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+The Project Gutenberg EBook of The Uses of Italic, 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: The Uses of Italic
+       A Primer of Information Regarding the Origin and Uses of Italic Letters
+
+Author: Frederick W. Hamilton
+
+Release Date: March 14, 2008 [EBook #24829]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE USES OF ITALIC ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Jana Srna and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+     TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES--PART VI. NO. 38
+
+
+                           THE USES OF ITALIC
+
+
+                        A PRIMER OF INFORMATION
+                        REGARDING THE ORIGIN AND
+                         USES OF ITALIC LETTERS
+
+
+                                   BY
+                      FREDERICK W. HAMILTON, LL.D.
+
+                           EDUCATION DIRECTOR
+                      UNITED TYPOTHETAE OF AMERICA
+
+
+
+
+                PUBLISHED BY THE COMMITTEE ON EDUCATION
+                      UNITED TYPOTHETAE OF AMERICA
+                                  1918
+
+
+
+
+                            COPYRIGHT, 1918
+                      UNITED TYPOTHETAE OF AMERICA
+                             CHICAGO, ILL.
+
+
+
+
+CONTENTS
+
+
+                                          PAGE
+
+  HISTORICAL INTRODUCTION                    1
+
+  RULES FOR THE USE OF ITALIC                5
+
+  SUPPLEMENTARY READING                     16
+
+  REVIEW QUESTIONS                          17
+
+
+
+
+THE USES OF ITALIC
+
+
+
+
+HISTORICAL INTRODUCTION
+
+
+The first types were cut in imitation of the Gothic or black letter
+handwriting employed at that period in copying Bibles, missals, and the
+like. It was large and angular and the lines were very coarse and black.
+These peculiarities gave it the name. Its characteristics made it easy
+to read even in the dim light of a church or by the failing eyes of the
+aged. This form of type, however, was only suitable for large pages.
+When reduced in size it became very difficult to read, being an almost
+indistinguishable blur on the page.
+
+  [Illustration: Type of the Mazarin Bible (exact size).]
+
+The cost of materials and the unwieldiness of the great folio volumes
+soon caused a demand for smaller books. Gutenberg's 36-line Bible was
+almost immediately replaced by the 42-line Bible. A reduction of one
+sixth in the number of pages of a book as large as the Bible would
+effect a very important saving in the cost of material and labor,
+especially when we remember that the early printing press was a very
+laborious and slow affair. Gutenberg's press was capable of printing
+only twenty sheets an hour, or one sheet every three minutes. The
+invention of the movable bed, about the year 1500, increased the output
+of the press to two hundred sheets an hour. In 1786 the speed had risen
+only to two hundred and fifty sheets an hour. Cheap printing waited for
+the application of power to machinery.
+
+The big book with the big type was well enough for churches and
+libraries. But the purpose of printing was soon seen to be the spread of
+intelligence through the popularizing of literature. Books were to be
+placed in the hands of the people, not simply of the priests, nobles,
+and professional men. That end could only be accomplished by making
+books cheap and portable, that is to say small. To this end the printers
+soon addressed themselves to the task of devising forms of type which
+should be smaller, so as to reduce the number and size of pages required
+for a book without sacrifice of legibility. A clear, clean cut type,
+with sharp lines and simple forms, capable of compression without loss
+of distinction, was the great need.
+
+The first important departure was the cutting of Roman type. The
+capitals were imitated from the letter forms used in Roman inscriptions.
+In the earlier forms the lower-case letters were rough and uncouth, much
+resembling the Gothic forms. The inventor of this form is not known, but
+it was certainly employed by the German printers Sweynheim and Pannartz
+at Subiaco, near Rome, as early as 1467. Their example was followed by
+several imitators and improvers, but its form was not definitely settled
+until Nicholas Jenson cast his fonts in Venice in 1470 or 1471. It is
+doubtful if any more perfect Roman types than those of Jenson have ever
+been produced. The superiority of this type soon caused its general
+adoption except in Germany. England was slow in coming into line. Caxton
+never used anything but Gothic type. Roman type was not introduced into
+England at all until 1509, and then had to make its way against the
+older forms backed by English conservatism. Germany has never adopted
+the Roman letter for general use but makes some use of it in scientific
+works.
+
+  [Illustration: Roman type of Nicholas Jenson, 1472 (exact size).]
+
+The next step was the invention of Italic types by Aldus Manutius, of
+Venice, in 1501. He took for his model the handwriting of the poet
+Petrarch and produced a type not essentially different from the modern
+Italic. Originally the Italic letters were lower-case only, Roman
+capitals being retained. The incongruousness of this combination was,
+however, so evident that Italic capitals were soon designed and then the
+new fonts were complete. The Aldine capitals used with Italic lower-case
+were small, the ancestors of the small capitals of today. Aldus used the
+Italic type as a text letter, and such use continued frequent for a
+century.
+
+  [Illustration: Type of the Aldine Virgil, 1501 (exact size).]
+
+At the present day, except in Germany, the three forms of type have
+their distinct uses. Gothic, variously known as Black Letter, Old
+English, Priory Text, Cloister, etc., is used only for special work,
+particularly in ecclesiastical printing. The modern type called "gothic"
+is not derived from it. Roman is the general text letter. Italic has
+ceased to be a text letter, but serves a useful purpose for certain
+special uses which are to be considered at length in the following
+pages.
