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diff --git a/20374-h/20374-h.htm b/20374-h/20374-h.htm new file mode 100644 index 0000000..1c9bba2 --- /dev/null +++ b/20374-h/20374-h.htm @@ -0,0 +1,3069 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Capitals, by Frederick W. Hamilton, LL.D. </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: 5%; margin-right: auto;} + .tdright {text-align: right; padding-right: .5em;} /* aligning cell content to the right */ + .tdleft {text-align: left; padding-left: .5em;} + .tdjust {text-align: justify; padding-left: .5em;} + .tdtitle {text-align: center; font-size: larger;} + + body{margin-left: 10%; + margin-right: 10%; + } + + a {text-decoration: none;} + + img {border: none;} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: gray; + font-style: normal; font-weight: normal; font-variant: normal; + background-color: inherit; + } /* page numbers */ + + ul.TOC { /* TOC as a whole, or any sub-list of sub-topics in it */ + list-style-type: none; /*list with no symbol */ + position: relative; /*makes a "container" for span.ralign */ + width: 30em; + margin-left: auto; + margin-right: auto; + } + span.ralign { /* use absolute positioning to move page# right */ + position: absolute; right: 0; top: auto; + } + .parth { + width: 90%; + text-align: center; + margin-top: 2em; + } + .books { + list-style-type: none; /*list with no symbol */ + position: relative; /*makes a "container" for span.author */ + width: 90%; + } + + span.author { /* use absolute positioning to right align author name */ + position: absolute; + right: 0; + top: auto; + text-align: right; + width: 90%; + } + .brief {margin-left: 2em;} + + .blockquot{margin-left: 10%; margin-right: 10%;} + + .center {text-align: center;} + .title {text-align: center; font-size: larger;} + .right {text-align: right;} + .left {text-align: left;} + .smcap {font-variant: small-caps;} + .lowercase {text-transform:lowercase;} + .u {text-decoration: underline;} + + .figcenter {margin: auto; text-align: left;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Capitals, by Frederick W. Hamilton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Capitals + A Primer of Information about Capitalization with some + Practical Typographic Hints as to the Use of Capitals + +Author: Frederick W. Hamilton + +Release Date: January 15, 2007 [EBook #20374] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CAPITALS *** + + + + +Produced by Barbara Tozier, Bill Tozier, Sigal Alon and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + + +<h5>TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART VI, NO. 34</h5> + + +<h1>CAPITALS</h1> + + +<h3>A PRIMER <i>of</i> INFORMATION ABOUT<br /> +CAPITALIZATION WITH SOME PRACTICAL<br /> +TYPOGRAPHIC HINTS AS TO<br /> +THE USE OF CAPITALS</h3> + + +<h3>BY</h3> + +<h2>FREDERICK W. HAMILTON, LL.D.</h2> + +<h6>EDUCATIONAL DIRECTOR <br /> +UNITED TYPOTHETÆ OF AMERICA</h6> + + + + +<h5>PUBLISHED BY THE COMMITTEE ON EDUCATION <br /> +UNITED TYPOTHETAE OF AMERICA <br /> +1918</h5> + + + + +<h5><span class="smcap">Copyright, 1918<br /> +United Typothetae of America<br /> +Chicago, Ill.</span> +</h5> + + +<hr style="width: 65%;" /> +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> + +<ul class="TOC"> +<li> <span class="ralign">PAGE</span><br /></li> +<li><a href="#INTRODUCTION"><span class="smcap">Introduction</span></a> +<span class="ralign"><a href="#Page_1">1</a></span></li> +<li><a href="#USE_OF_FULL_CAPITALS"><span class="smcap">Use of Full Capitals</span></a> +<span class="ralign"><a href="#Page_4">4</a></span></li> +<li><a href="#SMALL_CAPITALS"><span class="smcap">Small Capitals</span></a> +<span class="ralign"><a href="#Page_17">17</a></span></li> +<li><a href="#SUGGESTIONS_AS_TO_TYPOGRAPHIC"><span class="smcap">Suggestions as to Typographic Use of Capitals</span></a> +<span class="ralign"><a href="#Page_22">22</a></span></li> +</ul> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2><a name="CAPITALS" id="CAPITALS"></a>CAPITALS</h2> + + +<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2> + + +<p>A capital letter is a letter of formal shape. Capitals +were originally derived from the stiff and angular letters +used in formal inscriptions. Originally all writing was +done in capitals. Later the scribes devised less formal shapes +for the letters, making use of lines more easily made by brush +or pen on papyrus, parchment, or paper. The capitals were +retained for certain uses but the less formal shapes were +employed to do the greater part of the work. These less +formal letters have been known by several names. They +will be referred to here by that under which they are known +to modern printers, “lower-case.”</p> + +<p>A further modification of the letter came with the introduction +of the sloping, or italic letter. This received its +name from its place of origin, Italy. It was introduced by +Nicholas Jenson, a printer of Venice, and was an imitation +of the handwriting of the Italian poet Petrarch. Originally +it was used only for the lower-case and was combined with +the older form of capital letters, called roman, also from +the place of its origin. Later the italic characteristics +were given to capitals as well as lower-case letters.</p> + +<p>An ordinary font of book type contains five series of letters: +full capitals, small capitals, italic capitals (full size), +roman lower-case, and italic lower-case. The full capital, +roman or italic, is larger than the other letters of the font, +every letter being as high as the lower-case ascenders. The +small capital is only as high as the lower-case round letters. +Larger capitals still are sometimes used as chapter initials +and the like.</p> + +<p>It will be observed that the distinction between capital +and lower-case letters is one of form, not of size. The full +capitals being much more used than the small capitals and +being larger than the other letters in the font, the impression<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span> +is common that the size is the distinguishing mark. +This erroneous impression has even crept into dictionary +definitions.</p> + +<p>The full capital, which will hereafter be called in this book +simply the capital, is used in combination with lower-case +letters or with small capitals in the same word. The small +capital is not used in combination with lower-case in the +same word. We may print GEORGE WASHINGTON, +<span class="smcap">George Washington</span>, <span class="smcap lowercase">GEORGE WASHINGTON</span>, or George +Washington, but not <span class="smcap">g</span>eorge <span class="smcap">w</span>ashington.</p> + +<p>In manuscript capitals are indicated by three lines under +a word or letter, <img src="images/iltriple.gif" width="30" height="15" alt="triple line" title="triple line" /> + and small capitals by two lines <img src="images/ildouble.gif" width="30" height="15" alt="double line" title="double line" />. +A single line <img src="images/ilsingle.gif" width="30" height="15" alt="single line" title="single line" /> indicates that italics are to +be used.</p> + +<p>Originally the writers of manuscripts used capitals for +ornament and variety in the text. They followed no rules +but each writer was guided by his own judgment and sense +of beauty. As the use of capitals gradually became systematized +and reduced to rules, different systems were adopted +in different countries. The use of capitals varies greatly in +different languages. Attention will be mainly confined in +this book to the usages followed in the printing of English. +Attempts to point out the various differences to be found +in German, French, etc. would only confuse the young +apprentice.</p> + +<p>These rules grow out of a fundamental principle.</p> + +<p>The purpose of capitals is to emphasize the words in +which they are employed. With the exception of the cases +of the words <i>I</i> and <i>O</i>, which are capitalized for typographical +reasons, this idea of calling special attention to a word, +or words, for one reason or another will be found to be at +the bottom of the variations in usage in different printing +offices and by different writers. The same tendency is +observable here which is so evident in style and in punctuation. +Direct statements, simple sentences as free from involution +and complication as possible, are more and more +taking the place of the involved, complicated, and obscure +sentences of old times. The ideal style of to-day consists +of simple words simply arranged. Such a style needs little<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span> +pointing. The reader is quite able to find his way through +the paragraph without constant direction. Punctuation +marks are directions at the crossroads of thought. Consequently +the punctuation mark is now much more sparingly +used than formerly.</p> + +<p>Just as we have found out that well chosen words can +tell their story with very few marks of interpretation so we +have found out that they can tell their story with very few +marks of emphasis. The use of capitals has decreased +greatly during the last two centuries and is constantly +decreasing, and this tendency is likely to go still further. +The great DeVinne whose books on <i>The Practice of +Typography</i>, written ten to fifteen years ago, are still of the +highest authority was thoroughly up-to-date in his methods +and was remarkable for the restrained and refined good +taste which characterized all his recommendations, but in +some points restraint in the use of capitals has gone even +beyond his precepts.</p> + +<p>It is worth while to remember that the real implement +of English speech is the word, not the point nor the letter +form. Just to the extent that we rely on marks of punctuation +and emphasis to convey our meaning we betray our +ignorance of the really significant elements of the language. +The schoolgirl says she “had a <i>perfectly splendid</i> time” at +the dance, when she tells about it in her letter to her dearest +friend. If “perfectly splendid” were a proper term to +use in such a connection, which it is not, the words themselves +would carry all the emphasis possible. Nothing could +really be added to them by any typographical device. In +the same way the common use of profanity among ignorant +people probably arises mainly from a feeling that the +ordinary words with which they are familiar are colorless +and do not express their thoughts with sufficient emphasis.</p> + +<p>Just as emphasis in style is difficult when one habitually +uses the strongest words and emphasis in voice is difficult +when one habitually shouts, so emphasis in print is difficult +when one habitually uses large capitals, display type, and +italics. Loud printing is as objectionable as loud talking.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span></p> +<h2><a name="USE_OF_FULL_CAPITALS" id="USE_OF_FULL_CAPITALS"></a>USE OF FULL CAPITALS</h2> + + +<p>General uses:</p> + +<p>1. Use a capital letter to begin every sentence and every +word or group of words punctuated as a sentence.</p> + +<div class="blockquot"><p><i>Welcome! We are glad to see you.</i></p></div> + +<p>This rule does not apply to literal reproductions of +matter not originally conforming to it.</p> + +<p>2. Use a capital letter to begin every line of poetry.</p> + +<div class="poem"><div class="stanza"> +<span class="i0"><i>The Lord hates a quitter,</i><br /></span> +<span class="i0"><i>But he doesn’t hate him, son,</i><br /></span> +<span class="i0"><i>When the quitter’s quitting something</i><br /></span> +<span class="i0"><i>He shouldn’t have begun. [that</i><br /></span> +</div></div> + +<p>This rule does not apply to turned over lines like the +third line in the stanza just preceding.</p> + +<p>3. Use a capital letter to begin every quotation consisting +of a complete sentence.</p> + +<div class="blockquot"><p><i>Ben Franklin says, “Honesty is the best policy.”</i></p> + +<p><i>The campaign was “a punitive expedition for the +suppression of brigandage.”</i></p></div> + + +<p>Capitalize:</p> + +<p>1. Names of the Deity, of the members of the Trinity, of +the Virgin Mary, and of the Devil, when a personal +devil is referred to.</p> + +<p>When the word devil is used as a general term or as +an expletive the capital is not used.</p> + +<p>2. Nouns and adjectives used to designate the Deity or +any member of the Trinity:</p> + +<div class="blockquot"><p><i>the Almighty</i>, <i>the Ruler of the Universe</i>, <i>the Supreme +Architect of the Universe</i>, <i>the Creator</i>, +<i>Providence</i> (personified), <i>Heaven</i> (personified, +e. g., <i>Heaven forbid!