 Point Small Pica ii Point Pica 12 Point English 14 Point Columbian 16 Point Great Primer I o c • Three-line Nonpareil . . .j'^^oint Paragon 20 Point Meridian 44 Point Canon 48 Point The larger sizes were usually multiples of some small size, and were named like two-line small pica, two-line great primer, etc. [68] Exhibit Page BEYOND THE MEXICAN SIERRAS BY DILLON WALLACE Author of "The Long Labradok Tratl," "Ungava Bob," Etc. WITH 75 ILLUSTRATIONS FROM PHOTOGRAPHS BY THE AUTHOR, AND A MAP CHICAGO A. C. McCLURG & CO. 1910 COMPOSED IN MODERN CAPITALS AND SMALL CAPITALS EGOTISTICA History J. HE Plimpton Press was established in Boston by Herbert M. Plimpton in 1882, moving to Norwood, Massachusetts in 1897. Here, four- teen miles from Boston, it has a peculiarly fortunate geographical location, being situated on a trunk line of the New York, New Haven and Hartford Railroad, with facilities for the most direct shipments in every direction. It is near enough to a great city to secure every advantage, yet far enough removed to be relieved of its disadvantages. Equipment 1 HE Plimpton Press is one of the largest, the most modern, and best-equipped plants in the country. The size is a matter of statistics; the statement as to its equipment is based upon the report of the Government investigation in 1910. Cap a city The Bindery of The Plimpton Press has a daily capacity of 30,000 bound volumes and the other departments are equipped to meet the requirements of its clients in like proportion. [70] Exhibit Page CLOTH : HOLLISTON T 285 DESIGNED BY THE PLIMPTON PRESS STUDIO Exhibit Page THE CAP AND GOWN BY CHARLES REYNOLDS BROWN THE PILGRIM PRESS HEW YORK BOSTON CHICAGO COMPOSED IN IMPORTED DIDOT CAPITALS I-POINT FACE RULE THE PLIMPTON PRESS YEAR BOOK Organization J. HE Plimpton Press has in operation through- out its plant that degree of standardization and perfection of scientific method which obtains in the best of the large modern industrial plants in other lines, but which in general is lacking in the printing industry. The surroundings of the workmen are constantly under observation by the management, with a view to improving conditions whenever needed to insure perfect sanitation, light, air, and comfort. ^ U a I i t y 1 HE Plimpton Press has, since its inception, aimed at the highest quality of workmanship obtainable, in every factor which enters into its product. To accompHsh this, a steady process of elimination has been in progress from the beginning, and will always obtain, in improving methods or machinery wherever and whenever such improvements are possible. This in itself is a guarantee to its cHents that satisfaction can always be obtained. Any defect in conception, execution or in service rendered is a matter of supreme concern to the management, which real- izes that continued and increased success in the future depends upon giving present satisfaction. [72] Exhibit Page I THE FIRST INNING THE significance of the first year in college can scarcely be overstated. The first man called to the bat in some great intercollegiate game may be par- doned for feeling a bit nervous. He real- izes that players and spectators are eagerly waiting for him to give them the key-note of the contest by the way he acquits him- self. The young man just entering college, if he senses the situation accurately, is equally ahve to the importance of his first hits. It is a time when freedom and responsi- bility come in new and larger measure. College men as a rule are away from home. There is no one to ask, with the accent of authority, how they spend their evenings, who their intimates are, what habits they are forming. Studying is not done under the immediate eye of an instructor as in [3] COURTESY . COMPOSED IN II-POINT SCOTCH THE PILGRIM PRESS (mONOTYPE NO. 36) IN COMBINATION WITH IMPORTED DIDOT CAPITALS 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK A c c u r a y A VERY large proportion of the annoyances incidental to printing and publishing is due to a lack of accuracy in understanding or executing the countless details which enter into the making of a book. These details are necessary evils, but The Plimpton Press has provided special means for reducing the possibility of mistakes to a minimum. These are some of the pre- cautions: A. A most efficient method of filing special instructions in such a way that they will put themselves in evidence automatically at the moment they should demand attention. B. An order system which insures absolute knowledge of all the details by each depart- ment at the moment each piece of work is started, leaving nothing to the imagination. C. Careful inspection by experts of the work while in process, keeping the quality always up to standard. D. A force sufficiently large so that no one workman is overtaxed or overburdened. There is no excuse for carelessness or neglect of details. 'Typography 1 HE Plimpton Press offers its clients expert knowledge and experience in laying out and [74] Exhibit Page HAYES'S ADMINISTRATION (1877-1881) 331 reform was needed in the civil service. Since the time of Andrew Jackson, the political motto had been "To the victor belong the spoils," but the true motto should have been "PubUc office is a public trust." The people declared that so long as government positions should be given as ai reward for political activity or party service, so long would persons unfit to hold responsible positions get the appointments. They demanded a more businessUke method of managing pixblic affairs. President Hayes did all he could to inaugu- rate and support this reform. 437. The Mississippi Jetties. — During this administra- tion an important industrial event occurred. The Mississippi River had for a long while been bringing down to its mouth a vast amount of sediment every year. As a result, the mouth of the river had become shallow and new channels had formed, so that the Mississippi had many outlets. Navi- gation was greatly hindered. In the year 1875 James B. Eads, a civil engineer who had already constructed the famous steel bridge across the river at St. Louis, undertook to build jetties to deepen the water at the mouth of the Mis- sissippi River. This he accomplished with entire success. The channel, which had been eight feet deep, became more than thirty feet in depth. Thus the largest vessels were able to enter it with perfect ease. The channel continues to maintain its full depth. These jetties were the means of saving millions of dollars, which otherwise would have been expended in dredging. They consist of stone walls on each side of the river, which confine the current to a narrower limit and thereby increase its rapidity. Since these walls extend a long distance beyond the land into the sea, the sediment is pushed through and out into the gulf. 438. Resumption of Specie Payments. — During the war the banks all over the country suspended specie payments; COURTESY COMPOSED IN II-POINT MODERN SILVER, BURDETT AND COMPANY (MONOTYPE NO. 8) 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK carrying through composition of every kind. Each manuscript entrusted to this department for consideration is treated individually, with a view to producing a volume in keeping with the subject matter, and in harmony with the publisher's plans for publication. Long and exhaustive study of the best typography, past and present, result in volumes which attract the purchaser through their physical format as well as their literary content. "An interested customer is half-convinced." Designing 1 HE Plimpton Press studio is prepared to supply designs for covers, illustrations, deco- rations or lettering, of whatever nature may be required. The advantage of having this work executed by artists in touch with the typography of the book in connection with which the designs are to be used, can but be apparent when the harmony of the whole volume is considered. Pap 1 HE Plimpton Press by arrangements with the leading paper-mills can supply its clients with every grade of book paper at the lowest market price, and where small lots are re- quired, at a distinct saving. There is no more reason for a publisher to supply his own paper [76] Exhibit Page Dttttet Jlufjug, groetter 2luftritt. 97 Srottjtgfo. D ber @pi(5bube! Sttft. @8 h)or ein ganjer aJtetifd^ I • er lonttte frifieren unb rofteren unb ^jarlieren — unb f^armteren. — 5«td^t ?5rii«5t§fa. @ona(^ ^iitte i^ ben ^ager nid^t bott mtr s getatt, toenn i^ hJte ber aJZojor gehjefen toiire. Sotinte er it)n f(^on vx6)t al9 ^fager nUtsett, fo tear e8 boc^ fonft ein tUd^tiger Surf dE)e. — SBem :^at er i^n benn aufju^ebcn gegeben. S«ft. ®em Sommanbanten tion ©{janbau. lo gransisla. ©er geftung? 35te ^fagb auf ben SBoCen fonn bod^ ba aud^ ntc|t gro^ fetn. 3ttft. D, ^l)tri^)3 jagt aud^ ba ntd^t. ijransislii. SBaS tut er benn? 3uft. (£r larrt. 15 granstSfa. gr farrt? 3ttft. 3Iber nur auf brei ^(xift. gr nta^te ein !Ietne8 Som^Iott unter beS §errn Sompagnie unb hjoKte fed^S 3Jiantt burd^ bie SSorpoften bringen. — granjisfa. ^6^ erftaune; ber :?3ofelDid^t ! 20 3uft. O, e8 ift ein tUc^ttger ^erl, ein ^'Sger, ber funfjig SJieiten in ber SRunbe, burc^ SBoIber unb SJiorafte, otte gu^fteige, olle ©d^Ieifttege fennt. Unb fd)ie|en fann er! iJtattstSlii. ®ut, ba| ber aWajor nur nod^ ben braoen 25 Sutfc^er l^at! 3ttft. ^at er i^n noc^? t^anjigfa. ^i^ ben!e, @r fogte, SJJorttn ttare >Deg» geritten? @o ttirb er bo(^ tooiji toieberfomnten ? 3ttft. ajfeint @ie? 30 COURTESY COMPOSED IN lO-POINT (MONOTYPE NO. 99) CHARLES E. MERRILL CO. WITH CATCH WORDS SET IN lO-POINT (monotype no. 100) 2-POINT LEAD THE PLIMPTON PRESS YEAR BOOK than for him to supply the cloth for the binding. There is no reason why he should add to his own detail by figuring the weight or quantity required, or by seeing that the paper is delivered to the printer and up to the standard. He should specify the quality and state the bulk required. All other details, as to having it on hand at the required time, testing its quality, etc., rightly belongs to the printer, and is assumed by The Plimpton Press wherever desired. Standard sizes and qualities are always carried in stock, and can be supplied upon the shortest notice. Press W r k 1 HE quality of the presswork of The Plimp- ton Press, in ordinary letter press, illustrative or color work, is well-known, but it may not be fully realized that the same system of inspection and carefulness applied to this department results in having the various forms run more evenly as to count, thus saving the usual wastage of paper and ensuring more copies to the edition, — important items to a publisher. Bin ding It is obvious that with a daily output of from 25,000 to 30,000 bound volumes, The Plimpton Press should be in a position to purchase [78] Exhibit Page P )^ ! IV C F ^ c S C^ P A if N H n "H • OGD! SN ' HA R. RLIS OM Exhibit Page 7 PRINCESS SAYRANE CHAPTER ONE In a land where in weird dances the priests wave long wands in dreamy cadence to soft melodies like the music of rippling waters, bringing back the ritual which recalls the days of an almost forgotten past; near the border of the Red Sea, whose sparkling waves, as they break on yellow sands, gleam and flash with millions of hidden jewels; in a country where uncounted centuries COURTESY A. C. McCLURG & CO. COMPOSED IN I2-P0INT FRENCH OLD STYLE (monotype no. 71) 2-POINT LEAD DESIGNED BY THE PLIMPTON PRESS STUDIO THE PLIMPTON PRESS YEAR BOOK supplies and materials in such quantities as to give better stock for the same price than those who manufacture in smaller quantities. Further- more its facilities for caring for sheet stock and inserts, and its improved method of work on the bodies of books, result in the minimum of "binders waste" and a maximum number of bound copies to the edition. A large stock of leather and cloth in every standard quality is constantly carried to eliminate any possibility of delay. sp e c i a I Binding x. HE Plimpton Press has its own force of artistic bookbinders, experienced in the best of hand-work, and also has superior facilities for the so-called "combination style" of half, three-quarters and full leather binding. a g X HE Plimpton Press stores the electrotype plates of its clients in fireproof vaults, resting upon metal racks. The shipping department has storage space for two million bound vol- umes. Clients are allowed free storage space for plates, paper, sheets and bound stock in proportion to the volume of their business. [80] Exhibit Page BEATRICE 17 been recognized since the morning of time. The flush of the loveliness of God in the flower of youth has fascinated the world. This is, however, the lowest glory of God, and we meet here one great aspect of the tragedy of our world, — the arrest of love on the thresh- old. How seldom in man to woman or in woman to man do we see the presentation of the intellectual beauty of God 1 Seldomer still the presentation in man to woman and woman to man of the spiritual beauty of God. All over the world the first beauty is potent; how limited the circle of the second, and how meager the scope of COURTESY THE PILGRIM PRESS COMPOSED IN 18-POINT CASLON OLD STYLE RUNNING HEAD IN 9-POINT DIDOT CAPITALS THE PLIMPTON PRESS YEAR BOOK S h i p p i n g 1 HE Plimpton Press is prepared to act as individual shipper for each of its clients. A freight express, with cars on side tracks stand- ing at the shipping room door, runs daily to Boston, and a car also leaves Norwood daily connecting with the Sound boats for New York. This ensures service practically as prompt as express, at freight rates. The splendidly equipped shipping department of The Plimpton Press, with its careful records of shipments and detailed care shown in each transaction, is placed at the disposal of its clients, either to supplement the publisher's shipping room or to replace it, as the case may be. Insurance 1 HE rate of insurance is one quarter of one per cent for plates in vault, and thirty-five cents per hundred wherever located in plant. This is the lowest rate listed by insurance companies upon any printing establishment. Prices 1 HE Prices charged by The Plimpton Press are the lowest which can consistently be figured for first-class work of the various grades required. [82] Exhibit Page THE WONDER BOOK BEING AN EXHIBIT OF VARIED AND PLEASING RESULTS DEMONSTRATING THE ADAPTABILITY TO ALL KINDS OF COMMERCIAL PRINTING OF WARREN'S LUSTRO COATED BOOK COURTESY S. D. WARREN & CO. COMPOSED IN FRENCH OLD STYLE CAPITALS THE PLIMPTON PRESS YEAR BOOK It is not price, but cost which should be given consideration. Because of the unusual system in force throughout the estabUshment, the price is arrived at with absolute precision instead of guesswork or traditional schedules. R e cap itulation 1 HE Plimpton Press plan of "complete man- ufacture" : 1. Secures, for the publisher the services of experts in each factor which enters into his manufacture. 2. Guarantees accuracy in handling every detail, making possible a larger business without proportional increase of cost. 3. Reduces the loss of time incidental to handling the manufacture of a book in sections. 4. Produces volumes which are harmonious in con- ception and perfect in manufacture. 5. Guarantees full editions. 6. Makes deliveries as prompt as express at freight rates. 7. Obviates the necessity of carrying a stock of paper with consequent investment of capital. 8. Relieves the publisher of an enormous amount of detail and care. 9. Reduces the expense of the publisher's manufac- turing department. 10. Saves the expense of shipping plates or sheets from one establishment to another. 11. Saves the publisher the expense of storage and shipping on bound books. [84] Kxhibit Page 78 A MANUAL OF FIRE ASSAYING oxidation of the silver in the presence of much lead is not to be ascribed to the action of atmospheric oxygen, but rather to "oxygen carriers," such as PbO, CU2O, etc. It is very probable that CujO acts peculiarly in this manner, and the high absorption noticed when Cu is present is due to this fact. It is to be noted that losses in silver occur toward the end of the cupellation, and occur in great part just before finishing; the small dark black-green rings, surrounding the place where the silver bead rests, locates most of the silver. It is the concentration of the copper, silver, and gold that causes the high absorption. Lodge ' shows the influence of small amounts of copper on the cupellation of silver and gold. TABLE XIV. — COPPER IN CUPELLATION OF SILVER AND GOLD Silver MILLI- GRAMS Lead GRAMS Copper GRAMS Percent- age OF Copper in Lead Temper- ature degrees Centi- Percent- age OF Loss Ratio Pb to Cu grade 20a 10 u.OIOI 0.1 775 i-oS 1000 to I 203 10 0.0202 0.2 77S 1.08 500 to I 202 10 0.0303 0-3 77S • 1.29 333 to I 302 10 . 0404 0.4 775 1-45 250 to I 204 10 u.osoo o-S 775 Cu re- tained 200 to I Temper- Percent- Gold MILLI- Lead age of ature degrees Percentage of Loss Ratio Pb to Cu GRAMS Copper GRAMS IN Pb Centi- grade 202 10 no. 775 0-IS5 202 10 0.1 775 0.19 ' All contained 1000 to I 201 10 0.2 775 . 20 copper on 500 to I 200 10 0-3 775 . 13 finishing. 250 to I 201 10 0.4 775 0.165 250 to I 202 10 "■5 775 0.250 200 to I 1 "Notes on Assaying," p. 143 el al. ' Actual losses; copper retained, 0.16 per cent, as before cupellation. Gold about the same weight COURTESY McGRAW-HILL BOOK COMPANY COMPOSED IN lO-POINT FRENCH OLD STYLE (MONOTYPE NO. 22) TABLES IN 8-POINT 3 1 2-POINT LEAD Exhibit Page 24 PHYSICS after the horses cease to pxill. This behavior of moving bodies is not due to any tendency of the bodies themselves to come to rest, but is the effect of opposing forces which developed by the rubbing of one surface over another. Such a force is called friction. Friction acts as a resistance to motion, and tends to bring moving bodies to rest. The smoother the surfaces are, the less friction becomes; hence a body sKdes farther on a smooth surface than on a rough one. A skater, for example, can go a long distance with- out effort after getting up speed, the friction between skates and smooth ice being very slight. Rolling friction is, in general, much less than sliding friction; hence the use of wheels on vehicles of all sorts. Ball bearings (Fig. i), reduce friction still further by substituting rolling friction for sliding friction at the axle. Another hindrance to motion is the resistance of the air. This resistance is small upon a body moving slowly, but PROBLEMS 1. Discuss any phenomena with which you are familiar that show the inertia of water; the inertia of air; the inertia of your own body. 2. In what direction is an inexperienced person likely to fall on alight- ing from a rapidly moving car? Why? 3. Discuss some good example of balanced forces; of unbalanced forces. 4. What forces are acting on a wagon when drawn at a uniform rate on a level road? Are they balanced or unbalanced? 6. A boy exerts a Ufting force of 75 lb. on a stone weighing 200 lb. (a) Is this a balanced or an unbalanced force? (6) What balanced forces are acting on the stone? 6. Is it the forces exerted by or upon a body that affect its state of rest or motion? 7. Make a list of any phenomena which seem to you to indicate (o) that some bodies are without inertia; (i) that there is matter which has no weight; (c) that any body can exert on another without the other exert- ing at the same time an equal and opposite force on it. If you find any such seeming exceptions to the statements made in the text, save the list for future study. COURTESY COMPOSED IN I I-POINT OLD STYLE D. C. HEATH & COMPANY (MONOTYPE NO. 31) 2-POINT LEAD PROBLEMS IN 8-POINT. 2-POINT LEAD FIGURES IN 8-POINT (mONOTYPE NO. 26) An Exhibit Form of Half-tones MADONNA DELLA SCALA Size of the original print, 14 by 10 inches. From the line-engraving by Paolo Toschi (1788-1854), after the fresco by Correg- gio, now in the gallery of the Academy at Parma. This is admitted to be the most beautiful of all Toschi's engravings, and is one of the few which he en- graved entirely with his own hand, and without the assistance of any of his pupils. From " The Golden Age of Engraving: Courtesy of The Baker and Taylor Company TAKEN FROM VOLUMES PRINTED BY THE PLIMPTON PRESS DURING 1910 A TYPICAL FAMINE-STRICKEN FAMILY AT SUCHIEN, CHINA From "Life Work of Louis Klopsch." Courtesy of The Christian Herald DEATH MASK OF BEETHOVEN From "Standard Musical Biographies." Courtesy oj Messrs. A. C. McClurg y Co. CHURCH AND MARTYR CEMETERY, PAO-TING-PU MEMORIAL ARCH, OBERLIN COLLEGE TWO BOXER MEMORIALS From " The Story of the American Board." Courtesy of The Pilgrim Press CHARLES BONAPARTE FATHER OF THE EMPEROR NAPOLEON 1785 Painted by Girodet From Shane's "Life of Napoleon Bonaparte." Courtesy of The Century Company From a Photograph Cnpyright by Underwood 6r Underwood, X. Y. Ely — West Tower From " The Cathedral Churches of England." Courtesy of Messrs. Duffield and Company SAN NICOLAS ISLAND Home of Ihe Lost Woman From " The Channel Islands." Courtesy of Messrs. A. C. McClurg y Co. Fig. 41. — Lick Oh.sicka'atoky on M(>unt llAMii/rtiN, Califdknia I'lo. 42. — Mai.n Entkance and Gheat Dome, Licic Observatoet From ''^ How to Know the Starry Heavens." Courtesy of the Frederick A. Stokes Company A type suggestive of the Semitic From "Beyond the Mexican Sierras" Courtesy oj Messrs. A. C. McClurg y Co. TURKISH MARKET-WOMAN IN STREET DRESS From " Turkey." Courtesy 0/ the J. B. Millet Company ' I-LOVE-YOU ! From Mark Twain's Works. Courtesy of Messrs. Harper and Brothers PEARY TYPE OF SLEDGE ]2i ft. Long, 2 ft. Wide, 7 in. High; With Steel .Shoes 2 in. Wide ESKIMO TYPE OF SLEDGE USED ON JOURNEY 9 ft. 6 in. Long, 2 ft. Wide, 8 in High; With Steel Shoes li in. Wide Each has standard load of supplies for team and driver for fifty days— pemmiean, biscuit, milk, tea, oil, alcohol From Peary's "The North Pole." Courtesy oj the Frederick A. Stokes Co. WILLIAM FERRIS McMILLEN From "A Tribute." Courtesy of The Congregational Sunday School and Publishing Society MT. FLORENCE TUOLUMNE MEADOWS AND FAIRVIEW DOME ROGERS LAKE From "' The Mountain Trail." Courtesy of The Pilgrim Press From Wonder Worker Machinery Catalog Courtesy of Mr. Thomas G. Plant TRIUMPHAL ARCH, MOSCOW From " The Oriental Series." Courtesy of the J. B. Millet Company Kxhibit Page which yet I cannot of my self; If I knew that I were ill, I were well; for we consist of three parts, a Soul, and Body, and Minde: which I call those thoughts and affections and pas- sions, which neither soul nor body hath alone, but have been begotten by their communica- tion, as Musique results out of our breath and a Cornet. And of all these the diseases are cures, if they be known. Of our souls sick- nesses, which are sinnes, the knowledge is, to acknowledge, and that is her Physique, in which we are not dieted by drams and scruples, for we cannot take too much. Of our bodies infirmities, though our knowledge be partly ah extrinseco, from the opinion of the Physi- tian, and that the subject and matter be flex- ible, and various; yet their rules are certain, and if the matter be rightly applyed to the rule, our knowledge thereof is also certain. But of the diseases of the minde, there is no Criterium, no Canon, no rule; for, our own taste and apprehension and Interpretation should be the Judge, and that is the disease it self. Therefore sometimes when I finde my self transported with jollity, and love of com- pany, I hang Leads at my heels; and reduce to my thoughts my fortunes, my years, the duties COURTESY COMPOSED IN I2-P0INT CASLON STURGIS & WALTON COMPANY OLD STYLE (mONOTYPE NO. 37) RUNNING HEAD IN 22-POINT CASLON ITALIC. 2-POINT LEAD Kxhibit Page 48 THE INTELLECTUALS '"You know me, Holden, better than any one else. You knew me in our college days, and I haven't changed much. I haven't been too bad. Father Hayes finds it hard some- times to get me to the Easter Duty, but I never lost Mass, nor eat meat on Friday. I wasn't irreligious, nor anti-relig- ious, but I was unreligious. Well, when I married, Alice brought me to for a time. I'd do anything for her, even to saying long prayers. But, you know, she was not only pious, but deucedly well-read. She was educated by the Ursulines, and was quite up to date. Well, things went well for a good while. Then, I noticed she began to put awkward questions about biology and all that sort of thing. And I entered into the matter; and, God is my witness, without the least notion of upsetting her faith, and, indeed, without thinking such a thing possible, I often spoke too freely on these matters, and threw out hints that without, in the world, the best thinkers were dead against us, and that, in fact, the mystery of things was insoluble. Gradually, I saw a falling away on her part from her reUgious practices. She used at first spend an hour or two in the chapel every Saturday, decorating the altar. She gave it up. She used to go to Confession and Communion every week. She then put it off for a month, and then for months. She was very eager in asking questions about med- ical matters, and sometimes I noticed that certain books, such as Bain's Mini and Body, and these French treatises on Nerve Troubles, were displaced on my shelves. You know, Holden, what a universe of crime, and madness, these books reveal. Then, I noticed that she sometimes spoke with a little graceful contempt of her old preceptors; and then, after a long time, she began to criticise priests. Now, all this chimed in with my own wretched ideas, and she knew it. And, therefore, I could not chide her. But deep down in my heart I was troubled. If God should send me children, I thought, what kind of training shall their young minds get here? Yet, all that time, she was more winning and lovable than ever. And when she said smart and witty things, but COURTESY COMPOSED IN 1 1 -POINT OLD STYLE LONGMANS, GREEN, AND CO. (mONOTYPE NO. 31) I-POINT LEAD Exhibit Page CHAPTER XXI THE VOICE THAT YET SPEAKS TESTIMONT TO THE ENDUHING INFLUENCE OP DR. KLOPSCH's GOOD WORKS — A SOLDIER OP HUMANITY — MUTUAL CONFIDENCE IN THE "CHRISTIAN HERALd" FAMILY — PUBLIC MEMORIAL MEETING — RABBI MICHELSON's PRAISE — BISHOP DARLINTON's ADDRESS — DR. MARSDEN's ANALYSIS — A WORD PROM IRVING BACHBLLEB — DR. HILL's TALK — JUDGE TOMPKIn's VIEW — DR. IGLEHART's STORY — EDITORIAL COMMENT. WHEN the grave has closed over the mortal remains of a man whose life has been given to the services of others, the last word has not been said. The voice that is silent yet speaks as with a thousand tongues through the good works that go on. Dr. Klopsch had labored for the future as well as for the present. The deep impres- sion he made on his own generation rendered it cer- tain that his influence would continue and endure. Tributes continued to be paid to his memory, and the insight into his character as a practical philan- thropist which they contained showed how abiding was the work that he had done. "American philanthropy," said the Baltimore American in *an appreciative editorial, "will not rate the name of any one deserving honor more highly than Dr. Klopsch, whose sphere of distributing charities in time of national or local disaster, in times of scourge, or famine and floods, made him a conspicuous figure the world over. It was not that he himself had such large means that he could 380 COURTESY COMPOSED IN I2-P0INT SCOTCH THE CHRISTIAN HERALD (MONOTYPE NO. 36) SYNOPTICAL ANALYSIS IN 8-POINT SMALL CAPITALS. 2-POINT LEAD Exhibit Page 386 RECORDS OF THE FEDERAL CONVENTION Saturday MADISON June 23 infringe the rights & interests of each other; to oppress the weaker party within their respective jurisdictions. A negative was the mildest expedient that could be devised for preventing these mischiefs. The existence of such a check would prevent attempts to commit them. Should no such pre- caution be engrafted, the only remedy wd he in an appeal to coercion. Was such a remedy eligible .'' was it practicable ? Could the national resources, if exerted to the utmost enforce a national decree agst Massts abetted perhaps by several of her neighbors.? It wd not be possible. A; small proportion of the Community in a compact situation, acting on the defen- sive, and at one of its extremities might at any time bid defi- ance to the National authority. Any Govt for the U. States formed on the supposed practicability of using force agst the unconstitutional proceedings of the States, wd prove as visionary & fallacious as the Govt of Congs. The negative wd render the use of force unnecessary. The States cd of themselves then pass no operative act, any more than one branch of a Legislature where there are two branches, can proceed without the other. But in order to give the negative this efficacy, it must extend to all cases. A discrimination wd only be a fresh source of contention between the two authorities. In a word, to recur to the illustrations borrowed from the planetary System. This prerogative of the General Govt is the great pervading principle that must controul the centrifugal tendency of the States; which, without it, will continually fly out of their proper orbits and destroy the order & harmony of the poUtical system. Mr. Williamson was agst giving a power that might restrain the States from regulating their internal police. Mr. Gerry cd not see the extent of such a power, and was agst every power that was not necessary. He thought a remonstrance agst unreasonable acts of the States wd reclaim them. If it shd not force might be resorted to. He had no objection to authorise a negative to paper money and similar COURTESY COMPOSED IN II-POINT CASLON OLD STYLE YALE UNIVERSITY PRESS (MONOTYPE NO. 37) DOUBLE RUNNING HEAD II-POlNT SMALL CAPITALS AND lO-POINT CAPITALS AND ITALIC. HAIR LINE RULE Exhibit Page THE MEASUREMENT OF HIGH TEMPERATURE 181 (total) 4 from the radiating source at S, the focus of the mirror being at I distance, from &, it will form an image of 8 at 7, whose area is indicated by *S'. All the energy received by the mirror M is then concentrated in the image I and the intensity of energy in the image will be expressed by the quantity ■— . If now the focus of the mirror is removed to a distance 2 Z from the source of radiant energy, and the image focused at /', its size wiU be B" and, accord- ing to the laws of optics, I' will be one-fourth the size of 1, since the area of the image varies inversely as the square of the distance of the object from the focus. The mirror in its new position M' will receive one-fourth the radiant energy that it did at M and this energy will be concentrated in the image /'. If g" is the amount Fia. 60. — Diagram of mirrors receiving radiant energy. of radiant energy that the mirror receives at M', and B" the size g" of the image, then the intensity of energy in the image is — , but as g" = -J and &" = — , we have, substituting, — = - X — = — , or the intensity of energy in either case is the same. If now a means is provided for measuring the intensity of energy in the image of the mirror, we can determine the temperature of the source 8 from the Stefan-Boltzman radiation law, provided we first standardize the instrument containing the mirror against a known temperature. The intensity of the energy will be measured by a sensitive thermo-couple placed in the focused image and com- pletely covered by it; in fact the image must overlap the junction COURTESY MCGRAW-HILL BOOK COMPANY composed in lo-point modern (monotype no. 8) 2-point lead Kxhibit Pa g^ OF THIS PRESENTATION EDITION ONE HUNDRED COPIES HAVE BEEN PRINTED, OF WHICH THIS IS NUMBER WITH THE COMPLIMENTS OF THE AUTHOR This GENERAL. HUBBARD edition of THE NORTH POLE, Containing the author's autograph, is limited to 500 copies, of which this copy is Number. ®rtental Series WHITE HOUSE EDITION Limited to Two hundred numbered and registered copies of which this is No. A GROUP OF LIMIT NOTES COMPARATIVE LIST OF VARIABLE SPELLINGS m m H Pi '^ O H Comj. curative List of Variable Reprinted by courtesy of The Century Company. A fuller list, including Worcester, Stormonth, and Imperial, may be found in De Vinne's ' Correct Composition." CenXury Standard Webster Oxjord abridgment abridgment abridgment abridgement ' acclimatize acclimatize acclimatize acclimatize accoutre accouter accouter accoutre accoutred accoutered accoutered accoutred accoutring accoutering accoutering accoutring accoutrement accouterment accouterment accoutrement acknowledgment acknowledgment acknowledgment acknowledgement' | aggrandize aggrandize aggrandize , aggrandize agistor agistor agister agistor agrarianize agrarianize agrarianize agrarianize aide-de-camp aide-de-camp aid-de-camp aide-de-camp alkalize alkalize alkalize alkalize aluminium aluminum aluminium aluminium amortize amortize amortize amortize amphitheater amphitheater amphitheater amphitheatre anabaptize anabaptize anabaptize anabaptize analyze analyze analyze analyse anathematize anathematize anathematize anathematize anatomize anatomize anatomize anatomize anemia anemia anaemia anaemia anemic anemic anaemic anaemic anesthetic anesthetic anaesthetic anaesthetic anesthetize anesthetize anaesthetize anaesthetize animalize animalize animalize animalize antagonize antagonize antagonize antagonize apodictic apodictic apodeictic apodictic apologize apologize apologize apologize apostatize apostatize apostatize apostatize apostem apostem aposteme apostem appal appal appall appal arbor arbor arbor arbour 1 A spelling more in accordance with English values of letters. iVew English Dictionary, [95] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford ardor ardor ardor ardour armor armor armor armour armory armory armory armoury asafetida asafetida asafetida asafoetida asbestos asbestos asbestus asbestos ascendancy ascendency ascendency ascendancy atropin atropin atropine atropine attitudinize attitudinize attitudinize attitudinize authorize authorize authorize authorize avoset avocet avocet avocet ax ax ax ax ay (forever) ay aye ay aye (yes) aye aye aye azotize azotize azotize azotize bakshish bakshish backsheesh baksheesh bandana bandanna bandanna bandanna banian (tree) banian banyan banyan bannerol banderole banderole bannerol baptize baptize baptize baptize bassinet bassinet bassinet bassinet bastardize bastardize bastardize bastardize bastile ' bastile bastile bastiUe baudekin baudekin baudekin baudekin bawbee bawbee bawbee bawbee beadsman beadsman beadsman beadsman behavior behavior behavior behaviour belabor belabor belabor belabour beveled beveled beveled bevelled beveling beveling beveling bevelling bhang bhang bhang bhang biased biased biased biased bichlorid bichlorid bichloride bichloride bicolored bicolored bicolored bicoloured bisque bisque bisque bisque bogie (coal-wagon) bogie bogie bogie bogy (goblin) bogy bogey bogy bombazine bombazine bombazine bombasine botanize botanize botanize botanize