+
+
+
+
+RULES FOR THE USE OF ITALIC
+
+
+Italic has, in general, four uses:
+
+    (1) for emphasis.
+
+    (2) to set off a title, word, or passage from the context.
+
+    (3) for running titles, sub-heads, the headings of tables, and other
+    like places where something different from the text letter seems
+    needed for variety.
+
+    (4) for display purposes in commercial work.
+
+One very important principle should always be observed in the use of
+italic for emphasis. Emphasis should always be used sparingly. Make the
+words do their work. Do not try to supplement poverty of thought and
+weakness of expression by italics, capitals, and other marks of
+emphasis. Where there is too much emphasis attempted no emphasis is
+secured. This fault was much more common formerly than now.
+
+The accompanying reproduction of a page from a book printed in 1690
+(place not given, but probably London) illustrates several of the faulty
+uses of italics common at that time. An entire paragraph is italicized
+(quite unnecessarily) for emphasis. All proper names and adjectives
+derived from them are italicized where they occur in the regular text
+and printed in roman where they occur in italicized passages. Note the
+frequent capitalization for emphasis and especially the italic capital
+with roman lower-case in the first line of the second paragraph. This is
+a frequent usage in this particular book. In this book all quotations
+are printed in italic without quote marks. The paper, composition, and
+presswork of the book are very poor. It represents English printing in
+its worst period.
+
+  [Illustration: Page from a book of 1690.
+
+  (The slurred appearance represents the printing of the original copy.)]
+
+Moderation in the use of italics is so important that in many cases the
+compositor is justified in ignoring markings for italic in his copy
+where they are too profuse. The author is often surprised and
+disappointed at the appearance of his proof when it comes back heavily
+italicized. Moreover the occurrence of many italics increases the cost
+of composition because of the greater labor involved.
+
+
+I. Italicize, subject to the caution just given, any words or phrases
+which it is desired to emphasize.
+
+
+II. Foreign words and phrases incorporated into English sentences are
+sometimes italicized and sometimes not so distinguished. The deciding
+element in fixing the usage in these cases would seem to be the
+commonness and familiarity of the word or phrase. For example, the
+meaning of _bona fide_ (Latin), _menu_ (French), _recto_ (Italian), or
+_stein_ (German) are as well known as those of most English words. To
+all intents and purposes these words have been adopted into our
+language. On the other hand, _jeu d'esprit_ (French) or _inter alia_
+(Latin) would probably not be immediately understood by the casual
+reader. Words of the first type should not be italicized. Words of the
+second type should be.
+
+Following is a partial list of words of foreign origin which should not
+be italicized even when the original accents are retained. It is better
+to retain the accents. They are, however, often omitted. Familiarity
+plays its part here also. _Dénouement_ is very often written without the
+accent; _née_ is rarely so written. The absence of accented letters from
+typewriters, from ordinary fonts of type, and from the matrices
+ordinarily used in type-casting machines probably contributes largely to
+their omission.
+
+    aide de camp
+    Alma Mater
+    a posteriori
+    a priori
+    à propos
+    attaché
+    bas-relief
+    beau ideal
+    bona fide
+    bric-à-brac
+    café
+    chargé d'affaires
+    chiaroscuro
+    clientèle
+    confrère
+    connoisseur
+    crèche
+    criterion, _pl._ -a
+    cul-de-sac
+    data
+    débris
+    début
+    décolleté
+    dénouement
+    dépôt (= depository)
+    doctrinaire
+    dramatis personæ
+    éclat
+    élite
+    ennui
+    entrée
+    ex cathedra
+    ex officio
+    exposé
+    façade
+    facsimile
+    fête
+    habeas corpus
+    habitué
+    innuendo
+    levée
+    littérateur
+    litterati
+    massage
+    matinée
+    mêlée
+    menu
+    motif
+    naïve
+    née
+    net
+    névé
+    niche
+    nil
+    nom de plume
+    papier mâché
+    per annum
+    per capita
+    per cent
+    per contra
+    personnel
+    postmortem (n. and adj.)
+    prima facie
+    pro and con(tra)
+    protégé
+    pro tem(pore)
+    questionnaire
+    queue
+    régime
+    rendezvous
+    résumé
+    reveille
+    rôle
+    savant
+    sobriquet
+    soirée
+    tête-à-tête
+    tonneau
+    umlaut
+    verbatim
+    verso
+    versus (v., vs.)
+    via
+    vice versa
+    vis-à-vis
+    viva voce
+
+Following is a short list of words or phrases of foreign origin which
+are used occasionally but are not familiar enough to be printed in the
+text type.
+
+    _ab ovo_
+    _ancien régime_
+    _bête noire_
+    _comme il faut_
+    _de quoi vivre_
+    _de trop_
+    _en passant_
+    _fait accompli_
+    _grand monde_
+    _hors de combat_
+    _inter alia_
+    _jeu d'esprit_
+    _locum tenens_
+    _mise en scène_
+    _noblesse oblige_
+    _raison d'être_
+    _sans cérémonie_
+    _tour de force_
+
+The following words, phrases, and abbreviations used in literary and
+legal references should be italicized.
+
+    _ad loc._
+    _circa_ (_ca._)
+    _et al._
+    _ibid._
+    _idem_
+    _infra_
+    _loc cit._
+    _op. cit._
+    _passim_
+    _sic_
+    _supra_
+    _s. v._
+    _vide_
+
+Do not italicize:
+
+    cf.