</i>), <i>Father</i>, <i>Son</i>, <i>Holy Ghost</i>, +<i>Spirit</i>, <i>Messiah</i>, and the like.</p></div> + +<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>The following list of words of this sort to be capitalized, +taken from Mr. William Dana Orcutt’s <i>The Writer’s Desk +Book</i> (Frederick A. Stokes, New York) will be found +useful:</p> + + +<p class="blockquot"> +Almighty<br /> +Authorized Version<br /> +Common Version<br /> +Creator<br /> +Deity<br /> +Father<br /> +God<br /> +Holy Bible<br /> +Holy Spirit<br /> +Holy Writ<br /> +Jehovah<br /> +Jesus Christ<br /> +King<br /> +Logos<br /> +Lord<br /> +Messiah<br /> +Passover<br /> +Pentecost<br /> +Redeemer<br /> +Revised Version<br /> +Sabbath<br /> +Saviour<br /> +Scriptures<br /> +Son of Man<br /> +Son<br /> +Spirit<br /> +The Trinity<br /> +The Virgin Mary<br /> +Word<br /> +</p> + +<p>Care needs to be taken with words of this class. Particular +attention should be paid to the wording of rule 2, just +given. The same words in other senses or other connections +are not capitalized. <i>Heaven</i> and <i>hell</i> and derived adjectives +are not capitalized in their ordinary uses:</p> + +<p>Adjectives and other derivatives from these words are +not capitalized. We write <i>Messiah</i>, but <i>messianic</i> and +<i>messiahship</i>; <i>Christology</i> but <i>christological</i>, <i>fatherhood</i>, <i>sonship</i>, +and the like.</p> + +<p>Such words as <i>deity</i>, <i>god</i>, and the like are not capitalized +where any but the God of the Bible is referred to.</p> + +<p>3. Pronouns referring to God, Christ, or the Holy Spirit +in direct address or where there might otherwise be +ambiguity.</p> + +<p>These pronouns are not capitalized in the Bible. They +are generally capitalized in hymn books and books of devotion. +These pronouns were formerly all capitalized as a +mark of respect to God whenever there was any mention +of him, even indirect. The tendency is more and more to +eliminate them except in the second person (direct address). +In view of the change now going on it is best to +follow copy if the author appears to have decided preferences.</p> + +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>4. Books, divisions, and versions of the Bible.</p> + +<p class="blockquot"> +<i>Book of Job</i>, <i>Twenty-third Psalm</i>,<br /> +<i>New Testament</i>, <i>Revised Version</i>.<br /> +</p> + +<p>5. General biblical terms and titles of parables.</p> + +<div class="blockquot"><p><i>The Law</i>, <i>The Prophets</i>, <i>Major and Minor +Prophets</i> (referring to the collections of prophetic +books), <i>Lord’s Prayer</i>, <i>Lord’s Supper</i>, +<i>Parable of the Prodigal Son</i>, <i>the Beatitudes</i>, <i>the +Priestly Code</i> and many other such terms.</p></div> + +<p>Use lower-case for <i>biblical</i> and <i>scriptural</i>.</p> + +<p>6. Capitalize <i>Holy</i> in <i>Holy place</i> and <i>Holy of holies</i>.</p> + +<p>Say <i>Gospel of John</i>, but speak of the <i>gospel message</i>.</p> + +<p>7. The names of religious bodies and their followers.</p> + +<div class="blockquot"><p><i>Catholic</i>, <i>Protestant</i>, <i>Unitarian</i>, <i>Methodist</i>, +<i>Buddhists</i>, <i>Taoists</i>, <i>Lamas</i>.</p></div> + +<p>8. The names of monastic orders and their followers.</p> + +<div class="blockquot"><p><i>Jesuits</i>, <i>Brothers of the Common Life</i>, +<i>Recollets</i>, <i>Crutched Friars</i>, <i>Cowley Fathers</i>.</p></div> + +<p>9. The word Church when it stands for the Church +universal or is a part of the name of some particular +denomination or organization.</p> + +<p class="blockquot"> +<i>For salvation he sought the Church.</i><br /> +<i>The Church of Rome.</i><br /> +<i>The First Presbyterian Church.</i><br /> +<i>I was on my way to church.</i><br /> +<i>He is a student of church history.</i> (Note use of lower-case in this sentence.)<br /> +</p> + +<p>10. The names of creeds and professions of faith.</p> + +<div class="blockquot"><p><i>Apostle’s Creed</i>, <i>Thirty-nine +Articles</i>, <i>Nicene Creed</i>.</p></div> + +<p>Note that the adjective ante-Nicene is printed as it here +appears.</p> + +<p>11. The word “father” when used in direct reference to +the fathers of the church, and to the Pilgrim leaders +of New England, and the word “reformers” when +used of the leaders of the Reformation.</p> + +<p class="blockquot"> +<i>The ante-Nicene Fathers.</i><br /> +<i>Luther, Calvin and the other Reformers.</i><br /> +</p> + +<p><span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> +The word “father” is not capitalized when the reference +is general, as in the first sentence of this section.</p> + +<p>The capitalization of “reformer” is intended to distinguish +persons connected with a certain definite historical +movement from persons interested in reform. Many persons +might consider that the Reformers were not reformers.</p> + +<p>12. Names of persons.</p> + +<p class="blockquot"> +<i>John Smith,</i><br /> +<i>George V.</i><br /> +</p> + +<p>But write <i>John o’ Groat</i>, <i>Tam o’ Shanter</i>, and the like +where <i>o’</i> is an abbreviation of <i>of</i> and not the Gælic <i>O’</i> as +<i>O’Neil</i>, etc.</p> + +<p>In writing foreign names which contain particles, capitalize +the particles when not preceded by a Christian name +or title.</p> + +<p class="blockquot"> +<i>Alfred de Musset</i> but <i>De Musset</i>,<br /> +<i>le Due de Morny</i> but <i>De Morny</i>,<br /> +<i>Prince von Bismarck</i> but <i>Von Bismarck</i>.<br /> +</p> + +<p>By exception the Dutch particle “van” is always +capitalized.</p> + +<div class="blockquot"><p><i>Van Hoorn</i>, <i>Stephen Van Rensselær</i>.</p></div> + +<p>13. Epithets appended to proper names or substituted for +them.</p> + +<p class="blockquot"> +<i>Frederick the Great</i><br /> +<i>Peter the Hermit</i><br /> +<i>William Red Head (Rufus)</i><br /> +<i>the Conqueror</i>.<br /> +</p> + +<p>14. Names of races of men.</p> + +<div class="blockquot"><p><i>Aryan</i>, <i>Caucasian</i>, etc., but generally <i>negro</i> and +<i>gypsy</i>, by exception.</p></div> + +<p>15. Names of places.</p> + +<p>a. Cities, rivers, oceans, lakes, mountains, etc.</p> + + +<p class="blockquot"> +<i>Chicago</i><br /> +<i>Mississippi River</i><br /> +<i>Atlantic Ocean</i><br /> +<i>Lake Superior</i><br /> +<i>Pike’s Peak</i><br /> +<i>Strawberry Hill</i>.<br /> +</p> + +<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +Note that the generic terms ocean, lake, mountain and +the like are capitalized only when they are an actual part +of the name itself. We would say “<i>The Atlantic Ocean lies +east of the United States</i>,” but we would say “<i>The states +which form the North American republic look out on two great +oceans, the Atlantic and the Pacific.</i>”</p> + +<p>The following tables are taken from <i>A Manual for +Writers</i> by John Matthews Manley and John Arthur Powell +(University of Chicago Press, Chicago).</p> + +<p>Subject to the rule just stated, they will be found very +useful.</p> + +<p>Capitalize, in singular form only, when immediately +following the name</p> + + +<p class="blockquot"> +Archipelago<br /> +Borough<br /> +Branch (stream)<br /> +Butte<br /> +Canyon<br /> +County<br /> +Crater<br /> +Creek<br /> +Delta<br /> +Forest<br /> +Fork<br /> +Gap<br /> +Glacier<br /> +Gulch<br /> +Harbor<br /> +Head<br /> +Hollow<br /> +Mesa<br /> +Narrows<br /> +Ocean<br /> +Parish (La.)<br /> +Park<br /> +Plateau<br /> +Range<br /> +Reservation<br /> +Ridge<br /> +River<br /> +Run<br /> +</p> + +<p>Capitalize in singular or plural form when immediately +following the name</p> + + +<p class="blockquot"> +Hill<br /> +Island<br /> +Mountain<br /> +Spring<br /> +</p> + +<p>Capitalize, in singular form, either before or after the +name; and in plural form before the name</p> + + +<p class="blockquot"> +Bay<br /> +Bayou<br /> +Camp (military)<br /> +Cape<br /> +Dalles<br /> +Desert<br /> +Falls<br /> +Fort<br /> +Isle<br /> +Lake<br /> +Mount<br /> +Oasis<br /> +Pass<br /> +Peak<br /> +Point<br /> +Port<br /> +Sea<br /> +Strait<br /> +Valley<br /> +Volcano<br /> +</p> + +<p>b. Names of streets, squares, parks, buildings, etc.</p> + + +<p class="blockquot"> +<i>Amsterdam Avenue</i><br /> +<i>Van Buren Street</i><br /> +<i>Independence Square</i><br /> +<i>Lincoln Park</i><br /> +<i>Transportation Building</i>.<br /> +</p> + +<p><span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> +The same rule as to capitalization of the generic name +holds here as in the preceding section. The usual tendency +to drop capitals is at work here and newspapers now write +<i>Washington street</i> and <i>Federal building</i>. It is very probable +that the capitals will finally be dropped from the generic +terms wherever used.</p> + +<p>Printers should keep a careful watch on the usage of the +best offices so as to keep advised as to the progress of these +changes.</p> + +<p>c. Nouns, and adjectives derived from them designating +recognized geographical divisions of a country or of the +world.</p> + +<p class="blockquot"> +<i>East</i>, <i>West</i>, <i>North</i>, <i>South</i>,<br /> +<i>Westerner</i>, <i>Oriental</i>.<br /> +</p> + +<p>When these words are used in their ordinary significance +of mere direction or location they are not capitalized +except that in writing of Biblical history we speak of the +<i>Northern Kingdom</i> and the <i>Southern Kingdom</i> into which +Solomon’s territory was split after his death.</p> + +<p>16. Generic terms for political divisions.</p> + +<p>a. When the term is part of the name and directly +follows it.</p> + +<p class="blockquot"> +<i>Holy Roman Empire</i><br /> +<i>British Empire</i><br /> +<i>Northwest Territory</i><br /> +<i>Queen’s County</i>.<br /> +</p> + +<p>b. When it is used with the preposition of in such +phrases as <i>Borough of the Bronx</i>, <i>Department of the Gulf</i>.</p> + +<p>c. When part of a nickname, <i>The Crescent City</i>, <i>the +Buckeye State</i>, <i>the City of Brotherly Love</i>.</p> + +<p>Be careful not to capitalize such words when they are +not an actual part of the name. <i>French Republic</i> is the name +of the county, exactly translating <i>Republique Francaise</i>, but +<i>American republic</i> is not such a name. You would write +<i>State of New York</i> in a legal document in which the state +would be considered as a corporate person, but in ordinary +references it would be <i>state of New York</i>.</p> + +<p><span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> +17. The days of the week and the months of the year, but +not the seasons unless personified.</p> + +<p class="blockquot"> +<i>Monday the fifth of August.</i><br /> +<i>April is the first month of spring.</i><br /> +<i>Spring, beautiful Spring.</i><br /> +</p> + +<p>But write <i>ten o’clock</i>, <i>nine a.m.</i>, <i>ten p.m.</i></p> + +<p>18. Festivals and historic or famous days.</p> + +<p class="blockquot"> +<i>Easter Day</i><br /> +<i>Fast Day</i><br /> +<i>Independence Day</i><br /> +<i>Black Friday</i>.<br /> +</p> + +<p>19. Stars, planets, constellations, and the like, except <i>sun</i>, +<i>moon</i>, <i>stars</i>, <i>earth</i>.</p> + +<div class="blockquot"><p><i>Mars</i>, <i>the Milky Way</i>, <i>the Pleiades</i>.</p></div> + +<p>20. Ordinal numbers used to designate numbered political +divisions, sessions of Congress, names of regiments, +Egyptian dynasties, and the like.</p> + +<p class="blockquot"> +<i>Second Congressional District</i>,<br /> +<i>First Ward</i>, <i>Ninth Precinct</i>, <i>Forty-third<br /> +Congress</i>, <i>Sixth Massachusetts Regiment</i>,<br /> +<i>Fifth Dynasty</i>.<br /> +</p> + +<p>21. Names of genera but not of species: except that in +botanical and zoölogical copy the species may be +capitalized if derived from a proper name.</p> + +<p class="blockquot"> +<i>Agaricus campestris</i><br /> +<i>Parkinsonia Torreyana</i><br /> +<i>Pterygomatopus schmidti</i>, (Medical).<br /> +</p> + +<p>The English derivatives from these scientific words are +not capitalized. We write of the <i>agarics</i>, the <i>felids</i>, the +<i>carnivores</i>, etc.</p> + +<p>22. <i>Father</i>, <i>mother</i>, and other words denoting relationship +when used with a proper name or without a personal +pronoun.</p> + +<p class="blockquot"> +<i>I saw Aunt Lucy and Cousin Charles.</i><br /> +<i>I saw my aunt Lucy and my cousin Charles.</i><br /> +<i>I have received a letter from my mother.</i><br /> +<i>I have received a letter from Mother.