boulder boulder bowlder boulder Brahman Brahman Brahman Brahmin ' For the historical prison of Paris, always capitalized and in the French form. Bastille. [96] THE PLIMPTON PRESS YEAR BOOK Century braize brocatel brusk brutalize bucaneer buncombe burgeon butyrin caboshed cacique cacodyl cadaster caddis caffein caliber calif califate calligraphy callisthenics cancelation canceler candor cantaUver cantillate cantrip capercaillie carbonade caroled cartouche casein cassava catechize causeway cauterize cavezon ca viler celiac center centigram centiped centralize Standard Webster . Oxford braize braise braise brocatel brocatel brocatelle brusk brusque brusque brutalize brutalize brutalize buccaneer buccaneer buccaneer buncombe buncombe buncombe burgeon bourgeon burgeon butyrin butyrin butyrin caboched caboched caboched cacique cazique cacique cacodyl cacodyl cacodyl cadaster cadastre cadastre caddis caddice caddis cafEein caffeine caffeine caliber caliber cahbre calif caliph caliph caUfate caliphate caliphate calligraphy calligraphy calligraphy caUisthenics calisthenics caUisthenics cancelation cancellation cancellation canceler canceler canceller candor candor candour cantilever cantalever cantilever cantillate cantiUate cantillate cantrip cantrap cantrip capercailzie capercailzie capercailye carbonado carbonado carbonado caroled caroled caroled cartouch cartouch cartouche casein casein casein cassava cassava cassava catechize catechise catechize causeway causeway causeway cauterize cauterize cauterize cavesson cavesson cavesson ca viler ca viler caviller celiac coeliac coeliac center center centre centigram centigram centigramme centiped centiped centipede centralize centralize [97] centralize THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford cerosin cerosin cerosin cerosin cesura cesura caesura caesura channeled channeled channeled channelled characterize characterize characterize characterize chartographer chartographer cartographer cartographer chetah chetah cheetah cheetah chiaroscuro chiaroscuro chiaroscuro chiaroscuro chlorid chlorid chloride chloride chlorin chlorin chlorine chlorine chlorophyl chlorophyl chlorophyll chlorophyll cithern cithern cittern cithern clamor clamor clamor clamour clangor clangor clangor clangor clarinet clarinet clarinet clarinet clearstory clearstory clearstory clerestory clue clue clew clue cognizance cognizance cognizance cognizance cognizant cognizant cognizant cognizant colonize colonize colonize colonize color color color colour complin complin compline complin coolie coolie cooly coolie coraled coraled coraled coralled corbeled corbeled corbeled corbelled corbeling corbeling corbeling corbelling corbie corbie corbie corbie coryphaeus corypheus corypheus coryphaeus cotillion cotillion cotillon cotillion councilor councilor councilor councillor counselor coimselor counselor counsellor courtezan courtezan courtesan courtesan cozy cozy cozy cosy crenelate crenelate crenelate creneUate creosote creosote creosote creosote criticize criticize criticise criticize crozier crozier crosier crosier crystallize crystallize crystallize crystallize Curasao curafoa curafoa curafao cyclopedia cyclopedia cyclopedia cyclopaedia dandyize dandjfize dandyize dandyize dastardize dastardize dastardize [98] dastardize THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford debris dfibris d6bris debris decarbonize decarbonize decarbonize decarbonize dechristianize dechristianize dechristianize dechristianize decimalize decimalize decimalize decimalize decolor decolor decolor decolour decolorize decolorize decolorize decolorize dedal dedal daedal daedal dedalian dedalian dasdalian dxdalian defense defense defense defence demeanor demeanor demeanor demeanour demobilize demobihze demobilize demobilize demonetize demonetize demonetize demonetize demonize demonize demonize demonize demoralize demoralize demoralize demoralize denationalize denationalize denationalize denationalize denaturalize denaturalize denaturalize denaturalize dentin dentin dentine dentine dentize dentize dentize dentize deodorize deodorize deodorize deodorize deoxidize deoxidize deoxidize deoxidize deoxygenize deoxygenize deoxygenize deoxygenize depauperize depauperize depauperize depauperize depolarize depolarize depolarize depolarize depopularize depopularize depopularize depopularize deputize deputize deputize deputize despatch despatch dispatch dispatch desynonymize desynonymize desynonymize des3monymize detonize detonize detonize detonize devilize devilize devilize devilize diabolize diabolize diabolize diabolize dialing dialing dialing dialling dialogize dialogize dialogize dialogize diarize diarize diarize diarize diarrhea diarrhea diarrhea diarrhoea diarrhetic diarrhetic diarrhetic diarrhoetic dicky dickey dickey dicky dieresis dieresis diaeresis diaeresis digitalin digitalin digitalin digitalin dinghy dingey dingey dinghy diphthongize diphthongize diphthongize diphthongize diplomatize diplomatize diplomatize diplomatize discolor, v. discolor discolor [99] discolour THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford disenamour disenamor disenamor disenamour disenroll disenroll disenroll disenrol disfavor disfavor disfavor disfavour disharmonize disharmonize disharmonize disharmonize disheveled disheveled disheveled dishevelled dishonor dishonor dishonor dishonour disillusionize disillusionize disillusionize disillusionize disinclose disenclose disinclose disenclose disindividualize disindividualize disindividualize disindividualize disk disk disk disk disluster disluster disluster dislustre disorganize disorganize disorganize disorganize distil distil distiU distU disutilize disutilize disutilize disutilize divinize divinize divinize divinize doggerelize doggerelize doggerelize doggerelize dogmatize dogmatize dogmatize dogmatize dolomize dolomize dolomize dolomize dolor dolor dolor dolour domesticize domesticize domesticize domesticize Doricize Doricize Doricize doricize Dorize Dorize Dorize dorize doxologize doxologize doxologize doxologize doxy doxy doxy doxy dragonade dragonade dragonnade dragonnade droshky droshky drosky droshky dryly dryly dryly dryly dueling dueling dueling duelling duelist duelist duelist dueUist dullness dulness dullness dullness dynamize dynamize dynamize dynamize economize economize economize economize edema edema oedema edile edile sedile ffidile eery eery eerie eerie electrolyze electrolyze electrolyze electrolyze emboweled emboweled emboweled embowelled emphasize emphasize emphasize emphasize employee employee employ^ employe emu emu emu emeu enameled enameled enameled [100] enamelled THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford enameler enameler enameler enameller enameling enameling enameling enamelling enamour enamor enamor enamour encenia encenia encenia encaenia encumbrance encumbrance incumbrance encumbrance endeavor endeavor endeavor endeavour energize energize energize energize engulf engulf . ingulf engulf enroll enroll enroll enrol enrolment enrolment enrollment enrolment enthrall enthrall in thrall enthrall enthralment enthralment inthrallment enthralment entwine entwine entwine entwine envelop, ». and n envelop, v. envelop, v. envelop, v. envelope, n. envelope, n. envelope, n. eon eon eon aeon eonic eonic eonic aeonic epaxileted epauleted epauleted epauletted epaulment epaulement epaulement epaulement epitomize epitomize epitomize epitomize equaled equaled equaled equalled equalize equalize equalize equalize equivoke equivoke equivoque equivoque escalloped escalloped escaloped escalloped esophageal esophageal esophageal oesophageal esophagus esophagus esophagus oesophagus estafet estafet estafet estafette esthetic esthetic aesthetic aesthetic eulogize eulogize eulogize eulogize evangelize evangelize evangehze evangelize extemporize extemporize extemporize extemporize fanaticize fanaticize fanaticize fanaticize favor favor favor favour favorite favorite favorite favourite fecal fecal fecal faecal feces feces fseces faeces federalize federalize federalize federalize fertilize fertilize fertilize fertilize fervor fervor fervor fervoiu: feticide feticide feticide foeticide fetish fetish fetich [101] fetish THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford fetus fetus fetus foetus feudalize feudalize feudalize feudalize « fiber fiber fiber fibre flavor flavor flavor flavour fledgling fledgling fledgeling fledgeling flunky flunky flunky flunkey focalize focalize focalize focalize focused focused focused focused formalize formalize formalize formalize formulize formulize formulize formulize fossilize fossilize fossilize fossilize frankalmoiix frankahnoigne frankabnoigne frankalmoign fraternize fraternize fraternize fraternize fricassee fricassee fricassee fricassee frizz frizz friz frizz frowzy frowzy frowzy frowzy fulfil fulfil fulfill fulfil fulfilment fulfilment fulfillment fulfilment fullness fulness fullness fullness gage (a measure) gage gauge gauge gager gager ganger ganger gaiety gaiety gayety gaiety gaily gaily gayly gaily Gallicize Gallicize Gallicize Gallicize galvanize galvanize galvanize galvanize gargarize gargarize gargarize gargarize gazel gazel gazelle gazelle gelatin gelatin gelatin gelatin generalize generalize generalize generalize gentilize gentilize gentilize gentilize geologize geologize geologize geologize geometrize geometrize geometrize geometrize Germanize Germanize Germanize Germanize ghat ghat ghat ghaut gild gild guild giiild gipsy gipsy gypsy gipsy glavc glave glaive glaive gluttonize gluttonize gluttonize gluttonize glycerin glycerin glycerin glycerine gorgonize gorgonize gorgonize gorgonize Gothicize Gothicize Gothicize [102] Gothicize THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford gram gram gram gramme grammaticize grammaticize grammaticize grammaticize Grecize Grecize Grecize Graecize groveled groveled groveled grovelled groveler groveler groveler groveller groveling grovehng groveling grovelling gruesome gruesome grewsome gruesome guerrilla guerrilla guerrilla guerrilla halleluiah halleluiah halleluiah hallelujah halyard halyard halyard halyard harbor harbor harbor harbour harken harken hearken hearken harmonize harmonize harmonize harmonize heathenize heathenize heathenize heathenize Hebraicize Hebraicize Hebraicize Hebraicize Hebraize Hebraize Hebraize Hebraize Hellenize Hellenize Hellenize Hellenize hemal hemal hemal hsemal hematin hematin hematin hsematin hematite hematite hematite haematite hemoglobin hemoglobin hemoglobin haemoglobin hemoptysis hemoptysis hemoptysis haemoptysis hemorrhage hemorrhage hemorrhage haemorrhage hemorrhoid hemorrhoids hemorrhoid haemorrhoid herborize herborize herborize herborize Hibemicize Hibemicize Hibemicize Hibemicize hibernization hibernization hibernization hibernization hieroglyphize hieroglyphize hieroglyphize hieroglyphize hindrance hindrance hindrance hindrance Hindu Hindu Hindoo Hindu Hindustani Hindustani Hindoostanee Hindustani Hispanicize Hispanicize Hispanicize Hispanicize hoarhoimd hoarhound horehound horehound homeopathic homeopathic homeopathic homoeopathic homeopathist homeopathist homeopathist homoeopathist homeopathy homeopathy homeopathy homceopathy homogenize homogenize homogenize homogenize homologize homologize homologize homologize honor honor honor honour hospitaler hospitaler hospitaler hospitaller hostilize hostihze hostilize [103] hostilize THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford hostler hostler hostler hostler hoveling hoveling hoveling hovelling humanize humanize humanize humanize humor humor humor humour humorist humorist humorist humorist hybridize hybridize hybridize hybridize hydrogenize hydrogenize hydrogenize hydrogenize hyperbolize hyperbolize hyperbolize hyperbolize hypercriticize hypercriticize hjfpercriticise hypercriticize hyperemia hyperemia hyperaemia hyperaemia hyphenize hyphenize hjfphenize hyphenize hypnotize hypnotize hypnotize hypnotize hypostatize hypostatize hypostatize hypostatize hypothesize hypothesize hypothesize hypothesize iambize iambize iambize iambize iconize iconize iconize iconize idealize ideaUze idealize idealize idiotize idiotize idiotize idiotize idolatrize idolatrize idolatrize idolatrize idoUze idoUze idolize idolize iUadize iliadize iliadize iliadize illegalize illegalize illegalize illegalize illegitimatize illegitimatize illegitimatize illegitimatize illiberalize illiberalize illiberalize illiberalize immaterialize immateriaUze immaterialize immaterialize immortaUze immortalize immortalize immortalize impale empale impale impale impanel impanel impanel empanel impaneled impaneled impaneled empanelled impaneling impaneling impaneling empanelling imperialize imperialize imperialize imperialize imperiled imperiled imperiled imperilled incase incase incase encase inclose enclose inclose enclose inclosure enclosure inclosure enclosure incognizable incognizable incognizable incognizable incognizant incognizant incognizant incognizant individualize individualize individualize individualize inorganizable inorganizable inorganizable inorganizable inorganization inorganization inorganization inorganization inorganized inorganized inorganized [104] inorganized THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford inoxidizable inoxidizable inoxidizable inoxidizable inoxidize inoxidize inoxidize inoxidize instalment instalment installment instalment instil instil instill instil intellectualize intellectualize intellectualize intellectualize internationalize internationalize internationalize internationalize lonicize lonicize lonicize lonicize Ionize Ionize Ionize Ionize Italianize Italianize Italianize Italianize italicize italicize italicize italicize itemize itemize itemize itemize Jacobinize Jacobinize Jacobinize Jacobinize Japanization Japanization Japanization Japanization jasperize jasperize jasperize jasperize jeremiad jeremiad jeremiad jeremiad jeweled jeweled jeweled jewelled jeweler jeweler jeweler jeweller jeweling jeweling jeweling jewelling jewelry jewelry jewelry jewellery judgment ^ judgment judgment judgement kidnapped kidnaped kidnaped kidnapped kidnapper kidnaper kidnaper kidnapper kidnapping kidnaping « kidnaping kidnapping kilogram kilogram kilogram kilogramme kotow kotow kotow kotow kumiss kumiss koumiss koumiss labeling labeling labeling labelling labor labor labor labour labored labored labored laboured laborer laborer laborer labourer laborsome laborsome laborsome laboursome lacrymal lacrimal lachrymal lachrymal lacrymose lacrimose lachrymose lachrymose lammergeier lammergeier lammergeir lammergeier lampas lampas lampas lampas lanthanimi lanthanum lanthaniun lanthanium lanyard lanyard lanyard lanyard 1 In the revised version of the Bible, judgement is spelled with the e and this spelling is approved by Dr. J. A. H. Murray. [105] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster O^ord Latinize Latinize Latinize Latinize laureled laureled laureled laurelled legalization legalization legalization legalization legalize legalize legalize legalize legitimize legitimize legitimize legitimize lethargize lethargize lethargize lethargize leucorrhea leucorrhea leucorrhoea leucorrhoea leveled leveled leveled leveUed leveler leveler leveler leveUer leveling leveling leveling levelling libeled Ubeled Ubeled libelled libeler libeler libeler Ubeller libeling libeUng libeling libelling libelous libelous libelous libellous liberalize liberalize liberalize liberalize licorice licorice hcorice liquorice lin (pool or pond) lin hn Unn lionize lionize lionize lionize liter liter liter litre literalize literalize literalize literalize localize localize localize locaUze lodestone lodestone loadstone loadstone lodgment lodgment lodgment lodgment luster luster luster lustre macadamize macadamize macadamize macadamize machinize machinize machinize machinize magnetize magnetize magnetize magnetize mama mama mamma mamma mammonize mammonize mammonize mammonize manceuver maneuver maneuver manoeuvre manoeuverer maneuverer maneuverer mancEUvrer marbleize marbleize marbleize marbleize martyrize martyrize martyrize martyrize marvelous marvelous marvelous marvellous materialize materialize materiaUze materialize maugre maugre mauger maugre meager meager meager meagre medalist medalist medalist medallist mediatize mediatize mediatize mediatize medieval medieval mediieval mediaeval medievalize medievalize mediasvalize [106] mediaevalize THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford memorize memorize memorize memorize mercurialize mercurialize mercurialize mercurialize metaled metaled metaled metalled metaling metaling metaUng metalling metallize metalize metalUze metallize meter meter meter metre methodize methodize methodize methodize millionaire millionaire millionaire miUionaire millionize millionize millionize millionize mineralize mineralize mineralize mineralize minimize minimize minimize minimize miter miter miter mitre mobilize mobiUze mobilize mobilise modeled modeled modeled modelled modeler modeler modeler modeller modeling modeling modeling modelling mold mold mold mould molt molt molt moult monetize monetize monetize monetize monopolize monopoUze monopolize monopolize moralize moralize moralize moraUze mortalize mortalize mortalize mortalize mustache mustache mustache moustache mythologize mythologize mythologize mythologize mythopeic mythopeic mythopceic mythopceic naphthalene naphthalene naphthalene naphthalene naphthalize naphthaUze naphthaHze naphthaUze narcotize narcotize narcotize narcotize narghile narghile nargile narghile nasalize nasalize nasalize nasalize natheless nathless nathless nathless nathemore nathmore nathmore nathemore nationalize nationalize nationalize nationalize naturalize ■ naturalize naturalize naturaUze nebulize nebulize nebulize nebulize nectarize nectarize nectarize nectarize neighbor neighbor neighbor neighbour Nemean Nemean Nemean Nemean neologize neologize neologize neologize nephelin nephehne nephehne nepheline neutralize neutralize neutralize [107] neutralize THE PLIMPTON • PRESS YEAR BOOK Century Standard Webster Oxford nilgau nilgau nylghau nylghau niter niter niter nitre nitery nitery nitry nitry nitrogenize nitrogenize nitrogenize nitrogenize nitroglycerin nitroglycerin nitroglycerin nitro-glycerine nomadize nomadize nomadize nomadize nominalize nominalize nominalize nominalize normalize normalize normaUze normalize novelize novelize novelize novelize nozle nozle nozzle nozzle nuQcheon nuncheon nunchion nuncheon obbligato obbligato obbligato obbligato obelize obelize obelize obelize obi obi obi obeah ocher ocher ocher ochre ochery ochery ochery ochrey octastyle octastyle octostyle octastyle odalisk odalisk odahsque odalisque odeum odeon odeon odeon odize odize odize odize • odor odor odor odour offense offense offense offence olivil oUvil olivil olivil olivin olivin olivin olivin ombre omber omber ombre omelet omelet omelet omelette opalize opalize opalize opalize orang-utan orang-utan orang-outang orang-outang oratorize oratorize oratorize oratorize orcin orcin orcin orcine organize organize organize organize orientalize Orientalize orientahze orientahze oriflamme oriflamme oriflamb oriflamme orillion orillon orillon orillon orpharion orpharion orpharion orpharion orpine orpin orpin orpine orthographize orthographize orthographize orthographize orthopjedic orthopedic orthopedic orthopaedic ostracean ostracean ostracean ostracean ostracize ostracize ostracize ostracize ouzel ouzel ousel [108] ousel THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford overpassed overpassed overpassed oxid oxid oxide oxide oxidize oxidize oxidize oxidize oxygenize oxygenize oxygenize oxygenize ozocerite ozocerite ozocerite ozocerite ozonize ozonize ozonize ozoneize paganize paganize paganize paganize paleography- paleography paleography palaeography paleontology paleontology paleontology palaeontology Paleozoic Paleozoic Paleozoic Palsozoic palestra palestra palestra palffistra pamperize pamperize pamperize pamperize panada panada panada panada pandoor pandour pandour pandour panegyrize panegyrize panegjrize panegyrize paneled paneled paneled panelled paneling paneling paneling panelling papalize papalize papalize papalize papier-mache papier-machS papier-machS papier m^chS papoose papoose papoose papoose paradigmatize paradigmatize paradigmatize paradigmatize paraflSn paraffin paraffin paraffin paralipsis paraleipsis paraleipsis paralipsis paralogize paralogize paralogize paralogize paralyze paralyze paralyze paralyze paravant paravant ' paravant paravant parceled parceled parceled parcelled parceling parceling' parceling parcelling parlor parlor pari or parlour parochialize parochialize parochiaUze parochiahze parrakeet parrakeet parrakeet parakeet partialize partialize partialize partialize participiaUze participialize participialize participialize particularize particularize particularize particularize partizan partizan partisan partisan party-colored party-colored party-colored party-coloured pasha pasha pasha pasha patchouli patchouli patchouli patchouli patronize patronize patronize patronize pauperize pauperize pauperize pauperize paynim paynim painim [109] painim THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford peccary peccary peccary peccary pectin pectin pectin pectin peculiarize peculiarize peculiarize peculiarize pedantize pedantize pedantize pedantize peddler pedler peddler pedlar pedestrianize pedestrianize pedestrianize pedestrianize pemmican pemmican pemmican pemmican penciled penciled pendled pencilled percarbureted percarbureted percarbureted percarburetted perdue perdue perdu perdu perineum perineum perineum perinaeum peritoneum peritoneum peritoneum peritoneum peroxid peroxid peroxide peroxide peroxidize peroxidize peroxidize peroxidize personalize personalize personalize personalize petaled petaled petaled petaled petardeer petardeer petardeer petardeer petrolin petrolin petroline petroline pewit pewit pewit pewit phaeton phaeton phaeton phaeton phagedena phage/iaena phagedena phagedaena Phenician Phenician Phoenician Phoenician phenicin phenicin phenicine phenicin phenix phenix phenix phcenix phenyl phenyl phenyl phenyl philosophize philosophize philosophize philosophize Phlebotomize phlebotomize phlebotomize phlebotomize phosgen phosgen phosgene phosgene phosphureted phosphureted phosphureted phosphuretted piassava piassava piassava piassaba piaster piaster piaster piastre piccadiU Piccadilly piccadil piccadill piccaninny piccaninny pickaninny piccaninny pickaback pickaback pickaback pick-a-back pickax pickax pickax pickaxe picrotoxin picrotoxin picrotoxin picrotoxin picul picul picul picul pilau pilau pillau pillau pilgarlick pilgarlick pilgarlic pilgarlic pilgrimize pilgrimize pilgrimize pilgrimize pimento pimento pimento pimento plagiarize plagiarize plagiarize [110] plagiarize THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford platinize platinize platinize platinize Platonize Platonize Platonize Platonize platjTrrhiue platyrhine platyrhine platyrhine plebeianize plebeianize plebeianize plebeianize Pleiads Pleiades Pleiades Pleiads plow plow plow plough pluralize pluralize pluralize pluralize poetize poetize poetize poetize polarize polarize polarize polarize poleax poleax poleax pole-axe politicize politicize politicize politicize pollack pollack pollock pollack polverin polverine polverine polverine polyp polyp polyp polyp polytheize polytheize polytheize polytheize pommeled pommeled pommeled pommelled popularize popularize popularize popularize porcelainized porcelainized porcelainized porcelainized porcelanite porcelanite porcelanite porcellanite porphyrize porphyrize porphyrize porphyrize pos tiler postiler postiler postiUer practise, ■v. practise, n. and i practice, n. and v. practise, v. praemunire prsmunire praemunire praemunire pram praam praam pram ' pratique pratique pratique pratique precipe precipe praecipe praecipe preeminence preeminence preeminence pre-eminence preemption preemption preemption pre-emption preengage preengage preengage pre-engage preestablish preestablish preestablish pre-establish preexist preexist preexist pre-exist premise, n. premise premise premise pretense pretense pretense pretence preterit preterit preterit preterite pretor pretor pretor praetor primigenial primigenial primogenial primigenial prodigalize prodigalize prodigalize prodigalize program program programme programme proletariate proletariat proletariat proletariat prologuizer prologizer prologizer prologizer pronunciamiento pronunciamento pronunciamento pronunciamento propretor propretor propretor [111] propraetor THE PLIMPTON PRESS YEAR BOOK Century proselytize prosopopeia prothalamium protoxid proverbialize prunella psalmodize pterodactyl ptyalin pulk pulverin pulverize pupilarity puritanize purlin purpurin putchuk pyroxylin quadruman quarreled quarreling qua trefoil quercitrin questor quinzain quiqu Standard proselytize prosopopeia prothalamion protoxid proverbialize prunella psalmodize pterodactyl ptyalin pulkha pulverin pulverize pupilarity Puritanize purlin purpurin pacbak pyroxylin quadrumane quarreled quarreling quarterfoil quercitrin questor quinzaine quipu Webster proselytize " prosopopoeia prothalamion protoxide proverbialize prunella psalmodize pterodactyl ptyalin pulkha pulverine pulverize pupillarity puritanize purlin purpurin pachak pyroxylin quadrumane quarreled quarreling quarterfoil quercitrin questor quinzaine quipu Oxford proselytize prosopopoeia prothalamium protoxide proverbialize prunella psalmodize pterodactyl ptyalin pulka pulverine pulverize pupilarity puritanize purlin purpurin putchuck pyroxyline quadrumane quarrelled quarrelling quatrefoil quercitrin questor quinzaine quipu racoon raccoon raccoon raccoon raguly ragulfi raguled raguly raja raja rajah rajah Rajput Rajput rajpoot rajpoot or Rajput rampallian ■ rampallian rampallian rampallion rancor rancor rancor rancour ratan rattan rattan rattan or ratan ratany ratany rhatany rhatany rationalize rationalize rationalize rationalize raveled raveled raveled ravelled Raya raya rayah rayah reaUze realize realize realize rebaptize rebaptize rebaptize [112] rebaptize TH E PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford recognize recognize recQgnize recognize reconnaissance reconnaissance reconnoissance reconnaissance reconnoiter reconnoiter reconnoiter reconnoitre redout redout redoubt redout reecho reecho reecho re-echo reelect reelect reelect re-elect reestablish reestablish reestablish re-establish referable referable referable referrible regime regime regime regime regrater regrator regrater regrator regularize regularize regularize regularize reinforce reenforce reenforce reinforce remold remold remold remould remonetize remonetize remonetize remonetize renovator renovator renovator renovator reorganize reorganize reorganize reorganize republicanize republicanize repubhcanize republicanize reremouse reremouse rearmouse rearmouse reremouse reveled reveled reveled revelled reverie reverie reverie reverie revetment revetment revetment revetment revolutionize revolutionize revolutionize revolutionize reynard reynard renard reynard rhabarbarin rhabarbarin rhabarbarin rhabarbarin rhapsodize rhapsodize rhapsodize rhapsodize rheometer rheometer rheometer rheometer rhopalic rhopalic rhopalic rhopaUc rigor rigor rigor rigor rime rime rhyme rhyme ritornelle ritornelle ritornelle ritomel rivaled rivaled rivaled rivalled rivaling rivaling rivaling rivalling riveled riveled riveled rivelled rondo (music) rondo rondo rondeau rotunda rotunda rotunda rotunda rowan-tree rowan-tree rowan tree_^ rowan-tree roweled roweled roweled rowelled roweling roweling roweling ro welling royalize royalize royalize royalize rubicel rubicel rubicelle rubicelle ruble ruble ruble rouble rumor rumor rumor [113] rumour THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford ruralize ruralize ruralize ruralize russeting russeting russeting russeting saber saber saber sabre sabered sabered sabered sabred sabretash sabretache sabretasche sabretache salaam salaam salam, n. salaam, v. salaam salable salable ■ salable saleable saleratus saleratus saleratus saleratus salicin salicin salicin salicin salite salite salite sahhte salmi salmi salmis salmi salmon-peal salmon-peal salmon peel saltier saltier saltire saltire saltpeter saltpeter saltpeter saltpetre samara samara samara samara samson-post samson Samson post Samson's post sandaled sandaled sandaled sandalled sanhedrim Sanhedrin Sanhedrin Sanhedrim sanjak sanjak sanjak sanjak Sanskrit Sanskrit Sanskrit Sanskrit santalin santaline santalin santaHn santonin santonin santonin santonin sapajou sapajou sapajou sapajou sapodilla sapodilla sapodilla sapodilla saponin saponin saponin saponin sarlak sarlak sarlac sarlac sarmentose sarmentose sarmentose sarmentose sarsenet sarsenet sarcenet sarsenet or sarcenet sassolin sassolin sassolin sassoUne satirize satirize satirize satirize savanna savanna savanna savannah savior ' savior savior saviour savor savor savor savour Sawney Sawney- Sawney scandalize scandalize scandalize scandalize scepter scepter scepter sceptre sceptcred • sceptered sceptered sceptred schematize schematize schematize schematize schismatize schismatize schismatize schismatize * Saviour is more approved as the synonym for Jesus Christ. [114] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford scrutinize scrutinize scrutaize scrutinize scurril scurril scurrile scurry scurry scurry seamstress seamstress seamstress sectarianize sectarianize sectarianize secularize secularize secularize seizin seizin seizin seleniureted seleniureted seleniureted semiology semeiology semeiology Semitic Semitic Semitic semolina semolina semolina sensualize sensualize sensualize sentimentalize sentimentalize sentimentalize sentineled sentineled sentineled sepulcher sepulcher sepulcher sergeant sergeant sergeant sermonize sermonize sermonize seroon seroon ceroon sesquioxid sesquioxid sesquioxide sesquisulphid sesquisulfid sesquisulphide sexualize sexualize sexualize Shaksperian Shakespearian Shakespearean shaster shastra shaster sheldapple sheldapple sheldafle shellac shellac shell-lac shelty sheltie sheltie sherif (Turk.) sherif shereef shinny shinny shinty shoveled shoveled shoveled shoveler shoveler shoveler shriveled shriveled shriveled sialogogue sialogogue sialogogue signaled signaled signaled signaling signaling signahng signalize signalize signalize sihca silica silica silicious siUcious siliceous sillibub sillibub sillabub simitar simitar scimiter skean skean skean skeptic skeptic skeptic skilful skilful skillful [115] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Slavonian Slavonian Slavonian sluggardize sluggardize sluggardize smolder smolder smolder sniveler sniveler sniveler soberize soberize soberize soboles sobole soboles socialize socialize socialize Socotran Socotran Socotrine soke soc soc solarization solarization solarization solecize solecbe solecize solemnize solemnize solemnize solemnizing solemnizing solemnizing soliloquize soliloquize soliloquize solmization solmization sohnization somber somber somber sombering sombering sombering somersault somersault somersault sonnetize sonnetize sonnetize sorbin sorbin sorbin sowens sowens sowens spagiric spagyric spagyric spahee spahi spahi spanceled spanceled spanceled specialization specialization specialization specter specter specter spense spence spence spherulite spherulite spherulite spicknel spicknel spicknel spiritualize spiritualize spiritualize splendor splendor splendor splendorous splendrous splendrous splenization splenization splenization spoony spoony spooney spuilzie spulye spulzie spurry spurry spurry spurtle spurtle spurtle squinny squinny squiny squirearchy squirearchy squirarchy stadholder stadholder stadtholder staniel staniel st^nnel stathe staith staith [116] Oxford THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford steen steen steen stenciler stenciler stenciler sterilize sterilize sterilize stigmatize stigmatize • stigmatize stitchwort stitchwort stichwort stith stith stith stolon stolon stolon stoop (vessel) stoop stoup stoor stoor stour strokle strokle strockle strumose strumose strumous strychnine strychnin strychnine stylar stylar stilar styracin styracin styracm suage suage suage subbass subbass sub-bass suberiu suberin suberin subfusk subfusk subfuscous subsidize subsidize subsidize subsidizing subsidizing subsidizing subtilize subtilize subtilize subimgual subungual subungual succor succor succor sufi sufi sufi sulphid sulfid sulphide sulphureted sulfureted sulphureted sumac sumac sumac summarize summarize summarize supawn supawn supawn surquidry surquedry surquedry suslik souslik suslik sweetbrier sweetbrier sweetbrier swingletree swingletree singletree syenite syenite syenite syllogize syllogize syllogize symbolize symbolize symbolize symmetrize symmetrize symmetrize sympathize sympathize sympathize symphonize symphonize symphonize synalephe synalepha synalepha synchronize synchronize synchronize syncopize syncopize syncopize [117] THE PLIMPTON PRESS YEAR BOOK Cenlury Standard Webster Oxford syneresis syneresis synaeresis synonym synonym synonym synonymize synonymize synonymize synthesize synthesize synthesize syphilization syphilization syphilization syrup sirup sirup systematize systematize systematize tabor tabor tabor tabor taboret (dim. of taboret taboret (taboret) obsolete tabor) from of tabret taborine taborine taborine taborin tachylyte tachylyte tachylyte tachyhte ta£frail taffrail taffrail taffraU taffy taffy taffy taffy tailage tailage tallage tallage talapoin talapoin talapoin talapoin talipes talipes tahpes talipes talukdar talukdar talookdar talukdar tantalize tantalize tantalize tantalize targeteer targeteer targeteer targeteer tarpaulin tarpaulin tarpaulin tarpaulin tartarize tartarize tartarize tartarize tasseled tasseled tasseled tasselled Tatar Tatar Tartar Tartar taurocol taurocol taurocol taurocolO) tautologize tautologize tautologize tautologize ' teazel, -u. teazel teasel ^ As far as published teazel, n. teazel teasel October lo, igio. teazeled teazeled teaseled tegmen tegmen tegmen tellureted tellureted tellureted tellurion tellurian tellurian templet templet templet temporize temporize temporize temporizing temporizing temporizing tenail tenail tenaille tercel tercel tiercel terre-plein terreplein terreplein territorialize territorialize territorialize terrorize terrorize terrorize tessellate tessellate tessellate [118] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford theater theater theater theologize theologize theologize theorize theorize theorize theosophize theosophize theosophize Thomism Thomism Thomism thorium thoriiim thorium threnody threnody threnode tiffing tiiEng tiffin tigerish tigerish tigerish tinbal timbal tymbal tinbreled timbreled