+    etc.
+    e. g.
+    i. e.
+    v. or vs. (versus)
+    viz.
+
+When an unfamiliar foreign word is used to convey precise description,
+put it in italic, but use roman for repetition of the word.
+
+Italicize brief passages of foreign words which may be incorporated into
+an English passage but may not be long enough to be treated as regular
+quotations.
+
+    _De gustibus non est disputandum_, or as the French have it, _Chacun
+    a son gout_.
+
+Longer passages in foreign languages should be set in roman.
+
+To set an entire paragraph of quoted matter in a foreign language in
+italic, or even to use italic too freely for phrases, practically
+nullifies the value of it as a display letter for the sub-headings or
+for any other part of the book in which distinction is really needed.
+Quotation marks, indention, smaller type, or any of the marks which
+distinguish quoted matter are sufficient.
+
+
+III. At one time it was quite customary to set all quotations, whether
+in English or a foreign language, prose or verse, in italics, but that
+fashion is now happily obsolete. Some modern printers use italic for
+bits of verse between paragraphs in the text of roman, but it is a fancy
+and not likely to be permanent.
+
+
+IV. Do not italicize foreign titles preceding names of foreign
+institutions or places, streets, etc., the meaning or position of which
+in English would call for roman type.
+
+    Pere Ladeau; Freiherr von Schwenau; the Place de la Concorde; the
+    Museo delle Terme.
+
+
+V. In text matter use roman for the name of any author, but italicize
+the title of the work. This applies to books, including plays, essays,
+cycles of poems, and single poems of considerable length, usually
+printed separately, and not from the context understood to form parts of
+a larger volume; pamphlets, treatises, tracts, documents, and
+periodicals (including regularly appearing proceedings and
+transactions). In the case of newspapers and periodicals the name of
+the place of publication should be italicized when it forms an integral
+part of the name, but do not under ordinary circumstances italicize the
+article _the_.
+
+In many offices the names of papers, magazines, and serials are not
+italicized. Roman is often used without quotation marks, the title being
+indicated by capitalization. When such names are used as credits at the
+end of citations or notes they should always be italicized.
+
+This is largely a matter of individual taste and office style. Ample
+warrant can be found for either form in the writing of the best
+authorities and in the practice of the best offices.
+
+
+VI. In citations which make a full paragraph, and in footnotes, the name
+of both author and book are commonly set in roman lower-case. At the end
+of a paragraph or footnote specification of author and book may be roman
+for author and italic for book. When only the book is given, use
+italics.
+
+These rules are often modified in long bibliographical lists, tables, or
+other cases when following them would cause a great accumulation of
+italics and spoil the appearance of a page. Do not italicize the books
+of the Bible (canonical or apocryphal) or titles of ancient manuscripts,
+or symbols used to designate manuscripts.
+
+                            D 16, M 6, P, J.
+
+
+VII. Italicize _see_ and _see also_, in indices and similar compilations
+when they are used for cross-reference, and when it is desirable to
+differentiate them from the context.
+
+
+VIII. Italicize _for_ and _read_ in lists of errata to separate the
+incorrect from the correct.
+
+                   Page 999 _for_ Henry _read_ Henri.
+
+
+IX. The phrases _prima facie_ and _ex officio_ are sometimes used to
+qualify the nouns which follow, and sometimes used as adverbs. As
+qualifiers they are often printed in roman with the hyphen.
+
+    Prima-facie evidence.
+    An ex-officio member of all committees.
+
+When used as adverbs they may be printed in italics without the hyphen.
+
+    The evidence is, _prima facie_, convincing.
+    The speaker is, _ex officio_, the chairman.
+
+
+X. Names of ships, especially when they are taken from places, as in the
+United States Navy, are often italicized.
+
+                U.S.S. _Philadelphia_, U.S.S. _Alabama_.
+
+
+XI. Names of paintings, statues, musical compositions, and characters in
+plays are sometimes italicized. This is not ordinarily advisable. It
+violates the rule of never using italics or other emphasizing devices
+needlessly and is liable to mar the appearance of the page. It is
+sometimes necessary, however, to avoid ambiguity. For example, Julius
+Caesar is a historical personage, "Julius Caesar" is one of
+Shakespeare's plays, _Julius Caesar_ is a character in the play.
+
+
+XII. Italicize the symbols _a)_, _b)_, _c)_, etc., used to indicate
+subdivisions when beginning a paragraph and _a_, _b_, _c_, etc., affixed
+to the number of verse, page, etc., to denote a fractional part.
+
+                      See Chap. iii, sec. 2 _a)_.
+                      Luke 4 : 31 _b_.
+
+
+XIII. Italicize letters used to designate quantities, lines, etc., in
+algebraic, geometrical, and similar matter, and in explanation of
+diagrams and illustrations.
+
+    (_a_+_b_)² = _a²_+2_ab_+_b²_; the line _a c_ = the line _a b_;
+    the _n_th power; at the point _B_.
+
+
+XIV. Italicize particular letters of the alphabet when referred to as
+such.
+
+               We use _a_ much more frequently than _q_.
+
+
+XV. Authorities in science differ in the use of italics and capitals. In
+strictly scientific matter it is better to follow copy if the copy is
+intelligently prepared; if not, follow some recognized text-book on the
+subject.
+
+In general the following rules will be found serviceable.