</i><br /> +</p> + +<p><span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +23. Names of political parties and of philosophical, literary, +and artistic schools, and their adherents.</p> + +<div class="blockquot"><p><i>Republican</i>, <i>National Liberal</i>, <i>Social Democrats</i>, +<i>Stoics</i> (but <i>neo-Platonism</i>, <i>pseudo-Christianity</i>, +etc.) <i>the Lake school</i>, <i>the Romantic movement</i>, +<i>the Symbolic school of painters</i>.</p></div> + +<p>24. Political and historical designations which have been +much used and have come to have special significances +such as names of leagues, parties, classes, movements, +and the like.</p> + +<div class="blockquot"><p><i>Holy Alliance</i>, <i>Dreibund</i>, <i>Roundheads</i>, +<i>Independents</i>, <i>Reformation</i>, <i>Dissenter</i>.</p></div> + +<p>25. Names of well-known historic epochs, periods in the +history of language, and geological ages and strata. +The word “age” is not capitalized except when necessary +to avoid ambiguity.</p> + +<div class="blockquot"><p><i>Stone age</i>, <i>Middle Ages</i>, <i>Age of Elizabeth</i>, +<i>Crusades</i>, <i>Commune (of Paris)</i>, <i>Middle +English</i>, <i>Neolithic</i>.</p></div> + +<p>26. Names of important events.</p> + +<p> +<i>Hundred Years War</i>, <i>Battle of Trenton</i>,<br /> +<i>Louisiana Purchase</i>, <i>Norman Conquest</i>.<br /> +</p> + +<p>27. Names of specific treaties, important laws, and the like.</p> + +<div class="blockquot"><p><i>Peace of Amiens</i>, <i>Edict of Nantes</i>, <i>Concordat</i>, +<i>Emancipation Proclamation</i>, <i>Fourteenth Amendment</i>.</p></div> + +<p>28. Names of governmental bodies and departments and +their branches when specifically designated.</p> + +<div class="blockquot"><p><i>Congress</i>, <i>the Senate</i>, <i>the Board of Aldermen</i>, +<i>the House of Commons</i>, <i>the Committee on Education</i>.</p></div> + +<p>Care must be taken to distinguish between these specific +references and general uses of the same word.</p> + +<div class="blockquot"><p><i>The state legislature of Massachusetts is +officially termed the General Court.</i></p></div> + +<div class="blockquot"><p><i>The matter was referred to the War Department +but was sent back on the ground that it belonged to +another department.</i></p></div> + +<p><span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +29. The official titles of corporations, organizations, and +institutions, social, religious, educational, political, +business, and the like.</p> + +<div class="blockquot"><p><i>Knights Templars</i>, <i>Knights of Columbus</i>, <i>Associated +Charities</i>, <i>Cook County Normal School</i>, <i>Society for +the Prevention of Cruelty to Animals</i>, <i>Chicago</i>, +<i>Rock Island and Pacific Railroad</i>.</p></div> + +<p>In long titles, like the last example given, the important +words are capitalized as in book titles (see Sec. 31). Use +capitals when referring to such organizations by initials, +<i>C. R. I. & P. R. R.</i> Here again it must be remembered +that the capitals are used in specific references only.</p> + +<div class="blockquot"><p><i>The Young People’s Society of Christian Endeavor +of the Third Congregational Church.</i></p></div> + +<div class="blockquot"><p><i>The young people’s societies connected with the Congregational +churches do great good.</i></p></div> + +<p>30. The names of conventions, congresses, expositions, +etc.</p> + +<p class="blockquot"> +<i>Parliament of Religions</i>,<br /> +<i>International Peace Congress</i>,<br /> +<i>Panama-Pacific Exposition</i>.<br /> +</p> + +<p>31. The first words, principal words, and last word in +English tides of books and other publications; of their +divisions (parts, chapters, cantos, etc.); of the topics +of speeches, sermons, toasts, and the like; of pictures; +of plays; of musical compositions, etc.</p> + +<p>In long titles nouns and pronouns are capitalized +always; verbs, participles, and adverbs usually; articles, +prepositions and conjunctions never.</p> + +<div class="blockquot"><p><i>Standard Thesaurus of English Words and Phrases</i>, +<i>Science and Health with Key to the Scriptures</i>, +<i>Lincoln’s Gettysburg Address</i>, <i>Paradise Lost</i>, +<i>Measure for Measure</i>, <i>A New Way to Pay Old +Debts</i>, <i>The Coronation of Charles VII at Rheims</i>, +<i>the Moonlight Sonata</i>.</p></div> + +<p><span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +The word “the” is capitalized when it forms an actual +part of the title of a book but not otherwise.</p> + +<div class="blockquot"><p><i>The Printer’s Dictionary</i>. <i>The Life and Times of +Charles V.</i> <i>the Review of Reviews</i>, <i>the Laacoon</i>, +<i>the Fifth Symphony</i>.</p></div> + +<p>32. Dedications; headings of parts and chapters; headings +of many important minor parts of a book.</p> + +<p class="blockquot"> +<i>To All Who Love Good Printing.</i><br /> +<i>Chapter Twenty-Seven.</i><br /> +<i>Part Three.</i><br /> +<i>The Invention of Movable Types.</i><br /> +<i>The Practical Value of Gutenberg’s Invention.</i><br /> +(These last as sections of a book on the origin<br /> +of printing).<br /> +</p> + +<p>33. In foreign languages the usage is somewhat different. +The following rules will be found useful:</p> + +<p>a. Always capitalize the first word.</p> + +<p>b. In Latin capitalize only proper nouns and adjectives +derived therefrom.</p> + +<div class="blockquot"><p><i>Commentarii Cæsaris de bello Gallico.</i></p></div> + +<p>c. In French, Italian, Spanish, Swedish, and Norwegian, +capitalize proper names but not adjectives derived therefrom.</p> + +<div class="blockquot"><p><i>La vie de Ronsard</i>; <i>Histoire de la litterature +francaise</i>, <i>Novelle e racconti popolari italiani</i>, +<i>Antologia de poetas liricos castellanos</i>.</p></div> + +<p>d. In German capitalize all nouns and all adjectives derived +from the names of persons but not those derived +from other proper nouns.</p> + +<p class="blockquot"> +<i>Geschichte des deutsches Reich</i><br /> +<i>Die Homerische Frage</i>.<br /> +</p> + +<p>e. In Danish capitalize all nouns.</p> + +<p>f. In Dutch capitalize all nouns and all adjectives derived +from proper nouns.</p> + +<p>34. Titles of ancient manuscripts.</p> + +<div class="blockquot"><p><i>Codex Alexandrinus.</i></p></div> + +<p><span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +35. In titles of books, etc. all nouns forming parts of +hyphenated compounds should be capitalized.</p> + +<p>36. In side heads capitalize the first word and proper +nouns only.</p> + +<p>37. Personal titles as follows:</p> + +<p>a. Titles preceding a name and so forming part of it.</p> + +<p class="blockquot"> +<i>King George V.</i><br /> +<i>Pope Benedict XV.</i><br /> +<i>Duke William of Aquitaine.</i><br /> +</p> + +<p>But not otherwise.</p> + +<div class="blockquot"><p><i>Woodrow Wilson</i>, <i>president of the United States</i>, +<i>the emperor of Germany</i>, <i>the present king of Spain +is Alfonso XIII</i>.</p></div> + +<p>b. Titles used in place of the name with reference to a +particular person or to the present holder of an +office.</p> + +<p class="blockquot"> +<i>I hope when in Rome to see the Pope.</i><br /> +<i>He hoped some day to become pope.</i><br /> +</p> + +<p>c. Familiar names applied to a particular person.</p> + +<p class="blockquot"> +<i>the Father of his Country.</i><br /> +<i>Unser Fritz.</i><br /> +<i>the Little Corporal.</i><br /> +</p> + +<p>d. Orders of knighthood and titles attached to them.</p> + +<p class="blockquot"> +<i>Knight of the Garter</i>,<br /> +<i>Knight Commander of St. Michael and St. George</i>.<br /> +</p> + +<p>e. Titles used in direct address.</p> + +<div class="blockquot"><p><i>Good morning, Mr. President.</i></p></div> + +<p>f. Academic degrees in abbreviated form following a +name.</p> + +<p class="blockquot"><i>David Starr Jordan, Ph. D., LL. D.</i></p> + +<p>So also letters following a name indicating membership +of certain scientific and artistic organizations.</p> + +<p class="blockquot"> +<i>F. R. G. S.</i> (Fellow of the Royal Geographic Society).<br /> +<i>R. A.</i> (Member of the Royal Academy).<br /> +</p> + +<p>So also in the United States and Great Britain, <i>M. C.</i> +(Member of Congress) and <i>M. P.</i> (Member of +Parliament).</p> + +<p>.<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span> +Where a person has many titles the following of this rule +involves certain difficulties. Such a name as</p> + +<div class="blockquot"><p><i>John Smith, A. M., D. D., Ph. D., L. H. D., +D. C. L., LL. D.</i> is by no means impossible.</p></div> + +<p>In such a case the titles become much more prominent +than the name and the page is disfigured by the spotty +appearance of the text. Small capitals may sometimes +be used with good effect in such a case but this should +not be done without obtaining proper permission.</p> + +<p>The difficulty of handling these long and numerous +titles in the composition of title pages is sometimes +considerable. Three methods of dealing with the +difficulty are open.</p> + +<p>a. The honorary titles may be put in capitals regardless +of the unsightly appearance of the line.</p> + +<p>b. The honorary titles may be put in a small size of the +same face and justified in the line. This lessens the +undue prominence of the titles, but puts the line out +of balance.</p> + +<p>c. The honorary titles may be put in a separate line, or +lines, below the name, set in small type, and spelled +out in full. It is not necessary to capitalize <i>jr.</i> and +<i>sr.</i> in lower-case text matter unless so desired by the +author.</p> + +<p>In compound titles capitalize each word if it would +be capitalized separately.</p> + +<p class="blockquot"> +<i>Major General Leonard Wood</i>,<br /> +<i>Chief Justice Taney</i>,<br /> +<i>Commander-in-Chief Field</i><br /> +<i>Marshal Sir John French</i>.<br /> +</p> + +<p>38. Names of things personified.</p> + +<div class="blockquot"><p><i>Nature</i>, <i>Vice</i>, <i>Thrift</i>, and the like.</p></div> + +<p>39. Adjectives derived from proper nouns.</p> + +<p class="blockquot"> +<i>The Elizabethan age.</i><br /> +<i>Roman law.</i><br /> +</p> + +<p><span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> +Such adjectives and even proper nouns themselves lose +the capital when they are applied as trade or scientific names +to articles of common use or reference.</p> + +<div class="blockquot"><p><i>roman type</i>, <i>india ink</i>, <i>chinese white</i>, <i>volt</i>, <i>watt</i>, +<i>boycott</i>, <i>platonic</i>, <i>bohemian</i>.</p></div> + +<p>40. The first word of a direct quotation.</p> + +<div class="blockquot"><p><i>As he turned to go he said: “Farewell, we shall +never meet again.”</i></p></div> + +<p>41. The first word after “Whereas” and “Resolved” +in resolutions.</p> + +<p class="blockquot"> +<i>WHEREAS. It has pleased God....</i><br /> +<i>therefore be it<br /> +RESOLVED, That....</i><br /> +</p> + +<p>42. The first word after a colon when the colon introduces +a logically complete phrase not very closely connected +with what precedes.</p> + +<div class="blockquot"><p><i>My conclusion is: A policy of consistent neutrality +is the only proper one for the country.</i></p></div> + +<div class="blockquot"><p><i>As the proverb well says: Beware the anger of a +patient man.</i></p></div> + +<p>43. <i>O</i> interjection, but not <i>oh</i> unless it begins a sentence.</p> + +<p>In Latin sentences of exclamation, denunciation or appeal +the lower-case <i>o</i> is used.</p> + +<div class="blockquot"><p><i>O tempora, o mores temporum.</i></p></div> + +<p>44. The first personal pronoun <i>I</i> wherever it occurs.</p> + +<p>45. Emphasized words.</p> + +<div class="blockquot"><p><i>We stand for Liberty and Union.</i></p></div> + +<p>This use should be avoided except for advertising display, +or job work.</p> + +<div class="blockquot"><p><i>We call attention to our Stock of +Boots, Shoes, and Furnishings.</i></p></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span></p> +<h2><a name="SMALL_CAPITALS" id="SMALL_CAPITALS"></a>SMALL CAPITALS</h2> + + +<p>The use of small capitals presents its own peculiar problems +to the printer. The small capital has the form of +the large capital but without its size and conspicuousness. +The small capitals are ordinarily no taller than the round +letters of the lower-case. They are usually on a smaller set, +with a lighter face and obscured by more connecting lines. +In many fonts of type they are really the weakest and least +distinguished of all the five series. Wide enough to cover +the body of the type fairly thoroughly in most letters and +thus to reduce the apparent space between letters, without +ascenders and without descenders, they are very monotonous +and singularly ineffective when used in any considerable +quantity. When used in masses it is at times even +difficult to read them.