timbreled tinchel tinchel tinchel tinseled tinseled tinseled tinseling tinsehng tinseling titbit titbit tidbit toluene toluene toluene tom-tom tom-tom tam-tam totalize totalize totalize tourmalin tourmalin tourmahne towehng toweUng toweling trammeled trammeled trammeled tranquihze tranquilize tranquilize tranship transship transship trass trass trass traveled traveled traveled traveler traveler traveler traveling travehng traveling travertin travertin travertine tribunicial tribvmicial tribimitial tricolor tricolor tricolor tridactyl tridactyl tridactyl trilith trflith trilithon trioxid trioxid trioxide trivet trivet trivet trompe trompe tromp tropologize tropologize tropologize troweled troweled troweled trullization trullization trullization tsetse tsetse tsetse tumor tumor tumor tunneled tvmneled tunneled tunneling tunneling tunneling [119] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford Turkoman Turkoman Turcoman tumsol turnsole turnsole tusser tussur tussah tussock-grass tussock-grass tussock grass tweeze tweeze tweese twibill twibil twibil twyer tuyere tuyere tjTnpanize tympanize tympanize tyrannize tyrannize tyrannize tyrolite tyrohte tyrolite udaler udaler udaler uhlan uhlan uhlan ulmin lolinin ulmin unappareled unappareled unappareled imauthorized unauthorized unauthorized unbaptized unbaptized unbaptized unbiased unbiased unbiased unburder) imburden unburden unclench unclench unclinch unharbor unharbor unharbor universalize universalize . uiuversalize unkempt unkempt imkempt unmold unmold unmold unraveler unraveler unraveler uranography uranography uranography uremia uremia urxmia utas utas utas utilize utilize utilize vagabondize vagabondize vagabondize valor valor valor vapor vapor vapor vaporization vaporization vaporization vavasor vavasor vavasor ventriloquize ventriloquize ventriloquize venue (in fencing) venue venew verbalize verbalize verbalize versicolor versicolor versicolor via via via vial vial vial viciosity viciosity vitiosity [120] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster Oxford victimize victimize victimize victualer victualer victualer vicugna vicugna vicuna vigor vigor vigor villain (serf) villain villain villainize villainize villainous villainous villainous villainy villainy villainy villeinage villenage villanage villous villous villous vise (a tool) vise vise visualize visualize visualize vitalize vitalize vitalize vizir vizier vizier vizor vizor visor vocalize vocalize vocalize voivode waywode waywode volatilize volatilize volatilize voltzine voltzite voltzite voweled voweled voweled vowelize vowelize vowelize vulcanize vulcanize vulcanize vulgarize vulgarize vulgarize wadi wadi wady wagon wagon wagon Wahabi Wahabi wahabee waiment waiment wayment wainscoting wainscoting wainscoting wapenshaw wapenshaw wapinschaw weeviled weeviled weeviled weir weir weir welsher welsher welsher wergild wergild weregild werwolf werwolf werewolf whiffletree whipple-tree whippletree whimsy whimsy whimsey whinyard whinyard whinyard whisky whisky whisky whizz whiz whiz whopper whopper whapper wilful wilful willful [121] THE PLIMPTON PRESS YEAR BOOK Century Standard Webster wivem wivem wiver woeful woful woeful wold wold wold woodruff woodruff woodruff woolen woolen woolen worshiped worshiped worshiped worshiper worshiper worshiper Wyclifite Wyclifite Wychfite xanthin xanthin xanthin xanthophyl xanthophyl xanthophyll xyloidine xyloidin xyloidin Oxford yemut yer-nut yemut zafEer zaffer zaffer zemindar zemindar zamindar zinliiferous zinkiferous zinciferous zinkite zincite zincite zoe trope zoetrope zoetrope zoology zoology zoology :i22] GLOSSARY Glossary Note. — (6) Signifies terms usually used in connection with binding only. (c) Terms usually employed in connection with the composing room, (e) Terms used in engraving, (.el) Terms used in electrotyping. (g) Terms used with general significance, (p) Terms usually employed in connection with presswork. Accents (g). — Small marks placed over, under, or through particular letters, used to indicate pronunciation. Adams Press (p). — A large platen printing machine, used for book work. Agate (c). — A small size of type equal to sj points. See Point. Alignment (c). — The arrangement of type in straight lines, also the adjust- ment of the lines of type so that their ends appear in line, vertically. Ail-along (i). — In sewing a book, when the thread is passed from kettle- stitch to kettle-stitch, or from end to end in each sheet, it is sewed ail- along. Alley (c). — The floor space between stands where compositors work. American Russia (6). — See Cowhide. Antique Type (c). — Fonts of type of an old or medieval character. The lines of all the characters are nearly uniform as to thickness; the corners square and bold. Aquatint (e) . — A peculiar style of etching on copper or steel in imitation of drawings in sepia or India ink. Arabic Numbers (c). — The numeral figures as distinguished from Roman characters.' Art Canvas (6). — A book cloth known both as Art Canvas and Buckram. Art Work (e) . — See Retouching. Ascending Letters (c). — Letters that ascend to the upper shoulder of the type body; as, b, d, f, h, I, etc. Author's Proof (c). — Proof sent to the author for inspection and approval. Azure Tools (6). — , Used in binding, where the heavy and wide marks, instead of being a solid mass, are made with horizontal lines. Backing (6). — The process of forming the back in preparing the book for the cover or case, commonly called Rounding and Backing. It is done in three ways; viz. (i) by hand with a hammer, (2) by a hand [125] THE PLIMPTON PRESS YEAR BOOK rounding-and-backing machine, (3) by a steam- or electric-driven machine. Backing Up {p). — Printing the second side of a sheet. Band Driver and Nippers (6). — Tools used in forwarding, to correct irregu- larities in the bands of flexible backs. Bands (6). — The cords on which the sheets of a volume are sewed. When sewed "flexible," the bands show on the back of the book; when bands are let in the back by sawing grooves, narrow strips of leather are glued across the back to look like raised bands. Bank (c). — A high table or bench with a sloping top; when used for Ijps only it is called a standing galley. Basket Cloth (6) . — This is a, fancy weave of cloth, of construction similar to the weaving of wickerwork baskets. It is a novelty binding. Bastard Title (c). — The title of a book printed upon a page by itself and preceding the regular title-page. Battered (c). — Type, electrotype, or engraving accidentally injured. Bead (6). — An old-time term meaning the head-band, q. v. Bearers (p). — Strips of metal or wood, type-high, made up with type to sus- tain impression while proving, or to bear off the impression on hght parts, and to carry the rollers evenly over a form in printing. Bed {p). — The flat, part of a press upon which the type or form is placed. The part on which the sheet is placed is called the platen, or the cylinder. Beveled Sticks (c). — Strips of furniture wider at one end than the other; they are used with wooden quoins in locking up on galleys and in chases. Binder (6). — A temporary cover for periodicals and pamphlets, usually arranged so that it may be taken off and attached to subsequent copies of a publication. A bookbinder. Black Letters (c). — -A style of letter or type characterized by black face and angular outlines. It was designed by the early printers from a current form of manuscript letter. Blank (g). — A page upon which no printing appears. Blank Books (6). — Applied to a large variety of books which are bound with blank leaves, or leaves having ruled lines and little or no printing: account books, memorandum books, ledgers, etc. Blanking (i). — Term employed in reference to stamping. Impression made on cloth or leather by heated brass die. Bleed (6). — When the margins of a book or a pad of printed sheets have been trimmed so as to cut into the printing, they are said to bleed. Blind Tooling or Stamping (6). — Impressions of finisher's tools or book- dies without ink or gold leaf. Sometimes called antique. Blocking Press (i). — A stamping press for impressing blocks or dies on covers. [126] THE PLIMPTON PRESS YEAR BOOK Blocks (c). — The wood or metal bases on which electrotypes and engravings are mounted. {p). — Mechanical devices used on printing-presses for the purpose of holding plates in their proper positions in the form. Board Papers (i). — The part of the end-papers pasted on the board covers. Boards (6). — Applied generally to many kinds of heavy cardboard. A book with stiff sides covered with paper of any color is said to be bound in paper boards. Bock Morocco (J). — A term given to a leather made of Persian sheepskin, finished in imitation of morocco. Bodkin {c).- — -A sharp tool, like an awl, used for picking out letters from a body of set type, when making corrections. Body (c). — The shank of a type as determining its size. Bold-face (c) . — A heavy-faced type, used for contrast. It is also known as Full-face. Bolt (6). — The closed ends of leaves of an uncut book which presents a double or quadruple fold. Book Cloth (6). — Cloth used for making covers or cases for books. It is made by special processes and in many different grades and patterns. See also Cloths. Borders (c). — Ornamental characters cast in type, the pieces being adjustable in lines, or designs to surround pages, panels, etc. Bourgeois (c). — The old-style name of a size of type equal to g-point. Boxes (c). — The small compartments of a type case. Box-head (c). — A column heading in a ruled table. Any heading enclosed in rules. Brass Rule (c). — Thin strips of brass, type-high, of different thicknesses and many styles of face — ■ used for straight lines, column rules, etc. Brasses or Brass Boards (6). — Boards made for pressing books, called by these names because of the narrow brass strips on the edges by which the grooves are formed at the joints or hinges of the cases. Brayer Roller (c). — A small hand roller for distributing ink. Break-line (c). — A short line — the last line of a paragraph. Brevier (c). — The old-style name of a size of type equal to 8-point. Brochure (6). — A pamphlet, an unbound book of which the sheets are held together by sewing only. Buckrams (J). — These are the heavier weaves of cloth finished like Linens. They should be used whenever the books will receive more than ordinary wear. BuflSng (6). — The layer of cowhide taken off in bufiSng or sphtting the hide. Bulk (g). — The thickness of a book before the covers are put on. Bundling (6). — The process of pressing and tying together signatures or [127] THE PLIMPTON PRESS YEAR BOOK folded-and-gathered books for the purpose of (i) ejecting air and making , them solid, (2) for convenience in handling. Burnished Edges (6). — Edges which, after being colored, are made smooth and bright by a tool especially made for polishing the sur- face. C Pattern (i). — Embossing on book cloth of small pebble-shaped figures, scarcely larger than the head of a pin. Cabinet (c). — A frame for holding type cases. Calendered Paper (g). — See Super-calendered Paper. Calf (6). — Leather made of the skin of a calf. It has a smooth, uniform surface. Canceled Matter (c). — Set-up type or plates which have been suppressed or killed. Cancels (d). — Printed leaves containing errors, which have to be cut out and replaced with corrected pages. Cap (c). — An abbreviation of Capital. Caps and Small Caps are contained in the upper case, and are called upper-case letters. Caps (6) . — Paper coverings used to protect the edges while a book is being covered and finished. Also the leather covering the headband. Caret (c). — A sign or mark used in proofreading and writing to show that a letter or word has been omitted. Case (J). — The cover of a cloth-bound book. (c). — A shallow open wooden tray, divided into small compartments, in which the types are placed. Case Binding (6). — A method of binding books in which the case or cover is made separately and afterwards fastened upon the book. Cast Proof (c). — See Foundry Proof. Catch Word (c). — A word placed under the end of the last line on the page of some olditime books, the word being the same as the first word on the next page; a ' carry over" or direction word. Center Tools (6). — Tools cut for ornamentation of center of panels and sides of book covers. Chase (c). — The iron frame in which type and other matter is locked up for the press, or for sending to foundry. Chased Edges (i). — See Gofer ed Edges. Circuit Edges (4). — Bibles and prayer-books are sometimes bound with projecting covers turned over to protect the edges. These are circuit or divinity edges. Clarendon Type (c). — A bold-faced condensed antique with a bold bracketed serif, used in display work. Clasp (6). — A hook or catch for fastening the covers of a book together, usually at the fore-edge. [128] THE PLIMPTON PRESS YEAR BOOK Cloth (b). — A stiffly sized and glazed variety of cotton or linen cloth — usually colored and decoratively embossed. ' Cloth Boards (J). — Stiff cloth covers. Coated Paper {p). — An art paper coated or covered with some mineral substance such as china clay, etc., on which half-tone cuts are printed. Collating (i). — Examining the signatures after a book is gathered, to see that they are arranged in correct order. Colophon (g). — An emblematic device, or a note, especially one relating to the circumstances of production, as the printer's or scribe's name, place and date, put at the conclusion of a book or manuscript. Column Rules (c) . — Strips of brass rule used to divide columns of type. Combs (b) . — Instruments with wire teeth used in marbling. The colors being upon the surface, the comb is drawn across a portion in such a way that a new pattern is developed. Common Cloths (6). — Before receiving the final coat of color this cloth is dyed. The thready appearance so noticeable in the linen finished cloths is less apparent in Commons on account of the dye and extra coloring. Composing Stick (c). — A flat, oblong tool, made of polished steel, in which the compositor places the type as he takes it from the case. Composition (c). — That part of the work of printing which relates to type- setting, and making up. Compositor (c). — One who sets type. Copper-thin Spaces (c). — Very thin spaces made of copper, used in the spacing and the justification of type. Copy (c). — The matter or manuscript to be set up in type by the printer. (e). — Subjects to be reproduced by the engraver. Comers (b). — (i) The material covering the corners of " half-bound" books, (2) the triangular tools used in gold or blind tooling. Correcting (c). — Changing wrong words, letters, types, etc., or adding new matter in type that has been set. Cowhide (6). — A thick, coarse leather made from the skin of a cow, commonly known as "American Russia" or "imitation Russia." It has a slight grain, and is tough and strong. Cropped (J). — When a book has been trimmed down too much, it is said to be cropped. Cross-bars (c). — The bars which divide a large chase into sections. Crushed Levant (J). — Levant morocco with the grain crushed down till the surface is smooth and polished. Cut (g). — An engraving. See Engraving. Cut-in Side Note (c). — A note set into the side of a page of printed matter. Cylinder Press (^). — A printing machine which gives the impression by means of a cylinder instead of a platen. [129] THE PLIMPTON PRESS YEAR BOOK Dandy (g). — A roller affixed to paper-making machines. The wet web of paper carried on the endless wire of the machine passes under this roller and is pressed by it. It gives the laid or wove appearance to the sheet, and when letters, figures, or other devices are worked in fine wire on its surface it produces the effect known as water-marking. De Luxe (g). — A term applied to books manufactured with superior materials and with unusual care and expense. Dead Matter (g). — Type or plates for which there is no further use. Deckle-edges (g). — The rough, natural edges of hand-made paper. Deckle- edges are also formed on two edges of machine-made paper. They are poorly imitated by cutting or tearing paper. Dedication (g). — An address prefixed to a literary composition, inscribed to a patron or a friend as a mark of respect or affection. Dentelle (J). — A fine tooled border resembling lacework. Descending Letters (c). — Letters that descend below the type body, as g, P, q, etc. Devil (g). — The printer's errand boy or apprentice. Dies (6). — Brass, zinc, or heavy electro plates used for embossing or stamp- ing on covers the lettering and ornamental designs. Display (c). — Composition in which different styles or sizes of type are used, such as a title-page. Distributing (c). — Returning types to their respective boxes. Divinity Calf (6). — A dark-brown calf binding, decorated with blind-stamping and without gilding. Divinity Edges (b). — See Circuit Edges. Double (6). — The ornamented inside of the cover of a book, made with tooled leather, silk, or other material Also termed doublure. Drop-folio (c). — A page number, placed at the bottom of a page. Duck (6). — Often called Canvas. A heavy cotton cloth, firmly woven and smooth. It is a desirable cloth for heavy books. Dummy (g) . — Pages of a book put together so as to show the general format of the finished book. Duodecimo (g). — When a sheet of book paper is folded in twelve leaves it is called a duodecimo or i2mo. Edition Work (6). — Books bound in large numbers, as distinguished from single books or jobbing. Electrotype {p). — A replica of composed type, plates, etc., forming a printing surface. This is produced by covering an impression made from the set type, etc., in wax or similar substance, with a galvanic coating of copper which is afterwards backed up by an alloy. Em (c). — The square of any type body. [130] THE PLIMPTON PRESS YEAR BOOK Embossing (g). — The process of stamping leather, cloth, or paper with a plate for the purpose of producing a raised or relief effect. En (c). — One half the width of an em body. Enameled Paper (g). — See Super-calendered Paper. End-papers (6). — Usually known to the public as fly-leaves. The white or colored sheets placed by the binder at the beginning and end of a volume, one half being pasted down upon the inside of the cover. English (c). — The old-style name of a size of type equal to 14-point. English Finish Paper (g). — A super-calendered paper, with a duller surface. English Linen or Low Buckram (6). — A linen cloth, highly polished, well colored and durable. Engraving (g). — A picture or design cut or etched on metal or wood. Etching (e). — A process of engraving in which the plate after being varnished is smoked, and the design or drawing is then cut through the varnish, afterwards being treated with acid which eats into the exposed parts bt the metal. Extra Binding. — A trade name for the hand-sewed and hand-bound book. Extra Cloths (6). — These in the plain finish and the various patterns are largely used for binding works of fiction, aijd are among the most expensive grades of book cloth. The fabric is heavily coated with color entirely concealing the weave, producing a solid color surface. Extract (g). — A passage taken from a book or work; a quotation, excerpt, citation. Fanfare (6). — A style of binding in which there is great profusion and repeti- tion of flowers, foliage, and other small ornaments. Figure (i). — A cut or diagram inserted in printed text. Fillet (i). — A cylindrical instrument upon which simple lines are engraved, used in finishing. Finisher {el). — A workman who performs the final operations in plate-making. (6). — The workman who does hand-tooling, and performs the final operation or finishing on extra bound books. Finishing (6). — The part of a binder's work which consists in lettering and ornamenting the cover. FL Pattern (b). — Embossing known as Fancy Line. A special' design and very popular for diaries, blank books, and other similar lines. Flexible (6). — When a book is sewed on raised bands and the sewing thread passed entirely around each band. A term applied also to the covers of the book, as for example, full flexible or entirely limp or semi-flexible, when a thin board or heavy paper is used in making the cover. Floret (c). — A flower or leaf-shaped ornament. Fly Leaves (J). — The leaves at the beginning and end of a book. See End- papers. [131] THE PLIMPTON PRESS YEAR BOOK Foil (6). — A special product, neither gold nor ink, used in stamping the lettering and ornamentation on covers. Folder (6). — A mechanism for folding book and periodical sheets. A small flat piece of bone or ivory used in folding and in other ways. The first is more properly called a folding machine. Folio (g). — A sheet of book paper of approximately 19 x 24 inches size when folded in two leaves is called a folio. (c). — A page number. Follow Copy (c). — Means that the compositor should follow exactly the copy supplied by the author or publisher as regards punctuation, capitals, etc. Font (c). — A complete assortment of types of one size. Footnote (g). — A reference or explanation at the bottom of a page. As a rule this is set in type several sizes smaller than that of the text. Fore Edge (6). — The outer side of a book. Form (g). — A page or number of pages or plates locked up in a chase ready for the press. Format (g). — The bibliographical term for the physical size, shape, and appearance of a book. Forwarding (6). — An expression covering the operations performed in binding a book by hand up to the time when it is sent to the finisher for tooling, etc. Foul Case (c). — When the type is badly mixed up in the case by distribu- ting, the case is called Joul or dirty. Foul Proof (c). — A corrected proof-sheet. Foundry {d). — The department where the electrotypes are made from the types set in page form. Foundry Proof (c). — A proof of the type page after it has been corrected and is ready for an electrotype cast to be made from it. Sometimes called Cast Proof. Frame (c). — A stand to support the type cases when used by the compositor. French Morocco (6). — A quality of Levant Morocco, having usually a less prominent grain. Front Matter (g). — That which precedes the main text of a printed book; e.g., Bastard title, title-page, contents, preface, etc. Full Binding (6). — A book which is entirely covered with leather is said to be full-bound. Full Face (c). — See Bold Face. Full GUt (6). — A book having the edges of the leaves gilded on head, front, and tail is said to be full gilt. Furniture (g). — Pieces of wood and metal for filling blank spaces in pages, and between and around pages in a form, etc. Galley (c). — The shallow tray, either all brass, or wood, brass, or zinc, made [132] THE PLIMPTON PRESS YEAR BOOK in many sizes, used to hold type after the lines have been taken from the composing stick; usually has a thin brass bottom with three perpendicu- lar sides a little more than half an inch high. Galley Press (c). — A roller apparatus for taking proofs of type while on the galley. Galley Proof (c). — An impression from the type while still in the galley. Galley Rack (c). — A receptacle for galleys when filled with set type. Gathering (i). — Collecting the folded sheets of a book according to the order of the signatures and pagination. Gauge (c). — A piece of wood or metal to determine the length of pages. Also a piece of wood, card, or metal (usually a quad) pasted to the tym- pan sheet as a guide to feed sheets to; a feed-guide. Get In (c). — To take a word or syllable into the line by thin-spacing. Glair (6). — The whites of eggs beaten up and used in finishing and gilding the edges of the leaves. Goffered Edge (6). — An indented decorative design on the edges of a book. An old fashion in bookbinding, applied to gilded or silvered edges. Gordon Press {p). — A small platen printing machine used for job printing. Gothic (c). — The simplest of all styles of type. It is without serif and evidently an imitation of the old lapidary characters of the Greeks and Romans. Grain (J) . — The outer side of a piece of leather from which the hair has been removed. Great Primer (c). — The old-style name of a size of type equal to i8-point. Grippers (p). — On a job press, the iron fingers attached to the platen which take the sheet off the form after each impression; on printing cylinders, the apparatus which catches and carries the sheet around to the impression. Guarded Signatures (J). — Signatures with cambric pasted around the out- side back edge for the purpose of strengthening the paper and binding. Often done on the first and last signatures of a book because of the extra strain at those points. Guardline Proof (c). — See Foundry Proof. Guinea Edge (6). — The edge of a book rolled with a pattern similar to the milled edge of an old guinea coin. Gutters {p). — The inside back margin of a book; opposite of front margin. H Pattern (J). — Embossing of small diamond-shaped figures. Hair-space (c). — Any space thinner than one-fifth of an em. Half-binding (ft). — When a book is covered with leather on the back and corners, and the sides covered with cloth or paper, it is said to be half- bound, half-morocco, half-russia, half-calf, etc. Half-leather Binding. — A binding which consists of leather back and paper sides. [133] THE PLIMPTON PRESS YEAR BOOK Half-title (g). — The title of a volume, appearing above the text on the first page, or on a separate leaf immediately preceding the first page of text. Sometimes wrongly used synonymously with Bastard Title. Half-tone (e) . — A style of engraving, made by etching a plate of polished copper. Hand Letters (b). — Letters made usually of brass, so that they may be heated, and affixed singly in a, handle, for lettering covers, etc. Hanging Indention (c). — Where the first line of the matter is the full width of the measure and indents one or more ems on the left all the lines following. Sometimes called " Reverse Indention." Head and Tail (i). — Top and bottom of a book. Head-band (6). — A small ornamental accessory fixed to the head and tail of a volume inside the back to give it greater strength and a more finished appearance. It was originally part of the sewing. Head-piece (g). — A decorative engraving placed at the top of the first page of text in a book, or at beginning of each chapter. Height to Paper (c). — The extreme length of a type from its face to its foot. Hub (6). — A thick band on the back of a large blank book. Imitation Russia (i). — See Cowhide. Imposing Stone (c). — The flat surface upon which forms are locked up for the press; usually of polished stone, but now often made of iron. Imposition (c). — Arranging pages in a chase and preparing them in a form for the press. Imprint (g). — The name of the printer or publisher affixed to his work. In Boards (6). — When a book is cut after the boards are in place to form the sides, it is cut in boards. When cut before the boards are affixed it is out of boards, with projecting covers. Most books are bound in the latter manner. Indent (c). — To put a quad at the beginning of a line, as at the first line of a paragraph. Indention (c). — Indention is the leaving of a blank space at the beginning of a line to mark a change in the subject, or the importance of a particu- lar portion of the matter, thus forming a paragraph. India Paper (g). — A thin, soft, absorbent paper, made in China and Japan, and imitated in England and the United States, used for the finest impressions of engravings. India Proof (e). — An early choice impression of an engraving taken on India Paper. Inferior Letters or Figures (c). — Small characters cast on the bottom of the line or for footnote references. Ink Fountain (/>). — A reservoir for holding ink, and attached to the press. Inlay (6). — Cloth, paper, or leather set into the cover of a book flush with the surface. [134] THE PLIMPTON PRESS YEAR BOOK Inset (6). — When one sheet is placed inside of another, both being folded, the first sheet is said to be inset. Italic (c). — A style of type, designed by Aldus Manutius, said to be in imita- tion of the handwriting of Petrarch. J Pattern (6). — Embossing on book doth of pebble design larger than C pattern. The figure is slightly elongated. Jackets (g). — The printed or unprinted wrappers folded around a bound book for protection. Jansen (i). — Without line or ornament in blank or gold. Ornamentation is allowed on the inside of the cover, but absolute plainness is demanded on the outside, except lettering. Japan Paper (g). — Paper made in Japan from the bark of the paper-mulberry. Jogger ip). — An attachment to the delivery table of a press to straighten up sheets as they are printed. To jog up sheets is to straighten them up in an even pile. Joints (J). — The part of the cover where it joins the back on the inside, forming a kind of hinge. Justify (c). — To space out lines to the proper length and tightness. Keratol or BuflSnette (6). — A water-proof cloth made in imitation of leather. It is excellent for the sides of books when there is much wear, as it does not show water or finger marks. It outwears the majority of cloths. Kerned Letters (c). — Those which have part of the face projecting over the body. Kettle-stitch (6). — The stitch made at the head and tail of a book; a chain- stitch. Kip Calf (6). — Made from the skin of a heifer and stronger than ordinary calf. L Pattern (6). — Embossing on book cloth known as Levant and somewhat resembling Leather. Laced In (6). — When the boards are fastened in a book by means of the bands being passed through holes in the boards, they are laced in. Laid Paper (g). — A book paper having lines water-marked or running through it at equal distances, the lines being made by the pressure of the wire screen during manufacture. Law Binding (6). — A plain style of leather binding used for law books; also called law calf. Law Calf (6). — Calf leather that is uncolored, in the natural state, pale brown. Law Sheep (6). — Sheepskin left wholly uncolored, used for binding law books. Leaders (c). — Dots or short dashes set at intervals in lines to guide the eye across to figures, etc., as in a table of contents. [135] THE PLIMPTON PRESS YEAR BOOK Leads (c). — Thin strips of metal, cast in various thicknesses (2-point is most common) and less than the height of type, to separate lines, etc. Leatherette (6). — Cloth or paper prepared in imitation of leather. Letterpress Printing (^). — That done from type, as distinguished from press- work from plates, engravings, etc. Levant Morocco (J). — Morocco leather made from the skin of the Levant goat, having a larger grain than Turkish morocco leather. See Morocco. Library Buckram (6). — Is a special heavy weave sxutable for law book and library bookbinding. It is dyed and covered with a light coat of color. Ligatures (c). — Two letters tied together and cast on one body, fi fl, ff, etc. Limit Page (g). — A special page to indicate that the edition is limited. Limp (6). — Leather or cloth bindings which are flexible and bend easily, in distinction from boards or stiff covers. Line Engraving (e). — A style of steel or copperplate engraving in which the effect is produced entirely by combinations of lines. Linen Cloths (6). — Styles X and B are known as Linens. The fabric receives a Ijght coat of color, not enough to conceal the weave. Their popularity is largely due to the thready appearance. Lining (6). — A term applied to cased books to indicate the reenforcement of head-band, super or crash, and paper which are applied with glue and paste to the back of books before they are put into covers. Linotype. — A machine for setting type, casting it in lines instead of single characters. Lithograph (c). — A print from a lithographic stone. Live Matter (c). — Type or other matter in preparation or ready for printing. Locking Up (c) (p). — Tightening, by means of quoins, the type and material in a form, so that it will lift in a solid mass. Logotypes (c). — Two or more separate letters or a complete word cast as one piece. Long Primer (c). — The old-style name of a size of type equal to lo-point. Lower Case (c). — The case that contains the small letters, figures, points, and spaces. Maiole (J). — A binding generally composed of a framework of shields or medallions with a scroll design flowing through it. Make-up (g). — (i) The quantity of signatures or illustrations or books needed to complete an order or edition. (2) The layout of the book showing the order of pages and illustrations. (c). — To arrange lines of type into pages of proper length, with page numbers, head-lines, etc. Making Margins (/>). — Putting furniture and other material around and between pages in a form, so that when printed they will be properly imposed upon the sheet. [136] THE PLIMPTON PRESS YEAR BOOK Making Ready {p). — Preparing a form on the press for printing, by giving each part the proper impression, making overlay, setting gauges, etc. Matter (c). — Composed type. Open matter is wide-leaded, or has many break-lines; when set by piecework it is fat. Solid matter is without leads; with few or no break-lines is lean in piecework. Marbled Calf (6). — Calfskin so treated with acid that it resembles marble. Marbling (6). — A process of decorating sheets of paper and edges of books with variegated colors in irregular patterns. Matrix (c). — A plate of metal, usually of copper, suitably formed to mold the face of a type. Measure (c). — The length of the type line; the width to which the com- posing stick is set. Mezzotint (g). — A copperplate engraving in which the entire surface of the plate is slightly roughened, after which the drawing is traced, and then the portions intended to show the high lights and middle lights are scraped and burnished while the shadows are strengthened. Mill Board (b). — A thick, heavy card, used for making book covers. Minion. — The old-style name of a size of type equal to 7-point. Miter (c). — To chamfer or bevel the ends of rules in order that they may join closely in forming a border. Mitered (6). — When the cover of a book is ornamented with straight lines which meet each other without overrunning, it is said to be mitered. Modem Type (c). — A class of Roman type, of which the leading forms are: broad-face, Scotch-face, French-face, thin-face, bold-face. Molders {p). — The set of electrotype plates kept in reserve, from which to mold new plates as the workers become worn on press. Monotype Caster (c). — A machine for automatically casting type in single characters. Monotype Keyboard (c). — A machine for setting type. Morocco (J). — A leather made from goatskins; it is tanned with sumac. The texture is very firm though flexible. The grain, of which there are many varieties, is produced by rolling and folding; this process is called graining; genuine