+
+(a) In botanical, zoological, geological, and paleontological matter,
+italicize scientific (Latin) names of genera and species when used
+together (the generic name being in the nominative singular), and of the
+genera only, when used alone. When genera and species are used together
+the genus always comes first, species second.
+
+    _Agaricus Campestris_, _Felis leo_, _Conodectes favosus_, _Phyteuma
+    Halleri_, _Pinus_, _Basidiabolus_, _Alternaria_, _Erythrosuchus_.
+
+(b) In medical matter the general practice is to print names of diseases
+and remedies in roman. In the _Encyclopedia Britannica, Eleventh
+Edition_, however, the scientific names of diseases are printed in
+italics.
+
+(c) In astronomical and astrophysical matter italicize:
+
+    1. The lower-case letters designating certain Fraunhofer lines: _a_,
+    _b_, _g_, _h_.
+
+    2. The lower-case letters used by Baeyer to designate certain stars
+    in constellations for which the Greek letters have been exhausted:
+    _f_, Tauri; _u_, Hercules.
+
+(d) Italic should not be used for:
+
+    1. Greek, Latin, and Arabic names of planets, satellites,
+    constellations, and individual stars: Neptune, Thetys, Orionis.
+
+    2. Symbols for chemical elements: H. Ca. Ti.
+
+    3. Capital letters given by Fraunhofer to the lines of the spectrum:
+    A-H, K.
+
+    4. Letters designating the special types of stars: A 5, B 3, Mb.
+
+    5. The capital letter H with different Greek subscript letters, used
+    to designate symbols of hydrogen: H_a, H_b, etc.
+
+    6. Designations of celestial objects in well-known catalogues; also
+    the Flamstead numbers:
+
+        M 13 (for No. 13 of Messier's _Catalogue of Nebulae and
+        Clusters_), Bond 619; N. G. C. 6165; B. D.-18° 4871; 85 Pegasi,
+        Lalande 5761.
+
+    But when initials are used to express the titles of catalogues, as
+    such, and not to designate a particular celestial object, such
+    initials are to be italicized, following the usual rule of
+    references by titles.
+
+                          _B. D._; _N. G. C._
+
+
+XVI. In resolutions italicize the word "_Resolved_," but not the word
+"Whereas."
+
+
+XVII. Italicize the names of plaintiff and defendant in the citation of
+legal cases; also the titles of proceedings containing such prefixes as
+_in re_, _ex parte_, _In the matter of_, etc.
+
+    _The Boston Elevated Railway Co._ vs. _The City of Cambridge_. _In
+    re Johnson_; _ex parte Thomas_; _In the matter of the petition of
+    John Smith for a change of venue_.
+
+
+XVIII. Italicize address lines in speeches, reports, etc., and primary
+address lines in letters. Set the address flush, in a separate line,
+with the nouns capitalized.
+
+    _Mr. Toastmaster, Ladies and Gentlemen._
+    _Mr. Henry P. Porter, 148 High St., Boston, Mass._
+
+
+XIX. In signatures italicize the position or title added after the name.
+If this consists of only one word, it is usually run into the same line
+with the name.
+
+                    Frederick W. Hamilton, _Clerk_.
+
+If the title consists of more than one word but is no longer than the
+name, center the first letter under the name line, and indent one em on
+the right.
+
+                                      John F. Fitzgerald,
+                                              _Mayor of Boston_.
+
+If the title is longer than the name, center the name over the second
+line and set this flush:
+
+                           Minton P. Warren,
+             _Professor of Latin Language and Literature_.
+
+Sometimes a long title may be set in a smaller type, or, if this is not
+advisable, it may be put into two lines.
+
+These rules are generally sound, but may have to be varied to suit
+special conditions.
+
+Italicize the signatures of contributors to magazines, etc., when the
+names appear at the end of the article. If the name appears at the head
+of the article use small capitals, or, as is often done, the same type
+as the text.
+
+
+XX. Italic may be used to distinguish the words or clauses which serve
+as verbal texts for an extended comment. In printed sermons, for
+example, the text is often set in italics.
+
+
+XXI. Italic may be used with good effect for running titles, for table
+headings, and for sub-heads. It is not desirable for side notes. It has
+many kerned letters which are liable to break off at the ends of the
+lines in an exposed position.
+
+
+XXII. In the English Bible italics are used to print words which are not
+expressed in the original Hebrew or Greek but are implied in the
+original and expressed in the translation.
+
+    Their quiver _is_ an open sepulchre; they _are_ all mighty men.
+
+    I find in him no fault _at all_.
+
+These italics should never be mistaken for marks of emphasis.
+
+
+XXIII. Care should be taken that the italic type used should mate well
+with the roman. The fact that it often did not so mate, even in fonts
+supposed to go together, was one cause for the disfavor which came to
+attend its use. Typesetting machines constructed without proper
+provision for the composition of italic have been very influential in
+restricting its use. Italics are now practically abolished from
+newspaper work except in advertising matter, though they were used in
+newspapers to excess in the eighteenth century.
+
+
+XXIV. Italics are indicated in manuscript by drawing a single line under
+the words to be so printed.
+
+
+
+
+SUPPLEMENTARY READING
+
+
+Correct Composition. By Theodore L. DeVinne. Oswald Publishing Co., New
+York.
+
+The Writer's Desk Book. By William Dana Orcutt. Frederick A. Stokes Co.,
+New York.