</p> + +<p>The use of small capitals is quite different from that +of large ones. For the reasons just given they are not +suited to display. For this purpose they are no better +than italics, if as good. Owing to their lack of striking +appearance and commanding quality they are not used for +emphasis. Display and emphasis it will be remembered +are the two principal uses of the full capital.</p> + +<p>Small capitals are used more for variety than for display. +They are commonly used for:</p> + +<div class="blockquot"><p>Side heads</p> + +<p>Running titles</p> + +<p>Catch lines of title pages when +particular display is not desired.</p></div> + +<p>They are sometimes used for the first word after a blank +line, especially for the first word of a new chapter.</p> + +<p>Long quotations of poetry are often printed with the first +word in small capitals. In this, as in the preceding case,<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +the whole word is printed in small capitals except the first +letter which is a full capital.</p> + +<p>Proper names standing at the beginning of a chapter, +occasionally even of a paragraph, are sometimes spelled in +capitals or small capitals. If small capitals are used the +initials of the name are put in full capitals.</p> + +<p>Until within a comparatively short time tables of contents +were often set in small capitals. At the same time +it was customary to give a fairly full synopsis of the contents +of each chapter under the chapter head. The result +was a very monotonous page, dull, dense, hard to read. +It is much better and now more common to use small caps +for the chapter heads and ordinary text type for abstracts, +using dashes or dots to separate the phrases in the synopsis +and beginning each phrase with a capital.</p> + +<p>The following reproduction of a part of a page from the +table of contents of DeVinne’s <i>Modern Methods of Book +Composition</i> shows this method of treatment.</p> + +<table border="0" style="width: 30em;" summary="ToC example 1"> +<tr> +<td class="tdtitle" colspan="3">CONTENTS</td> +</tr> + +<tr> +<td class="tdleft" colspan="2">Chapter</td> +<td class="tdright">Page</td> +</tr> + +<tr> +<td style="width: 2em;" class="tdright">I</td> +<td style="width: 25.5em;" class="tdleft"><span class="smcap">Equipment</span></td> +<td style="width: 2.5em;" class="tdright">1</td> +</tr> + +<tr> +<td> </td> +<td class="tdjust">Types...Stands...Cases...Case-racks.</td> +<td> </td> +</tr> + +<tr> +<td class="tdright">II</td> +<td class="tdleft"><span class="smcap">Equipment</span></td> +<td class="tdright">39</td> +</tr> + +<tr> +<td> </td> +<td class="tdjust">Galleys and galley-racks...Compositors’ implements +Brass rules and cases for labor-saving rule and leads +Dashes and braces...Leads...Furniture of wood and +of metal...Furniture-racks...Quotations and electrotype +guards.</td> +<td> </td> +</tr> + +<tr> +<td class="tdright">III</td> +<td class="tdleft"><span class="smcap">Composition</span></td> +<td class="tdright">75</td> +</tr> + +<tr> +<td> </td> +<td class="tdjust">Time-work and piece-work...Customary routine +on book-work...Justification...Spacing and leading +Distribution...Composition by hand and machine +Proper methods of hand work...Recent mannerisms.</td> +<td> </td> +</tr> + +<tr> +<td class="tdright">IV</td> +<td class="tdleft"><span class="smcap">Composition of Books</span></td> +<td class="tdright">111</td> +</tr> + +<tr> +<td> </td> +<td class="tdjust">Title-page...Preface matter...Chapter headings and +synopsis...Subheadings...Extracts...Notes and illustrations...Running +titles and paging at head or at foot +Poetry...Appendix and index...Initials...Headbands, +etc.</td> +<td> </td> +</tr> +</table> + +<p><span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> +Where chapter synopses are not given, ordinary text +type may be used for the table of contents.</p> + +<p>The following reproduction of the table of contents of +DeVinne’s <i>Correct Composition</i> shows this method of treatment.</p> + +<table border="0" style="width: 30em;" summary="ToC example 2"> +<tr> +<td class="tdtitle" colspan="3">CONTENTS</td> +</tr> + +<tr> +<td class="tdleft" colspan="2"><span class="smcap">chapter</span></td> +<td class="tdright"><span class="smcap">page</span></td> +</tr> + +<tr> +<td class="tdright" style="width: 2.5em;"> </td> +<td class="tdleft" style="width: 25em;">Preface</td> +<td class="tdright" style="width: 2.5em;">vii</td> +</tr> + +<tr> +<td class="tdright">I</td> +<td class="tdleft">Spelling</td> +<td class="tdright">5</td> +</tr> + +<tr> +<td class="tdright">II</td> +<td class="tdleft">Abbreviations</td> +<td class="tdright">33</td> +</tr> + +<tr> +<td class="tdright">III</td> +<td class="tdleft">Compound Words</td> +<td class="tdright">61</td> +</tr> + +<tr> +<td class="tdright">IV</td> +<td class="tdleft">Figures and Numerals</td> +<td class="tdright">76</td> +</tr> + +<tr> +<td class="tdright">V</td> +<td class="tdleft">Italic</td> +<td class="tdright">94</td> +</tr> + +<tr> +<td class="tdright">VI</td> +<td class="tdleft">Capital Letters</td> +<td class="tdright">108</td> +</tr> + +<tr> +<td class="tdright">VII</td> +<td class="tdleft">Division of Words</td> +<td class="tdright">128</td> +</tr> + +<tr> +<td class="tdright">VII</td> +<td class="tdleft">Small Capitals</td> +<td class="tdright">145</td> +</tr> + +<tr> +<td class="tdright">IX</td> +<td class="tdleft">Extracts and Letters</td> +<td class="tdright">157</td> +</tr> + +<tr> +<td class="tdright">X</td> +<td class="tdleft">Notes</td> +<td class="tdright">171</td> +</tr> + +<tr> +<td class="tdright">XI</td> +<td class="tdleft">Indention</td> +<td class="tdright">182</td> +</tr> + +<tr> +<td class="tdright">XII</td> +<td class="tdleft">Spacing</td> +<td class="tdright">198</td> +</tr> + +<tr> +<td class="tdright">XIII</td> +<td class="tdleft">Quotation-marks</td> +<td class="tdright">209</td> +</tr> + +<tr> +<td class="tdright">XIV</td> +<td class="tdleft">Subheadings</td> +<td class="tdright">230</td> +</tr> + +<tr> +<td class="tdright">XV</td> +<td class="tdleft">Punctuation</td> +<td class="tdright">241</td> +</tr> + +<tr> +<td class="tdright">XVI</td> +<td class="tdleft">Proof-reading</td> +<td class="tdright">294</td> +</tr> + +<tr> +<td class="tdright">XVII</td> +<td class="tdleft">About Copy</td> +<td class="tdright">327</td> +</tr> + +<tr> +<td class="tdright">XVIII</td> +<td class="tdleft">Errors of the Press</td> +<td class="tdright">345</td> +</tr> + +<tr> +<td class="tdright"> </td> +<td class="tdleft">Appendix</td> +<td class="tdright">359</td> +</tr> + +<tr> +<td class="tdright"> </td> +<td class="tdleft">Index</td> +<td class="tdright">447</td> +</tr> +</table> + +<p><span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> +Small capitals are best for subheads when of not more +than two lines. If the subheads are longer it is best to use +lower-case.</p> + +<p>Signatures and credits are often put in small capitals. +It is usually, however, better to use italics for the purpose. +There is no need of a dash to connect the name with the +quotation. When two or more quotations from the same +author are used as mottoes, with reference to the works +from which they are taken or the occasion on which they +were said, the name of the author may be put in small +capitals in a separate line, the name of the book or speech +in italics, and the occasion in smaller roman type.</p> + +<p>Numerous signatures to a document or petition, such as +the <i>Mayflower Compact</i> or the <i>Declaration of Independence</i>, are +often set in columns using capitals for the initials and small +capitals for the rest of the name. Full capitals are too +large for the purpose.</p> + +<div class="blockquot"><p>We therefore, the Commissioners for the Massachusetts, +Connecticut, and New Haven, do also, for +our several governments, subscribe unto these.</p> + +<p> +<span class="smcap">John Winthrop</span>, Governor of the Massachusetts<br /> +<span class="smcap">Thomas Dudley</span> <span class="smcap" style="margin-left: 2.5em;">Theophilus Eaton</span><br /> +<span class="smcap">George Fenwick</span><span class="smcap" style="margin-left: 2.7em;">Edward Hopkins</span><br /> +<span style="margin-left: 9.7em;"><span class="smcap">Thomas Gregson</span></span><br /> +</p></div> + +<p>Dedications of books are commonly set in small capitals. +As these dedicatory formulas are ordinarily brief there +should be wide leading, good display, and care as to margins. +The author will often give very definite specifications +as to the arrangement of his copy in lines, and this will +sometimes cause difficulty, occasionally compelling the use +of too small type. The author’s specifications must be +followed if he adheres to them.</p> + +<p>Small capitals are much favored for running titles of pages. +Full capitals are much more effective and are to be preferred +where the words are few. Small capitals of 12 or 14 point +body are distinct but smaller sizes are crowded and hard to +read. This difficulty can sometimes be remedied by hair +spacing. Over spacing of such lines is objectionable though +it has sometimes prevailed as a temporary fashion.</p> + +<p><span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +Small capitals used in running titles are exposed to heavy +wear and their shallow counters are liable to get choked up +with ink. Capitals of the monotint or of a light-faced +antique are sometimes selected for books frequently reprinted +where the wear on the exposed running titles is +very severe.</p> + +<p>In reprinting letters it is common to use small capitals +for the name of the place from which the letter was written, +for the name of the addressee, and for the signature. In +job and advertising work the name of the month and day +and date are generally put in lower-case of the text letter. +This rule is not followed, however, in books. When the +heading of the letter is very long lower-case letters are preferable +to small capitals under the general rules of taste +which govern the use of types. The salutation, <i>Dear Sir</i>, +<i>Gentlemen</i>, or the like, does not need small capitals. It is +better printed in italic lower-case with a colon (not followed +by a dash) at the end. If the matter is double leaded the +salutation may go in a line by itself, otherwise conforming +to the rules just given.</p> + +<p>Reprints of formal inscriptions on tablets and the like +are often made in small capitals surrounded by a border. +There should be a good relief of white space between the +type and the border.</p> + +<p>In the Bible and in hymn books the words <span class="smcap">Lord</span> and +<span class="smcap">God</span> are usually set with full capital initial and the rest of +the word in small capitals.</p> + +<p>This is, of course, a method of showing veneration and +at one time it was customary to print all names of spiritual +or temporal dignitaries and magnates or even ordinary +names in small capitals. This practice still lingers in a few +newspapers which print the names of persons, even those +of small consequence, in small capitals, especially on the +editorial page.</p> + +<p>The tendency is steady toward the discriminating use of +capitals, small capitals, and italics. More and more we restrict +the use of marks of emphasis to the really necessary +places leaving the words to tell their story without outside +aid.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span></p> +<h2><a name="SUGGESTIONS_AS_TO_TYPOGRAPHIC" id="SUGGESTIONS_AS_TO_TYPOGRAPHIC"></a>SUGGESTIONS AS TO TYPOGRAPHIC +USE OF CAPITALS</h2> + + +<p>Capitals are too strong to be used with Arabic numerals. +This fault of proportion is increased by the +custom of casting Arabic numerals on an en body for table +work, making them only half as thick as the type. Full capitals +may be used with full figures the width of an ordinary letter. +Condensed capitals may be used with en body numerals.</p> + +<p>If old-style capitals and figures are required in the same +line use figures about one-half larger in body than the capitals +and justify them to the line.