morocco makes the most durable bookbinding. Mosaic (J). — A design inlaid with different colors. Mottled Calf (b). — A light brown calfskin, mottled by treatment with acid. Nonpareil (c). — The old-style name of a size of type equal to 6-point. Octavo (g). — A sheet of book paper about 19 x 24 when folded in eight leaves is an octavo or 8vo. Off (p). — Signifies that all the sheets for a form have been printed. Off its Feet (c). — When type does not stand squarely on its base. Offset (g). — A transfer of ink or color to another page or sheet of paper. [137] THE PLIMPTON PRESS YEAR BOOK Old-style Type (c). — Reproductions of the styles of early printers: the Caslon, Baskerville, French, Elzevir and Basle. Out (c). — A word or more omitted by mistake in composing. Out of Boards (6). — See In Boards. Out Page (6). — The first or signature page of a sheet. Outset (i). — A four-page sheet folded round a signature. Overlay (p). — A piece of paper put on the tympan to give more impression to a letter, line, or part of an engraving. Overrun (c). — To take words backward or forward from one line to another in correcting. (/>). — To print beyond the number ordered. Oversheets (g). — The signatures or sheets remaining after an edition is completely bound. Oxford Bible Paper (g). — A thin, strong, opaque printing paper, made in England, on which Bibles and other large volumes are printed when a small bulk is desired. Packing {p). — The sheets of paper, card, etc., used to make the tympan; this term is applied to the covering for cylinders. Page (g). — One side of » written or printed leaf. (c). — Type, or type and cut properly arranged for printing on one side of the leaf of a book. Page-cord (c). — Twine used to tie up pages. Page Proof (c). — An impression of the type after it has been made up into page form. Parchment (g). — A paper-like sheet made from the skins of sheep or goat. The skins are first soaked in lime to remove the hair, and then are shaved, washed, dried, stretched, and ground with fine chalk, or lime and pumice- stone. Paper parchment, or vegetable parchment, is made by chemically treating ordinary paper. See also Vellum. Persian Morocco (4) . — A kind of morocco made from the skins of hairy sheep called Persian goats. Photoengraving (g). — The reproduction of engraved plates by means of photography, for use in printing. Photogravure (g). — Intaglio plates on copper for the reproduction of paint- ings, etc., in monochrome. Pi (c). — Type mixed up and in confusion. Pica (c). — A size of type equal to 12-point. It is the standard of measure- ment for leads, rules, furniture, and also for width and length of pages. Six picas equal, approximately, one inch. Picking for Sorts (c). — Taking type out of one page to use in another, when type is scarce. [138] THE PLIMPTON PRESS YEAR BOOK Pigskin (6). — Leather made from the skin of the pig. It is very tough and wears well. Planer (p). — The smooth-faced block used to level down the face of a form. Planogravure (e). — A form of engraving printed from a flat surface. Plate (b). — Any full-page illustration printed on paper different than the book is termed a plate. {el). — An electrotype. Platen Press {p). — That style of press which gives the impression from a flat surface — the hand press, Adams press, and nearly all small job presses; distinctive from the cylinder machine. Point (c). — The unit of measurement of type and is approximately 71 of an inch. Point Folder (6). — A machine for folding sheets. The accuracy of the register is obtained by placing the perforated point holder of the printed sheet on the projecting pins of the folding machine. Points (p). — Small holes made in the sheets by the printer, which serve as guides in registering and folding. ip). — Sharp metal pins placed in the form when it is imposed, to pierce the sheets as they are printed so that they can be folded on the point-folding machine. Polished Buckram (6). — Its special quahties are uniformity of color, finish, and fabric, tensile strength and easy application of decoration. Press Proof (p) . — The final proof passed for press. Publisher's Binding (6). — Commonly understood as ordinary cloth binding. Quadruple Imposition (p). — The imposition of the plates for printing so that when folded on the Quadruple Folding Machine the pages will follow in rotation. Quads (c). — Brief form of quadrat; large metal blanks used to fill lines and other spaces. Quarter-binding (6). — A binding in leather or cloth backs with board sides cut flush. Quarto (g). — A sheet of book paper approximately 18 x 24 inches in size, when folded in four leaves, is called a quarto or 4to. Quoins (c) (p). — Wedges used in locking up forms; formerly made of wood and used with beveled sidesticks, but now made of iron in several styles. Quotations (c). — Large hollow quads for filling blank spaces; hollow metal furniture. Recto (6). — The right-hand page of a book. The redo of a cover is the front. Register (p). — To adjust the form, feed-guides, etc., so that the printing will be properly located on the sheet; to strike the different forms of [139] THE PLIMPTON PRESS YEAR BOOK a colored job; to make pages on both sides of a sheet back each other. (c). — The exact imposition of the type pages of a book so that when printed they back one another precisely, and are truly square. (6). — When two or more adjacent colors meet without infringing, they are said to be in register, otherwise out of register. Reglet (c). — Thin strips of wood similar to leads, 6-point and thicker, used as substitute for leads and slugs in large spaces. Relief (e). — Processes of engraving in which the dots or lines of the design are made to stand out so that it can be used for printing as if from type. Retouching (e). — (i) The act of going over a plate with a graver, deepening the lines which have become worn. (2) The correcting of defects on a. photographic negative or pirint by means of a pencil or fine camel's- hair brush. Reverse Indention (c) . — See Hanging Indention. Revise (c). — A proof taken after corrections have been made; to compare a proof so taken to see that the marked errors have been corrected. Ribbon Marker (6). — A small ribbon placed in a book as a marker. Roan (6). — Unsplit sheepskin. Roller (_p). — An iron rod covered with an elastic composition, to spread ink on the type or other printing surface. Roman (c). — The class of type in general use as distinguished from italic or fancy types. Roman Figures (g). — Numerals expressed by letters as distinguished from those expressed by Arabic characters, e.g. I, II, III, etc. Rotary Press (,p). — A printing press in which the types or plates are fastened on a rotating cylinder and are impressed on a continuous roll of paper. Rounding (6). — See Backing. Routing (e). — The operation of gouging out from an electrotype plate that portion of the metal which is not required. Roxburgh Binding (J) {pronounced Roxburo). — A book bound with leather back, cloth or paper sides, no leather corners, with gold stamping on the shelf back with gilt top, is said to be bound in Roxburgh binding. Rule (c). — A plain strip of metal type-high, used for printing rules and lines. Running Head or Title (g). — The title of a book or subject placed at top of each page. Russia Leather (6). — A fine leather prepared in Russia. Its preparation consists in carefully tanning with willow-bark, dyeing with sandal wood, and soaking in birch oil. It is of a brownish red color and has a charac- teristic odor. S Pattern (J). — Embossing of small diagonal lines finer than T pattern, giving the cloth a silky appearance, commonly known as Silk Pattern. Score (g). — To crease cardboard or heavy paper so that it will fold neatly [140] THE PLIMPTON PRESS YEAR BOOK at the desired place. This is often done with rules locked in the form, or put on afterward, running the sheets through the press without ink. Script (c). — A style of type in imitation of handwriting. Sheepskin (6). — Leather made from the skin of a sheep. Sheet (g). — A separate piece of paper of definite size; a twenty-fourth part of a quire. In printing, a sheet is defined by its size; in binding, by its fold. Sheet-wise (p). — Presswork in which the two sides of the sheets are printed from different forms. Shooting Stick (c). — An implement made of wood, steel, or other hard ma- terial used with a mallet, to tighten up the wooden quoins. Shoulder (c). — The blank space above and below the face of a letter on the end of a type. Silk Pattern (6). — See 5 Pattern. Skiver (b). — The outer or grain side of sheepskin which has been split; much used for binding. Signature (b). — A sheet after it has been folded and is ready to be gathered. It usually consists of i6 pages, but may comprise 4, 8, 16, 32, or 64 pages. Slug (c). — A thick lead. Slur {p). — A blurred impression. Small Caps (c). — Capital of a, smaller size than the regular capitals of a font. Small Pica (c). — The old name of a size of type equal to ii-point. Smooth Calf (b). — Plain or undecorated calf. Sorts (c). — The letters in the boxes of a case; out of sorts, to be out of any needed letter or character; runs on sorts, when copy calls for more than the usual number of any particular letter. Spaces (c). — The small blanks used to separate words, etc. Split Leather (J). — Leather split by machinery. Sprinkled Calf (6). — Calfskin treated with acid so as to look as if it had been sprinkled with a dye. Sprinkled Edges (6). — Edges of books that are decorated with small dots or specks of color, sprinkled on from a brush. Stained Edges (6). — Edges which are colored by a process of coating or cover- ing which combines with the paper to be colored. Stand (c). — The common wooden frame with sloping top upon which type cases are placed; the lower part usually has a rack for holding extra cases. Steel or Copperplate Engraving (c). — A method of making plates for printing by cutting, scratching or corroding a plate. Stereot3rpe (g). — The duplicate, cast in one piece of type metal, of the face of types or cuts composed for printing. There are three processes: [141] THE PLIMPTON PRESS YEAR BOOK (a) The plaster process; (6) the clay process; (c) the papier-mach6 process. Stipple (e). — A method of engraving by which dots or punctures are used instead of lines. Stone Hand (c). — One who is chiefly employed in imposing and other work done on the stone. Stone Proof (e). — (i) An impression taken from an engraved plate or litho- graphic stone, to prove the condition and progress of the engraving. (2) An impression taken from types or cuts, made up for electrotyping. Super (6). — A thin, loosely woven cotton cloth, glued and starched, which is used for gluing onto the backs of books, to hold the signatures by extend- ing over to the inside of the cover, to hold the book and cover together. Super-calendered Paper (g). — A class of paper to which a glazed surface is given by rolling or calendering. Superior Letters or Figures (c). — Small characters cast on the top of the line, used for footnote references, etc. Swash Letters (c). — The name given to a style of italic capital letters with tails and flourishes, much used in the seventeenth century. T Pattern (6). — Embossing of transverse parallel lines. This is a favorite pattern and is used more than any other. Tail-piece (c). — An ornament placed in a short page at the end of a chapter, article, or volume. Take (c). — When copy is divided among several compositors, each part is a take. Tapes (6). — Strips of tape extending over the back and onto the boards to strengthen the binding. (2) Strips of cloth placed between the covers and ends of a stitched book to strengthen the book and give it flexibility. Text (c). — The type used in the main part of a page; also applied to some kinds of black-letter. The main body of matter in a book or manuscript in distinction from notes or other matter associated with it. Three-quarter Leather Binding. — A binding which consists of a leather back of extra width, with leather corners and paper or cloth sides. Three to Em (c). — A space one-third of an em in thickness. Token (p). — A measure or unit of presswork. The New York token is 250 impressions of one form; the Boston token is 500 impressions. Tooled Edges (J). — See Goffered Edges. Tooling (6). — To ornament or give a final shape by means of a special tool, especially when the mark of the tool is intentionally left visible. Tree Calf (i). — Calfskin so treated as to resemble the trunk and branches of a tree. Turkey Morocco (6). — Made of goatskin from Turkey. Strong, durable, and expensive. [142] 'arrens Qmeo (oaW AN EXHIBIT OF CONTRASTS Note the results obtainable on Cameo Plate Paper with a half-tone (150 screen) plate made from flat photograph, showing high- lights AND SHADOWS, PRINTED IN DOUBLE-TONE INK ■*"*** ^,. CflPYRIiHT I9il CAnfBCLL Art Co., EUlZABETH.rv.J, AN EXHIBIT OF CONTRASTS Note the results obtainable on Cameo Plate Paper with a half-tone (150 screen) plate made from retouched photograph, showing detail, printed in double-tone ink THE PLIMPTON PRESS YEAR BOOK Turn for Sorts (c). — To put another type of the same size face downward (so. that its foot will show a black spot on proof) in the place of a charac- ter that is missing. Two to Em (c). — The half of an em quad, known as the en quad. Tympan (^). — The sheets, cards, etc., that cover the platen or cylinder, on which the paper is placed for printing. The cloth-covered frame attached to the bed of a hand-press. Type-high (e). — Type of the standard of height. Type-high to Paper (c). — Type above the standard of height. Underlay (p). — A piece of paper or card placed under the type, electro, or engraved block, to increase the impression. Tipper Case (c). — The case in which the capitals, small capitals, signs, and "peculiars'' are placed. Uterine Vellum (g). — A vellum made from the very thin skins of still-bom or unborn calves. Vellum (g). — The skins of calves prepared by long exposure in a hme-bath and by repeated rubbings with a burnisher. See also Parchment. Vellum Finish (J). — The smooth natural surface of an unembossed cloth. Verso (6). — The left-hand page of a book. Of a cover, the back or reverse side. Vignette (g). — (i) In old manuscripts an initial letter decorated with leaves. (2) A head- or tail-piece of a book. (3) (e). — A drawing or other illustra- tion having a background that gradually shades off and merges into the ground on which the print is made. Web Machine (/>). — (i) A cylindrical printing-press in which the paper is carried forward to the impression cylinder by means of tapes. (2) A printing-machine in which the paper is carried forward in a continuous roll or weh. Whipstitch (i). — To sew with an over-and-over stitch. Work-and-Tum {p). — When all the pages on a sheet are imposed in one form, or half-sheetwise, the sheet is turned and printed on the second side, thus giving two copies of the work when the sheet is cut. Workers {p). — The set of electrotype plates from which editions are printed. Wove Paper (g). — Paper which does not show the wire mark as in laid paper. The screen is woven in like cloth. Wrappers (g). — See Jackets. Wrong-font (c). — A letter or character of wrong size or style used in com- position; in proofreading written w.f. Zinc Plate (g). — A style of engraving etched with strong acid on a sheet of polished zinc. [143] STANDARD TYPE FACES SOLDERING 79 or acid is more generally used. Beeswax can also be used, as also almost any of the pastes, fats or liquids prepared for the purpose. For lead,, a flux of oil and rosin in equal parts works very well. Tallow is also a good flux. Rosin or colophony is much used, and zinc chloride will keep the surfaces in good condition. Lead burning is a different operation from soldering, and at the present time almost a lost art. The surfaces must be bright and free from oxide; solder is not used as a flux, but a piece of lead and rosin or oil. For brass, zinc chloride or almost any of the soldering prepara- tions is used. Care must be taken to remove any scale or oxide if a good joint is wanted. On new metal this is not much trouble, but on old or repair work it is sometimes exceedingly difficult. This is particularly noticeable on metal patterns that have been in use for some time. The scraper must be brought into use to remove it. Many use with considerable success an acid dip such as is com- monly used by electro platers, for removing the oxide. Oily or greasy work can be cleaned by the use of potash or lye, but care must be exercised that the brass is not left too long in the solution, especially if it contains any joints previously soldered, since the action set up will dissolve the solder entirely or roughen up the joint to such an extent as to require refinishing. For copper, the same fluxes as for brass are used. On old work it is almost always necessary to scrape the parts to be joined to get the solder to hold. A particularly difficult piece of work to solder is an old bath tub. The grease and soap form a layer that is imper- vious to any of the fluxes, and it must be carefully removed entirely if good work is wanted. For zinc, use muriatic acid almost full strength or chloride of zinc solution. Zinc is the metal that has a "critical temperature" more than any other metal except the softer alloys. If the iron is overheated, the zinc is melted and a hole burned in the metal; even if this does not occur, the surface of the metal is roughened and there is formed on the soldering copper an alloy that will not flow but simply makes a pasty mass. At the correct heat the solder will flow readily and unite firmly with the metal. Especially if the work is to be painted, care should be taken to neutralize and wash off any excess of acid or soldering solution, as it is impossible to cause paint to adhere properly unless this is done. For galvanized iron, use muriatic acid, chloride of zinc solution or rosin, and be sure to see that the acid is neutralized if the work is to be painted. Many cornices and fronts are made of this metal and are very unsightly in a short time after being painted, particu- larly at the joints, owing to lack of care in removing the excess flux. An action that is not usually taken into consideration in the joining of galvanized iron or zinc with copper, as is sometimes done, is the electrical action set up by the metals if any moisture is present. This is very noticeable in cities where the acid from the atmosphere assists in the action. It will nearly always be found that the zine or galvanized iron has been greatly injured at the places joined. For wrought iron or steel, zinc chloride is best. The iron or steel, to make good work, should be previously freed from scale or oxide 8-point Old Style (Monotype No. 31) This page contains 653 words. Solid [courtesy MCGRAW-HILL BOOK COMPANY] [147] EARLY PRINTED BOOKS 33 When we speak of the invention of printing, we mean the invention of the art of multiplying books by means of single types capable of being used again and again in different combinations for the printing of different books. Taking the word printing in its widest sense, it means merely the impression of any image; and the art of impressing or stamping words or pictures seems to have been known from the very earliest times. The handles of Greek amphorse, the bases of Roman lamps and vases, were often im- pressed with the maker's name, or other legend, by means of a stamp. This was the basis of the art, and Cicero {De Nat. Deo- rum, n. 37) had suggested the combination of single letters into sentences. Quintilian refers to stencU plates as a guide to writing; and stamps with letters cut in relief were in common use amongst the Romans. The need for the invention, however, was not great, and it was never made. The first practical printing, both from blocks and movable type, was done in China. As early as A.D. S93 the more important texts were printed from engraved wooden plates by the order of the Emperor Wen-ti, and in the eleventh century printing from movable typt was introduced by a certain smith named Picheng. The multiplicity of Chinese characters rendered the discovery of movable type of little eco- nomical value, and the older system of block printing has found favour even up to the present time. In the same way, Corea and Japan, though both had experimented with movable type, returned to their former custom of block printing. It is impossible now to determine whether rumours of the art could have reached Europe from China, and have acted as incentives to its practice. Writers on early printing, scout the idea; and there is little to oppose to their verdict, with our present uncertain knowledge. Modern discoveries, however, point to the relations of China with foreign countries in the fourteenth century having been much more important than is generally supposed. The earliest pro- ductions in the nature of prints from wooden blocks upon paper which we find in Europe, are single sheets bearing generally the image of a saint. From their perishable nature but few of these prints have come down to our times; and though we have evidence that they were being produced, at any rate as early as the four- g-polnt Old Style (Monotype No. 31) This page contains 402 words. Leaded 2-point [from early printed books] THE KING OF THE WATERFALLS 81 'A swarm of black horses, and one has a white face, and on that horse a man is seated. He is the king of the oak windows.' 'That is my brother, and swifter still than I,' said the horse, 'and he wUl fly past me with a rush. Then you must have yoiu: sword ready, and take ofiE the head of the man who sits on him, as he turns and looks at you. And there is no sword in the world that will cut oS his head, save only that one.' 'I will do it,' rephed the king, and he hstened with all his might, till he judged that the white-faced horse was close to him. Then he sat up very straight and made ready. The next moment there was a rushing noise as of a mighty tempest, and the young man caught a glimpse of a face turned toward him. Almost bHndly he struck, not knowing whether he had killed or only wounded the rider. But the head rolled off, and was caught in the brown horse's mouth. 'Jump on my brother, the black horse, and go home as fast as you can, and I will follow as quickly as I may,' cried the brown horse; and leaping forward the king alighted on the back of the black horse, but so near the tail that he almost fell off again. But he stretched out his arm and clutched wildly at the mane and pulled himself into the saddle. Before the sky was streaked with red he was at home again, and the queen was sitting waiting till he arrived, for sleep was far from her eyes. Glad was she to see him enter, but she said little, only 'took her harp and sang softly the songs which he loved, till he went to bed, soothed and happy. It wag broad day when he woke, and he sprang up saying, 'Now I must go to the Gruagach, to find out if the spells he laid on me are loose.' 7 lo-polnt Old Style (Monotype No. 31) This page contains 413 words. Leaded i-point [ COURTESY LONGMANS, GREEN, AND CO. ] :i49] ^T. 10-15] NAPOLEON'S SCHOOL-DAYS 51 Perhaps the severe regimen of Uving could have been mitigated and brightened by a course of study nomi- nally and ostensibly so rich and full; but in the Hst of masters, lay and clerical, there is not a name of emi- nence. Neither Napoleon nor his contemporary pupils recalled in later years any portion of their work as stimulating, nor any instructor as having excelled in ability. The boys seem to have disliked heartily both their studies and their masters. Young Buonaparte had likewise a distaste for society and was thrown upon his own unaided resources to satisfy his eager mind. Undisciplined in spirit, he was impatient of self-discipline and worked spasmodically in such subjects as he liked, disdaining the severe training of his mind, even by him- self. He did learn to spell the foreign tongue of his adopted country, but his handwriting, never good, was bad or worse, according to circumstances. Dark, soli- tary, and untamed, the new scholar assumed the indif- ference of woimded vanity, despised aU pastimes, and found delight either in books or in scornful exasperation of his comrades when compelled to associate with them. There were quarrels and bitter fights, in which the Ish- maelite's hand was against every other. Sometimes in a kind of frenzy he inflicted serious wounds on his fel- low-students. At length even the teachers mocked him, and deprived him of his position as captain in the school battalion. The climax of the miserable business was reached when to a taunt that his ancestry was nothing, "his father a wretched tipstaff," Napoleon replied by chal- lenging his tormentor to fight a duel. For this offense he was put in confinement while the instigator went unpunished. It was by the intervention of Marbeuf that his young friend was at length released. Bruised and wounded in spirit, the boy would gladly have shaken ii-polnt Old Style (Monotype No. 31) This page contains 312 words. Leaded i-point [ COURTESY THE CENTURY COMPANY ] [150] Mr. H. G. Wells and the Giants a keen straggle for earthly success and consider- able triumph in attaining it. It is felt as a piece of humbug that a man should be very- punctilious in calling himself a miserable sinner, and also very punctilious in calling himself King of France. But the truth is that there is no more conscious inconsistency between the humility of a Christian and the rapacity of a Christian than there is between the humility of a lover and the rapacity of a lover. The truth is that there are no things for which men will make such herculean efforts as the things of which they know they are unworthy. There never was a man in love who did not declare that, if he strained every nerve to breaking, he was going to have his desire. And there never was a man in love who did not declare also that he ought not to have it. The whole secret of the practical success of Christendom lies in the Christian humility, however imperfectly ful- filled. For with the removal of all question of merit or pajntnent, the soul is suddenly released for incredible voyages. If we ask a sane man how much he merits, his mind shrinks in- stinctively and instantaneously. It is doubtful whether he merits six feet of earth. But if you ask him what he can conquer — he can conquer the stars. Thus comes the thing called Ro- 69 i2-point Old Style (Monotype No. 31) This page contains 234 words. Leaded i-point [courtesy JOHN LANE COMPANY] n.fii 1 6-POINT OLD STYLE (MONOTYPE NO. 31) abcdefghijklmnopqretuvwxyz 1234567800 abcdefghijklmnopqrstuvwxyz abcdefghijklmDopqrstuvwxy ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E(E ABCDEFGHijKLMNOPQESTnvwxYZid abcdefgik ABCDEFGBIJKLiINOPQRSTUVWX¥Z&rjE(EABCD abcdefghijklmnotqrstuvwxyiaa 1234167800 7-POINT OLD STYLE (MONOTYPE NO. 31) abcdefghijklmnopqrstuvwxyzaeoe 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijkn ABCDEFGHIJKLMNOPQRSTUVWXYZ&iECE abcdefghijklmnopqrstuvwxyz abcde ABCDEFGHIJKLMNOPQRSTU VWXYZbf abcdefghijklmnopQrsluvwxyzaa 1234567890 8-POINT OLD STYLE (mONOTYPE NO. 31) abcdefghijklmnopqrstuvwxyz! 234567890 abcdefghijklmnopqrstuvwxyzabcdefghijk ABCDEFGHIJKLMNOPQRSTUWXYZ&'iECE ABCDErcHijKLMNOPQRSTDVwxYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 12345678 9-POINT OLD STYLE (MONOTYPE NO. 31) abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz abc ABCDEFGHIJKLMNOPQRSTUVWXYZABCDErGHijKLMNOPQESTUvwxYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ&'abcdefghijklmnopqrstuvwxyziz lO-POINT OLD STYLE (mONOTYPE NO. 31) abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwx ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrst ABCDEFGHIJKLMNOPQRSTUVWXY abcdefghijklmnopgrstumvxy 1 1 -POINT OLD STYLE (MONOTYPE NO. 31) abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrst ABCDEFGHIJKLMNOPQRSTU abcdefghijklmnopqrstu ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrs I2-POINT OLD STYLE (mONOTYPE NO. 31) abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnop AB CDEFGHI JKLMNOPQRST abcdefghijklmnopqrst ABCDEFGHIJKLMNOPQRSTabcdefghijklmnopqrsiuvwxyz [152] 16-POINT OLD STYLE INITIALS I2345ABCDEFGHIJKL6789O 20-POINT OLD STYLE INITIALS I23ABCDEFGHIJKM789 22-POINT OLD STYLE INITIALS I23ABCDEFGHIJK789 24-POINT OLD STYLE INITIALS I23ABGDEFGHJ789 28-POINT OLD STYLE INITIALS I23ABCDEFGJ789 36-POINT OLD STYLE INITIALS I23ABCDE89O 4O-POINT OLD STYLE INITIALS I23ABCDI789 [I53; EARLY ILLUSTRATED BOOKS 33 editions of the Canon of the Mass attributed by Mr. Duff to 1458; (3) in the Rational: Durandi, 1459; (4) in a 35-hne Donatus printed about 1460; (5) in a Donatus printed in the type of the 1462 Bible. Mr. DufF also notices that in some sheets of this Bible itself, the red initial letters are printed and the outline of the blue ones impressed in blank for the guidance of the illuminator in filling them in. Doubtless Schoeffer was sorry that he could no longer print in the colophon of a book that it was 'venustate capitalium decoratus, rubricationibusque sufEcienter distinctus,' but while illuminators were still plentiful, handwork was probably the least expensive process of decoration. It is noteworthy, also, that Mr. Duff's discovery as regards the 1462 Bible brings us down to the beginning of those troublous three years in the history of Mentz, during which Schoeffer only printed 'Bulls and other such ephemeral publications.' When he resumed the printing of important works in 1465 with the Decretals of Boniface VIII. and the De Offi-ciis of Cicero, he was content to leave the decoration of his books to the illuminator. His own expenses were thus diminished, and his purchasers were able to economise in the amount of decoration bestowed upon the copy they were buying. It is noteworthy, indeed, that even in 1459, when he was habitually using his printed initial letters, Schoeffer did not refuse his customers this liberty, for while one of the copies of the Rationale Durandi at the Bibliotheque Nationale has the initials printed, in the others they are illuminated by hand. Very little attention has as yet been devoted to the study of the illumination and rubrication of printed books, and much patient investigation will be needed before we can attain any real knowledge of the relation of the illuminators to the early printers. Professor Middleton, in his work on Illuminated Manuscripts, has something to say on the subject, but the pretty little picture he draws of a scene in Gutenberg's (?) shop seems to have been rather hastily arrived at. 'The workshop,' he tells us, 'of an early printer included not only compositors and printers, but also cutters and founders of type, illuminators of borders and initials, and skilful binders, who could cover books with various qualities and kinds of binding. A purchaser in Gutenberg's shop, for example, of his magnificent Bible in loose sheets, would then have been asked what style of illumination he was prepared to pay for, and then what kind of binding, and how many brass bosses and clasps he wished to have.' What evidence there is on the subject hardly favours the theory which Professor Middleton thus boldly states as a fact. The names we know in connection with the decoration of the 42-line Bible are those of Heinrich Cremer, vicar of the Church of 8-point Caslon (Monotype No. 37) This page contains 47Q words. Leaded z-point [ FROM EARLY ILLUSTRATED BOOKS ] 44 EARLY PRINTED BOOKS as 1461, and his first dated book, Boner's Edelstein, was issued on 4th February of that year. He used but one type, a discarded fount from Mainz which had been used in printing the thirty-six line Bible and the other books of that group. By many he is credited with being the printer of the thirty-six line Bible, — a theory which a short examination of the workmanship of his signed books would go far to upset. Pfister seems to have been more of a wood engraver than a printer, relying rather on the attractive nature of his illustrations than on the elegance of his printing. We can attribute to him with certainty nine books, with one exception all written in German, and with two exceptions all illustrated with woodcuts. Mr. Hessels is of opinion that certain of these books ought to be placed, on account of their workman- ship, before the Boner of 1461 ; as, for instance, the Quar- rel of a Widower with Death, in which the lines are very uneven. There are certain peculiarities noticeable in Pfister's method of work which occur also in the Manung widder die Durke, a prognostication for 1455, preserved in the Royal Library, Munich, and in the Cisianus zu dutsche at Cambridge, the most marked being the filling up of blank spaces with an ornament of stops. The curi- ous rhyming form of these calendars, and the dialect of German in which they are written, resemble exactly the rhyming colophon put by Pfister to the Boner's Edelstein. In all three cases the ends of the lines are not marked, but the works are printed as prose. Paulus Paulirinus of Prague, in his description of a 'ciripagus', wrote: 'Et tempore mei Pambergae quidam sculpsit integram Bib- liam super lamellas, et in quatuor septimanis totam Bibliam super pargameno subtili presignavit scriptura.' Some writers have suggested that these words refer to the thirty-six line Bible; but a 'Bible cut on thin plates' lo-polnt Caslon Old Style (Monotype Ko. 37) This page contains 323 words. Leaded 2-point [from early printed books] n.'i.