+
+A Manual for Writers. By John Matthews Manly and John Arthur Powell. The
+University of Chicago Press, Chicago.
+
+
+
+
+QUESTIONS
+
+
+1. Describe the first types.
+
+2. What caused the demand for smaller books?
+
+3. What was done to meet this demand?
+
+4. What was the first step in the improvement of type?
+
+5. What was the next important step?
+
+6. What are the present uses of the three principal forms of letters?
+
+7. What are the general principles governing the use of italics?
+
+8. What important principle should be observed in the use of italic?
+
+9. Is a compositor ever justified in not following an author's marks
+calling for italics, and why?
+
+10. For what, in general, is italic used?
+
+11. What is the general usage regarding foreign words and phrases?
+
+12. What decides whether they are italicized or not?
+
+13. What about accents in foreign words?
+
+14. Give a list of common words, phrases, and abbreviations used in
+literary and legal references which should always be italicized.
+
+15. Give a short list of abbreviations of foreign origin which should
+not be italicized.
+
+16. How should quotations in foreign languages be treated?
+
+17. What is the use of italic in English quotations?
+
+18. How should you treat foreign titles preceding names of persons,
+streets, and the like?
+
+19. How are names of authors and of books, magazines, and the like,
+treated?
+
+20. How do we use italics in citations, in footnotes, in indices, and in
+errata?
+
+21. When are _prima facie_ and _ex officio_ italicized, and when not?
+
+22. How are names of ships printed?
+
+23. How are names of paintings, statues, musical compositions, and
+characters in plays treated?
+
+24. What is the rule about letters used to indicate subdivisions, etc.?
+
+25. How do we print letters of the alphabet when referred to as such?
+
+26. What can you say of the use of italic in scientific matter
+generally?
+
+27. Give the particular rules for the use of italic in certain sciences.
+
+28. What is the rule for italic in resolutions?
+
+29. How are italics used in legal matter?
+
+30. How are italics used in signatures?
+
+31. Where are titles placed when following names in signatures?
+
+32. How may texts of sermons and the like be printed?
+
+33. What can you say of the use of italic in running titles, table
+heads, side notes, and the like?
+
+34. What should be looked out for in combining italic with roman?
+
+35. What has been the influence of machine composition in the use of
+italic, and why?
+
+36. How does the use of italic in newspapers at present compare with
+that of a hundred years ago, and why?
+
+37. How are italics indicated in manuscript?
+
+
+As elsewhere in this section of the Typographic Technical Series, the
+learning of the rules must be supplemented by extended practice in their
+application. Constant drill should be given the apprentice in the
+setting of matter requiring the use of italics, or in writing out
+manuscripts with the italics properly indicated. There is no other way
+in which accuracy and practical proficiency can be acquired. Printed
+matter may be shown for criticism and discussion, and incorrectly
+italicized matter may be given out for correction.
+
+
+
+
+TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES
+
+
+The following list of publications, comprising the TYPOGRAPHIC TECHNICAL
+SERIES FOR APPRENTICES, 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+These are the Official Text-books of the United Typothetae of America.
+
+Address all orders and inquiries to COMMITTEE ON EDUCATION, UNITED
+TYPOTHETAE OF AMERICA, CHICAGO, ILLINOIS, U. S. A.
+
+
+PART I--Types, Tools, Machines, and Materials
+
+1. =Type: a Primer of Information= By A. A. Stewart
+
+    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.
+
+2. =Compositors' Tools and Materials= By A. A. Stewart
+
+    A primer of information about composing sticks, galleys, leads,
+    brass rules, cutting and mitering machines, etc. 47 pp.;
+    illustrated; 50 review questions; glossary.
+
+3. =Type Cases, Composing Room Furniture= By A. A. Stewart
+
+    A primer of information about type cases, work stands, cabinets,
+    case racks, galley racks, standing galleys, etc. 43 pp.;
+    illustrated; 33 review questions; glossary.
+
+4. =Imposing Tables and Lock-up Appliances= By A. A. Stewart
+
+    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.
+
+5. =Proof Presses= By A. A. Stewart
+
+    A primer of information about the customary methods and machines for
+    taking printers' proofs. 40 pp.; illustrated; 41 review questions;
+    glossary.
+
+6. =Platen Printing Presses= By Daniel Baker
+
+    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.
+
+7. =Cylinder Printing Presses= By Herbert L. Baker
+
+    Being a study of the mechanism and operation of the principal types
+    of cylinder printing machines. 64 pp.; illustrated; 47 review
+    questions; glossary.
+
+8. =Mechanical Feeders and Folders= By William E. Spurrier
+
+    The history and operation of modern feeding and folding machines;
+    with hints on their care and adjustments. Illustrated; review
+    questions; glossary.
+
+9. =Power for Machinery in Printing Houses= By Carl F. Scott
+
+    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.
+
+10. =Paper Cutting Machines= By Niel Gray, Jr.
+
+    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.
+
+11. =Printers' Rollers= By A. A. Stewart
+
+    A primer of information about the composition, manufacture, and care
+    of inking rollers. 46 pp.; illustrated; 61 review questions;
+    glossary.
+
+12. =Printing Inks= By Philip Ruxton
+
+    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.
+
+13. =How Paper is Made= By William Bond Wheelwright
+
+    A primer of information about the materials and processes of
+    manufacturing paper for printing and writing. 68 pp.; illustrated;
+    62 review questions; glossary.