</p> + +<p>It is this difficulty in combining capitals and Arabic numerals +in the same line that causes the extensive use of +Roman numerals in chapter numbers, numbers of other +headings, dates on title pages, and the like.</p> + +<p>When a large initial three or four lines high is used for +the first letter of a new chapter, large capitals are sometimes +used, although such usage is not free from the reproach of +looking too much like newspaper advertising. When this +initial is a two line letter it should be in alignment with +the small capitals of the upper line and the base line of the +text letter of the lower line.</p> + +<div class="figcenter" style="width: 571px;"> +<img src="images/il001.png" width="571" height="164" alt="Large initial capital examples" title="Large initial capital examples" /> +</div> + +<p>Care should be taken not to compact capitals. Use wider +leading and broader spacing than for lower-case; for example, +where you would use one lead between lower-case +lines you should use two or three between lines of capitals.</p> + +<p><span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> +Capitals occupy more of the type-body than lower-case +letters and consequently words or lines set entirely with +capitals need wider spacing and leading than the lower-case +to make composition readable. When lines of roman capitals +are set solid or single-leaded the en-quad will usually +be enough space between words especially if the words are +short; but for wide-leaded lines and head-lines double +spaces (two three-to-em) will be needed. A head-line of +round, open capitals may even need em-quad spaces. Wide +letter words require wide spaces and words of thin or condensed +letters require thin spaces.</p> + +<div class="figcenter" style="width: 592px;"> +<img src="images/il002.png" width="592" height="220" alt="Spacing when using capitals examples" title="Spacing when using capitals examples" /> +</div> + +<p>Words which begin or end with A Y L V W T may +need spaces a little less than those with H I M, etc. In +small types the inequalities in white space beside or between +combinations like L Y A T W and letters with +regular shape like H I M N, may not be readily noticed, +but in large sizes of capitals these differences are greatly +increased and will often make unequal white spaces in a +line with uniform metal spaces. In some styles of types +a line may need unequal metal spaces in order to space the +words evenly.</p> + +<p class="center">(Marks indicate insertion of spaces.)</p> + +<div class="figcenter" style="width: 572px;"> +<img src="images/il003.png" width="572" height="62" alt="TEN MAIL TRAINS" title="TEN MAIL TRAINS" /> +</div> + +<p class="center"> +This line has en-quads between the words, but the forms<br /> +of L and T make the white space greater than<br /> +between the first and second words.<br /> +</p> + +<div class="figcenter" style="width: 590px;"> +<img src="images/il004.png" width="590" height="75" alt="TEN MAI'L TRAI'N'S" title="TEN MAI'L TRAI'N'S" /> +</div> + +<p class="center"> +This line has an en-quad in first space and three-to-em<br /> +in the second, with hair-spaces between some<br /> +letters of the words.<br /> +</p> + +<p><span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +So, also, it will often be necessary to insert pieces of +paper, card, or thin leads between the letters of a word +in large display, in order to make them evenly spaced, as +shown in these examples:</p> + +<p class="center">(Marks indicate insertion of spaces.)</p> + +<div class="figcenter" style="width: 562px;"> +<img src="images/il005.png" width="562" height="330" alt="PLAINLY EVENLY and UNEVELY SPACED" title="PLAINLY EVENLY and UNEVELY SPACED" /> +</div> + +<p>This differential spacing in a line of capitals will also be +required in a line having abbreviations or initials. The following +line, spaced with en-quads throughout, has unnecessarily +wide spaces between the initials:</p> + +<div class="figcenter" style="width: 581px;"> +<img src="images/il006.png" width="582" height="38" alt="Spacing abbreviations and initials example" title="Spacing abbreviations and initials example" /> +</div> + +<p>Spaced with four-to-em in the last three places, it is +improved:</p> + +<div class="figcenter" style="width: 581px;"> +<img style="left: 0;" src="images/il007.png" width="567" height="36" alt="Spacing abbreviations and initials example" title="Spacing abbreviations and initials example" /> +</div> + +<p>Capitals used as initials of titles and for other abbreviations, +with the accompanying periods, should be thin-spaced +or set close together, as shown in the second of +these examples:</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/il008.png" width="600" height="161" alt="Spacing example" title="Spacing example" /> +</div> + +<p><span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> +Two or more lines of capitals of the same size should +be spaced as nearly alike as possible. These three lines are +so disproportionately spaced that they are not pleasing:</p> + +<div class="figcenter" style="width: 419px;"> +<img src="images/il009.png" width="419" height="145" alt="Spacing example" title="Spacing example" /> +</div> + +<p>The squaring up is arbitrary and strained. The lines are +better like this:</p> + +<div class="figcenter" style="width: 426px;"> +<img src="images/il010.png" width="426" height="152" alt="Spacing example" title="Spacing example" /> +</div> + +<p>But if it is necessary to square up lines and no additional +words or letters can be inserted the short line may be filled +with florets or other characters which should not be bolder +than the type itself and should be of a style to harmonize +with it as nearly as possible.</p> + +<div class="figcenter" style="width: 423px;"> +<img src="images/il011.png" width="423" height="148" alt="Spacing example" title="Spacing example" /> +</div> + +<p>The extra wide spacing of words set in capitals, as in +head-lines and running-heads, should be avoided by the +young compositor; there are places where it may be unobjectionable +but it will require good judgment and some +experience to prevent such lines making the page look +freakish or amateurish.</p> + +<p><span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> +In jobbing, advertisement, and display work, capitals are +used more freely than in plain reading matter. In book +work the practice is to use capitals more freely than in +newspaper composition. A study of the reading columns +of daily newspapers will discover that capitals are used very +sparingly and words are “kept down” in many cases which +in more formal book and pamphlet work would be capitalized.</p> + +<p>In advertisements, announcements, and circular letters, +words are often capitalized for distinction or emphasis, as +in these examples:</p> + +<div class="blockquot"><p>Those who win a Second or First Prize +through a monthly or special contest become +Honor Members of the Guild, and +receive the Guild badge without charge.</p></div> + +<div class="blockquot"><p>You are cordially invited to attend the +Spring Opening of Suits and Outside +Garments for Women, on Wednesday +and Thursday, April 28 and 29, in our +new Mason Street Annex.</p></div> + +<p>Precise rules for the use of capitals cannot be given for +work of all kinds. Their insertion or omission will be +governed greatly by the subject matter and the style of +treatment desired by the proof-reader or the customer and +the compositor’s duty will not go further than to maintain +some consistency in their use in each piece of work. When +he has copy in which capitals are used as in the following +example he will be expected either to discard all capitals +except at the beginning of the sentences or to capitalize +the words as in the second example:</p> + +<div class="blockquot"><p>Fifty styles of the Smartest and nobbiest +wheel specialties for ponies and Small +horses, Pony carts, light horse novelties, +traps, wagons, Harness, Saddles, etc.</p></div> + +<p><span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span></p> + +<div class="blockquot"><p>Fifty Styles of the Smartest and Nobbiest +Wheel Specialties for Ponies and Small +Horses, Pony Carts, Light Horse Novelties, +Traps, Wagons, Harness, Saddles, +etc.</p></div> + +<p>In lines of large display, like head-lines, set in capitals +and lower-case, all the important words should begin with +capitals. Unimportant words, such as <i>of</i>, <i>the</i>, <i>by</i>, <i>for</i>, <i>but</i>, +<i>in</i>, etc., except when they are at the beginning of the displayed +phrase, are not capitalized.</p> + +<p class="blockquot" style="font-size: larger;"> +Notice to the Public<br /> +The Best is the Cheapest<br /> +A Great Bargain in Hats<br /> +By Right of Conquest<br /> +For Love and Honor<br /> +</p> + +<p>A line of capitals containing an abbreviation or other +short word should have capitals throughout when possible, +as in the second form of these examples:</p> + +<p class="blockquot"> +JOHN SMITH, Jr. <span style="margin-left: 5em;">JOHN SMITH, JR.</span><br /> +ROBINSON & Co. <span style="margin-left: 4.5em;">ROBINSON & CO.</span><br /> +</p> + +<p>In advertisement display lines like the following are +permissible:</p> + + +<div class="blockquot" style="width: 12em;"> +<p class="center"> +The GOLDEN HARVESTER<br /> +REGAL SHOES <i>for</i> <span class="smcap">Men</span><br /> +</p></div> + +<p>Combinations of different sizes and styles of types are +also common and serve their purpose properly, as in this +style, often used in billheads, etc.</p> + +<p class="blockquot"> +<span class="smcap">to THOMAS W. ABBOTT, dr.</span><br /> +<i>In account with</i> FRANK ABBOTT<br /> +</p> + +<p><span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +Combinations of large and small capitals and lower-case +like the following are, however, not approved:</p> + +<div class="blockquot"><p><span class="smcap">william brown</span>, President</p></div> + +<p>The words in small capitals as well as the word in lower-case +should begin with large capitals, like this:</p> + +<div class="blockquot"><p><span class="smcap">William Brown</span>, President</p></div> + +<p>When lines of capitals are used in books and pamphlets, +for headings and display, they should be used consistently—that +is, all headings of a similar kind should be alike in any +piece of work, and not one heading in capitals and another +in lower-case. The composition of a title page is more +pleasing when its chief lines are in one style of letters, +giving a harmonious effect. When lines of capitals and +lines of lower-case are interspersed in a page an appearance +of confusion is liable to be the result.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span></p> +<h2><a name="SUPPLEMENTARY_READING" id="SUPPLEMENTARY_READING"></a>SUPPLEMENTARY READING</h2> + + +<p>A Manual for Writers. By John Matthews Manley and John Arthur +Powell. The University of Chicago Press, Chicago.</p> + +<p>The Writer’s Desk Book. By William Dana Orcutt. Frederick +Stokes Company, New York.</p> + +<p>Correct Composition. By Theodore L. DeVinne. The Oswald Publishing +Company, New York.</p> + +<p>A Handbook of Composition. By Edwin D. Woolley. D. C. +Heath, Boston.</p> + +<p>Punctuation. With Chapters on Hyphenization, Capitalization and +Spelling. By F. Horace Teale. Appleton & Co., New York.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span></p> +<h2><a name="QUESTIONS" id="QUESTIONS"></a>QUESTIONS</h2> + + +<p>As the subject matter of this book is such that many of the questions +will serve only to bring out the accuracy of the pupil’s memory of +rules it is very desirable that care should be taken to insure intelligent +use and application of the rules. To be able to repeat a rule is of very +little importance compared with the ability to apply it intelligently.</p> + +<p>The instructor should give the pupils constant practice in the application +of these rules. This should consist of;—</p> + +<p style="margin-left: 3em;">(a) Study of passages taken from all kinds of printed matter.</p> + +<p style="margin-left: 3em;">(b) Rewriting of passages given out without capitalization.</p> + +<p>In the first case a wide range of material should be used from the +most carefully printed books to the most carelessly printed matter that +can be found, including newspapers of varying excellence and pure +advertising matter. The capitalization found should be studied and +explained by the rules and the criticisms or changes suggested justified +in the same way.