^l already powerful Duke of Savoy, flocking to his ban- ner at a time when the operations of the rapacious and murderous Turk were becoming more and more of a menace to Vienna. Every German sword that freely offered itself was welcomed as a real acquisi- tion. So thought the Emperor. To be sure the Viennese had other ideas, for with all their amia- bility they have a sense of humor. The little Prince of Savoy-Carignan was almost too tiny for them. When they had heard his story, they scarcely blamed the French King for having destined this little chap for the priesthood. They insisted that he was not fit for war. They called him "The little Capuchin" — a name which fitted him, for he generally wore a long brown cloak which closely resembled a monk's habit. Very often people stopped on the streets, shaking their heads, to gaze after him. Eugene would have had to be very obtuse not to have noticed this. At present it could not be helped, but he no doubt thought to himself, "Just wait, and sooner or later the little Capuchin will show you what he can do." There was that within him which neither the edicts of a king of France nor the jokes of the Viennese could subdue; genius was bound to assert itself. His opportunity soon came. The Turks as well as the French were enemies of the empire at that time. Until quite recent times [28] ii-polnt Caslon (Monotype No. 37) This page contains 2^0 words. Leaded i-point [ COURTESY A. C. MCCLURG & CO. ] riif-L THE children's PULPIT to do alone. He had a partner. That part- ner was a boy. They fed the five thousand together. The boy gave the five loaves and two small fishes, and Jesus blessed them and made them enough for all. Who fed the five thousand? Jesus and the boy. They were partners. Every boy and every girl may become a partner of Jesus. When you do things in his name, for his sake, for him, in the right spirit, you become his partner. He came to tell people about his heavenly Father, to make sick people well, to help the unfortu- nate, to make people do right. When we do these things for his sake we are really his partners. Start out some morning, say- ing: "Jesus shall be my partner to-day. In everything I will try to do what he would like to have me do. I will ask him to help me. When he helps me in doing his work, then we are partners — Jesus and I." [24] i2-poliit Caslon Old Style (Monotype No. 37) This page contains 172 words. Leaded 3-point [ COURTESY THE PILGRIM PRESS ] r 1K7 1 30 EARLY PRINTED BOOKS Where and when was this book printed ? Conjectural dates have been given to it rang- ing from 141 o to 1470. The earliest date that can be absolutely connected with it is 1471-73. Certainly there is nothing in its printing which would point to its having been executed earlier than 1470. Its being printed only on the one side of the leaf was a matter of necessity on account of the cuts, and is not a sign of remote age, while the printing of two pages at a time argues an advance of knowledge in the printer, and consequently a later date. About 1480-81 the blocks which had been used for the four editions of the Speculum passed into the hands of John Veldener. This Veldener printed in Louvain between 1475 and 1477, and he was not then in possession of the blocks. 'At the end of 1478 he began work at Utrecht, still, however, without this set of blocks. For his second edition of the Fasciculus temporum, published 14th February 1480, he had a few new blocks made, some of which were copied from Speculum cuts. At last, on the 19th April 1 48 1, he published an Epistles and 14-polnt Caslon (Old Style) This page contains ig8 words. Leaded 2-point [ FROM EARLY PRINTED BOOKS ] r 1 CO 1 BEATRICE 9 for evil. Men of genius have, with few exceptions, been in- expressibly indebted to wo- man's influence as mother and as wife. Among men whose genius has been for the things of the spirit this statement calls for special emphasis. Emerson, Browning, Words- worth, Tennyson, are a few of the host of available witnesses. Probably the most potent in- fluence upon Carlyle's moral being throughout his life was the influence of his original and high-minded mother. Well might Daniel Webster say; "If we draw within the circle of our contemplation the mothers of a civilized nation, what do ig-polnt Caslon (Old Style) This page contains QS viordi. Solid [courtesy the pilgrim press] [159] 6-POINT CASLON OLD STYLE (MONOTYPE NO. 37) abcdefghiJklmnopqr8tuvwxyzi234567890&abcde{ghijklmnopqrBtuvwzYzabcdefghijkImnopqr«tu ABCDEFGHIJKLMNOPQRSTUVWXYZABCDEFabcdefohijklmnopqrstuvwxyzabcdepo abcde/ghiiklmnopqrjtuvwxyxi334S^?8gotJ abcdefsMjklmnopqrstuvwxyzabcde/ghijklmnopqrjtumexyt ABCDEFGHIJKLMNOPQRSTUriyXYZ ABCDEFGHIJKLMNOPQkSTUrWXYZ ABCDE 8-POINT CASLON OLD STYLE (MONOTYPE NO. 37) ■ abcdefghijklmnopqrstuvwxyz 1234567890 & abcdefghijklmnopqrstuvwxyzabcdefgh ABCDEFGHIJKLMNOPQRSTUVWXYZAB ABCDEFGHIJKLMNOPQRSTUVWXYZAB abcdefghijklmnopqrstumvxyzi2j4^678go 13 abcdefghijklmnopqrstuvwxyz abcdefghijklm ABCDEFGHIJKLMNOPQRSTUVWXYZABCDEFGHIJKLMNOPQRSTUrW lO-POINT CASLON OLD STYLE (MONOTYPE NO. 37) abcdefghijklinnopqrstuvwxyzi234567890&abcdefghijklmnopqrstu ABCDEFGHIJKLMNOPQRSTUVWabcdefghijklmnopqrstuv abcdefghijklmnopqrstumvxyzi2j4^6^8go y abcdefghijklmnopqrstuvivx ABCDEFGHIJKLMNOPQRS TUVWXYZ ABCDEFGHIJKLM II-POINT CASLON OLD STYLE (MONOTYPE NO. 37) abcdefghijklmnopqrstuvwxyzi 234567890 & abcdefghijklmno ABCDEFGHIJKLMNOPQRST abcdefghijklmnopqrstu abcdefghijklmnopqrstuvwxyz i2J4j6y8go y abcdefghijklmnopq ABCDEFGHIJKLMNOPQRS TUVWXYZ 'ABCDEFGHI I2-POINT CASLON OLD STYLE (mONOTYPE NO. 37) abcdefghijklmnopqrstuvwxyzi 234567890 & abcdefghijkl ABCDEFGHIJKLMNOPQRS ABCDEFGHIJKLMNOPQRS abcdefghijklmnopqrstuvwxyz i2^^s6'j8go y abcdefghijklm ABCDEFGHIJKLMNOPQRS TUVWXYZ ABCDEF [160] I4-POINT CASLON OLD STYLE abcdefghij klmnopqrstuvwxyz 12345678 9 o&abcdefgh ABCDEFGHIJKLMNOPQabcdefghijklmnopq^ abcdefghhijklmnopqrstuvwxyzl 2^4^6'j8go^ abcdefghhi ABCDEFGHIJ KLMNOP^STTUVWXrZ AB 18-POINT CASLON OLD STYLE abcdefghij klmnopqrstuvwxyz 123456789& ABCDEFGHIJKLMNOabcdefghijklmnop abcdefghhijkImnopqrstuv'wxyzI2J^^6y8go^ ABCDEFGHIJKLMNOP^STrUVX 22-POINT CASLON OLD STYLE abcdefghijklmnopqrs 1234567890& ABCDEFGHIJKZabcdefghijklm abcdefghij klmnopqrstuvwx 123456 j8g^ ABCDEFGHIJKLMNOP^V 24-POINT CASLON OLD STYLE abcdefghijklmnopqrsti2 3479 & ABCDEFGHJQ abcdefghij^ [161] 24-POINT CASLON OLD STYLE (CONTINUED) abcdefghijklmnopqrst 1234567890& JBCDEFGHIJKLMNOP^S 30-POINT CASLON OLD STYLE abcdefghijklmnop 123479 & ABCDEFGHIJKLMNOZ iopqrzi234jg& ABCDEFGHIJKLMNS 36-POINT CASLON OLD STYLE abcdefghij w 1 23490& ABGDEFGHIJKOW abcdefghij klmzi234g^ ABCDEFGHIJS [162] 42-POINT CASLON OLD STYLE abcdefghj 12349& ABCDEFGHIJS abcdefghijk I234g ^ ABCDEFGHJS 48-POINT CASLON OLD STYLE abcdefgisi234& ABCDEFGHJ • • '£ JBCDEFGHS :i63] 6o-POINT CASLON OLD STYLE abcfi2389& ABHJOW 72-POINT CASLON OLD STYLE abcd38(& ABCJW [164] EARLY PRINTED BOOKS year. The only printed dates that occur in Eggestein's books are 1471 and 1472. Hain gives three books of the years 1474, 147S, and 1478 as printed in his type, but these contain no printer's name. The most mysterious printer connected with the history of the Strassburg press, is the printer who used a peculiarly shaped capital R, and is therefore known as the R printer. He seems to have been very generally confounded with Mentelin till 1825, when the sale catalogue of Dr. Kloss' books appeared. In this sale there happened to be two copies of the Speculum of Vincent de Beauvais, one the undoubted Mentelin edition, the other by the R printer. The writer of the note in the catalogue stated that, on comparison, the types of the two editions, though very like each other, were not the same. Since the type is different, and the peculiar R has never yet been found in any authentic book printed by Mentelin, we may safely say that Mentelin was not the printer. To whom, then, are the books to be ascribed? Many consider them the work of Adolf Rusch d'Ingwiller. M. Madden attributes them all to the Mon- astery of Weidenbach at Cologne, in common with most of the other books by unknown printers, and dates them about 1470. Bradshaw, writing to Mr. Winter Jones in 1870, says: ' In turning over a volume of fragments yesterday, I found a Bull of Sixtus IV., dated 1478, in the type of the famous "R" printer so often con- founded with Mentelin. His books are commonly put down to 1470 or earlier, and I believe no one ever thought of putting his books so late as 1478. Yet this little piece is almost the only certain date which is known in connection with this whole series of books. Complete sets of the Speculum of Vincent de Beauvais are very often made up, partly from Mentelin's and partly from the R printer's editions, which points to their having been probably printed at the same place and about the same time. The earliest MS. date found in any of the books by the R printer is 1464; for a note in the copy of the Duranti Rationale divinorum Officiorum in the library at Basle, states that the book was bought in that year for the University. If this date is authentic, it follows that Strassburg was the first place where Roman type was used. The next important printer at Strassburg is George Husner, who began in 1476 and printed up till 1498. His types may be recogrtised by the capital H, which is Roman, and has a boss on the lower side of the cross-bar. John Gruninger, who began in 1483, issued some 8-polnt French Old Style (Monotype No. 71) This page contains 455 words. Leaded 2-point [FROM EARLY PRINTED BOOKS] [165] EARLY PRINTED BOOKS order. Taking the information in Lignamine's Chronicle as exact, and we have no reason to doubt its accuracy, we may take certain books in the type of the Bible as the earliest of Mentelin's books. Round 1466 we can group some other books, the Augusiinus de arte predicandi and the Homily on St. Matthew by St. Chrysostom. A copy of the former book in the British Museum is rubri- cated 1466; and of the latter a copy in the Spencer Collection has the same year added in manuscript. In Sir M. M. Sykes' sale was a volume containing copies of these two books bound together in contemporary binding. About 1470, Mentelin issued a catalogue containing the titles of nine books, including a Virg,il, a Terence, and a Valerius Maximus. Mentelin also printed the first edition of the Bible in German, a folio of 406 leaves. Several copies are known with the rubri- cated date of 1466; and the same date is also found in a copy of the Secunda secundx of Aquinas. Many other of his books contain manuscript dates, and show that they are considerably earlier than is usually supposed. Henry Eggestein, whose first dated book was issued in 1471, was living in Strassburg as early as 1442, and prob- ably began to print almost as soon as Mentelin. The earliest date attributable to any of his books is 1466, the date written by Bamler, at that time an illuminator, in the copy of one of his forty-five line editions of the Bible now in the library at WoIfenbiJttel. In 1471, Eggestein himself tells us that he had printed a large number of books. A little time before this he had issued a most glowing advertisement of his Bible. He appeals to the good man to come and see his wonderful edition, pro- duced, as the early printers were so fond of saying, not by lo-point French Old Style (Monotype No. 71) This page contains S13 words. Leaded 2-point [FROM EARLY PRINTED BOOKS] [Ififil EARLY PRINTED BOOKS Before 1462, when the sacking of Mainz by Adolf von Nassau is popularly supposed to have dissemi- nated the art of printing, presses were at work in at least two other German towns, Strassburg and Bamberg. The first of these places is mentioned by Trithemius', who records that after the secret of printing was discovered, it spread first to Strassburg. Judging merely from authentic dates, this is evidently correct, for we have the date 1460 for Strassburg, and 1461-62 for Bamberg. There are, however, strong reasons for supposing that this order is hardly the correct one, and that Bamberg should come first. Since, however, the statement and the dates exist it will be safer for us provisionally to consider Strassburg as the first, and state later on the argu- ments in favour of Bamberg. Though no dated book is known printed at Strassburg before 1471, in which year Eggestein printed the Decretum Gratiani, and though Mentelin's first dated book is of the year 1473, yet we know from the rubrications of a copy of the Latin Bible in the library at Freiburg, that that book was finished, the first volume before 1460, and the second before 1461. Concerning the printer, John Mentelin, a good deal is known. Born at Schelestadt, he became a scribe and illuminator; but, like many others, abandoned the original busi- ness to become a printer. P. de Lignamine in his Chronicle says that .by 1458, Mentelin had a press at Strassburg, and was printing, like Gutenberg, ii-point French Old Style (Monotype No. »i) This page contains 247 words. Leaded 2-point [FROM EARLY PRINTED BOOKS] 11671 In most parts of New England it is unusual to see a field of more than five or six acres, and many of the patches are so small that in cul- tivating them both ways with a horse, a large portion of the field is taken up by the turn- row at the sides and ends. In a majority of the fields the boulders and ledges and stumps are so thick that the plowman and horse are kept constantly on the hop, skip and jump to keep clear of them. The western plow or cultivator would scarcely get half way across one of these rocky fields before being knocked out of commission. And yet with these hin- drances there is a cheeriness in the trees, hills and rocks not to be found on the treeless and rockless prairies of the West. The expense of clearing the land of rocks here is no inconsiderable item, as may be observed by the accompanying illustration, which is a reproduction of a photograph of a scene on my own place during the process of clearing a piece of land that had been alter- nately pastured and cultivated for more than a hundred years. Most of the stones shown in the picture were drilled and blown out of the ground with dynamite. Previous occupants of the farm who had cultivated the piece had worked only the open patches between the stones and ledges, and made no attempt to [10] la-point French Old Style (Monotype No. 71) This page contains 242 words. Leaded 2-point [courtesy the bibliophile society] [168] 6-POINT FRENCH OLD STYLE (mONOTYPE NO. 71) abcde!ghi}klmnopqrstuv'NxyzabcdeScl2m6789012S'IS67S90Srabcdefghijlilmnopqrslmaxyiabaie ABCDEFGHlJKLMNOPQRSTUVABCDEFGHlJKLMNOPQRS/?aiBCDajFei]^iI(siLSi9ji3 lO-POINT CASLON TEXT a&ctietsdijl(lmnopqtie(tni)t))xs!l2345678906(abctiets|g(fltlmnopqc I2-POINT CASLON TEXT alicDefff6i|kImnopqr0tutJUJip5l23456789O6lalicDefgl)fi& 18-POINT CASLON TEXT al)Cl5efg!)ijfelmnopqr0tu\) 1234507890a 24-POINT CASLON TEXT abttiefstjiifelmnop 1234567890& 30-POINT CASLON TEXT al)cliefg|)ijiklmnopl24680a 36-POINT CASLON TEXT alJCtiefgWillmWesO^ [205] lO-POINT PRIORY TEXT I2-P0INT TUDOR BLACK abcJ)cfQbiJhlmnopqr0tuvwiS3l23456789O&abc&c HBCS)ie]rc51b1I31kXflD1Fl®IP(aiRS^'aiDM|l?ZHB 18-POINT SATANICK abcdef ghijkliniiopqrstuvw 1 234567890 HBCDefGm^KLjvijNropQRsrai 24-POINT BLACK 30-POINT BLACK lO-POINT DeVINNE abcdefghijklmnopqrstuvwxyz 123456 7890&abcdefghijklmnopqr ABCDEFGHIJKLMNOPQRSTUVWXYZABCDEFQHIJKLMNW I2-POINT DEVINNE abcdefghijklmnopqrstuvwxyzl234567890&abcdf ABCDEFQHIJKLMnNOPQRSTUVWXYZABDM [206] I2-POINT TIFFANY TEXT I8-POINT TIFFANY TEXT 24-POINT TIFFANY TEXT r I2-POINT SKINNER SCRIPT I2-POINT MACFARLAND abcdefghijklmnopqrstuvwxyzl234567890&abcdefg ABCDEFGHIJKLMNOPQRSTUVWXYZABCDEF [207] 6-POINT NO. 35 o6c(l)l)etgl)iitlmnotj(|rfstuwi)js J 1234567890 aScc^befB^iillmnoMtiStuBtoj^S atdSbefg^titlmntHicirfStuBtDr a8SSgs®JE'3S82K!KD!i!a!R©iua35B3e93 at!8esgg®$S9a2«3JD!i5aiR®£U!8S5!sa8 aisesEgo 6-POINT HEINZEMANN aic(4iicfs4tit(mna)iaTfStuti)tij43l234567890&i>icitbef84ijnmttot)i)Tf£tul)tti{l|jii6c4befg4iiIIm ffl8Sa)(S3f®*3ffSan!»CiPGai@SW!8i!83e93 3l!BS£®3f®*3fiSSKiBD*G9lS$tt«aB3E2)3 318® lO-POINT SCHWABACHER abcdjbefgfjtjflmnopqrfstuDtcf Y5 ^ZS'^SSTSgo &abc(^6efgt;tifImno :tBC2)3:^©^3K£mn®pQH5g:upn)3e552tB(£Z)(£^©^3 I2-P0INT SCHWABACHER abcd?befgljtifImnopqr[stUDtt)j-Y3^23456r890&abcdj5efgIj ^B(Er>€5(5£j3K£lT[H®pQH5CUr>tr>3Er^g 213(ED I4-POINT SCHWABACHER aScbcf gl^ijf Imnopqrf turtpf ft^d 1(23^567890 abcb 22-POINT SCHWABACHER 2tB(£t)€50S2 0<||>053 Jg> pe pr <^58 5J^59 ^^60 $$ 61 $9» 62 ^ ^ 63 ^ t^ 64 >-M- 65 (IIIKIIB 66 [240] -■- -V*^- -'*^- -'^t^- --^t^- -^t» AJA -Xl^- JMA. JSM. -%iA -^l>- -MA -XL*- AL*, -M^- AtA JAA -Vt*- J\l^ Jd^ ^1^ tJf /I 3T "*TJ tW"" TW»" T»W Zn^ Z*r VfV Vfr ^*r ^ffr Vfr Vf^ Vf^ M^ l*f l*f ^iW ^iW T*r ^^T •^nTTr 'k ^^^ t^^ t^^ t^" ^£r^ t^^ t2^ t^^ t^^ ^^^ tZ^ t£^ f£^ ^^^ t2^ tS^ t£^ t^^ t^^ t£^ t^^ t2^ t^^ t^^ t^^ t2^ tS'^ t^^ t^^ t^^ ^ «i>U^-~llll^^llll^^llil^^llii^— llll^^llll^— »IIrifc«$»^ ii 14 ^10i^l0i^l0i^^^l0i^^%9i*i9l 15 [241] 18 [rjyynivvvvvvvvTiV'yivvriririir^^^^ 19 l«(S>>>>>>>>>>>'>>'>>^^^ 21 2-«s-eeee«2-eeeeeee-eee«2-ee«a 22 | ^^>S^«S^Cggg^'S^^!^«;^5Sj^^^ | 23 tfjMWMMMMMMMMWMMJ^WMMWWIi l 24 25 29 30 ^Vf^tf^M^t^^M^ei^^tfi^Vf^tg'^tf^tf^^^i^l^t^^tfi^tfi^l^^tfi^lfi^tfi^tg^^ 31 >^ I, B^a I, ^^Lm^l. ^MAd^^ ^MU^^ .MiA^^ ^t^^^U ^Mft^^ ^Mftd^k ^iiftd^b ^i&^^ .Mi&d^k .Mlftd^k ^tfAd^ 32 2421 3£ ^9^ ^t^ r9i^ ^9^ M^ ^% ^1^ ^A^ ^A^ ^t^ ^{^ ^^ JS ^fr ^^ ^m e^ ^p ^^ ^^ 33 34 -^ ^ ^ ^ ^ ^^^ 38 39 40 41 42 43 [243] 7 [248] STYLE MANUAL OF THE PLIMPTON PRESS f NORWOODMASSUSA 1911 COPTKIGHT, 1911 BT THE PLIMPTON PBESS CONTENTS ABBREVIATIONS page Of Dates 1 Of Titles 2 Commercial . . 4 Monetary Signs g Of States 6 Scriptm-al .... 7 Miscellaneous . . 8 Medical Signs 10 Mathematical Signs 10 Punctuation-marks, Accents, etc 11 Of Proper Names 12 CAPITALIZATION Of Religious Terms 14 Of Proper Names 15 Of Titles 18 Of Institutional Terms 19 Of References . v . 20 Of Ordinals 21 In General 21 Set in Small Capitals 23 SPELLING 24 COMPOUND WORDS 32 DIVISION OF WORDS 36 INDENTION . 38 SPACING 39 ITALIC 41 [iii] CONTENTS PUNCTUATION page The Comma 44 Semicolon 48 " Colon 48 " Period .... 50 " Dash 51 Exclamation-point 52 Interrogation-point 52 Quotation-marks 53 Parentheses .* 54 Brackets ... 54 The Apostrophe . 55 ADVICE TO PROOFREADERS AND COPYHOLDERS .... 56 THE BOOK Proper Layout 59 Bastard Title 59 Advertising Card 60 The Title-page 60 Copyright 62 Dedication 62 Preface 62 Contents 63 List of Illustrations 63 Introduction 63 Half-title 63 Limit Note 64 In General 64 Basic Sizes of Books .... 64 Margins • 65 SUGGESTIONS TO AUTHORS AND EDITORS Preparation of Copy 66 The Handling of Proof 67 Proof Marks 70 INDEX 73 [iv] STYLE MANUAL THE PLIMPTON PRESS Use generally accepted abbreviations for the names of months when the day of the month is also given, and write dates in order of day, month, or year: e.g., 7 Jan., 1911. When the name of the month is used alone or followed only by the year, do not abbreviate: e.g., February, 1911, not Feb., 1911. For ordinary purposes use these as the generally accepted abbreviations for the months and days of the week: Jan. May Sept. Sun. Thurs. Feb. June Oct. Mon. Fri. Mar. July Nov. Tues. Sat. Apr. Aug. Dec. Wed. In tables and wherever matter must be greatly condensed use the Dewey dates, which are the briefest possible without ambiguity, in the order of (a) day of week, (6) day of month, (c) month, (d) year: Ja. Ap. Ju. 0. Sn. Th, F. My. Ag. N. M. F. Mr. Je. S. D. Tu. W. St. These abbreviations are not desirable except in tabular matter. Abbreviations of Titles (Set mihovt space between letters of abbretiation.) A.B. or B.A Bachelor of Arts A.M. or M.A Master of Arts Adj., Adjt. ... Adjutant Adm Admiral Admr. Administrator Admx., Admrx Administratrix Aldm. ... Alderman Asst . Assistant Atty. . . . . Attorney Brig. Gen Brigadier-General [2] STYL E MANUAL Bro. ... ... Brother Bros Brothers Capt. . .... Captain C.E Civil Engineer Col Colonel Com. . . .... Commander, Commodore Cor. Sec Corresponding Secretary Corp Corporal D.C.L. . Doctor of Civil Law D.D. Doctor of Divinity D.D.S. . Doctor of Dental Surgery Dea. ... . . Deacon Dr Doctor D.V.M. or M.D.V. . Doctor of Veterinary Medicine Esq . Esquire Fr Father F.R.S Fellow of the Royal Society Gen General Gov Governor Govt. ... ... Government Hon Honorable Insp Inspector J.P. . .... Justice of the Peace Jr. or Jun. ... Junior Lieut. . . . . Lieutenant Lieut. Col. .... Lieutenant-Colonel Lieut. Gen. .... Lieutenant-General Litt.D . Doctor of Literature LL.D Doctor of Laws M Monsieur Maj Major Maj. Gen Major-General M.C . Member of Congress M.D Doctor of Medicine Messrs Messieurs Mgr Monsignor Mile Mademoiselle Mme Madame M.P Member of Parliament [3] THE PLIMPTON PRESS Mr . Mister or Master Mrs . . Mistress Mus. Doc. Doctor of Music Ph.D. . . . Doctor of Philosophy Ph.G. . . Graduate in Pharmacy P.M Postmaster Pres. . . . President Prof . Professor Q.M Quartermaster Kev . Reverend Rt. Hon. . . . . Right Honorable Rt. Rev. . Right Reverend Sec Secretary St., Sen. . . . Senior S.T.D. . . (Sacrw Theologies Doctor) Doctor of Divinity Serg. . . . Sergeant St. . . . Saint Supt . Superintendent Treas. . . . Treasurer Commercial AbbreviatioDS (Set withoui spoce between letters of abbreviation.) Al Highest class or grade Advt., Ad. . . . . Advertisement Agt. . . . . Agent Amt . Amount Anon. Anonymous Ans Answer Av., Ave. . . . Avenue Bbl. . . . Barrels Bdl. . . Bundle Bds. ... Boards Bldg . . . Building B.O . Buyer's option Bush. . . . . Bushel Chap. . . . . . . Chapter C.I.F. . . . . Cost, insurance, freight C.O.D. . . . Cash on delivery Cwt . Hundredweight [4] STYLE MANUAL Co Company Cr Creditor Dept Department Do Ditto, the same Dr Debtor E.O.D Every other day E. & O.E Errors and omissions excepted Etc. {Et cetera) and so forth Ex., Exch Exchange Exp Express Fgt Freight F.O.B. ... Free on board Ft Foot, feet Gal. . . .... Gallon Gals Gallons H Hour H.P Horse-power In Inch Ins Insurance Lb Pound Memo Memorandum Mfg Manufacturing Mfr Manufacturer Min Minute No Number O.K All right Oz Ounce Pk Peck Pkg Package Pt Pint Qt Quart R.R Railroad Ry Railway Sq Square St. Street T.F Till forbidden Vol . . Volimie Yd Yard Yr. .- Year [5] THE PLIMPTON PRESS & And (ampersand) &c And so forth Vo Care of @ At or to ^ Per % Per cent % Account Monetary Signs $ Dollar or dollars cts Cents gn Guinea £ Pound or pounds / or s. .... ShUIing or shillings d Penny or pence fr Franc or francs c. {French) .... Centime or centimes m. Mark or marks pf- Pfennig or pfennigs cr. {Austrian) ... Crown or crowns hr Heller or hellers rub. ... . . Ruble or rubles kop Kopec or kopecs kr. {Danish) .... Crown or crowns oro, ore . . ... Oro or ore £ {Italian) ... Lira or lire c. {Italian) . . . . Centesimo or centesimi Abbreviations of States, etc. {Set vyithovi apace between letters of abbreviation.) Ala. Ky. N.Y. Alaska La. 0. Ariz. Mass. Okla. Ark. Md. Oreg. Cal. Me. Pa. Colo. Mich. R.L Conn. Minn. S.C. Del. Miss. S.Dak D.C. Mo. [6] Tenn. STYLE MANUAL Fla. Mont. Tex. Ga. N.C. Utah la. N.Dak. Va. Idaho Neb. Vt. 111. Nev. Wash. Ind. N.H. W.Va. Ind.Ter. N.J. Wis. Kan. N.Mex. Wyo. H.L — Hawaiian Islands P.I. — Philippine Islands I P.R. — Porto Rico Scriptural Abbreviations OLD TESTAMENT Gen. Esther Hos. Exod. Job Joel Lev. Ps. (Pss.) Amos Num. Prov. Obad. Deut. Eccles. Jonah Josh. Song of Sol. (or Mic. Judg. Cant.) Nah. Ruth Isa. Hab. I and II Sam. Jer. Zeph. I and II Kings Lam. Hag. I and II Chron. Ezek. Zech. Ezra Dan. Mai. Neh. NEW TESTAMENT Matt. Gal. Philem. Mark Eph. Heb. Luke Phil. Jas. John Col. I and II Pet. Acts I and II Thess. I, II, and in John Rom. I and II Tim. Jude I and II Cor. Titus Rev. 7] THE PLIMPTON PRESS I and n Esd. Tob. = Tobit Jud. = Judith Rest of Esther APOCRYPHA Wisd. of Sol. Eccles. Bar. Song of Three Children Sus. Bel and Dragon Pr. of Man. I, n. Ill, and IV Mace. A.D. Ad. Ub. Adv. . A.M. . Arr. . Art. . . Assoc., Assn. JEL, set. B.C. . Boul. cf. Col. . . Coll. Comp. Cong. Del. Dem. D.V. . Ed. . . E.g. Et al. Et seq. Fee. Ibid., lb. Id. . . I.e. lUus. Incog. Inst. . Miscellaneous Abbreviations {Set vdthout space between letters of abbreviation.) {Anno Domini) year of our Lord {Ad libitum) at pleasure Adverb {Ante meridiem) before noon Arrival Article Association {Mtatis) of age Before Christ Boulevard {Confer) compare Column College Companion Congress {Delineavit) he drew it Democrat {Deo volente) God willing Editor, edition {Exempli gratia) by way of example {Et alii or aliae) and others {Et sequentia) the following {Fecit) he did it. (Ibidem) in the same place {Idem) the same {Id est) that is Illustrated {Incognito) unknown {Instante) the current month [8] STYLE MANUAL ltd . . . Italic Mgr . . Manager MS . Manuscript MSS . Manuscripts Mt. . Mount N.B. . . . (Nota bene) note well Par., or 11 . Paragraph P., or pp. . Page or pages P.M {Post meridiem) afternoon P.O . Post office P.P.C. . Pour prendre congi, to take leave Pro tern. Pro tempore — for the time being Prox. . Proximo — next month P.S. . . Postscript QV {Quod vide) which see Qy. . . . . Query Reg., Regt. . Regiment Rep. . . . Republican, representative, report R.S.V.P. . {Ripondez s'il vous platt) please reply Sec. . . . Second Sec. . . Section Seq. . . . {Seqtientia) the following Sc. . . Scene Sc. . {Scvlpsit) he engraved Sq. . . . Square SS. . . . {Scilicet) namely, to wit S.S. . . Saints S.S. . Sunday school St. ... Saint St. . . . . . Street Stet . . . Let it stand Ult. . . (Ultimo) last month U.S.A. . . United States of America U.S.A. . . . United States Army U.S.N. United States Navy Vid. (Vide) see Vol. . . . Volume Viz. . . . . . {Videlicet) namely Vs. . . . {Versus) against [9] THE PLIMPTON PRESS Vs. . . • . , . Verse Vss. Verses Yd. Yard Medical Signs aS, (dva) of each ^ . . . . . {Recipe) take 5,5i . Ounce, one ounce 3ss . . . Half an ounce 5iss . . . One ounce and a half 5ij. . . Two ounces 5. . Drachm 3 . Scruple O . {Octavius) Pint 5 . . Fluid ounce 3. . . Fluid drachm m.. . Minim or drop Mathematical Signs + Plus - . Minus ± . Plus or minus T . Minus or plus X . . Multiplied by ' -^ . . Divided by = . . Equal to ^ . . . Not equal to ^ . Identical with ^ . . Not identical with a^ . Congruent to > . Greater than < . Less than ""^ . The difiference between o . . Is equivalent to / ■ . Integration : and : : . Proportion oc . Varies as == . Approaches as a limit ' This is also indicated algebraically by a dot, as, a • 6 [10] STYLE MANUAL 00 Infinity .' Therefore ....... Because Continuation ■n/ The radical sign I Perpendicular to \s_ Factorial sign II Parallel '^ Arc of circle ° Degree of circle ' Minute of circle " Second of circle ■^ > Angle 1_ Right angle D Square □ Rectangle □ Parallelogram A Triangle Punctuation Marks, Accents, etc , Comma ; Semicolon : Colon *. . . . Period ? Interrogation ! Exclamation () Parentheses [ ] Brackets ' Apostrophe - Hyphen ' Acute accent ^ Grave accent ^ Circumflex accent — • Circumflex or tilde - Long or macron " Short or breve ■■ Dieresis 5 Cedilla A Caret [11] THE PLIMPTON PRESS « » Quotation-marks j( Brace *•* ElUpsis Ellipsis, leaders * Asterisk t Dagger J Double dagger 5 Section II Parallels If Paragraph US' Index * * * Asterism The Interrogation-point is formed from the first and last letters of the Latin word qiuBstio, a question, placed one over the other; as Q. The Exclamation-point is said to have been formed from the word lo, joy, written vertically I. The Section-mark is derived from the first letters of the words signum aectionis, meaning sign of the section, the old-fashioned / being used. Abbreviation of Proper Names Abbreviate company in firm names: e.g., John Brown &Co. Spell out names of companies, railroads, etc., using the ampersand (&) only between proper names: e.g.. Brown & Sharpe Manufacturing Company; Norfolk & Western Rail- road; but American Smelting and Refining Company. If names of railroads are abbreviated, use no space between the letters: e.g., N.Y., N.H. & H.R.R. Abbreviate United States when immediately associated with the name of an oflScer of the army or navy, as Lieut. John Doe, U.S.A.; when it is the name of an organization of the army or navy, as First Regiment U.S.V.; when preceding the name of a government vessel, as U.S.S. Brooklyn. In referring to plays, specify act, scene, and line, also part if necessary: e.g., 2 Henry IV, I, ii, 1-7. [12] STYLE MANUAL Christian names should be spelled in full, as John, George, Charles, except in an original signature, or when following copy in a quotation. When necessary to abbreviate Christian names, use the forms Dan., Edw., Sam., Thos., etc. Alex, Ben, Ed, and Sam are not always abbreviations, and copy should be followed as regards period. In ordinary body matter use generally accepted abbre- viations of titles when they are immediately prefixed to names. Do not abbreviate a title used as part of a name: e.g.. Bishop Lawrence, not Bp. Lawrence. When the names of sovereigns of a country are men- tioned only occasionally, such names may be given in full: e.g., George the Fifth, Charles the First. When such names occur frequently, they may be printed with roman numerals without a period: e.g., George V, Charles I. Such titles as Mr., Mrs., Messrs., Gen., Dr., Hon., Rev., when prefixed to names, must be abbreviated; but Colonel, Major, Professor, President, ex-President, etc., are better spelled in full. Compound titles, such as Major-General, Lieutenant-Colonel, Rear-Admiral, etc., should also be spelled and both words capitalized. Where a person has been men- tioned by name and title, and is afterward mentioned by title only, the title should be capitalized. Where initials of a name are used, abbreviate the title: e.g.. Col. T. G. Benson, of the Second Illinois Regiment, has returned from Havana. The Colonel's friends gave him a warm reception. [13] CAPITALIZATION The original use of capitals in early manuscripts was for the purpose of variety and ornamentation, and their position was naturally subject to each writer's individual taste. Good form now prescribes certain definite rules of capitaliza- tion as follows: Capitalization of Religious Terms Capitalize titles of parables: e.g., the parable of the Prodi- gal Son, etc. Capitalize the books and divisions of the Bible and of other sacred books: e.g., Old Testament, Book of Job, etc. CapitaUze versions of the Bible: e.g., King James's Version, Revised Version, etc. Capitalize the names of monastic orders and their mem- bers: e.g., the Jesuits, the Black Friars, etc. Capitalize the word Church when it stands for the Church universal, or when part of a name: e.g., the Church, the First Congregational Church, the Church of Rome, etc. Capitalize Gospel when it refers to a book of the Bible, as the Gospel of John, or the Gospels, but use lower case when referring to the gospel message. Pronouns referring to God or Christ when used in direct address, or whenever the meaning might otherwise be mis- taken, should be capitalized. Capitalize general biblical terms: e.g.. Priestly Code, Apostles' Creed, Lord's Prayer, Lord's Supper, The Prophets, and Major and Minor Prophets, when the collection of prophetical books is intended; but use lower case for the adjectives biblical and scriptural. [14] STYLE MANUAL Capitalize the following: Almighty Jesus Christ Revised Version Authorized Version King Sabbath Common Version Logos Saviour Creator Lord Scriptures Deity Messiahship Son of Man Father Messiah Son God Messianic Spirit Holy Bible Passover The Trinity Holy Spirit Pentecost The Virgin Mary Holy Writ Redeemer Word Jehovah Names applied to the Evil One should be capitahzed, except when used as an expletive, or as a general name for any demon: e.g., "When the Devil was sick, the Devil a monk would be; When the Devil was well, the devil a monk was he." Lower-case fatherhood and sonship, god, when a pagan deity is referred to, temple (except the two sacred apart- ments in the temple). CapitaUze Holy in the Holy place and the Holy of holies. Lower-case heaven, heavenly, hell, but capitalize all pronouns referring to Deity. Do not capitahze words hke epistle, book (as the book of Ruth), psalm, or psalms when not used distinctively, or psalmist when the author of a single psalm is intended. The title of a psalm should be capitahzed: e.g., the Twenty-fourth Psalm. Capitalization of Proper Names Capitahze epithets employed as substitutes for or affixes to proper names: e.g., Peter the Great, the Pretender, etc. [15] THE PLIMPTON PRESS Capitalize Pilgrim Fathers and Early Fathers (referring to the Early Church), etc. CapitaUze Revolutionary when referring to the Revolu- tion of 1776: e.g., a Revolutionary soldier. CapitaUze the following: Articles of Confederation Magna Charta Bill of Rights Middle Ages Commonwealth (Cromwell's) Reformation Commune Renaissance Constitution Restoration Crusades Revolution of July Hundred Years' War Seven Years' War Inquisition Stone Age Capitalize river, creek, brooJc, mountain, mine, district, county, channel, when used as a part of a title: e.g., Hudson River, Clear Brook, Rocky Mountains, etc.; but use lower case when preceded by "the": e.g., the Hudson river, etc. CapitaUze noims designating definite geographical por- tions of the country or divisions of the world: e.g., the North, the South, the West, the Old World; and in the divi- sion of the Jewish Commonwealth, the Northern Kingdom, the Southern Kingdom. Also capitalize the adjectival nouns derived from them: e.g., Northerner, Southerner, Oriental, Occidental. Use lower case for both nouns and adjectives when they merely fix a point of the compass : e.g.. He came from the north, western New York, upper Canada, etc. Lower-case father, mother, mamma, and aU other family appeUations, except when used with the proper name of the person or without a possessive pronoun: e.g., I expect to meet my mother, but, / have received a telegram from Mother; My aunt gave me this, but. It is a present from Aunt Mary. Capitalize abstract ideas or terms when personified: [16] STYLE MANUAL e.g., Pride flaunts herself; Nature gives willingly 0/ her abun- dance. Capitalize names of streets, squares, parks, buildings, etc.: e.g.. Beacon Street, Copley Square, Franklin Park, Tremont Building, etc. Capitalize abbreviations of names of corporations and firms: e.g., N.Y.C. & H.R.R.R. Capitalize Co. (Company) in firm or corporation names where all other words are capitalized. CapitaHze the scientific names of divisions, orders, families, and genera in all botanical, geological, or zoologi- cal copy: e.g., Ichneumon Fly {Thalessa lunator), Reptilia, Vertebrata, etc. In botanical and zoological copy capitalize the names of species if derived from proper names or from generic names, but in geological and medical matter lower-case the names of species even though derived from proper names: e.g.. Clover-root Borer (Hylesinus trifolii), Ptery- gomatopus schmidti. Capitalize the popular names of the bodies of the solar system (except sun, moon, stars, earth) : e.g., the Dipper, the Milky Way, Venus, etc. Lower-case words derived from proper names and their derivatives when such words are so familiarly used as to lose the significance and personality of their origin: e.g., fletcherize, macadamize, quixotic, italicize, etc. CapitaHze the days of the week and the months of the year, but lower-case the seasons, unless personified or referred to specifically: e.g.. It was a bright spring day; but. Spring, beautiful Spring; the Spring of 1911, etc. [17] THE PLIMPTON PRESS Capitalization of Titles of Various Kinds Capitalize State when it refers to a political division of the Union. Capitalize Federal, Government, Constitution, Cabinet, Administration, when they refer to United States Govern- ment, and President, when referring to the President of the United States. Capitalize all titles of honor, nobility, and respect: e.g., His Excellency, Her Majesty, Father William, Mother Hubbard, Cousin John, Deacon Smith. After Whereas and Resolved, followed by a comma, begin the first word with a capital: e.g., Whereas, It has pleased Almighty God . . . ; therefore be it Resolved, That . . . After a colon, capitalize the first word only when