+
+14. =Relief Engravings= By Joseph P. Donovan
+
+    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.
+
+15. =Electrotyping and Stereotyping= By Harris B. Hatch and A. A. Stewart
+
+    A primer of information about the processes of electrotyping and
+    stereotyping. 94 pp.; illustrated; 129 review questions; glossaries.
+
+
+PART II--Hand and Machine Composition
+
+16. =Typesetting= By A. A. Stewart
+
+    A handbook for beginners, giving information about justifying,
+    spacing, correcting, and other matters relating to typesetting.
+    Illustrated; review questions; glossary.
+
+17. =Printers' Proofs= By A. A. Stewart
+
+    The methods by which they are made, marked, and corrected, with
+    observations on proofreading. Illustrated; review questions;
+    glossary.
+
+18. =First Steps in Job Composition= By Camille DeVéze
+
+    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.
+
+19. =General Job Composition=
+
+    How the job compositor handles business stationery, programs and
+    miscellaneous work. Illustrated; review questions; glossary.
+
+20. =Book Composition= By J. W. Bothwell
+
+    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.
+
+21. =Tabular Composition= By Robert Seaver
+
+    A study of the elementary forms of table composition, with examples
+    of more difficult composition. 36 pp.; examples; 45 review
+    questions.
+
+22. =Applied Arithmetic= By E. E. Sheldon
+
+    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.
+
+23. =Typecasting and Composing Machines= A. W. Finlay, Editor
+
+    Section I--The Linotype By L. A. Hornstein
+    Section II--The Monotype By Joseph Hays
+    Section III--The Intertype By Henry W. Cozzens
+    Section IV--Other Typecasting and Typesetting Machines
+                                                       By Frank H. Smith
+
+    A brief history of typesetting machines, with descriptions of their
+    mechanical principles and operations. Illustrated; review questions;
+    glossary.
+
+
+PART III--Imposition and Stonework
+
+24. =Locking Forms for the Job Press= By Frank S. Henry
+
+    Things the apprentice should know about locking up small forms, and
+    about general work on the stone. Illustrated; review questions;
+    glossary.
+
+25. =Preparing Forms for the Cylinder Press= By Frank S. Henry
+
+    Pamphlet and catalog imposition; margins; fold marks, etc. Methods
+    of handling type forms and electrotype forms. Illustrated; review
+    questions; glossary.
+
+
+PART IV--Presswork
+
+26. =Making Ready on Platen Presses= By T. G. McGrew
+
+    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.
+
+27. =Cylinder Presswork= By T. G. McGrew
+
+    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.
+
+28. =Pressroom Hints and Helps= By Charles L. Dunton
+
+    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.
+
+29. =Reproductive Processes of the Graphic Arts= By A. W. Elson
+
+    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.
+
+
+PART V--Pamphlet and Book Binding
+
+30. =Pamphlet Binding= By Bancroft L. Goodwin
+
+    A primer of information about the various operations employed in
+    binding pamphlets and other work in the bindery. Illustrated; review
+    questions; glossary.
+
+31. =Book Binding= By John J. Pleger
+
+    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.
+
+
+PART VI--Correct Literary Composition
+
+32. =Word Study and English Grammar= By F. W. Hamilton
+
+    A primer of information about words, their relations, and their
+    uses. 68 pp.; 84 review questions; glossary.
+
+33. =Punctuation= By F. W. Hamilton
+
+    A primer of information about the marks of punctuation and their
+    use, both grammatically and typographically. 56 pp.; 59 review
+    questions; glossary.
+
+34. =Capitals= By F. W. Hamilton
+
+    A primer of information about capitalization, with some practical
+    typographic hints as to the use of capitals. 48 pp.; 92 review
+    questions; glossary.
+
+35. =Division of Words= By F. W. Hamilton
+
+    Rules for the division of words at the ends of lines, with remarks
+    on spelling, syllabication and pronunciation. 42 pp.; 70 review
+    questions.
+
+36. =Compound Words= By F. W. Hamilton
+
+    A study of the principles of compounding, the components of
+    compounds, and the use of the hyphen. 34 pp.; 62 review questions.
+
+37. =Abbreviations and Signs= By F. W. Hamilton
+
+    A primer of information about abbreviations and signs, with
+    classified lists of those in most common use. 58 pp.; 32 review
+    questions.
+
+38. =The Uses of Italic= By F. W. Hamilton
+
+    A primer of information about the history and uses of italic
+    letters. 31 pp.; 37 review questions.
+
+39. =Proofreading= By Arnold Levitas
+
+    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.
+
+40. =Preparation of Printers' Copy= By F. W. Hamilton
+
+    Suggestions for authors, editors, and all who are engaged in
+    preparing copy for the composing room. 36 pp.; 67 review questions.
+
+41. =Printers' Manual of Style=
+
+    A reference compilation of approved rules, usages, and suggestions
+    relating to uniformity in punctuation, capitalization,
+    abbreviations, numerals, and kindred features of composition.
+
+42. =The Printer's Dictionary= By A. A. Stewart
+
+    A handbook of definitions and miscellaneous information about
+    various processes of printing, alphabetically arranged. Technical
+    terms explained. Illustrated.
+
+
+PART VII--Design, Color, and Lettering
+
+43. =Applied Design for Printers= By Harry L. Gage
+
+    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.