</p> + +<p>In like manner in the second case every capital used in the rewritten +text should be justified by the proper rule.</p> + +<p>Without such exercises as these, the book will have comparatively +little value.</p> + +<p>1. What is a capital letter?</p> + +<p>2. How many series of letters does an ordinary font of +type contain?</p> + +<p>3. Name them, and tell what you know about each one.</p> + +<p>4. In what does the distinction between capital and lower-case +letter consist?</p> + +<p>5. What combinations of capitals and lower-case are +permissible?</p> + +<p>6. In manuscript how do you indicate capitals? Italics?</p> + +<p>7. What are capitals used for?</p> + +<p>8. What tendencies are observable in style?</p> + +<p>9. What is the real implement of English speech?</p> + +<p>10. What are the general rules for the use of capitals?</p> + +<p>11. Capitalize, <i>men pray to god, to christ and to the virgin +mary that they may be defended by the holy ghost from +those assaults of the devil which would make devils of +them</i>. Give the rule for so doing.</p> + +<p><span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> +12. Capitalize, <i>the supreme architect of the universe, sometimes +called providence, has his own ways of bringing +men to heaven</i>. Give the rule for so doing.</p> + +<p>13. Learn the list of words under rule 2.</p> + +<p>14. Are these words capitalized in all cases?</p> + +<p>15. Are adjectives derived from these words capitalized?</p> + +<p>16. When do you not capitalize <i>God</i> and its synonyms?</p> + +<p>17. What is the usage as to pronouns referring to God +and the other persons of the Trinity?</p> + +<p>18. What is the rule regarding the Bible and matter +related to it?</p> + +<p>19. What is the rule regarding biblical terms?</p> + +<p>20. Capitalize, <i>the holy man entered the holy place at the appointed +time</i>. <i>The message of the gospel is found in the +most spiritual form in the gospel of John.</i> Give the rule.</p> + +<p>21. What is the rule about religious bodies and their +members?</p> + +<p>22. What is the rule about monastic orders?</p> + +<p>23. What is the rule about <i>church</i>? Give examples of the +different uses.</p> + +<p>24. What is the rule about names of creeds?</p> + +<p>25. Give different uses of <i>father</i> and <i>reformer</i> and explain +them.</p> + +<p>26. How do you use capitals in writing names of persons +in English and in other languages?</p> + +<p>27. What is the usage with regard to epithets and the like?</p> + +<p>28. What is the usage with regard to races of men?</p> + +<p>29. Give the rule for names of places, and examples of +each usage.</p> + +<p>30. Learn the tables under rule 15.</p> + +<p>31. When do you capitalize generic terms for political +divisions and when do you not?</p> + +<p>32. What is the rule about words denoting time?</p> + +<p>33. What is the rule about festivals, etc.?</p> + +<p>34. What is the rule about astronomical terms?</p> + +<p>35. When are ordinal numbers capitalized?</p> + +<p>36. How are capitals used in scientific names?</p> + +<p>37. What is the usage in such words as <i>father</i>, <i>mother</i>, +and other terms denoting relationship?</p> + +<p><span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> +38. What is the rule regarding names of parties, political, +literary, etc.?</p> + +<p>39. What is the rule as to historic parties, leagues, etc.?</p> + +<p>40. What is the usage in writing of periods, historic, +geological, etc.?</p> + +<p>41. What is the usage regarding important events?</p> + +<p>42. How are treaties, laws, etc., treated?</p> + +<p>43. When are the names of governmental bodies, departments, +etc., capitalized?</p> + +<p>44. How are official titles of corporations and other bodies +treated?</p> + +<p>45. How are names of conventions, expositions, and the +like treated?</p> + +<p>46. How are capitals used in book titles and similar copy, +including the use of <i>the</i>?</p> + +<p>47. How are capitals used in dedications and headings?</p> + +<p>48. Give the rules for the use of capitals in foreign book +titles.</p> + +<p>49. Give the rules for the use of capitals in personal +titles.</p> + +<p>50. What can you do when a name is followed by the +initials of a number of titles?</p> + +<p>51. What do you do in case of compound titles?</p> + +<p>52. How do you write the names of things personified?</p> + +<p>53. How are adjectives derived from proper nouns treated?</p> + +<p>54. How are capitals used in direct quotations?</p> + +<p>55. How are capitals used in resolutions?</p> + +<p>56. Are capitals used after colons?</p> + +<p>57. How do we write the interjections <i>O</i> and <i>oh</i>?</p> + +<p>58. How do we write the first personal pronoun?</p> + +<p>59. When and where are capitals used for emphasis?</p> + +<p>60. Describe the peculiarities of small capitals.</p> + +<p>61. Are they used in the same way as full capitals? +Why?</p> + +<p>62. What is the principal use of small capitals?</p> + +<p>63. Give some of the places where small capitals are +commonly used.</p> + +<p>64. How are small capitals now used in tables of contents, +and how were they formerly used?</p> + +<p><span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span> +65. What type would you use for a table of contents +when chapter synopses are not given?</p> + +<p>66. How are subheads treated?</p> + +<p>67. How are signatures and credits treated?</p> + +<p>68. How are dedications of books treated?</p> + +<p>69. How are running titles treated?</p> + +<p>70. What is good usage in reprinting letters?</p> + +<p>71. What is a good way to set reprints of formal inscriptions?</p> + +<p>72. What is the usage with regard to the names of persons +treated with veneration?</p> + +<p>73. What is the tendency in the use of capitals and other +devices for emphasis?</p> + +<p>74. How would you handle combinations of capitals and +numerals, and why?</p> + +<p>75. How would you treat large initials?</p> + +<p>76. How should you space and lead capitals as compared +with lower-case?</p> + +<p>77. How should lines of capitals be spaced, and why?</p> + +<p>78. Would capitals set with even spacing or without +spacing appear to be evenly spaced?</p> + +<p>79. What is the reason for the appearance just noted?</p> + +<p>80. What would you do about it?</p> + +<p>81. How should you space capitals used as initials of titles +with accompanying periods?</p> + +<p>82. How should you space two or more lines of capitals +of the same size?</p> + +<p>83. If squaring up is necessary, how should it be done?</p> + +<p>84. What can you say about wide spacing of words set in +capitals?</p> + +<p>85. What can you say of the use of capitals in different +sorts of matter?</p> + +<p>86. How is the compositor guided in these cases?</p> + +<p>87. How are capitals used in lines of large display?</p> + +<p>88. How would you set a line of capitals containing an +abbreviation or other short word?</p> + +<p>89. How may capitals be used in lines of advertising +display?</p> + +<p><span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> +90. Under what circumstances are combinations of +different sizes and styles of type permissible?</p> + +<p>91. Are combinations of large and small capitals and +lower-case advisable?</p> + +<p>92. What rule should be followed when lines of capitals +are used in books and pamphlets for headings and +display?</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> +<h2><a name="GLOSSARY" id="GLOSSARY"></a>GLOSSARY</h2> + + +<p><span class="smcap">Formal</span>—Made in accordance with regular and established +forms, or with dignity and impressiveness: stiff.</p> + +<p><span class="smcap">Genera</span>—Plural of genus, a group for purposes of classification, +embracing one or more species.</p> + +<p><span class="smcap">Generic</span>—Of or pertaining to a genus (see genera) as +distinct from specific, of or pertaining to a species +(which see).</p> + +<p><span class="smcap">Ordinal</span>—That form of the numeral that shows the order +of anything in a series.</p> + +<p><span class="smcap">Species</span>—A group for purposes of classification subordinate +to a genus and composed of individuals having only +minor differences.</p> + +<p><span class="smcap">Versions</span>—(Of the Bible) Different translations of the +original into the same or different languages.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_i" id="Page_i">[i]</a></span></p> +<h2><a name="TYPOGRAPHIC_TECHNICAL_SERIES" id="TYPOGRAPHIC_TECHNICAL_SERIES"></a>TYPOGRAPHIC TECHNICAL SERIES<br /> +FOR APPRENTICES</h2> + + +<p>The following list of publications, comprising the <span class="smcap">Typographic +Technical Series for Apprentices</span>, has been prepared +under the supervision of the Committee on Education of the +United Typothetae of America for use in trade classes, in course of +printing instruction, and by individuals.</p> + +<p>Each publication has been compiled by a competent author or +group of authors, and carefully edited, the purpose being to provide +the printers of the United States—employers, journeymen, +and apprentices—with a comprehensive series of handy and +inexpensive compendiums of reliable, up-to-date information upon +the various branches and specialties of the printing craft, all +arranged in orderly fashion for progressive study.</p> + +<p>The publications of the series are of uniform size, 5×8 inches. +Their general make-up, in typography, illustrations, etc., has +been, as far as practicable, kept in harmony throughout. A brief +synopsis of the particular contents and other chief features of each +volume will be found under each title in the following list.</p> + +<p>Each topic is treated in a concise manner, the aim being to +embody in each publication as completely as possible all the +rudimentary information and essential facts necessary to an understanding +of the subject. Care has been taken to make all statements +accurate and clear, with the purpose of bringing essential +information within the understanding of beginners in the different +fields of study. Wherever practicable, simple and well-defined +drawings and illustrations have been used to assist in giving +additional clearness to the text.</p> + +<p>In order that the pamphlets may be of the greatest possible +help for use in trade-school classes and for self-instruction, each +title is accompanied by a list of Review Questions covering +essential items of the subject matter. A short Glossary of technical +terms belonging to the subject or department treated is also +added to many of the books.</p> + +<p>These are the Official Text-books of the United Typothetae of +America.</p> + +<p>Address all orders and inquiries to <span class="smcap">Committee on Education, +United Typothetae of America, Chicago, Illinois, U. S. A.</span></p> +<p><span class='pagenum'><a name="Page_ii" id="Page_ii">[ii]</a></span></p> + + +<p class="parth">PART I—<i>Types, Tools, Machines, and Materials</i></p> + +<ul class="books"> +<li><p><b>1.</b> <b>Type: a Primer of Information</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">Relating to the mechanical features of printing types; their sizes, font +schemes, etc., with a brief description of their manufacture. 44 pp.; +illustrated; 74 review questions; glossary.</p></li> + +<li><p><b>2.</b> <b>Compositors’ Tools and Materials</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">A primer of information about composing sticks, galleys, leads, brass +rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 review +questions; glossary.</p></li> + +<li><p><b>3.</b> <b>Type Cases, Composing Room Furniture</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">A primer of information about type cases, work stands, cabinets, case +racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 review +questions; glossary.</p></li> + +<li><p><b>4.</b> <b>Imposing Tables and Lock-up Appliances</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">Describing the tools and materials used in locking up forms for the press, +including some modern utilities for special purposes. 59 pp.; illustrated; +70 review questions; glossary.</p></li> + +<li><p><b>5.</b> <b>Proof Presses</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">A primer of information about the customary methods and machines for +taking printers’ proofs. 40 pp.; illustrated; 41 review questions; glossary.</p></li> + +<li><p><b>6.