followed by a complete independent sentence or passage or where pre- ceded by such introductory phrases as namely, as follows, for instance, the point is this, my conclusion is this, etc. Capitalize civil and military titles, when they are used specifically: e.g.. President Taft, King George, Governor Foss, General Grant, etc.; but do not capitalize the titles of offices actually existing, when following the name: e.g., William H. Taft, president of the United States. Capitahze the names of societies: e.g.. Young People's Society of Christian Endeavor, Boston Congregational Club, Second Church Parish. Capitalize names of expositions, conventions, etc.: e.g., Brockton Fair, Congress of Physiology, etc. When separated from names or used descriptively, lower-case apostle, pope, bishop, canon, rector, chaplain, min- ister, etc.: e.g., the apostle Paul; but in direct address they should be capitahzed: e.g., "0 Apostle Paul." Capitalize abbreviations of degrees: e.g., Ph.D., LL.D., [18] STYLE MANUAL lAtt.D., omitting space between the letters. Lower-case titles when not abbreviated. Capitalize such titles as von, in German, le, la, du, de, or d', in French, da, delta, di, or de', etc., in Italian, when the forename is not given: e.g., Von Humboldt, Da Ponte; but when the article is preceded by a forename the title should be lower-cased: e.g., Lorenzo de' Medici. Van in Dutch is always capitalized. Do not capitalize adjectives compounded with an in- separable prefix with proper names: e.g., transatlantic, unamerican. In titles of books or essays capitalize all words except unimportant adjectives, prepositions, and conjunctions: e.g., The Fall of the House of Usher. Capitalization of Institutional Terms Capitalize Thanksgiving Day, Lord's Day, New Year's Day, the Fourth (referring to the Fourth of July), Children's Day, Easter, Founder's Day, etc. CapitaUze College or University only when part of the title: e.g., Amherst College, Harvard University. Lower-case high school, grammar school, except as part of title: e.g., the Dorchester High School, but the high school of Dorchester. Capitalize political alliances and terms which have acquired similar significance: e.g., the Dreibund, the Insur- gents. Capitalize titles of treaties, laws, and acts: e.g., The Treaty of Portsmouth, The Declaration of Independence, The Edict of Nantes. Capitalize names of political parties: e.g.. Republican, Democrat, etc., but lower-case republican form of government, a true democrat, etc. [19] THE PLIMPTON PRESS Capitalize names and epithets of races, tribes, and peo- ples: e.g., Hottentots, Celestials, etc., but lower-case negro, colored people, the blacks, the whites, 'poor whites, etc. Capitalize generic parts of names of political divisions (a) when the term is an organic part of the name, directly following the proper name: e.g., the Rtissian Empire, Norfolk County, etc.; (&) when it is used with the preposition "of" as an integral part of the name indicating administrative subdivisions of the United States: e.g.. Commonwealth of Massachusetts; (c) when used singly as the designation for a specific division: e.g., the Dominion {of Canada), the Union; (d) when it is used as part of an appellation as though a real geographical name: e.g., the Pine Tree State, the Prom- ised Land; but lower-case such terms when standing alone or preceding the specific name: e.g., the empire of Germany, the county of Norfolk. Use capitals for numbered political divisions: e.g.. Ward Eleven, Fifth Precinct, Eleventh Congressional District, etc. Lower-case legislature, circuit court, district court, city council, supreme court, senate, and house of representatives except when specifically applied: e.g., the legislature of the State, the circuit court, etc., but Congress, the Circuit Court of Suffolk County, the House of Representatives of the United States. Capitalization of References Capitalize nouns followed by a capitalized roman numeral: e.g.. Act I, Vol. VIII, etc. In references the nouns and roman numerals are often lower-cased. Lower-case minor subdivisions and their abbreviations of literary references: e.g., line, verse, note, section, chapter, page, etc. [20] STYLE MANUAL Capitalization of Ordinals Capitalize sessions of Congress, dynasties, names of regi- ments, etc.: e.g., the Fifty-fourth Congress, the Forty-fourth Massachusetts, the Sixteenth Dynasty. Capitalization in General On title-pages and in headings certain words may be capitalized wluch in paragraphed matter would be lower- cased: e.g.. The Principles of Scientific Management. Capitalize the first word of a sentence and the first word of each line of poetry. Capitalize the words I and O. Capitalize the first word after a colon when introducing a sentence having an independent meaning: e.g.. My expla- nation is: Competition forces each manufacturer to study economies. Lower-case the first word of a quotation following a colon (a) if it is closely connected with what precedes it; (6) if the phrase is dependent upon the preceding clause; or (c) if the words following the colon contain comment: e.g.. These explanations occur to me : either the manufacturers are unaware of the situation, or they have become indifferent. Lower-case the definite article as a part of the title in mentioning newspapers or magazines: e.g., the Boston Herald, the Review of Reviews. Capitalize words having special meanings: e.g., the Referee's decision, a Bachelor's degree. Capitalize the first word of every direct quotation. Lower-case words used in forming parts of hj^henated compounds : e.g.. The speed of the Twentieth-century Limited, West Twenty-third Street, etc. Lower-case units of measurement and their abbrevia- [21] THE PLIMPTON PRESS tions: e.g., second, minute, hour, ounce, pound, foot, yard, etc. In side-heads capitalize only the first word and proper names. Lower-case the first word of a quotation, even though capitalized in the original, when it is closely connected with what precedes it. In a letter, capitahze the first word after the address. In the address, capitahze sir, friend, father, brother, sister, etc. The following examples show the use of capitals, small capitals, lower case, and pimctuation. The comma used after the address is less formal than the colon: e.g., {Indent S ems) Nohwood, Mass. {Indent 1 em) 1 March, 1911 (Set flush) {No comma or 'period) Dear Sm: We have received your letter of 28 Feb., and the advice contained therein shall receive our prompt and careful attention. Very truly yours, {Indent 1 em) The Plimpton Press {No period) Messrs. Smith, Jones & Co., {Indent 1 em) New York, N. Y. {Indent 2 ems) {Indent 1 em) Boston, 25 March, 1911 {No period) {Set flush) My dear Mother, It was good of you to remember the little anniversary which has just passed, and the letter which arrived yesterday added much to the joy of the occasion. AflFectionately yours, {Indent 1 em) Alfred {No period) When a date is at the end of a letter or paper, it is to [22] STYLE MANUAL be placed at the left of page, using roman caps and lower- case if above signature; caps, small caps, and italic if below signature. In MS., two lines drawn underneath a word or words indicate small capitals; three lines, capitals. Set in Small Capitals B.C. and A.D.,.A.M. and p.m., should be set in small caps, with no spacing between the letters: e.g., b.c. Ji80. [23] SPELLING When two or more forms exist in any good usage, in- cluding good minority usage, or recent usage among bibli- ographers, scientists, and other systematic writers, observe the following rules: (a) Prefer the form most correct etymologically (b) Prefer the shortest and simplest (c) Prefer the more phonetic form (d) Prefer English spelling rather than foreign. Do not use the French ending re in theater, center, meager, sepulcher, etc. Do not follow the English ending, our, in behavior, arbor, flavor, color, etc., but it should be retained in Saviour. Avoid all diphthongs, especially ce and oe, but retain w and cs in Latin words and in nominal English forms like formulae and other plurals, arbor vitoe, etc. Established English words having now or formerly the ligature ce or oe are written with the simple e without exception. Spell out, in ordinary reading matter, all numbers of less than three digits: e.g.. We have twenty-five titles, amounting to 250,000 volumes in all. If, in a group of numbers, some consist of three digits and others of less, use figures for all: e.g.. The packages contain, respectively, 50, 85, and 128 sheets, not fifty, eighty- five, and 128. In statistical or technical matter figures should be used: e.g.. The paper to be used is 33 x Jf-Jt inches, and weighs 120 pounds to the ream. Percentage should always take figures: e.g., 1/2 of 1 per cent. [24] STYLE MANUAL Spell out round numbers, but use figures for specific, even though approximate statements: e.g., The 'population of the United States is about one hundred millions; but. The population of the United States is 92,000,000. Always spell out a figure, whatever its size, when it begins a sentence. If for any reason this is impracticable the sentence must be reconstructed. Spell out years and months in stating ages: e.g., Edward is five years and four months old. In ordinary reading matter spell out the time of day, but in enumerations, and always in connection with a.m. and P.M., use figures, omitting the word o'clock: e.g.. The doors open at 7.30 p.m. Spell out references to specific decades: e.g.. Back in the eighties. Spell out numbers of centuries, dynasties, military bodies, streets and thoroughfares, sessions of Congress. The possessive of proper nouns ending in s or other sibilant is formed by adding the apostrophe and s if the word is of one syllable: e.g.. King James's Version; but add the apostrophe alone if the word is of more than one syllable: e.g.. For Jesus' sake. Spell these participles as follows: acknowledging gluing shoeing agreeing grudging singeing awing hieing tingeing bluing hoeing trudging dyeing icing truing encoiu'aging judging vieing eyeing owing Use accents in foreign names and words unless other- wise directed. The following is a partial list of words in common use in which accented letters occur: [25] THE PLIMPTON PRESS attach^ entrepdt proces verbal charge d'affaires expose prot6ge confrere fagade regime coup d'etat faience resume coup de gr4ce habitu6 r61e creche lese majestd senor debris materiel soiree en arriere matinee t6te-4-tete en echelon milee vis-a-vis i en regie nee vis6 entree papier-mach6 Spell the following words with the termination ise: advertise compromise exercise premise advise demise exorcise reprise appraise devise franchise revise apprise (to inform) disfranchise improvise rise arise disguise incise supervise chastise emprise manuprise surmise circumcise enfranchise merchandise surprise comprise enterprise Spell the following words with the termination ize: aggrandize centralize extemporize magnetize agonize characterize familiarize memorialize analyze christianize fertilize mesmerize anatomize civilize fossilize metamorphize anglicize colonize fraternize methodize apologize criticize galvanize minimize apostrophize crystallize generalize modernize apprize {to value) demoralize gormandize monopolize authorize dogmatize harmonize moralize baptize economize immortalize nationalize brutalize emphasize italicize naturalize canonize epitomize jeopardize neutralize catechize equalize legalize organize catholicize eulogize liberalize ostracize cauterize evangelize localize paralyze [26] STYLE MANUAL particularize revolutionize spiritualize temporize pasteurize satirize standardize tranquilize patronize scandalize stigmatize tyrannize philosophize scrutinize subsidize utilize plagiarize signalize summarize vaporize pulverize solemnize symbolize vitalize realize soliloquize sympathize vulcanize recognize specialize tantalize vulgarize reorganize In General Distinguish between the following words pronounced alike where the meaning changes with the spelling: Advice information, counsel advise to counsel albumen white of egg albumin viscous substance alegar ale vinegar aleger cheerful, sprightly ante preceding anti against apprise to inform apprize to value auger a tool augur to predict by signs Base bottom, vile bass lowest tone bask to lie in warmth basque apparel berth place to sleep, employment birth coming into life breach a gap breech hinder part of a gun [27] THE PLIMPTON PRESS Cannon canon . a gun a law or rule canyon a gorge cannot . can not the denial of power the affirmation of power canvas canvass a cloth to solicit capital . capitol . chief, money, stock a building caster castor a vial a rodent censer . censor . incense-pan critic cere sear seer sere to wax to burn the surface a prophet dry, withered claimant clamant one who claims beseeching complement compliment fidness praise conveyer conveyor one who conveys contrivance for conveying objects coquet . coquette to trifle in love a flirt council counsel deUberative body to advise consular councilor counselor pertaining to a consul member of a council adviser corespondent correspondent one who answers jointly with ano . one who corresponds by letter Depositary depository receiver place of deposit [28] STYLE MANUAL discreet prudent discrete distinct dyeing coloring dying expiring Emigrant one who moves out of a country immigrant .... one who moves into a country emigration moving out immigration .... moving in empirical experimentative empyrical .... combustible principle of coal Faker a cheat, swindler fakir an Oriental religious ascetic farther as applied to distance further signifying additional Galipot resin or pitch gallipot medicine pot gantlet "running the gantlet" gauntlet glove grisly horrible grizzly grayish Hoard accumulate horde troop Immanent .... inherent inmainent impending incipient commencing insipient stupid, foolish indict charge with crime indite compose, write indiscreet imprudent indiscrete compact intension stretching intention determination [29] THE PLIMPTON PRESS Lessen to reduce lesson something to be studied Maize com maze a labyrinth marten an animal martin a bird meat flesh meet to join, proper mete to measure miner a digger minor under age mucous slimy mucus viscid fluid O the sign of address, the expression of wish, etc. oh! an exclamation Panel sunken plane with raised margins pannel rustic saddle parol oral declaration parole word of honor passable admitting passage passible unfeeUng pendant an ornament pendent hanging premices first-fruits premises property prophecy a prediction prophesy to foretell Rabbet a groove in edge of boards rabbit a small animal resin semiliquid exudation of the pine rosin solid product of turpentine rigger a fitter of ships' rigging rigor severity of life — muscular rigidity [30] STYLE MANUAL riot . , a tumult ryot a tiller of the soil Saver one who saves savor flavor subtle sly, artful suttle net weight sheath a scabbard sheathe to cover sleight artful trick slight small Theocracy .... government by direction of God theocrasy mixture of worship of different gods ton a measure of weight tun a large cask Vertical perpendicular verticle axis, hinge Wheal raised mark, a welt wheel rotating disk [31] COMPOUND WORDS Do not compound points of the compass except such words as north-northeast, south-southwest, etc. Quartermaster, headquarters, etc., should be made one word. Words ending in' like are not compounded unless derived from nouns containing more than one syllable (except when ending in I): e.g., childlike, lifelike; but business-like, bell-like, etc. The prefix mid requires the hyphen except in cases of words in common use: e.g., midsummer, midday. Use the hyphen in such words as first-rate, one-sided, two-foot-rule. Use the hyphen in such words as attorney-general, rear- admiral, etc., but not in viceroy, vicegerent, etc. Use the hyphen in such words as brownish-green, yellovnsh- white, olive-green, silver-gray, lemon-yellow, red-hot, etc. Do not compound such phrases as goodbye, by and by, by the bye, good morning, attorney at law, coat of arms, etc. Words ending with boat, house, look, room, side, yard, shop, mill, field, tree, work, chair, maker, holder, keeper, skin, store, book, fold, score, penny, pence take the hyphen when the prefixed noun contains two syllables; should be printed as one compact word when the noun contains but one syllable; and as two separate words when the noun contains three or more syllables: e.g., ante-room, schoolroom, paper-mill, windmill, bucket-shop, workshop, policy shop. When two or more words (except proper names which form a unity in themselves) are combined into one heading, preceding a noun, they are to be treated as compound words: [32] STYLE MANUAL e.g., the well-known financier, up-to-date equipment, go-as- you-please race; but an old English tearoom. In applying this rule be careful not to hyphenate adjec- tives and participles with adverbs which end in ly, nor combinations such as those referred to when following a noun or qualifying a predicate: e.g., possessed of highly developed intelligence. A lawyer well thought of in his own city. Use the hyphen in nouns which stand in objective relation to each other, one of whose components is derived from a transitive verb: e.g., / am your well-wisher; He is a large property-holder; Hero-worship; but bookkeeper, bookmaker, copyholder, dressmaker, lawgiver, proofreader, taxpayer, and similar common short compounds. Use the hyphen in compounds of fellow: e.g., play- fellow, fellow-creatures, etc.; but bedfellow. Use the hyphen in compounds of father, mother, brother, sister, daughter, parent, and foster: e.g., father-feeling, mother- country, brother-love, sister-empire, foster-father, etc.; but fatherland, fatherhead, grandfather. Use the hyphen in compounds of world and life: e.g., life-story, world-influence, etc.; but lifetime. Use the hyphen in compounds of master: e.g., master- painter, etc.; but masterpiece. Use the hyphen in compounds of god: e.g., sun-god, rain-god, etc.; but godson. Do not use hyphen in compounds of bi, tri, semi, or demi: e.g., bimonthly, tricolor, semiannual, demijohn. Con- sider long or unusual formations as exceptions: e.g., bi- centennial, etc. Use the hyphen when half or quarter, etc., is combined with a noun: e.g., half-circle, half-title, quarter-mile, etc. Use hyphen in compounds of self: e.g., self-esteem, self- respecting, etc. [33] THE PLIMPTON PRESS Use the hyphen in connecting ex, vice, general, elect, etc., constituting parts of titles, with the chief noun: e.g., ex- Governor Draper, Governor-elect Wilson, etc. Use the hyphen in compounds of by: e.g., by-laws, by- products, etc. Use the hyphen in connection with prefixes co, pre, and re when followed by words beginning with the same vowel as that in which they terminate, but not when followed by a different vowel or a consonant: e.g., co-operation, but coeducation; pre-empted, but prearranged; re-elected, but recast. Consider as exceptions combinations with proper names, long or unusual formations, and words where the hyphen defines the meaning: e.g., re-creation and recreation, re-form and reform, re-collect and recollect, pre-Raphaelite. Do not use the hyphen in today, tonight, tomorrow, viewpoint, or standpoint. Do not use the hyphen in connection with the negative prefixes un, in, and a: e.g., unrepublican, inevitable, etc., but the prefix non requires the hyphen except in words which have become common: e.g., non-conductor; but nonsense. Use the hyphen in connection with the word quasi pre- fixed to a noun or to an adjective: e.g., quasi-corporation, quasi-compliant. Do not use the hyphen in connection with the words over and under employed as prefixes: e.g., overestimate, undersecretary; but over-soul, over-spiritual, under-man. Do not use the hyphen in connection with the Latin prepositions ante, anti, inter, intra, post, sub, and super: e.g., antedate, antidote, subtitle, etc.; but ante-room, anti-imperial- istic, intra-atomic. Use the hyphen in connection with the Latin prepositions extra, infra, supra, and uUra: e.g., extra-hazardmis (but extraordinary), ultra-conservative (but Ultramontane). [34] STYLE MANUAL Use the hyphen in spelling out fractional numbers in- volving more than two words: e.g., The supply is three- quarters exhausted; but, This leaves twenty-five hundredths. Do not use the hyphen in cases such as this: He turned over one third of his property to his wife. Do not use hyphens in spelling out a series of fractions: e.g., / can secure you one, two, or three fifths, not one-, two-, or three-fifths. Use the hyphen in the following words: after-years bas-relief birth-rate blood-feud blood-relations common-sense cross-examine cross-reference cross-section death-rate feast-day folk-song food-stuflE fountain-head guinea-pig horse-power page-proof pay-roll poor-law post-oflBce sea-level sense-perception son-in-law subject-matter man-of-war object-lesson thought-process title-page wave-length well-being well-nigh will-power [35] DIVISION OF WORDS Always avoid the unnecessary division of a word. Carry the whole word over whenever consistent with good spacing. Divide a word as it is naturally divided in correct pronunciation, rather than according to derivation: e.g., knowl-edge, not know-ledge; but divide according to meaning and derivation as far as is compatible with good spacing and pronunciation: e.g., dis-pleasure, not displeas-ure. A single consonant between two vowels should be joined with the first vowel if short, but with the latter if long: e.g., riv-er, ri-val; but avoid dividing words as short as these if possible. When two consonants come together between two vowels divide the consonants: e.g., mil-lion, struc-ture. When three consonants come together between two vowels the first of which is short, divide after the first consonant: e.g., han-dle, chil-dren, frus-trate, etc. Whenever practicable, and always when the pronuncia- tion of a word is peculiar, divide upon the vowel: e.g., pro-dud, colo-nel, sepa-rate, peo-ple, pro-gress. exceptions: words ending in -ahle and -ihle, which should carry the vowel over into the next line. The letters c and g must never be separated from the vowels e, i, and y upon which their soft sound depends: e.g., re-li-gion, ca-pa-ci-ty, etc. X must never begin a syllable, j must never end one, and q must not be separated from u, which invariably follows it. When used as terminations, ing, en, ed, er, est, and the plural es are considered as syllables, except when the [36] STYLE MANUAL preceding consonant is doubled, or when they follow c or g soft: e.g., speak-ing, tak-en, long-er; but lat-ter, for-cing, ran-ging. Always avoid two-letter divisions. Do not divide eleven, heaven, power, faster, finer, houses, given, flower, prayer, soften, liken, verses, listen, often, voyage, nothing, even, etc. When a derivative word ends in t, the t is carried over when the accent changes: e.g., instinc-tive (instinct); but not otherwise: e.g., construct-ive (construct). Never allow more than two divisions in successive lines. Never allow a division at the end of the last full line of a paragraph. Never divide a word of four letters. Avoid dividing words of five or six letters if possible. Avoid dividing an amount that is stated in figures. Avoid dividing a word in the past tense, pronounced as one syllable: e.g., beamed. Avoid the separation of two initials of a person's name, or such combination as B.C., a.m. Avoid a divided word that will appear on the last line of one page and the top line of the next page. Avoid separating a divisional mark (a) or (6) from the matter to which it pertains. Divide adjectives ending in -ical upon the i: e.g., rmisi- cal, not music-al or mu-sical. Word endings -tion, -sion, -tial, -cial, -tive, etc., are treated as one syllable. In compound words avoid additional hyphens: e.g., music-lesson, not music-les-son. [37] INDENTION There are different forms of indention which are used for different purposes, viz.: Lozenge or en echelon indention is largely used for display in posters and advertisements. It consists in the diagonal arrangement of words, thus: Carpets Chairs Tables Stoves Irregular indention — For this form of indention there are no specified rules, and it is used principally in certain styles of poetry and in display work. Hanging indention which makes the first line of full width and indents all the following lines one or more ems on the left, as shown in these three lines. Half-diamond indention was used largely by early printers, particularly by Aldus, not only for title-pages but also for chapter end- ings. It consists in arrang- ing all lines right and left thus [38] SPACING Always space the same line evenly throughout. The spaces in a line should never vary more than the diflference between a three to em space and an en quad. Uniformity in appearance shows excellence in printing. To have one line thin-spaced and the next wide-spaced is in bad taste, and even in narrow measure this inequality can be avoided with proper care. In fonts of type where ends of hyphens and dashes touch the adjoining letters, use hair-spaces. Also, use hair-spaces before colons, semicolons, interrogation-points, exclamation-marks, and inside quotation-marks. Leave no space between superior letters, or letters indi- cating powers, and inferior figures or letters; or between letters forming products. Leave no space between the abbreviations a.d. and B.C., A.M. and P.M., between titles, such as LL.D., Ph.D., etc., or between the abbreviations of States, such as N.Y., R.I., N.H., etc., except in a wide-spaced line. Space Scripture references as follows: II Sam. 1:2-6; 2:8-12. Leave no space between the symbols $ and £ preceding figures. Allow an indention of one or more ems at the end of the last line of a paragraph. Leave the same space on each side of short words, such as a, an, etc. Do not thin-space or wide-space a line in order to avoid a turn-over. Avoid beginning and ending a line with the same word in wide measure, but do not sacrifice good spacing. [39] THE PLIMPTON PRESS The kerned letters / and j require a hair-space before them when they begin a Une. When kemed letters end a line a hair-space is necessary after them to prevent break- ing off in printing. Should wide spacing be necessary, let it occur where it will be least noticed; viz., between words ending or beginning with tall letters. This is an en dash: - This is an em dash: — This is a 2-em dash: This is a 3-em dash: This line is hair-spaced. This line is spaced with 5-em spaces. This line is spaced with 4-em spaces. This line is spaced with 3-em spaces. This hue is spaced with en quads. This line is spaced with em quads. [40] ITALIC The first italic types were designed and used by Aldus Manutius, a celebrated Italian printer, in the fifteenth century. It is said that the style was suggested by the handMTiting of Petrarch. In the first fonts only the lower case letters were italic, the capitals being roman, but this irregularity soon gave way to the more regular style of italic capitals and lower case. Italic is not used for the text of a book, but it is permis- sible for the preface, extracts, etc. For poetry and other matter of a literary character italic has a decorative effect. Italic is used for emphasis in roman composition and vice versa. Italic is used frequently for subheads, running-heads, and side-heads, as well as for important paragraphs or extracts. Italic is often used instead of roman-quoted for the titles of books, magazines, newspapers, and names of ships. Signatures or credits are often placed in itahc at the end of an article. Foreign words and phrases are often required to be set in italic, but there are many which are now so familiar to English readers that they are kept in the ordinary text. The following is a hst of the most familiar words: a propos anno Domini cafe ad valorem ante-bellum canto addenda beau ideal carte blanche aide-de-camp billet-doux chaperon alias bon-ton chapeau alibi bona fide charge d'affaires alma mater bravo chiaroscuro [41] THE PLIMPTON PRESS cicerone finis per centum contra gratis per se corrigenda hoi polloi post-mortem data imprimatur pro rata debris innuendo protege debut literati quondam depot mandamus regime diarrhoea manoeuvre rendezvous dictum mignonette r61e dilettante naive savant dramatis personse oUa podrida seraglio ennui onus sobriquet entrep6t paterfamilias ultimatum erratum patois verbatim et cetera per annum vice facsimile per capita vice versa fete per cent viva voce Italicize the following expressions, which are not as a rule so well known: ancien regime bete noir ah ovo comme Ufaut de trop de qwxi vivre en pcusarU fait accompli grand monde inter alia hors de combat jeu d'esprit locum tenens raise en scene noblesse oblige raison d'etre sans ceremonie tour deforce Italic is used in the following words, phrases, and abbre- viations employed in literary and legal references: e.g., ibid., idem, loc. dt., op. cit., ad loc, s. v., supra, infra, passim, vide, circa (ca.). exceptions: cf., i.e., e.g., v. (versus), viz., etc., which are always roman. Italic is used for the names of plaintiff and defendant in the citation of legal causes. [42] STYLE MANUAL Italic is used in algebraic, geometric, and similar matter to designate unknown quantities, lines, etc. Use italic for s. and d. {shilling and pence) following the figures: e.g., Is. 6d. Use italic for scientific names of genera and species in zoological, botanical, and geological matter. Use italic for names of stars or constellations in astro- nomical matter. In medical matter use roman instead of italic for scien- tific terms. Use italic in resolutions for the word Resolved. In MS. one line drawn beneath a word or sentence signifies that it is to be put in italic. [43] PUNCTUATION In the manuscripts and the earliest printed volumes the words followed one another without punctuation points, thus making it difficult for the readers to separate the ideas into the same parts as originally intended by the authors. From this chaotic condition there have gradually been evolved definite rules for general guidance, but judg- ment and taste must always be the final guides to correct punctuation. Assistance may be obtained by observing a few simple rules which are based upon the idea that the purpose of every punctuation mark is to indicate to the eye the construction of the sentence in which it occurs. No one of the various punctuation marks should ever be used exclusively or to excess, for each one has some specific duty which it can perform better than any other. It is always wise to question why, in a given case, a punctua- tion mark should be put in rather than why it should be left out, for of the two evils an over-punctuated book is the more objectionable. The Comma The comma is used to indicate the smallest degree of separation. Always place the comma inside the quotation-marks when used in connection with them. The COMMA IS required: Before a conjunction when the preceding word is qualified by an expression which is not intended to qualify the word following the conjunction: e.g.. He suddenly started, and fell. Between adjectives and adverbs when not connected by [44] STYLE MANUAL a conjunction: e.g., He 'possessed a calm, aggravating manner; but the comma can be omitted between two adjectives when the idea is close: e.g., A clear cold day. After adjectives and adverbs, where three or more are used in succession: e.g.. He possessed a calm, cynical, aggra- vating manner. In a succession of three or more words where the con- junctive "and" is used before the last one: e.g., He was tall, thin, and pale. When the word after the conjunction is followed by an expression which qualifies that word alone: e.g., 'Twas certain he could write, and cipher too. In inverted phrases and sentences: e.g.. Discouraged by constant opposition, he resigned his position. Short phrases of similar nature do not require the comma: e.g.. Of his intentions there could he no doubt. To separate the adverbs however, now, then, too, and indeed from the context when they are used as conjunctions: e.g., This idea, however, had not occurred to him. When these words are used as adverbs, the comma is not required: e.g., It must be done, however contrary it may be to our present advantage. To separate parenthetical or intermediate expressions from the context: e.g.. His intentions, though at first con- cealed, became obvious. After the last word of a series composed of several words not connected by conjunctions: e.g., The men, the women, the children even, were up in arms. Between two words or phrases in apposition with each other: e.g., I refer to Mr. Taylor, the father of Scientific Management. But when they are used as a single phrase or a compound name, no comma is required: e.g.. The poet Tennyson was born in 1809. [45] THE PLIMPTON PRESS Between the name of a person and his title or degree: e.g., Charles W. Eliot, President Emeritus; Woodrow Wilson, LL.D. Between two independent nouns and phrases connected by a conjunction: e.g., The door was open, and the horse was gone. Between relative clauses which are explanatory of an antecedent, or which present an additional thought: e.g., Her voice, which was charming in her own drawing-room, was not powerful enough for a public auditorium. But rela- tive clauses which limit the meaning of the antecedent (called restrictive), do not require the comma: e.g.. He did that which he was obliged to do. Between two clauses, one of which depends on the other, and usually introduced by it, when, unless, though: e.g.. If we stand together, success is assured. If the clauses are closely connected both in sense and construction, the comma is not required: e.g., William was ten years old when his father moved to Boston. In compound sentences, to separate the co-ordinate clause when closely related and simple in construction: e.g., He was courteous, not cringing, to superiors. To indicate an ellipsis: e.g.. Price, seventy-five cents. To separate vocative words or expressions from the context: e.g., I leave it, gentlemen, to your sense of right and wrong. Before not, when introducing an antithetical clause: e.g., He devoted his attention to the matter before him, not because he was interested, but because he could not avoid the issue. To separate similar or identical words, even though not required by the sense or grammatical construction: e.g., I tell you, you are v}rong. [46] STYLE MANUAL To separate two numbers: e.g., March 1, 1911; In 1910, 869 cases were reported. To separate a quotation or similar brief expression from the preceding part of the sentence: e.g., To quote the proverb, "Look before you leap." Before the word of, connecting a proper name with residence or position: e.g., Senator