+
+44. =Elements of Typographic Design= By Harry L. Gage
+
+    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.
+
+45. =Rudiments of Color in Printing= By Harry L. Gage
+
+    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.
+
+46. =Lettering in Typography= By Harry L. Gage
+
+    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.
+
+47. =Typographic Design in Advertising= By Harry L. Gage
+
+    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.
+
+48. =Making Dummies and Layouts= By Harry L. Gage
+
+    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.
+
+
+PART VIII--History of Printing
+
+49. =Books Before Typography= By F. W. Hamilton
+
+    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.
+
+50. =The Invention of Typography= By F. W. Hamilton
+
+    A brief sketch of the invention of printing and how it came about.
+    64 pp.; 62 review questions.
+
+51. =History of Printing--Part I= By F. W. Hamilton
+
+    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.
+
+52. =History of Printing--Part II= By F. W. Hamilton
+
+    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.
+
+53. =Printing in England= By F. W. Hamilton
+
+    A short history of printing in England from Caxton to the present
+    time. 89 pp.; 65 review questions.
+
+54. =Printing in America= By F. W. Hamilton
+
+    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.
+
+55. =Type and Presses in America= By F. W. Hamilton
+
+    A brief historical sketch of the development of type casting and
+    press building in the United States. 52 pp.; 61 review questions.
+
+
+PART IX--Cost Finding and Accounting
+
+56. =Elements of Cost in Printing= By Henry P. Porter
+
+    The Standard Cost-Finding Forms and their uses. What they should
+    show. How to utilize the information they give. Review questions.
+    Glossary.
+
+57. =Use of a Cost System= By Henry P. Porter
+
+    The Standard Cost-Finding Forms and their uses. What they should
+    show. How to utilize the information they give. Review questions.
+    Glossary.
+
+58. =The Printer as a Merchant= By Henry P. Porter
+
+    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.
+
+59. =Fundamental Principles of Estimating= By Henry P. Porter
+
+    The estimator and his work; forms to use; general rules for
+    estimating. Review questions. Glossary.
+
+60. =Estimating and Selling= By Henry P. Porter
+
+    An insight into the methods used in making estimates, and their
+    relation to selling. Review questions. Glossary.
+
+61. =Accounting for Printers= By Henry P. Porter
+
+    A brief outline of an accounting system for printers; necessary
+    books and accessory records. Review questions. Glossary.
+
+
+PART X--Miscellaneous
+
+62. =Health, Sanitation, and Safety= By Henry P. Porter
+
+    Hygiene in the printing trade; a study of conditions old and new;
+    practical suggestions for improvement; protective appliances and
+    rules for safety.
+
+63. =Topical Index= By F. W. Hamilton
+
+    A book of reference covering the topics treated in the Typographic
+    Technical Series, alphabetically arranged.
+
+64. =Courses of Study= By F. W. Hamilton
+
+    A guidebook for teachers, with outlines and suggestions for
+    classroom and shop work.
+
+
+
+
+ACKNOWLEDGMENT
+
+
+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.
+
+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.
+
+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.
+
+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.
+
+The Committee also desires to acknowledge its indebtedness to the many
+subscribers to this Series who have patiently awaited its publication.
+
+                            COMMITTEE ON EDUCATION,
+                            UNITED TYPOTHETAE OF AMERICA.
+
+                                  HENRY P. PORTER, _Chairman_,
+                                  E. LAWRENCE FELL,
+                                  A. M. GLOSSBRENNER,
+                                  J. CLYDE OSWALD,
+                                  TOBY RUBOVITS.
+
+                            FREDERICK W. HAMILTON, _Education Director_.
+
+
+
+
+CONTRIBUTORS
+
+
+For Composition and Electrotypes
+
+    ISAAC H. BLANCHARD COMPANY, New York, N. Y.
+    S. H. BURBANK & CO., Philadelphia, Pa.
+    J. S. CUSHING & CO., Norwood, Mass.
+    THE DEVINNE PRESS, New York, N. Y.
+    R. R. DONNELLEY & SONS CO., Chicago, Ill.
+    GEO. H. ELLIS CO., Boston, Mass.
+    EVANS-WINTER-HEBB, Detroit, Mich.
+    FRANKLIN PRINTING COMPANY, Philadelphia, Pa.
+    F. H. GILSON COMPANY, Boston, Mass.
+    STEPHEN GREENE & CO., Philadelphia, Pa.
+    W. F. HALL PRINTING CO., Chicago, Ill.
+    J. B. LIPPINCOTT CO., Philadelphia, Pa.
+    MCCALLA & CO. INC., Philadelphia, Pa.
+    THE PATTESON PRESS, New York, New York
+    THE PLIMPTON PRESS, Norwood, Mass.
+    POOLE BROS., Chicago, Ill.
+    EDWARD STERN & CO., Philadelphia, Pa.
+    THE STONE PRINTING & MFG. CO., Roanoke, Va.
+    C. D. TRAPHAGEN, Lincoln, Neb.
+    THE UNIVERSITY PRESS, Cambridge, Mass.
+
+
+For Composition
+
+    BOSTON TYPOTHETAE SCHOOL OF PRINTING, Boston, Mass.
+    WILLIAM F. FELL CO., Philadelphia, Pa.
+    THE KALKHOFF COMPANY, New York, N. Y.
+    OXFORD-PRINT, Boston, Mass.