</b> <b>Platen Printing Presses</b> <span class="author">By Daniel Baker</span></p> + +<p class="brief">A primer of information regarding the history and mechanical construction +of platen printing presses, from the original hand press to the modern +job press, to which is added a chapter on automatic presses of small size. +51 pp.; illustrated; 49 review questions; glossary.</p></li> + +<li><p><b>7.</b> <b>Cylinder Printing Presses</b> <span class="author">By Herbert L. Baker</span></p> + +<p class="brief">Being a study of the mechanism and operation of the principal types of +cylinder printing machines. 64 pp.; illustrated; 47 review questions; +glossary.</p></li> + +<li><p><b>8.</b> <b>Mechanical Feeders and Folders</b> <span class="author">By William E. Spurrier</span></p> + +<p class="brief">The history and operation of modern feeding and folding machines; with +hints on their care and adjustments. Illustrated; review questions; +glossary.</p></li> + +<li><p><b>9.</b> <b>Power for Machinery in Printing Houses</b> <span class="author">By Carl F. Scott</span></p> + +<p class="brief">A treatise on the methods of applying power to printing presses and allied +machinery with particular reference to electric drive. 53 pp.; illustrated; +69 review questions; glossary.</p></li> + +<li><p><b>10.</b> <b>Paper Cutting Machines</b> <span class="author">By Niel Gray, Jr.</span></p> + +<p class="brief">A primer of information about paper and card trimmers, hand-lever +cutters, power cutters, and other automatic machines for cutting paper, +70 pp.; illustrated; 115 review questions; glossary.</p></li> + +<li><p><b>11.</b> <b>Printers’ Rollers</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">A primer of information about the composition, manufacture, and care of +inking rollers. 46 pp.; illustrated; 61 review questions; glossary.</p></li> + +<li><p><b>12.</b> <b>Printing Inks</b> <span class="author">By Philip Ruxton</span></p> + +<p class="brief">Their composition, properties and manufacture (reprinted by permission +from Circular No. 53, United States Bureau of Standards); together with +some helpful suggestions about the everyday use of printing inks by +Philip Ruxton. 80 pp.; 100 review questions; glossary.</p></li> + +</ul><p><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p><ul class="books"> +<li><p><b>13.</b> <b>How Paper is Made</b> <span class="author">By William Bond Wheelwright</span></p> + +<p class="brief">A primer of information about the materials and processes of manufacturing +paper for printing and writing. 68 pp.; illustrated; 62 review questions; +glossary.</p></li> + +<li><p><b>14.</b> <b>Relief Engravings</b> <span class="author">By Joseph P. Donovan</span></p> + +<p class="brief">Brief history and non-technical description of modern methods of engraving; +woodcut, zinc plate, halftone; kind of copy for reproduction; things +to remember when ordering engravings. Illustrated; review questions; +glossary.</p></li> + +<li><p><b>15.</b> <b>Electrotyping and Sterotyping</b> <span class="author">By Harris B. Hatch and A. A. Stewart</span></p> + +<p class="brief">A primer of information about the processes of electrotyping and stereotyping. +94 pp.; illustrated; 129 review questions; glossaries.</p></li> + +</ul> + +<p class="parth">PART II—<i>Hand and Machine Composition</i></p> + +<ul class="books"> +<li><p><b>16.</b> <b>Typesetting</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">A handbook for beginners, giving information about justifying, spacing, +correcting, and other matters relating to typesetting. Illustrated; +review questions; glossary.</p></li> + +<li><p><b>17.</b> <b>Printers’ Proofs</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">The methods by which they are made, marked, and corrected, with +observations on proofreading. Illustrated; review questions; glossary.</p></li> + +<li><p><b>18.</b> <b>First Steps in Job Composition</b> <span class="author">By Camille DeVéze</span></p> + +<p class="brief">Suggestions for the apprentice compositor in setting his first jobs, +especially about the important little things which go to make good +display in typography. 63 pp.; examples; 55 review questions; glossary.</p></li> + +<li><p><b>19.</b> <b>General Job Composition</b></p> + +<p class="brief">How the job compositor handles business stationery, programs and +miscellaneous work. Illustrated; review questions; glossary.</p></li> + +<li><p><b>20.</b> <b>Book Composition</b> <span class="author">By J. W. Bothwell</span></p> + +<p class="brief">Chapters from DeVinne’s “Modern Methods of Book Composition,” +revised and arranged for this series of text-books by J. W. Bothwell of +The DeVinne Press, New York. Part I: Composition of pages. Part II: +Imposition of pages. 229 pp.; illustrated; 525 review questions; glossary.</p></li> + +<li><p><b>21.</b> <b>Tabular Composition</b> <span class="author">By Robert Seaver</span></p> + +<p class="brief">A study of the elementary forms of table composition, with examples of +more difficult composition. 36 pp.; examples; 45 review questions.</p></li> + +<li><p><b>22.</b> <b>Applied Arithmetic</b> <span class="author">By E. E. Sheldon</span></p> + +<p class="brief">Elementary arithmetic applied to problems of the printing trade, calculation +of materials, paper weights and sizes, with standard tables and rules +for computation, each subject amplified with examples and exercises. +159 pp.</p></li> + +<li><p><b>23.</b> <b>Typecasting and Composing Machines</b> <span class="author">A. W. Finlay, Editor</span></p> + +<p class="brief"> +Section I—The Linotype <span class="author">By L. A. Hornstein</span><br /> +Section II—The Monotype <span class="author">By Joseph Hays</span><br /> +Section III—The Intertype <span class="author">By Henry W. Cozzens</span><br /> +Section IV—Other Typecasting and Typesetting Machines <span class="author">By Frank H. Smith</span> +</p> + +<p class="brief">A brief history of typesetting machines, with descriptions of their +mechanical principles and operations. Illustrated; review questions; +glossary.</p></li> +</ul> + +<p class="parth">PART III—<i>Imposition and Stonework</i><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span></p> + +<ul class="books"> +<li><p><b>24.</b> <b>Locking Forms for the Job Press</b> <span class="author">By Frank S. Henry</span></p> + +<p class="brief">Things the apprentice should know about locking up small forms, and +about general work on the stone. Illustrated; review questions; glossary.</p></li> + +<li><p><b>25.</b> <b>Preparing Forms for the Cylinder Press</b> <span class="author">By Frank S. Henry</span></p> + +<p class="brief">Pamphlet and catalog imposition; margins; fold marks, etc. Methods of +handling type forms and electrotype forms. Illustrated; review questions; +glossary.</p></li> +</ul> + +<p class="parth">PART IV—<i>Presswork</i></p> + +<ul class="books"> +<li><p><b>26.</b> <b>Making Ready on Platen Presses</b> <span class="author">By T. G. McGrew</span></p> + +<p class="brief">The essential parts of a press and their functions; distinctive features of +commonly used machines. Preparing the tympan, regulating the +impression, underlaying and overlaying, setting gauges, and other +details explained. Illustrated; review questions; glossary.</p></li> + +<li><p><b>27.</b> <b>Cylinder Presswork</b> <span class="author">By T. G. McGrew</span></p> + +<p class="brief">Preparing the press; adjustment of bed and cylinder, form rollers, ink +fountain, grippers and delivery systems. Underlaying and overlaying; +modern overlay methods. Illustrated; review questions; glossary.</p></li> + +<li><p><b>28.</b> <b>Pressroom Hints and Helps</b> <span class="author">By Charles L. Dunton</span></p> + +<p class="brief">Describing some practical methods of pressroom work, with directions +and useful information relating to a variety of printing-press problems. +87 pp.; 176 review questions.</p></li> + +<li><p><b>29.</b> <b>Reproductive Processes of the Graphic Arts</b> <span class="author">By A. W. Elson</span></p> + +<p class="brief">A primer of information about the distinctive features of the relief, the +intaglio, and the planographic processes of printing. 84 pp.; illustrated; +100 review questions; glossary.</p></li> +</ul> + +<p class="parth">PART V—<i>Pamphlet and Book Binding</i></p> + +<ul class="books"> +<li><p><b>30.</b> <b>Pamphlet Binding</b> <span class="author">By Bancroft L. Goodwin</span></p> + +<p class="brief">A primer of information about the various operations employed in +binding pamphlets and other work in the bindery. Illustrated; review +questions; glossary.</p></li> + +<li><p><b>31.</b> <b>Book Binding</b> <span class="author">By John J. Pleger</span></p> + +<p class="brief">Practical information about the usual operations in binding books; +folding; gathering, collating, sewing, forwarding, finishing. Case making +and cased-in books. Hand work and machine work. Job and blank-book +binding. Illustrated; review questions; glossary.</p></li> +</ul> + +<p class="parth">PART VI—<i>Correct Literary Composition</i></p> + +<ul class="books"> +<li><p><b>32.</b> <b>Word Study and English Grammar</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about words, their relations, and their uses. +68 pp.; 84 review questions; glossary.</p></li> + +<li><p><b>33.</b> <b>Punctuation</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about the marks of punctuation and their use, +both grammatically and typographically. 56 pp.; 59 review questions; +glossary.</p></li> + +</ul><p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p><ul class="books"> + +<li><p><b>34.</b> <b>Capitals</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about capitalization, with some practical typographic +hints as to the use of capitals. 48 pp.; 92 review questions; +glossary.</p></li> + +<li><p><b>35.</b> <b>Division of Words</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">Rules for the division of words at the ends of lines, with remarks on +spelling, syllabication and pronunciation. 42 pp.; 70 review questions.</p></li> + +<li><p><b>36.</b> <b>Compound Words</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A study of the principles of compounding, the components of compounds, +and the use of the hyphen. 34 pp.; 62 review questions.</p></li> + +<li><p><b>37.</b> <b>Abbreviations and Signs</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about abbreviations and signs, with classified +lists of those in most common use. 58 pp.; 32 review questions.</p></li> + +<li><p><b>38.</b> <b>The Uses of Italic</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about the history and uses of italic letters. +31 pp.; 37 review questions.</p></li> + +<li><p><b>39.</b> <b>Proofreading</b> <span class="author">By Arnold Levitas</span></p> + +<p class="brief">The technical phases of the proofreader’s work; reading, marking, +revising, etc.; methods of handling proofs and copy. Illustrated by +examples. 59 pp.; 69 review questions; glossary.</p></li> + +<li><p><b>40.</b> <b>Preparation of Printers’ Copy</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">Suggestions for authors, editors, and all who are engaged in preparing +copy for the composing room. 36 pp.; 67 review questions.</p></li> + +<li><p><b>41.</b> <b>Printers’ Manual of Style</b></p> + +<p class="brief">A reference compilation of approved rules, usages, and suggestions +relating to uniformity in punctuation, capitalization, abbreviations, +numerals, and kindred features of composition.</p></li> + +<li><p><b>42.</b> <b>The Printer’s Dictionary</b> <span class="author">By A. A. Stewart</span></p> + +<p class="brief">A handbook of definitions and miscellaneous information about various +processes of printing, alphabetically arranged. Technical terms explained. +Illustrated.</p></li> +</ul> + +<p class="parth">PART VII—<i>Design, Color, and Lettering</i></p> + +<ul class="books"> +<li><p><b>43.</b> <b>Applied Design for Printers</b> <span class="author">By Harry L. Gage</span></p> + +<p class="brief">A handbook of the principles of arrangement, with brief comment on the +periods of design which have most influenced printing. Treats of harmony, +balance, proportion, and rhythm; motion; symmetry and variety; +ornament, esthetic and symbolic. 37 illustrations; 46 review questions; +glossary; bibliography.</p></li> + +<li><p><b>44.</b> <b>Elements of Typographic Design</b> <span class="author">By Harry L. Gage</span></p> + +<p class="brief">Applications of the principles of decorative design. Building material +of typography paper, types, ink, decorations and illustrations. Handling +of shapes. Design of complete book, treating each part. Design of +commercial forms and single units. Illustrations; review questions; +glossary; bibliography.