Lodge, of Massachusetts. After the salutatory phrase at the beginning of a letter, when informal: e.g.. My dear Mother, but, when formal, Gentlemen: The COMMA IS NOT required: Before or after conjunctions such as and, or, nor, but, and yet when employed to connect two words belonging to the same part of speech and in the same construction: e.g.. Sink or swim, live or die, survive or perish, I give my hand and my heart to this vote. Before or after conjunctions when they are employed to connect two expressions in the same construction used as if belonging to the same part of speech: e.g., The new system of management guarantees accuracy in getting orders under way and promptness in completing them. Before the conjunction too when placed at the end of a sentence: e.g., I hope that you will come too. Where there are two or more words or phrases having a conjunction between each two: e.g.. Lest he should be tempted and yield and thus be false. After an adjective that describes or limits another adjective together with the noun following: e.g.. He had on a pair of torn gray corduroy breeches. When a pronoun is used with a noun for emphasis: e.g., Lafcadio Ream himself could not have described the scene more vividly. [47] THE PLIMPTON PRESS The Semicolon The semicolon is used to indicate a pause or degree of separation next greater than the comma. Use the semicolon: When the members of a compound sentence are com- plex in construction, or contain commas: e.g., He was courteous, not cringing, to superiors; affable, hut not familiar, to equals; and kind, hut not condescending, to inferiors. To connect successive sentences: e.g.. His face never showed an emotion other than that which he wished to have seen there; the mouth was protected hy his heavy mustache; his eyes penetrated the object on which they fixed themselves. Shorter sentences should be divided by commas. Between expressions in a series which have a common dependence upon words at the beginning or end of a sen- tence: e.g., The half -sick man is a nuisance to his entire household; he is not ill enough to accept restraint; he is too ill to be reasonable. To separate passages containing chapters in Scriptural references: e.g.. Matt. l:Jt-8, 2, 12; chap. 3; 8:16. Before as, viz., thai, is, namely, etc., when these words introduce a series of simple particular terms in apposition with a general term: e.g.. There are three genders in Latin; namely, masculine, feminine, and neuter. The semicolon should always be placed outside of quota- tion-marks, unless forming a part of the quotation. The Colon The colon is used between clauses of compound sentences, additional clauses without a conjunction, formal quotations, and particulars in apposition with a general term, to mark the necessity of a pause greater than that indicated by the [48] STYLE MANUAL semicolon and less than that indicated by the period. The colon is much less used today than formerly, as modern writers employ shorter and less formal sentences than those of a century ago. Use the colon: Between two members of a sentence when one or both are made up of two or more clauses divided by semicolons: e.g., The dove then turned up his coat collar and put on his cocked hat; and, having exchanged a long and affectionate embrace with his future partner, once again braved the cold wind of the night: merely pausing for a few minutes in the male paupers' ward to abuse them a little; with the view of satisfying himself that he could fill the office of workhouse master with needful acerbity. Between a complete sentence and an additional clause enlarging upon the same idea without a conjunction: e.g., Imagination is essential to business success: without imagi- nation, plans for future development cannot intelligently be made. Before particulars definitely stated: e.g.. These new duties of the management are grouped under four heads: first, they develop a science for each element of a man's work, etc. Before formal quotations: e.g., In a recent speech attrib- uted to you by the daily press, you are reported to have remarked: "Good principles follow good habits." After the formal salutatory phrase at the beginning of a letter: e.g.. Gentlemen: When less formality is desired, the comma may be used: e.g.. My dear Mother, Between the hours and minutes in indicating time: e.g., 11:30 A.M. Between the chapter and verse in Scriptural references: e.g., MaU. l:Jr-8, 2, IS; chap. 3; 8:16. Between the city of publication and the name of publisher [49] THE PLIMPTON PRESS in literary references: e.g., " The Adventures of Tom Savyyer" {New York: Harpers). The colon should always be placed outside of the quota- tion-marks unless included as a part of the quotation itself. The Period Always place the period inside the quotation-marks and inside the parentheses, when parenthetical matter forms an independent sentence and is not a part of the preceding sentence; otherwise the period is placed outside the quotation-marks. Use the period: After every complete sentence unless the sentence is interrogative or exclamatory. After every abbreviation. To indicate an ellipsis, repeating the mark three or more times separated by spaces: e.g., Do NOT USE THE PERIOD: After roman numerals, even though they possess the value of ordinals: e.g., Vol. VIII; George V is king of England. After running-heads. After centered head-lines. After box-heads in tables. After cut-in side-notes. After subheads set in separate lines. After legends beneath illustrations. At end of lines in display composition, such as titles, blocked headings, etc. After date-lines at the top of letters. After signatures at the end of letters. [50] STYLE MANUAL The Dash The dash is more misused and overused than any of the other punctuation marks. The following rules define its proper use: Use the dash whenever the construction or the sense is suddenly changed or suspended: e.g., You cannot believe — but I will not humiliate myself by asking the question. Use the dash when the sentence is abruptly terminated: e.g., "If he is alive, I can make him one from this time; and if-if-" Use the dash to secure rhetorical emphasis: e.g.. We are ready — we are more than ready to meet the issue. Use the dash between short, snappy sentences to in- crease the speed of the discourse: e.g., Hullo! ho! the whole world's asleep! — bring out the horses, — grease the wheels, — tie on the mail! Use the dash between the subject-matter and its au- thority. Dashes may be substituted for commas or marks of parenthesis before and after expressions having closer con- nection with the main sentence than could be indicated by marks of parenthesis: e.g., They might have been talking for a quarter of an hour or more, when Monks — by which name the Jew had designated the strange man — said, etc. Use the dash to indicate the omission of letters: e.g., Mrs. B . Use the dash at the end of a series of clauses which depend upon the concluding clause: e.g.. Courtesy and atten- tion, patience and judgment, accuracy and carefulness — these are but a few of the elements which constitute successful busi- ness relations. Use the dash to precede expressions which are added to [51] THE PLIMPTON PRESS an apparently completed sentence, but which refer to some previous part of the sentence: e.g., The question of hearing was seriously troubling the minister — they 'probably had heard too much. Use the dash preceded by the comma before a short quotation which forms a new paragraph; preceded by the colon before a long quotation forming a new paragraph. The dash is not otherwise used with other punctuation marks unless demanded by clearness. The Exclamation-point The exclamation-point is used at the end of a word or sentence to express strong emotion: e.g., God forbid! "Mind that, Faginl" The exclamation-point is often used to indicate sarcasm or doubt on the part of the writer regarding the authenticity of a statement: e.g., "For Brutus is an honorable man!" Use the exclamation-point after exclamatory words; if the same interjection is repeated use the comma to separate the words, placing the exclamation-point only at the end unless the intention is to make each of the repeated words emphatic: e.g., "Oh! dear, dear, dear!" he exclaimed; "what an unfortunate memory you have!" Place the exclamation-point outside the quotation-marks unless it is a part of the quotation itself. The Interrogation-point Every sentence containing a direct question should close with an interrogation-point: e.g.. When can this order be shipped? We have received a letter which asks, "What date can you give us for shipping these goods?" The interrogation-point is used to express doubt: e.g., This volume is said to be bound in real (?) morocco, [52] STYLE MANUAL Indirect questions do not take the interrogation-point: e.g.. He inquired when it would be ready. Place the interrogation-point outside the quotation-marks unless it is a part of the quotation itself. Quotation-marks Enclose every direct quotation in double quotation- marks: e.g., "I insist upon it," he said; "there is no alter- native." When a quotation of a passage from an author in his own words is run into the text, it should be placed between quotation-marks. Selections from different works by the same author, or from different authors, following each other without inter- vening original matter, or by reference to their sources, should be quoted. Quote a phrase or a word which is accompanied by its definition: e.g., "Roman quote" means to place the matter indicated between quotations in roman type. Words or phrases in the text which are intended by the writer to possess an unusual, technical, or ironical meaning should be quoted: e.g., Her literary "salon" will long be remembered; This so-called "captain of industry." Titles of poems, books, etc., should be quoted: e.g., Longfellow's "Belfry of Bruges." Serial titles should be qlioted: e.g., the "Oriental Series," "Stories of Nations." Words to which the writer desires to attract attention should be quoted: e.g.. The name of "Florence" immediately causes one to think of humanism. Quote the names of ships, unless directed to italicize them. Quote the titles of works of art: e.g., Raphael's "The Sistine Madonna." [53] THE PLIMPTON PRESS When setting poetry the quotation-marks should over- hang the beginning of the line. This should also be done when prose display matter is "blocked." Single quotes are used for quotations within quotations; double quotes for quotations within single quotations. Quotations should always include the phrase "etc." and other ellipses, whenever necessary to secure perfect clearness. When a long quotation is made, including several para- graphs or verses, the quotation-mark appears at the begin- ning of each paragraph, but at the end of the last only. Parentheses Marks of parenthesis are employed to separate from the rest of the sentence enclosed expressions having no essential connection: e.g., / am obliged to take this action {so the letter ran) for reasons which I cannot now give. Figures or letters used to mark divisions in enumerations should be placed between parentheses: e.g.. There is a double reason for doing this: (a) it is the simplest form; (6) it is clearer for the reader. Brackets Brackets are used to enclose explanations or notes which are entirely independent of the balance of the sentence. Ordinarily these are comments, queries, directions, correc- tions, or criticisms inserted by some person other than the original writer. Brackets are used, rather than parentheses, to enclose drop-folios (folios placed at foot of page). Brackets are used for enclosing parenthetical state- ments within parentheses. [54] STYLE MANUAL The Apostrophe Use the apostrophe, or the apostrophe and the letter s, to form the possessive case of common and proper nouns: e.g., The nation's hope; For Jesus' sake; James's apple; For appearance' sake. Use the apostrophe to indicate the omission of one or more letters in a contracted word, or the omission of figures in a number: e.g., That's 'ow it 'twas; The spirit of '76; High o'er our heads. Use the apostrophe, or the apostrophe and the letter *, to form the plural of numerals, but the apostrophe alone for the plural of polysyllabic proper nouns ending in a sibilant: e.g.. They passed by in two's and four's; She is one of those W.C.T.U.'s; That came from Perkins'. Add es or s for monosyllabic proper nouns: e.g.. The Fosses. In gen- eral, the pronunciation may be taken as a guide: if it is necessary to add a syllable to pronounce the possessive, use the double s: e.g., Sickles' corps, not Sickles's. [55] ADVICE TO PROOFREADERS AND COPYHOLDERS If any doubt arises regarding the correctness of the copy as far as dates, figures, or proper names are concerned, the proofreader should satisfy the doubt in his mind either by verification or by query to the author. In making suggestions use discretion and diplomacy. Let the author feel that the proofreader is trying to co- operate with him rather than to criticize him. Be sure that the suggestions made are worth while. Correct any obvious error without hesitation. The fact that the author or editor has passed over typo- graphical errors in no way relieves the proofreader of the responsibility. They have a right to assume that the proofreader has made the proof typographically perfect, leaving them responsible only for the literary content. The proofreader is expected to take reasonable time for doing his work, as accuracy is of greater importance than speed. He should never, therefore, allow himself to be stampeded. In an emergency, when orders and condi- tions absolutely demand haste, the responsibility will be assumed by those who require it. The proofreader should treat each piece of work as if it were an original composition of his own. The proofreader should rely upon his own judgment, and make sure that his judgment warrants reliance. The responsibility of deciphering the manuscript rests with the proofreader rather than with the copyholder or the compositor ; but if the proofreader cannot settle it, the word or words in question must be referred to the author. [56] STYLE MANUAL The proofreaders should always have the copy read to them by the copyholders; not the reverse. It is important that every query to the author, however simple, should be made absolutely clear. All queries found on the manuscript should be transferred to the proof, and the author's attention called to them. Proofreaders are not expected to ask authors or editors to settle for them questions of style, as this style has already been established, and the proofreaders are expected to be familiar with it. Lnportant In marking proofs, make every correction distinct by drawing a short line through the letter to be changed, etc., or such mark as may be required, placing in the margin the recognized sign indicating the change, exactly opposite the line in which the change is to be made and in the order in which the necessary alterations occur. Write legibly, and do not cover the proof with lines and counter lines. Advice to Copyholders Copyholders should enunciate clearly, but not too loudly, bearing in mind that it is necessary for their voice to reach the proofreader only. Never guess at a word. If there is difficulty in decipher- ing it the copyholder should refer the matter to the proof- reader; not, however, until the context has been carefully considered. Copyholders should sit in a position as near at right angles to their proofreaders as possible. This enables the proofreader to hear the copyholder to better advantage, and enables the copyholder to keep in closer touch with the proofreader in order to slow down or increase the speed of the voice as the occasion may require. [57] THE PLIMPTON PRESS Copyholders should watch the proofreaders carefully, slowing down to give them ample opportunity to make their corrections, and in general accommodating the voice to their necessities. It is their place to keep in step with the proof- readers rather than the reverse. Copyholders must use great care in transferring marks. Copyholders have no responsibility regarding matters of style. See that all books that may have been used for refer- ence during the day are returned to the bookcase. In sending out proof see that everything is included, dead copy, foul galleys or pages, etc. Keep copy and proof-sheets neatly arranged and in proper order. The copyholder should see that everything in the depart- ment is in order and be able to locate everything at a moment's notice. The neater the room is kept and the more perfect the system, the more will the copyholder's services be appreciated. [58] THE BOOK The proper layout for an ordinary volume, arranged in accord with the best usage, is as follows: BASTARD TITLE {right hand) BLANK PAGE OR ADVERTISING CARD (left hand) TITLE-PAGE (right hand) COPYRIGHT PAGE AND THE PRINTER'S IMPRINT (left hand) DEDICATION (right hand) BLANK PAGE (left hand) PREFACE (begins on right hand) CONTENTS (right hand) LIST OF ILLUSTRATIONS (right hand) INTRODUCTION (begins on right hand) HALF-TITLE (right hand) BLANK PAGE (left hand) FIRST PAGE OF TEXT (begins on right hand) Following the text may be: APPENDIX (begins on right hand) ) INDEX ( " " " " ) Considering these various divisions more at length: Bastard Title The bastard title, which is often wrongly called the half-title, is a modern evolution in its present application. Originally this single-line title was the only title which existed, but as time went on the demand of the public, on the one hand, for a decorated page at the beginning of the [59] THE PLIMPTON PRESS book, together with the printer's desire, on the other hand, to advertise himself, developed the bastard title into the dimensions of the title-page which we now know, contain- ing the name of the book, the name of the author, the publisher's device, and the publisher's name and address. At the present time the bastard title is used more to add ele- gance to the appearance of the volume than for any prac- tical purpose, it being pleasanter for the eye to rest upon this page rather than at once upon the title-page, which extends over the full dimensions of the type area. Adveztising Card If an advertising card or limit notice is required, this page of display should be set up with careful consideration of the page it is to face and of the typography of the book of which it is to be a part. Too frequently advertising cards are looked upon as separate jobs, and are set in types which do not harmonize with the typography of the rest of the book. The Title-page The title-page offers the printer and the publisher a tempting opportunity for display and for artistic typog- raphy, and too few realize the value of restraint. Cobden- Sanderson once remarked, as explaining the high prices which he secures for his work, that he always charges more for what he leaves out than for what he puts in. The earliest volumes lacked the title-page, because vellum and linen paper were held so high that the expense of an extra leaf was considered an unnecessary luxury. In these books that which took the place of the title was at the end, the colophon being in evidence, indicating the name of the illuminator, if not always that of the printer. As was the case with the manuscript book, the volume [60] STYLE MANUAL began with the phrase, "Here beginneth . . ." Later came piratical reprints, which resulted in making the critical reader insist upon having each volume stamped with the printer's name or mark, as a guarantee of reliable workmanship. The first definite step in the direction of the title-page is marked by bibliographers in a little volume printed by Arnold Ther Hoernen, of Cologne, in 1470. It consisted of an introduction at the head of a page, the major part of which was left blank. Whether the printer forgot to place the usual introduction at the head of the first page, and took this way to remedy his error, is not known. In general, diflferent faces of type should never be com- bined upon the title-page, the variations being secured by using smaller sizes of the same face, or harmonizing fonts. Capitals and lower case letters can be successfully com- bined on the title-page only as a result of care and thought, the best title-pages usually being all in lower case or all in caps and small caps. A two-color title-page is rarely a success unless it was originally composed with two colors in mind, instead of being set up in black and arbitrarily split up for colors. The decoration should never overbalance the type, and this applies as well to the question of borders on deco- rated books. No matter how beautiful, if the decoration overbalances the type, the volume or the title-page ceases to be an example of typography and becomes something answerable only to itself.^ It would be most difficult to lay down specific rules for titles, which vary in form, amount of matter, and fashion, but the salient points to be taken into consideration reduce themselves to the following general advice: 'See Cobden-Sanderson's definition of "the book beautiful," supra, p. 4. [61] THE PLIMPTON PRESS 1. A plan is needed for every proposed title-page. 2. The three divisions of a title-page — name, author, and imprint — must be understood by the compositor, and the types so arranged that these divisions shall be apparent to the reader. 3. The value of white space in a title-page should be appreciated. Decorations lend grace, if appropriate, but never when they are larger, blacker, or bolder than the types. 4. In selecting his types, the compositor should take his cue from the text of the book. 5. Avoid extremes and freakishness in the selection and arrangement of types. 6. The only colors suitable for titles of serious books are black, red, and gold. In gift or holiday volumes brown, green, and gray are often effectively used. 7. The printer should look upon the copy of any new title-page as a proposed architecture of words in types, and this architecture should be controlled by the rules that in all times and places have governed good construction. Copyright On the copyright page is ordinarily placed the copyright entry of the volume, usually a little above the center, set in caps and small caps, or in small caps alone. At the foot of this same page the printer usually places his imprint. Dedication The dedication is a page set in the monumental style, generally in small capitals. This must always be a right- hand page, and the reverse must always be blank. Preface Ordinarily the preface is set in the same size of type as the body. If it is written by some one other than the author it is frequently set in italic to mark the distinction. This is particulariy true in case the book contains an introduc- tion as well. If the preface is of unusual importance it is sometimes customary to have it set in type one size larger than the body, or double-leaded. [62] STYLE MANUAL Contents After the preface and before the list of illustrations comes the contents, occupying whatever number of pages which may be necessary. The style of its composition is dependent entirely upon the subject-matter and the typo- graphical arrangement of the volume. List of Illustrations The list of illustrations should always be a right-hand page. This follows the contents, and is always set in a style conforming to the contents page or pages. Introduction See remarks under "Preface." HaU-Title The half-title ordinarily consists of a single line standing by itself on the page immediately preceding the first page of the text, and the title of the book at the top of the first page of text. It is frequently confused with the bastard or false title, which always precedes the title-page. Half- titles may also run through the book before various divi- sions, but the bastard title never moves from its one position at the beginning of the volume. [63] THE PLIMPTON PRESS Limit Note If an edition be limited in number, the notice of such limit should be placed either on the page facing the bastard title or on the reverse of the bastard title. In General The front matter is often put into type after the compo- sition of the body has been completed, so that the number of pages is rarely definitely determined at the beginning of the work. For this reason, pubhshers have favored the expedient of numbering the preliminary pages with roman folios, using the arable folios for the text itself. The front matter and the chapter pages running through the book ofiFer opportunities for embellishment and distinctive typographical treatment, and therefore should be kept in exact accord, whether elaborate decorations are used or the severest form of typographical simplicity. Basic Sizes of Books The following list gives the size of leaf to which the various standard names and proportions naturally fold: No. pp. Name Size of TO FOEM Sheet Leaf 32 19 X 25 Thirty-two mo (32mo) six 4| 32 22 X 29 Twenty-four mo (24mo) six si 32 24 X 32 Eighteen mo (18mo) 4X6 32 27 X 34 Sixteen mo (16mo) 4iX 6i 32 30 i X 41 Duodecimo (12mo) 5iX7S 32 33 X 44 Decimo (lOmo) six 8i 16 24 X 36 Octavo (8vo) 6X9 8 18 X 24 Quarto (4to) 9 X 12 4 12 X 18 Folio 12 X 18 [64] STYLE MANUAL Margins A feature not to be overlooked in the appearance of a well-printed book is that of the margins. The perfect type page is supposed to be proportioned in such a way that its diagonal is twice its width. With this page as a basis, the location of the type upon the paper leaf is to be studied carefully. In general the two pages, right and left, should be considered as a unit, and the top margin and the inside margin of each page should be approximately the same. Doing this, the total blank between the two pages is sup- posed approximately to equal the outside and the bottom margins. The proportion of margin is, to a certain extent, depend- ent upon the size of the book, the margins becoming greater as the volume increases from the thirty-two mo size up to the folio. A student of typography has ingen- iously estimated that, taking the height of the paper leaf as 100 units, the height of the type page of the ordinary trade book should be from 72 % to 75 % ; that of a library edition, from 66 % to 71 % ; that of a de luxe volume, from 60% to 65%. [65] SUGGESTIONS TO AUTHORS AND EDITORS Preparation of Copy Preparation of copy is a matter which so intimately affects both the author and the printer that to introduce some sort of uniformity in its preparation would be of distinctly mutual advantage. The following suggestions toward this end are advanced: The sheets of paper should be uniform in size and not too large; 8| X 11 is now considered the standard size. The paper should not be shiny nor slippery as this affects the eyes of the compositors and copyholders unpleasantly. Copy should be either typewritten or legibly hand- written. If typewritten, it should be revised carefully by the author before sending it to the printer, to correct type- writers' errors. If handwritten, it should be in ink with definite regard for clearness, avoiding interlineations and erasures which make the reading difficult. It is always a simple matter to rewrite such places without rewriting the entire chapter. Each page, whether typewritten or manuscript, should contain the same number of lines, as this is of great assist- ance to publisher or printer in estimating the number of words in the manuscript, and in determining the size of the type page. Always have at least one carbon copy of a manu- script to prevent serious loss by fire, theft, or other accident, or for the use of the artist if the book is to be illustrated. Never have the manuscript bound or sheets fastened together, but have all sheets carefully numbered in sequence. If the author has decided preferences regarding spelling or punctuation, this fact should be clearly stated on the [66] STYLE MANUAL manuscript; otherwise the printer follows his office style, which may or may not conform with the author's ideas. In the preparation of copy, consistency of spelling and punctuation is strongly urged, as it not only simplifies the problem for the printer but also prevents possible misunder- standing of copy and consequent necessity for resetting. All paragraphs should be clearly indicated in the copy. All directions written upon the manuscript which are not intended as copy should be enclosed in a circle. The author should punctuate each sentence as he writes it, for in this way the marks are indicative of the natural pauses, and better express his meaning. Write on one side of the paper only. Always deliver the manuscript to the publisher or printer flat rather than rolled or folded. In fastening one piece of paper to another, or in fasten- ing addenda upon pages already written, use mucilage rather than pins or clips. Foot-notes should always be clearly indicated. Unusual words, proper names, and figures should be written out with the greatest care and distinctness by the author. The Handling of Proof It is for the common advantage of the author, the publisher, and the printer that the author or editor read all proofs received by him promptly. The author should familiarize himself with the standard proofreading marks, and employ these in marking all cor- rections upon the proof-sheets which are sent him. These marks are as follows: Q Period >/ Comma :/ Colon [67] THE PLIMPTON PRESS ;/ Semicolon =/ Hyphen /— / Dash II Paragraph No 1[ No paragraph □ Indent one em J^ Push down, space showing Eg. flF or V V V Correct uneven spacing ^ Insert space A Insert omitted word 9 Turn letter , Reduce space C3 Close up 8 . Dele, take out X Broken letter w.f Wrong font ^5. ,5, "a^ 'S' Superior or inferior letter or figure tr Transpose ZL /Zl Move to left or right ( 1 Move up I 1 Move down II = . Straighten or Ital Italic Ram Roman ■ _ Bold-face = or Caps Capitals = or Small Caps Small capitals I. c Lower case -^ Apostrophe Qy. or ? Query or Stet Let it stand I { I I I Hair-space letters as marked Run in Let there be no break in the reading Out; see copy Something omitted; see copy [68] STYLE MANUAL All queries which appear on the proof-sheets received by the author should be answered. If the query is not accepted, draw a line through it; if it is accepted, scratch out the question-mark after it. Authors should note, how- ever, that all accepted queries count as author's correc- tions, exactly as if originally suggested by the author. [69] THE PLIMPTON PRESS PROOFREADER'S MARKS — First Proof Norwood, Mass. S. C. To Whom it may Concebn: 2) fU^ In dremDg up this pag«^the aim of the writl^er is tcjIjBow *^ / i^ ' SMueof^e (jnarks icommonly used (bjrproofieaders, which t/l/t^i^ ^ would be of great benefit to both authors and publisheis if followed in preparing copy and correcting proof for flie , _/ 7/ ^^ printer. (Jliere is great difficulty at times.in finding but wha^ '^' J ; / Mi^ Xy, author really meansvUj/^mark^as they are not in hai^ ' / ~ mony with the' customary signs known in the printing office; C' '7 and an unn^}cessaryamtf)uit of time is wasted in decipher- ing them, which means tm increased expense in^crodudng K the work In° writmg printers' copy, cabe should be taken that the J^.C. H first line of every paragiapir is distinctly marked, as other at wise^should the previous word just complete a full line— p J a great deal of labor is incurred through ovemmnmg the matter, after it has 'been set up continuously, in one un-~] / broken paragraph. To have the different kinds of headings \J i^stinctly marked is another essential point, to be taken . into consideration when copy is furnished to the printer/ '. I ttO-^a^. headings to be set in gapital letters should be underscore^ 1 ' J^^ C » ''y 3 straight lines, those m small capital letters by 2 straight 'fjf^djC lines, and headings to be set in italic capital and lower-case /l/sy^ • letters should be scored by 1 straight liney for boldfare type, ; / !/■ n' one waved line is used for underscoring. Another import- ' cc^ • tant matter to be considered is the proofreadcK query \/ ' mark (Qy.), which is often found in the margin of proofs, ^ 'beside some doubtful word|or phrase, an(brhich the author -^ or publisher should answer in every instance when proofs are retiuned, as. otherwise delay may be caused, or mis- takes may pass through. Q /F'®" *'^^® ^^^ pwints, if attended to, will be helpful to both authors and publishers in getting out their booksj and will facilitate the work in the composing room. [70] STYLE MANUAL PROOFREADER'S MARKS — Second Proof Norwood, Mass. To Whom it mat Concern: In drawing up this page the aim of the writer is to show some of the marks commonly used by proofreaders, which would be of great benefit to both authors and pubhshers if followed in preparing copy and correcting proof for the printer. There is great difficulty at times in finding out what the author really means by his marks, as they are not in har- mony with the customary signs known in the printing office; and an unnecessary amount of time is wasted in decipher- ing them, which means an increased expense in producing the work. In writing printers' copy, care should be taken that the first line of every paragraph is distinctly marked, as other- wise — should the previous word just complete a full line — a great deal of labor is incurred through overrunning the matter, after it has been set up continuously, in one un- broken paragraph. To have the different kinds of headings distinctly marked is another essential point to be taken into consideration when copy is furnished to the printer : head- ings to be set in CAPITAL letters should be underscored by 3 straight lines, those in small capital letters by 2 straight lines, and headings to be set in italic capital and lower-case letters should be scored by 1 straight line; for boldface type, one waved hue is vseA for imderscoring. Another impor- tant matter to be considered is the proofreader's query mark (Qy.), which is often found in the margin of proofs, beside some doubtful word or phrase, and which the author or publisher should answer in every instance when proofs are returned, as otherwise delay may be caused, or mis- takes may pass through. Even these few points, if attended to, will be helpful to both authors and publishers in getting out their books, and will facilitate the work in the composing room. [71] THE PLIMPTON PRESS Authors should familiarize themselves with the methods employed by printers in making the actual corrections in the type forms. Many corrections are called for by the author which, because of his lack of this practical knowledge, cause far more labor, and consequently cost more than is necessary. Alterations are always a bone of contention between the author, the publisher, and the printer, but misunderstand- ings could be reduced to a minimum if all three worked along the same lines, with the same general knowledge of what was involved. With this in mind, the author is urged, wherever practicable, to supply the same number of letters as the matter which he strikes out, or to strike out else- where in the paragraph the same number of letters as the new matter which he adds. In this way extensive over- running of lines will be avoided, and a consequent saving of expense. Authors should note in the matter of alterations that the expense becomes greater as the proofs advance; that is to say, it is more expensive to make changes in the page- proof than in the galley, and still more expensive to make changes in the plates than in the pages. Always return the original manuscript with the galley- proof to enable the proofreader to refer to it if occasion demands. Always return with each successive set of proofs the previous marked set (technically called foul galleys or foul pages). All this will aid in expediting the work, and in guaranteeing its accuracy; and the proofs always form a basis to fall back upon in case of misunderstanding regarding the amount of alterations. [72] INDEX TO STYLE MANUAL INDEX TO STYLE MANUAL "A" and "an": spacing of, 39. "a-" (negative particle), compounds with, 34. Abbreviations: of dates and usages thereto, 1; of titles, 2-10; of commercial terms, 4-6 of monetary signs, 6; of States, 6-7; scrip- tural, 7-8; miscellaneous, 8-10; of Christian names, 13; capitaHzation of, names of cor- porations, 17; of academic degrees, 18; of italicized words in literary and legal refer- ences, 42; use of period with, 50. "-able" and "-ible," in divisions, 36. Abstract ideas, personified, 1; capitalization of, 160. Accents, retention of, in foreign words used in English, with illustrative list, 25-26; list of, 11-12. Acts, juridical, capitalization of, 19. A.D. {aniio Domini): spacing of, 39; set in small caps, 23. €ui loc, italicized, 42. Adjectival nouns, capitalization of, 1&. Adjectives: capitalization of, in titles of books, essays, 19; compound, 33; capitalization, with proper names, 19; ending in "-leal," how to divide, 37; omission of comma between two, 44. Adverbs: ending in "-ly'' not to be hyphenated with adjectives and participles, 33; ' use of comma with, 44r-45. OB, rules for use of, 24. Ages, to be spelled out, 25. Aldus Manutius, designer of italic types, 41. Algebraic, unknown quantities in italics, 43. Alignment, of quotation marks, 54. Alliances, political, capitalization of names of, 19. A.M. (ante ineridiem): set in small capitals, 23; spacing of, 38. Ampersand, the, use of in spelling names of com- panies, etc., 12. And, when to use comma before, 45. "Ante," compounds with, 34. "Anti," compounds with, 34. Antithetical clauses, use of comma, 46. Apocrypha, list of abbreviations for, S. Apostrophe: rules for use of, 55; use of in in- dicating omission of figures, 55; to indicate omission of letters, 55; in forming plurals of polysyllabic proper nouns ending in a sibilant, 55; in forming the plurals of nu- merals, 55 ; in designating the possessive case, 55; in indicating omission of letters in contracted words, 55. Art, titles of works of, to be quoted, 53. Article: definite, not to be treated as part of title of magazines and newspapers, 21. Astronomical terms: capitalization of, 17; names of stars and constellations, italicized, 43. B.C. (before Christ): set in small caps, 23; spacing of, 39. "Bi-," compounds with, 33. Bible: books of, abbreviations for, 1-8; capi- talization of names of books and versions of, 14. Biblical: books, abbreviations for, 7-8; capitali- zation of names and terms of, 14; parables, capitalization, 14; general terms, capitaliza- tion of, 14. Books: capitalization of titles, 19; biblical abbreviations of, 1-8, and capitalization of, 14; italics for titles of, 41. Botanical terms: use of capitals in, 17; names of genera and species, italicized, 43. Box-heads: omission of period after, 50. Brackets, rules for use of, 54. Break, or change in sentences, to be indicated by dash, 51. "Brother," compounds of, 33. Buildings, capitalization of names of, 17. "But," when comma is used before, 47. "By," compounds with, 34. C, soft, do not divide on, 36. Capitalization: of abbreviation of academic degrees, 18; of abstract ideas personified, 16; [75] IND EX of acts juridical, 19; of adjectives derived from proper nouns, 16; of adjectives and nouns designating definite geographical regions, IG; of political alliances, 19; of astronomical terms, 17; of books of the Bible, 7-8, U; of titles of books, 19; of botanical terms, 17; of buildings, 17; of "church," 14; of civic titles, IS; of word following a colon, 18; of compound titles, 14; of hyphenated com- pounds, 21; of sessions of Congress, 21; of conventions, 18; of corporations — names and abbreviations, 17; of days of week, 47; of names of dynasties, 21; of ecclesiastical appellations, 18; of epithets used as proper names, 15; of titles of essays, 19; of "father," 16; of "Fathers" — early church, 16; of foreign titles as prefixes, 18; of geographical terms, 16; of geological terms, 17; of "gospel," 1-1; of "government," 18; of historical epochs, 16; of holidays, 19; of names of institutions, 19; of judiciary bodies, 20; of names of laws, 19; of names of legislative bodies, 20; of let- ters (correspondence), 22; of units of measure- ment, 21; of medical terms, 17; of miU- tary terms, 18; of monastic orders, 14; of "mother," 16; of months of year, 17; of names for the Evil One, 15; names of political parties, 18; of proper names, 15; names of races, tribes, etc., 20; of names of regiments, 21; of names of societies, 18; of popular names for the solar system, 17; of streets, parks, etc., 17; of ordinals, 21; of titles of parables (biblical), 14; of titles of periodicals, 21; of "Pilgrim Fathers," 16; of poetry, 21; of political alliances, 19; of political parties, 19; of political divisions, 20; of pronouns referring to the Deity, 14; of proper names, 15; of quotations, 21-22; of races, tribes, etc., 20; of references, 20; of religious terms, 14; of "revolutionary," 16; of scientific terms, 17; of social organizations, 18; of side-heads, 22; of "State," 18; of streets, 17; of words on title-pages. 21; of names of treaties, 18; of "van" and "von" as prefixes, 19; of words with spedal meanings, 21; of Eoological terms, 17; rules for, 14-43. Capitals: how indicated in MS., 23; rules for use of, 14-23. Capitals and small capitals, rules for use of, 21-22. Cfip?. See Capitals. Centred head-lines, omission of period after, 50. Centuries, numbers of, to be spelled out, 25. cf., to be set in roman, 42. Christ, pronouns referring to, how capitalized, 14. Christian names, to be spelled out, 13; when to be abbreviated, 13. "Church," when capitalized, 14, Circa (ca.), italicized, 42. Citation of legal causes: names of, italicized, 42; of author's own words, quotation-marks used, 63; of different works by same author or by different authors without intervening original matter, to be quoted, 53. Civil titles, capitalization of, 18. Clauses: use of dash in separating, 51; varieties of, 45-^6. *'Co-," compounds with, 34. Colon: de&nition and use of, 48-49; rules for, 49-50; capitalization, following use of, 18, 21; use of in formal salutatory phrases beginning letters, 49; in titles of literary references, 49-50; of names of publishers, 49-50; use of in salutatory phrases, 49; separating city of publication and publisher's name, 46-50; first word following, in qu3tation, capitalized, 49; before formal quotations, 49; use of, with quotatioD-marks, 50; separating chapter and verse in scriptural references, 49; use of, in titles of literary references, 49-50; in sepa- rating divisions of time, 49. "Colonel," when spelled in full, 13. Comma, definition of, 44; when omitted, 47; omitted between two adjectives, 44; use of with adverbs, 44-15; before "and," 46. With clauses: antithetical, 46; co-ordinate, 46; dependent, 46; parenthetical, 45; and rela- tive, 46. Use of: with conjunctions, 44, 45, 46, 47; separating degrees from name of persons, 46; indicating ellipses, 46; separating numbers, 47; omission, with pronouns used with nouns for emphasis, 47; with quotation- marks, 44; separating quotations, 47; with phrases inverted and in apposition, 45; before "of" in connection with residence, 47; in salutatory phrase, 47; in inverted sentences, 45; separating titles from names, 46; separat- ing identical or similar words, 45; separating vocative words. 46; substitution of dashes for, 61; use of, with the exclamation-point, 52; rules for use of, 44—46. Comments, notes of, inclosed in brackets, 54. Commercial organizations and institutions: capitalization of names of, 17; abbreviation of terms, 4-6. "Company." to be abbreviated when forming part of name of firm, 12. Compound adjectives, 33. [76] INDEX Compound titles, spelling and abbreviation of, 13. Compounds: with "a-" (negative particle), 34; of "ante/* 34; of "anti," 34; of "bi-," 33; of "brother." 33; of "by," 34; of "co," 34; of "daughter," 33; of "elect," 34; of *'ex," 34; of "extra," 34; of "foster," 33; of "God," 33; of "half," 33; of "demi," 33; of "father," 33; of "fellow," 33; of "in-" {negative particle), 34; of "infra," 34; of "inter," 34; of "intra," 34; of "general," 34; of "like," 32; of "life," 33; of "master," 33; of "mid," 32; of "mother," 33; of "non-," 34; of "over," 34; of "parent," 33; of "post," 34; of "phrases," 32; of "pre-," 34; of "quar- ter," 32, 33; of "quasi," 34; of "re-," 34; of "self," 33; of "semi-," 33; of "sister," 33; of ■'sub," 34; of "super," 34; of "supra," 34; of "tri-," 33; of "ultra," 34; of "un-" (negative particle), 34; of "under," 34; of "vice," 34; of "world," 33. Compounds, hyphenated, when not capitalized, 21. Congress: sessions of, capitalized, 21; numbers of, to be spelled out, 25. Conjunction, use of comma with, 44, 45, 46, 47. Consonants, construction of, rules for division of words, 36. Constellations, names of, 43. Contraction of word, use of apostrophe, 55. Conventions, capitalization of, names of, 18. Co-ordinate clauses, use of comma with, 46. Corporations, capitalization of names, of ab< breviations, and of "Co.," 17, Corrections, indicated by use of brackets, 54. Credits, italicized at end of article, 41. Criticbma, indicated by use of brackets, 54. Cut-in side notes, omission of period after, 50. Dashes: comments on misuse of, 51; rules for, 51-52; different sizes of, e3q>lained, 40; sub- stitution of, for commas, 51; use when con- struction is changed, 51; use with dependent clauses, 51, 52; for emphasis, 51; to increase speed of discourse, 51; to indicate omission of letters, 51; with sentence abruptly ter- minated, 51; separating subject-matter from its authority, 51; with comma, to mark short- quotation, 52. Date-lines, omission of period, 50- Dates: abbreviations of, 1; st, d, rd, and tk, to be omitted from, 1; of letters, where placed and when capitalized, 22; ult.y inst., and prox., omitted, 1. "Daughter," compounds of, 33. Days of week: abbreviation of, 2; capitalization of, 17. Decades, specific references to be spelled out, 25. Degrees; academic, capitalization of, abbrevia- tions of, 18; use of comma separating from name of person, 46. "Demi-," compounds with, 33. Dependent clauses, use of comma, 46. Derivation, authority of, in division, 36. "Dewey" dates, when used in abbreviation, 2. Diphthongs: rules for use in spelling, 24. Directions, use of brackets in indicating, 54. Disbehef, in statement, indicated by use of exclamation -p Dint, 52. Display composition, use of periods at end of Unes, 50. Division of words: rules for, 36-37; avoidance of unnecessary, 37; on two letters, to be avoided, 37; use of hyphen, to indicate, 32-35. Divisional mark, separation from matter to which it pertains, to be avoided, 37. Drop-folios, enclosed by brackets 54. Dynasties, capitalization of names, 21; numbers of, to be spelled out, 25. Ecclesiastical appellations; capitalization of, 18. e.g., to be set in roman, 42. "Elect," combined with titles, 34. Ellipses: comma indicating, 40; use of period indicating, 50; to be treated as part of quota- tion, 54. Emphasis rhetorical, use of dash to secure, 61; of exclamation-point, 52. En Echelon indention, described, 38. English ending "our" not to be used — with one exception, 24. Enumerations, use of parentheses in connection with letters or figures used to express sub- divisions in, 54. Epithets, capitalized when iised as proper names, 15. Essays, capitalization of titles, 19. etc., use of, in quotation, 54. Evil One, capitahzation of names for, 15. "ex," prefixed to titles, 34. Exclamation-point, rules for use of, 52; express- ing strong emotion, 52; sarcasm or doubt, 52; use of with the comma, 52; with quotation- marks, 52. Explanations, use of brackets for, 54. Expositions, capitalization of names of, 18 "Extra," compounds with, 34 [77] INDEX "Father": when capitalized, 16; compounds of, 33. "Fathers," early, referring to Church, capitalize lion of, 16. "FeUow," compounds of, 33. Figures: rules for use of, 24-25; use of dash to indicate omission of, 51; rules for dividing amount stated in, 37; used to mark divisions in enumerations, to be placed in parentheses, 54; use of apostrophe to indicate omission of, 55. Foreign languages: capitalization of titles, as von, le, da, etc., 19; speUing of words in re (French), 24; words, when italicized, 41; list of, not italicized, 41-42; list of, italicized, 42; use of accents, 25-26. Foreign titles, as prefixes, capitalization of, 19. "Foster," compounds of, 33. Fractions, use of hyphens in spelling, 35. French endings in "re." not to be used, 24. G, soft, do not divide on, 36. "Genera ," combined with titles, 34. Geographical terms, capitalization of, 16. Geological terms, capitalization of, 17; names of genera and species, italicized, 43. Geometric symbols, as unknown quantities, italics. 43. "God," compounds of, 33. "Gospel," when capitalized, 14. "Government," when capitalized, 18. Hair-spaces, use of, 39-40. "Half," combinations of, with nouns, S3. Half-diamond indention, 38. Hanging indention described, 38. Head-lines, omission of period after, 50. Historical epochs, capitalization of appellation for, 16. Holidays, capitalization of names of, 19. Honorary titles, capitalization of, IS. Elyphenated words, division to be avoided, 37. Hyphenization, rules for, 32-36. Hyphens: list of hyphenated words, 35; rules for use of, 32-35. Ibid., italicized, 42. "-ible," in divisions, 36. Ideas, abstract, capitaUzation of, when personi- fied. 16. idem, italicized, 42. Le., to be set in roman. 42. Illustrations, legends beneath, omission of period, 50. "In-" (negative particle), compounds with, 34. Indentation. See Indention^ 38. Indention: explained, 38; rules for, 38. Infra, italicized, 42; compounds with, 34. Initials, separation of, in different lines, to be avoided, 37. Institutions, capitalizatibn of names of, 19. "Inter," compounds with, 34. Interrogation-point, use of, 52-53. "Intra," compounds with, 34. Ironical word or phrase, use of quotation-marks for, 53. Irregular indention, 38. -ise and -ize, spelling of words terminating in, 2ft-27. Italicizing: of abbreviations in literary and legal references, 42; of ad Zoc, 42; of algebraic un- known quantities, 43; of astronomical names, 43; of titles of books, 41; of names of botan- ical genera and species, 43; of names in cita- tions of legal causes. 42; of drca ica.), 42; of names of constellations, 43; of credits, at end of article, 41; for emphasis, 41; of names of geological genera and species, 43; of geo- metric unknown quantities, 43; of ibid., 42; of idem, 42; of "infra," 42; of legal causes, names in citations of, 42; of loc. cit., 42; of literary references, 42; of names of scientific genera and species, 43; of names of stars and constellations, 43; of titles of newspapers and periodicab, 41; of op. cit, 42; of passim, 42; of poetry, 41; in prefaces, 41; in references. literary and legal, 42; of word, "Resolved," 43; in running heads, 41; of abbreviations of "shillings," "pence," 43; of names of ships, 41; of side-heads. 41; of signatures, 41; of names of stars. 43; of supra, 42; of *.»., 42; of unknown quantities in algebra and geometry, 43; of vide, 42; of names of zoological genera and species, 43; rules for, 41-43; lists of foreign words, italicized and not, 41-42. Italics: defined, and why used, 41; history of, 41; rules for, 41-43; how to indicate in MS., 43. J, do not divide on, 36. Journals. See Periodicals. Judiciary bodies, capitalization of names of, 20. Juridical acts, treaties, etc., capitalization of names of, 19. Kerned letters, spacing of, 40. Laws, juridical, capitalization of names of, 19. Legal causes, citations of, names italicized, 42. [78] INDEX Legal references, words, phrases, and abbrevia- tions italicized, 42. Legends, omission of period after, 50. Legislative bodies, capitalization of names of, 20. Letters: use of dash to indicate omission of, 51; use of apostrophe to indicate omission of, 65; used to mark divisions in enumerations, to be set in parentheses, 54. Letters (correspondence), capitalization, punc- tuation, etc., rules for, 22, 49, 50. "Life," compounds of, 33. Ligature a and a?, rules for use of, 24. "Like," compounds of, 32. Lists: of abbreviations, 2-12; words capitalized, 15, 16; of foreign words accented, 25-26: of words terminating in ise and ize, 26-27; of words pronounced alike and spelled differently, 27-31; of hyphenated words, 35; of familiar foreign words, not italicized, 42; of foreign words, italicized, 42. Literary references: italicization of, 42; use of colon in titles of, 49—50. Loc. cii.t italicized, 42. Lower case: use of, with nouns and adjectives, 16; with family appellations, 16; rules for use of, 20-22. Lozenge indention, described, 38. Magazines. See Periodicals. "Major," when spelled in full, 13. ''Master," compounds of, 33. Mathematical signs, list of, 10-11. Measurement, units of, and abbreviations, spelled with lower case, 21. Medical signs, list of, 10. Medical terms: capitalization of, 17; roman used, 43. "Mid," as prefix, when hyphenated, 32. Military bodies, numbers of, to be spelled out, 25. Military titles, capitalization of, 18. Miscellaneous terms, abbreviations of, 8-10. Monastic orders, capitalization of names of, 14. Monetary signs: abbreviations of, 6; spacing of, 36. Months of year: capitalization of, 17; names of, when to be spelled out, 1; when to be ab- breviated, 2; list of abbreviations, 2. "Mother": when capitalized, 16; compounds of, 33. Names: Christian, when spelled in full, 13; of sovereigns, when abbreviated; italicization of, in legal citations, 42; of scientific genera and species, italicized, 43; of stars and constella- tions, italicized, 43; use of accents in foreign, 25; of publishers, in literary references, use of colon, 49-50. Negative particles "un," "in," and "a," com- pounds with, 205. Newspapers, titles of: the article not to be treated as part of, 21; to be italicized, 41. New Testament books, list of abbreviations for, 7. Nobility, capitalization of titles of, 18. "Non-," compounds with, 34. "Nor," when comma is used before, 47. Notes, use of brackets in enclosing, 54. Nouns: capitalization of, followed by a capi- talized roman numeral, 3D; combination of, standing in objective relation to each other, 33; formation of possessive case of common and proper, 55; plural of polysyllabic proper, ending in a sibilant, how formed, 55. Numbered political divisions, capitalization of, names of, 20. Numbers: commencing a sentence, to be spelled out, 25; in ordinary matter, of less than three digits, to be spelled out, 24; in groups, vary- ing in digits, use figures, 24; in statistical matter, figures to be used, 24; percentage, figures always to be used, 24; round, treatment of, 25; use of comma separating numbers, 47; omis- sion of, indicated by use of the apostrophe, 55. Numerals: plural of, use of apostrophe in form- ing, 55; use of period, following roman, 50. (E, rules for use of, 24. Of, use of comma before, in connection with proper name, 47. Old Testament books list of abbreviations for, 7. Omission: use of apostrophe to indicate, in use of figures, B5; use of dash to indicate, in use of figures. 51; of period after signatures, 50; of period after roman numerals, 50; of aU d, rd, and th, in dates, 1. Op. cit, italicized, 42. *'0r," when comma is used before, 47. Orders, monastic, capitalization of, 14. Ordinals, when capitahzed, 21. "Our," English ending, not to be used save in Saviour, 24. "Over," compounds with, 34. Parables, biblical, capitalization of titles, 14. "Parent," compounds of, 33. Parentheses: placing of period in connection with, 60; substitution of dashes for, 51; use of, in figures or letters to mark divisions in [79] INDEX enumerations, 54; defined, 54; subdivided by brackets, 54. Parenthetical clauses, use of comma with, 45. Parks, capitalization of names of, 17. Participles: list of, how spelled, S5; not to be hyphenated with adverbs ending in "-ly," 33. Particles, in French, German, Italian, and Dutch, capitalization of, 19. Parties political, capitalizaticn of names of, 19. passim, italicized, 42. Pence. See under Shillings. Peoples, races, tribes, capitfdization of names or epithets of, 20. Percentage, use of figures in expressing, 24. Periodicals, titles of: definite article not to be treated as part of, 21; use of italics for, 41. Periods: placing of, in connection with quotation- marks, 50; rules for use of, 50; to be omitted after box-heads in tables, 50; after centered bead-lines, 50; after date-lines, 50; at ends of lines in display composition, 50; after legends. 50; after roman numerals, 50; after running- heads, 50; after signatures of letters, 60; use of, after abbreviations, 50; after a complete sentence, 50; to indicate an ellipsis, 50. Personifications: abstract ideas, capitalization of. Ifl. Phrases: inverted, use of comma, 45; in apposi- tion, use of comma, 45; compounds of, 32; use of colon, following salutatory, at beginning of letter, 49; accompanied by its definition, to be quoted, 53. "Pilgrim Fathers," capitalization of, 16. Plays, rule for use of titles of, 13. F.u. (post meridiem): spacing of, 39; set in small capitals, 23. Poetry: capitalization of first word of each line, 21; italicizing of, 41; titles of poems, to be quoted, 53; rules for quotation alignment, in setting, 54. Points of compass, rules for compounding, 32. Political: alliances, capitalization of names of, 19; parties, 19; divisions, 20. Possessive case, how designated, 65. Possessives of proper nouns ending in s, how formed, 25. "Post," compounds with, 34. "Pre-," compounds with, 34. Preface, use of italic in, 41. Prefixes, "co-," "pre-," and "re-," how to treat, 203. "President," when spelled in full, 13; when capi- talized, 18. "Professor," when spelled in full, 13. Pronouns: used with noun for emphasis, comma omitted, 47; referring to Deity, capitaliza- tion of, 14. Pronunciation, correct, authority of, in division of words, 36. Proper names: abbreviations of, 12-13; capi- talization of, 15; derivatives from, familiarly used, not capitalized, 17. Proper nouns: formation of possessive, 25. Psalms: titles of, capitalized, 15; book of, when not capitalized, 15. Publications: use of colon in titles of hterary references, 48-50; use of italics for, 41. Publishers, use of colon separating city of pub- lication and name of, in literary references, 49-50. Punctuation: origin and evolution of, 44; pur- pose, 44; rules for, 44-55. Punctuation marks, list of, 11-12. Q. inseparable from u, 36. "Quarter," compounds of, 32, 33. "Quasi," compounds of, 34. Queries, when bracketed, 54. Question-mark. See Interrogation-point. Questions: direct to be followed by an inter- rogation-point, 52; indirect, not to be followed by interrogation-point, 53. Quotation-marks: rules for use of, 53-54; use of double and single, 54; repetition of in para- graph beginnings, 54; in titles of works of art, and shorter poems, 53; names of ships, 53; words and phrases accompanied by definitions and specially emphasized by author, or in- tended to possess unusual, technical, or ironical meanings, 53; serial titles, 53; citations and selections from author's own, or others' works, 53; of poetry, how aligned, 54; of ellipses, 54; use of colon with, 50; of comma, 44; of ex- clamation-point, 62; of interrogation-point, 63; of period, 50; capitalization of first word in, following colon, 21, 49; of first word in every direct, 21 (cf. 22); use of comma, separating, 47; use of dash, with comma, separating paragraph, 52. Quotations, how to treat, 53. Races, tribes, and peoples, capitalization of names and epithets of, 20. " Railroad " and " Railway," to bespelled out, 12. "Re-," compounds with, 34. "re," French ending not used, 24. References: capitalization of nouns, 20; literary [801 INDEX references, 20; italics used in words, phrases, and abbreviations oE literary and legal, 42; use of colon in scriptural, 48. Regiments, capitalization of names of, 20. Regions, or parts of world, capitalization of, 16. Relative clauses, use of comma with, 46. Religious terms, capitalization of, 14, 15. Residence, use of comma before "of, " inconnec- tioQ with, 47. Resolutions: word "Resolved" in, how to set, 43; word *' Whereas," 18. "Resolved," in resolutions, to be set in italics, 43; word following, to be capitalized, 18. Respect, titles of, capitalization of, 18. "Revolutionary," when capitalized, 16. Rhetorical emphasis, use of dash, to secure, 51. Roman: used in medical terms, 43; in certain words and phrases (literary and legal), 42. Roman numerals: use of period after, 50. Round numbers, treatment of, 25. Running-heads, period not used following, 50; use of italics for, 41. Salutatory phrase at beginning of letter, how set, 22; use of comma, 47. Sarcasm, indicated by use of exclamation-point, 52. Scientific terms, capitalization of, 17. Scripture: passages, names of books of Bible to be abbreviated, 7-8; punctuation of, 48, 49; spacing of, 39. "Self-," combinations of with nouns, 33. *'Semi," compounds of, 33. Semicolon: defined, 48; compared with comma, 48; placing of, in connection with quotation- marks, 48; rules for use of, 48; dividing num- ber of compound sentences, 48; connecting successive sentences, 48; in series of expres- sions with a common dependence, 48; separat- ing passages in Scripture references containing chapters, 48; before words introducing series of terms in appDsition to a general term. 48. Sentences inverted, use of comma, 45. Serial titles, to be quoted, 53. Shillings and pence, abbreviations following figures, italicized, 43. Ships: names of, italicized, 41; names of, quoted. 53. Side-heads, rules for capitalization, 22; use of italic for, 41. Signatures: at end of letters or articles, omission of period, 50; italicized at end of an article, 41; rules for setting of, 41. "Sister," compounds of, 33. Small capitals: how indicated in MS., 23; ab- breviations to be set in, 23. Social organizations, capitalization of, 18. Soft c or g, do not divide on, 36. Solar system, capitalization of popular names of, 17. Spacing: rules for, 38-40; advantages of uni- formity, 38; of abbreviations, 39; of scripture references, 39; of monetary symbols, 39; abbreviations of railway names, 12. Species, scientific names of: use of capitals, 17; of italics, 43. Spelling: of ages, 25; of centuries, 25; of sessions of Congress, 25; of decades, 25; of use of diphthongs, 24; of dynasties, 25; of English endings in out, 24; of French endings in re, 24; words ending in -iee and -ize, 2fr-27; participles, list of, 25; military bodies, num- bers of, 25; of numbers, 24-25; of posses- siTes of proper nouns, 25; streets, numbers of, 25; time of day, 25; rules governing choice of usages, 24; list of words pronounced alike, but varying in meaning, according to, 21-81. Squares, capitalization of natnes of, 17. Standard of spacing, 39. Stars, names of, italicized, 43. "State," when capitalized, 18. States and territories, names of, list of abbrevia- tions for, 6-7. Statistics, treatment of numbers in, 24 Streets: capitalization of names of, 17; num- bers of, to be spelled out, 25. **Sub," compounds with, 34. Subdivisions: in literary references, use of lower case for, 20. Sub-heads: set in separate lines, omission of period after, 50. Subject-matter: separation of, by dash, from its authority, 51. Summarizing clauses, use of dashes in connection with, 50. "Super," compounds with, 34. *' Supra," compounds with, 34; italicized, 42. Supreme Being, capitalization of names for, and pronouns referring to, 14, 15, B. v., italicized, 42. Symbols: monetary, abbreviations of, 6; spa- cing of, 38. Tables: box-heads in, omission of period, 50. Technical: use for figures in, 24; words or phrases, use of quotation-marks for, 63. " The," not part of title of magazines and papers, 21. [81] INDEX Thoroughfares: capitalization of names of, 17; numbera of, to be spelled out, 25. Time: use of colon in indicating hours and minutes, 49; use of figures and spelling, 25. Titles: civil and military, capitalization of, 18; honorary, 18; in direct address, 18; of nobility and respect, 18; "ex," "vice," "general," "elect," use of hyphen in connecting, 34; ab- breviations of, with lists, 2-10; when used as prefixes, how to abbreviate, 13; when com- pounded, how spelled and capitalized, capi- talization of, 18-19; of parables, 14; of psalms, 15; of publications, 16; use of colon, tn literary references, 48-50; use of italics for, 41; of books, 19; of poems to be quoted, 53; of essays, 19; of newspapers, 21; of peri- odicals, 21; of poems, 63; of series, £3; of treaties, 19; of works of art, 63; use of dash to separate from subject-matter, 51; use of comma separating from names, 46. Title-pages; capitalization of certain words, 21. Treaties: capitalization of nam^ of, 19. "Tri-," compounds with, 83. Tribes, races, and peoples, capitalization of names and epithets of, 20. Two-letter syllables, avoidance of, in divisions, 37. **Ultra," compounds with, 34. " Un-" (negative particle), compounds with, 34. "Under," compounds, with, 34. " United States," when to be abbreviated, 12. Units of measurement, spelled with lower- case, 21. Unknown quantities: algebraic and geometric, italicized, 43. Usage, rules governing choice of in spelling, 24. V. ivergiu), to be set in roman, 42. "Van," capitalization of, 19. Verbs: derived from proper names, how to treat, S3. Versions of Bible, capitalization of, 14. Versus (p.), 42. " Vice," prefixed to titles, 34. Vide, italicized, 42. Vocative words, comma separating, 46. "Von," capitalization of, 19. Vowel: rules for division upon, in hyphenating words. 36. Week, days of: abbreviation of, 2; capitaliza- tion of, 17. " Whereas," in resolutions, use of capital, 18. Words: with special meaning, capitalization of, 31; pronounced alike but varying in meaning, according to spelling, list of, 27-31; division of, rules for, 36-37; accompanied by its defini- rion, to be quoted, 53; of unusual, technical or ironical meanings, to be quoted, 53; spe- cially desired by author, to attract attention, to be quoted, 53; contraction of, omission indicated by use of apostrophe, 55. World," compounds of, 33. X, do not divide on, 36. "Yet," when comma is used before, 47. Zo&logical terms: use of capitals in, 17; names of genera and species, italicized, 43. [82] SIGNATURES Page Sig. Sig. Page Sig. Sig. I I A 481 31 2F 17 2 B 497 32 2G 33 3 C 513 33 2H 49 4 D 529 34 2I 6S 5 E 545 35 2K 81 6 F 561 36 2L 97 7 G 577 37 2M "3 8 H 593 38 2N 129 9 I 609 39 2O 145 10 K 625 40 2P 161 II L 641 41 2Q 177 12 M 657 42 2R 193 13 N 673 43 2S 209 14 689 44 2T 225 15 P 705 45 2U 241 16 Q 721 46 2V 257 17 R 737 47 2W 273 18 S 753 48 2X 289 19 T 769 49 2Y 30s 20 U 785 50 2Z 321 21 V 801 SI 3A 337 22 W 817 52 3B 353 23 X 833 53 3C 369 24 Y 849 54 3D 385 25 Z 86s 55 3E 401 26 2A 881 56 3F 417 27 2B 897 57 3G 433 28 2C 913 58 3H 449 29 2D 929 59 3I 465 30 2E 945 60 3K TABLE RELATIVE SIZES AND WEIGHTS 25 X 38 40 50 60 •70 80 90 100 120. 20 X 30 25 32 38 44 51 57 63 76 22 X 28 26 32 39 45 52 58 64 78 22 X 32 30 37 44 52 59 67 74 89 22 X 40 37 46 56 65 74 83 93 111 28 X 33 32 40 48 56 64 72 80 96 23^ X 35 35 43 52 61 69 78 87 104 24 X 36 36 45 55 64 73 82 91 109 241 X 39 40 50 60 70 81 91 101 121 28 X 36 42 53 64 74 85 95 106 127 28 X 42 50 62 74 87 99 111 124 149 28 X 44 52 65 78 91 104 117 130 156 29 X 38 46 58 70 81 93 104 116 139 30 X 40 51 63 76 88 101 114 126 152 30 X 42 53 66 80 93 106 119 133 159 301 X 41 53 66 79 92 105 119 132 158 31 X 41 54 67 80 94 107 120 134 161 31 X 42 55 69 82 96 110 123 137 164 32 X 42 57 71 85 99 113 127 141 170 32 X 43 58 72 87 101 116 130 145 174 32 X 44 59 74 89 104 119 133 148 178 33 X 43 60 75 90 105 119 134 149 179 33 X 44 61 76 92 107 122 138 153 183 33 X 4(5 64 80 96 112 128 144 160 192 34 X 4,j 64 80 97 113 129 145 161 193 tii X 4(i 60 82 99 115 132 148 165 198 36 X 48 73 91 109 127 140 164 182 218 39 X .0 t 8!) 111 133 155 177 200 222 200 e PAPER SCALE ON THE BASIS OF 500 SHEETS TO THE REAM (allowing 6 % waste) (a NUMBER OF COPIES i £ I d 250 500 750 1000 1250 1500 2000 2500 3000 5000 o d R. a. 6 u. a. 11 B. a. 16 R. «. 1 1 R. Q. 1 6 K. Q. 1 12 R. a. 2 2 R. a. 2 13 R. a. 3 3 R. «. 5 5 1 1 2 12 1 2 1 12 2 2 2 12 3 4 4 4 5 6 6 6 10 10 2 3 18 1 13 2 8 3 3 3 18 4 16 6 6 7 19 9 9 15 15 3 4 1 4 2 4 3 4 4 4 5 4 6 8 8 8 10 12 12 12 21 4 6 1 10 2 15 4 5 5 6 10 8 10 10 13 5 15 15 26 5 6 6 1 16 3 6 4 16 6 6 7 16 9 12 12 12 15 18 18 18 31 10 6 7 2 2 3 17 5 12 7 7 9 2 11 4 14 14 18 11 22 1 36 15 7 8 2 8 4 8 6 8 8 8 10 8 12 16 16 16 21 4 25 4 ■42 8 9 2 14 4 19 7 4 9 9 11 14 14 8 18 18 23 17 28 7 47 5 9 10 3 5 10 8 10 10 13 16 21 26 10 31 10 52 10 10 11 3 6 6 1 8 16 11 11 14 6 17 12 23 2 29 3 34 13 57 15 11 12 3 12 6 12 9 12 12 12 15 12 19 4 25 4 31 16 37 16 63 12 13 3 18 7 3 10 8 13 13 16 18 20 16 27 6 34 9 40 19 68 5 13 14 4 4 7 14 11 4 14 14 18 4 22 8 29 8 37 2 44 2 73 10 14 15 4 10 8 5 11 20 15 15 19 10 24 31 10 39 15 47 5 78 15 16 16 4 16 8 16 12 16 16 16 20 16 25 12 33 12 42 8 50 8 84 16 17 5 2 9 7 13 12 17 17 22 2 27 4 35 14 45 1 53 11 89 6 17 18 5 8 9 18 14 8 18 18 23 8 28 16 37 16 47 14 56 14 94 10 18 19 5 14 10 9 15 4 19 19 24 14 30 8 39 18 50 7 59 17 99 15 19 20 6 11 16 21 26 32 42 53 63 105 20 21 6 6 11 11 16 16 22 1 27 6 33 12 44 2 55 13 66 3 110 5 21 22 6 12 12 2 17 12 23 2 28 12 35 4 46 4 58 6 69 6 115 10 22 23 6 18 12 13 18 8 24 3 29 18 36 16 48 6 60 19 72 9 120 15 23 24 7 4 13 4 19 4 25 4 31 4 38 8 50 8 63 12 75 12 126 24 26 7 10 13 15 20 26 5 32 10 40 52 10 66 5 78 15 131 5 25 Require dfor si ngle end -leaves (a four- ^ oage fol d, front a7id hoc •k) in adc Ution to the above for ei ery 100 copies ■ 4t 3 . . . 31 quires 16mo . Siqui res 8v o . . . . . 1( )4 quires 32mo . 2f qui res