</p></li> +</ul><p><span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span></p><ul class="books"> + +<li><p><b>45.</b> <b>Rudiments of Color in Printing</b> <span class="author">By Harry L. Gage</span></p> + +<p class="brief">Use of color: for decoration of black and white, for broad poster effect, +in combinations of two, three, or more printings with process engravings. +Scientific nature of color, physical and chemical. Terms in which color +may be discussed: hue, value, intensity. Diagrams in color, scales and +combinations. Color theory of process engraving. Experiments with +color. Illustrations in full color, and on various papers. Review questions; +glossary; bibliography.</p></li> + +<li><p><b>46.</b> <b>Lettering in Typography</b> <span class="author">By Harry L. Gage</span></p> + +<p class="brief">Printer’s use of lettering: adaptability and decorative effect. Development +of historic writing and lettering and its influence on type design. +Classification of general forms in lettering. Application of design to +lettering. Drawing for reproduction. Fully illustrated; review questions; +glossary; bibliography.</p></li> + +<li><p><b>47.</b> <b>Typographic Design in Advertising</b> <span class="author">By Harry L. Gage</span></p> + +<p class="brief">The printer’s function in advertising. Precepts upon which advertising +is based. Printer’s analysis of his copy. Emphasis, legibility, attention, +color. Method of studying advertising typography. Illustrations; +review questions; glossary; bibliography.</p></li> + +<li><p><b>48.</b> <b>Making Dummies and Layouts</b> <span class="author">By Harry L. Gage</span></p> + +<p class="brief">A layout: the architectural plan. A dummy: the imitation of a proposed +final effect. Use of dummy in sales work. Use of layout. Function of +layout man. Binding schemes for dummies. Dummy envelopes. +Illustrations; review questions; glossary; bibliography.</p></li> +</ul> + +<p class="parth">PART VIII—<i>History of Printing</i></p> + +<ul class="books"> +<li><p><b>49.</b> <b>Books Before Typography</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about the invention of the alphabet and the +history of bookmaking up to the invention of movable types. 62 pp.; +illustrated; 64 review questions.</p></li> + +<li><p><b>50.</b> <b>The Invention of Typography</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A brief sketch of the invention of printing and how it came about. +64 pp.; 62 review questions.</p></li> + +<li><p><b>51.</b> <b>History of Printing—Part I</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A primer of information about the beginnings of printing, the development +of the book, the development of printers’ materials, and the work +of the great pioneers. 63 pp.; 55 review questions.</p></li> + +<li><p><b>52.</b> <b>History of Printing—Part II</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A brief sketch of the economic conditions of the printing industry from +1450 to 1789, including government regulations, censorship, internal +conditions and industrial relations. 94 pp.; 128 review questions.</p></li> + +<li><p><b>53.</b> <b>Printing in England</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A short history of printing in England from Caxton to the present time. +89 pp.; 65 review questions.</p></li> + +<li><p><b>54.</b> <b>Printing in America</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A brief sketch of the development of the newspaper, and some notes on +publishers who have especially contributed to printing. 98 pp.; 84 +review questions.</p></li> + +<li><p><b>55.</b> <b>Type and Presses in America</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A brief historical sketch of the development of type casting and press +building in the United States. 52 pp.; 61 review questions.</p></li> +</ul> +<p class="parth"><span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span> +PART IX—<i>Cost Finding and Accounting</i></p> + +<ul class="books"> +<li><p><b>56.</b> <b>Elements of Cost in Printing</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">The Standard Cost-Finding Forms and their uses. What they should +show. How to utilize the information they give. Review questions. +Glossary.</p> +</li> + +<li><p><b>57.</b> <b>Use of a Cost System</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">The Standard Cost-Finding Forms and their uses. What they should +show. How to utilize the information they give. Review questions. +Glossary.</p></li> + +<li><p><b>58.</b> <b>The Printer as a Merchant</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">The selection and purchase of materials and supplies for printing. The +relation of the cost of raw material and the selling price of the finished +product. Review questions. Glossary.</p></li> + +<li><p><b>59.</b> <b>Fundamental Principles of Estimating</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">The estimator and his work; forms to use; general rules for estimating. +Review questions. Glossary.</p></li> + +<li><p><b>60.</b> <b>Estimating and Selling</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">An insight into the methods used in making estimates, and their relation +to selling. Review questions. Glossary.</p></li> + +<li><p><b>61.</b> <b>Accounting for Printers</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">A brief outline of an accounting system for printers; necessary books and +accessory records. Review questions. Glossary.</p></li> +</ul> + +<p class="parth">PART X—<i>Miscellaneous</i></p> + +<ul class="books"> +<li><p><b>62.</b> <b>Health, Sanitation, and Safety</b> <span class="author">By Henry P. Porter</span></p> + +<p class="brief">Hygiene in the printing trade; a study of conditions old and new; practical +suggestions for improvement; protective appliances and rules for safety.</p></li> + +<li><p><b>63.</b> <b>Topical Index</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A book of reference covering the topics treated in the Typographic +Technical Series, alphabetically arranged.</p></li> + +<li><p><b>64.</b> <b>Courses of Study</b> <span class="author">By F. W. Hamilton</span></p> + +<p class="brief">A guidebook for teachers, with outlines and suggestions for classroom and +shop work.</p></li> +</ul> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></p> +<h2><a name="ACKNOWLEDGMENT" id="ACKNOWLEDGMENT"></a>ACKNOWLEDGMENT</h2> + + +<p>This series of Typographic Text-books is the result of the +splendid co-operation of a large number of firms and individuals +engaged in the printing business and its allied industries +in the United States of America.</p> + +<p>The Committee on Education of the United Typothetae of +America, under whose auspices the books have been prepared and +published, acknowledges its indebtedness for the generous assistance +rendered by the many authors, printers, and others identified +with this work.</p> + +<p>While due acknowledgment is made on the title and copyright +pages of those contributing to each book, the Committee nevertheless +felt that a group list of co-operating firms would be of +interest.</p> + +<p>The following list is not complete, as it includes only those who +have co-operated in the production of a portion of the volumes, +constituting the first printing. As soon as the entire list of books +comprising the Typographic Technical Series has been completed +(which the Committee hopes will be at an early date), the full list +will be printed in each volume.</p> + +<p>The Committee also desires to acknowledge its indebtedness to +the many subscribers to this Series who have patiently awaited its +publication.</p> + +<p style="margin-left: 6em;"> +<span class="smcap">Committee on Education,<br /> +United Typothetae of America.</span></p> + +<p style="margin-left: 9em;"> +<span class="smcap">Henry P. Porter</span>, <i>Chairman</i>,<br /> +<span class="smcap">E. Lawrence Fell</span>,<br /> +<span class="smcap">A. M. Glossbrenner</span>,<br /> +<span class="smcap">J. Clyde Oswald</span>,<br /> +<span class="smcap">Toby Rubovits</span>.<br /> +</p> +<p style="margin-left: 6em;"> +<span class="smcap">Frederick W. Hamilton</span>, <i>Education Director</i>.<br /> +</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></p> +<h2><a name="CONTRIBUTORS" id="CONTRIBUTORS"></a>CONTRIBUTORS</h2> + + +<p><b>For Composition and Electrotypes</b></p> + +<p style="margin-left: 2em;"> +<span class="smcap">Isaac H. Blanchard Company</span>, New York, N. Y.<br /> +<span class="smcap">S. H. Burbank & Co.</span>, Philadelphia, Pa.<br /> +<span class="smcap">J. S. Cushing & Co.</span>, Norwood, Mass.<br /> +<span class="smcap">The DeVinne Press</span>, New York, N. Y.<br /> +<span class="smcap">R. R. Donnelley & Sons Co.</span>, Chicago, Ill.<br /> +<span class="smcap">Geo. H. Ellis Co.</span>, Boston, Mass.<br /> +<span class="smcap">Evans-Winter-Hebb</span>, Detroit, Mich.<br /> +<span class="smcap">Franklin Printing Company</span>, Philadelphia, Pa.<br /> +<span class="smcap">F. H. Gilson Company</span>, Boston, Mass.<br /> +<span class="smcap">Stephen Greene & Co.</span>, Philadelphia, Pa.<br /> +<span class="smcap">W. F. Hall Printing Co.</span>, Chicago, Ill.<br /> +<span class="smcap">J. B. Lippincott Co.</span>, Philadelphia, Pa.<br /> +<span class="smcap">McCalla & Co. Inc.</span>, Philadelphia, Pa.<br /> +<span class="smcap">The Patteson Press</span>, New York, New York<br /> +<span class="smcap">The Plimpton Press</span>, Norwood, Mass.<br /> +<span class="smcap">Poole Bros.</span>, Chicago, Ill.<br /> +<span class="smcap">Edward Stern & Co.</span>, Philadelphia, Pa.<br /> +<span class="smcap">The Stone Printing & Mfg. Co.</span>, Roanoke, Va.<br /> +<span class="smcap">C. D. Traphagen</span>, Lincoln, Neb.<br /> +<span class="smcap">The University Press</span>, Cambridge, Mass.<br /> +</p> + +<p><b>For Composition</b></p> + +<p style="margin-left: 2em;"> +<span class="smcap">Boston Typothetae School of Printing</span>, Boston, Mass.<br /> +<span class="smcap">William F. Fell Co.</span>, Philadelphia, Pa.<br /> +<span class="smcap">The Kalkhoff Company</span>, New York, N. Y.<br /> +<span class="smcap">Oxford-Print</span>, Boston, Mass.<br /> +<span class="smcap">Toby Rubovits</span>, Chicago, Ill.<br /> +</p> + +<p><b>For Electrotypes</b></p> + +<p style="margin-left: 2em;"> +<span class="smcap">Blomgren Brothers Co.</span>, Chicago, Ill.<br /> +<span class="smcap">Flower Steel Electrotyping Co.</span>, New York, N. Y.<br /> +<span class="smcap">C. J. Peters & Son Co.</span>, Boston, Mass.<br /> +<span class="smcap">Royal Electrotype Co.</span>, Philadelphia, Pa.<br /> +<span class="smcap">H. C. Whitcomb & Co.</span>, Boston, Mass.<br /> +</p> + +<p><b>For Engravings</b></p> + +<p style="margin-left: 2em;"> +<span class="smcap">American Type Founders Co.</span>, Boston, Mass.<br /> +<span class="smcap">C. B. Cottrell & Sons Co.</span>, Westerly, R. I.<br /> +<span class="smcap">Golding Manufacturing Co.</span>, Franklin, Mass.<br /> +<span class="smcap">Harvard University</span>, Cambridge, Mass.<br /> +<span class="smcap">Inland Printer Co.</span>, Chicago, Ill.<br /> +<span class="smcap">Lanston Monotype Machine Company</span>, Philadelphia, Pa.<br /> +<span class="smcap">Mergenthaler Linotype Company</span>, New York, N. Y.<br /> +<span class="smcap">Geo. H. Morrill Co.</span>, Norwood, Mass.<br /> +<span class="smcap">Oswald Publishing Co.</span>, New York, N. Y.<br /> +<span class="smcap">The Printing Art</span>, Cambridge, Mass.<br /> +<span class="smcap">B. D. Rising Paper Company</span>, Housatonic, Mass.<br /> +<span class="smcap">The Vandercook Press</span>, Chicago, Ill.<br /> +</p> + +<p><b>For Book Paper</b></p> + +<p style="margin-left: 2em;"> +<span class="smcap">American Writing Paper Co.</span>, Holyoke, Mass.<br /> +<span class="smcap">West Virginia Pulp & Paper Co.</span>, Mechanicville, N. Y.<br /> +</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Capitals, by Frederick W. Hamilton + +*** END OF THIS PROJECT GUTENBERG EBOOK CAPITALS *** + +***** This file should be named 20374-h.htm or 20374-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/0/3/7/20374/ + +Produced by Barbara Tozier, Bill Tozier, Sigal Alon and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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