+    TOBY RUBOVITS, Chicago, Ill.
+
+
+For Electrotypes
+
+    BLOMGREN BROTHERS CO., Chicago, Ill.
+    FLOWER STEEL ELECTROTYPING CO., New York, N. Y.
+    C. J. PETERS & SON CO., Boston, Mass.
+    ROYAL ELECTROTYPE CO., Philadelphia, Pa.
+    H. C. WHITCOMB & CO., Boston, Mass.
+
+
+For Engravings
+
+    AMERICAN TYPE FOUNDERS CO., Boston, Mass.
+    C. B. COTTRELL & SONS CO., Westerly, R. I.
+    GOLDING MANUFACTURING CO., Franklin, Mass.
+    HARVARD UNIVERSITY, Cambridge, Mass.
+    INLAND PRINTER CO., Chicago, Ill.
+    LANSTON MONOTYPE MACHINE COMPANY, Philadelphia, Pa.
+    MERGENTHALER LINOTYPE COMPANY, New York, N. Y.
+    GEO. H. MORRILL CO., Norwood, Mass.
+    OSWALD PUBLISHING CO., New York, N. Y.
+    THE PRINTING ART, Cambridge, Mass.
+    B. D. RISING PAPER COMPANY, Housatonic, Mass.
+    THE VANDERCOOK PRESS, Chicago, Ill.
+
+
+For Book Paper
+
+    AMERICAN WRITING PAPER CO., Holyoke, Mass.
+    WEST VIRGINIA PULP & PAPER CO., Mechanicville, N. Y.
+
+
+
+
+
+End of Project Gutenberg's The Uses of Italic, by Frederick W. Hamilton
+
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>The Project Gutenberg eBook of The Uses of Italic, by Frederick William Hamilton</title>
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+	#aide-de-camp,
+	#alma-mater,
+	#a-posteriori,
+	#a-priori,
+	#a-propos,
+	#attache,
+	#bas-relief,
+	#beau-ideal,
+	#bona-fide,
+	#bric-a-brac,
+	#cafe,
+	#charge-daffaires,
+	#chiaroscuro,
+	#clientele,
+	#confrere,
+	#connoisseur,
+	#creche,
+	#criterion,
+	#cul-de-sac,
+	#data,
+	#debris,
+	#debut,
+	#decollete,
+	#denouement,
+	#depot,
+	#doctrinaire,
+	#dramatis-personae,
+	#eclat,
+	#elite,
+
+	#ab-ovo,
+	#ancien-regime,
+	#bete-noire,
+	#comme-il-faut,
+	#de-quoi-vivre,
+	#de-trop,
+
+	#ad-loc,
+	#circa,
+	#et-al,
+	#ibid,
+	#idem,
+
+	#cf,
+	#etc { left: 0em; }
+
+	#ennui,
+	#entree,
+	#ex-cathedra,
+	#ex-officio,
+	#expose,
+	#facade,
+	#facsimile,
+	#fete,
+	#habeas-corpus,
+	#habitue,
+	#innuendo,
+	#levee,
+	#litterateur,
+	#litterati,
+	#massage,
+	#matinee,
+	#melee,
+	#menu,
+	#motif,
+	#naive,
+	#nee,
+	#net,
+	#neve,
+	#niche,
+	#nil,
+	#nom-de-plume,
+	#papier-mache,
+	#per-annum,
+	#per-capita,
+
+	#en-passant,
+	#fait-accompli,
+	#grand-monde,
+	#hors-de-combat,
+	#inter-alia,
+	#jeu-desprit,
+
+	#infra,
+	#loc-cit,
+	#op-cit,
+	#passim,
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+	#e-g,
+	#i-e { left: 34%; }
+
+	#per-cent,
+	#per-contra,
+	#personnel,
+	#postmortem,
+	#prima-facie,
+	#pro-and-contra,
+	#protege,
+	#pro-tempore,
+	#questionnaire,
+	#queue,
+	#regime,
+	#rendezvous,
+	#resume,
+	#reveille,
+	#role,
+	#savant,
+	#sobriquet,
+	#soiree,
+	#tete-a-tete,
+	#tonneau,
+	#umlaut,
+	#verbatim,
+	#verso,
+	#versus,
+	#via,
+	#vice-versa,
+	#vis-a-vis,
+	#viva-voce,
+
+	#locum-tenens,
+	#mise-en-scene,
+	#noblesse-oblige,
+	#raison-detre,
+	#sans-ceremonie,
+	#tour-de-force,
+
+	#sic,
+	#supra,
+	#s-v,
+	#vide,
+
+	#v-or-vs,
+	#viz { left: 68%; }
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+
+	#etc,
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+	#a-posteriori,
+	#ex-cathedra,
+	#personnel,
+
+	#bete-noire,
+	#grand-monde,
+	#noblesse-oblige,
+
+	#et-al,
+	#op-cit,
+	#s-v { top: 2.5em; }
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+	#a-priori,
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+	#comme-il-faut,
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+
+	#ibid,
+	#passim,
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+	#a-propos,
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+	#cafe,
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+	#charge-daffaires,
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+	#chiaroscuro,
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+
+	#confrere,
+	#massage,
+	#role { top: 17.5em; }
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+	#dramatis-personae,
+	#papier-mache,
+	#vis-a-vis { top: 32.5em; }
+
+	#eclat,
+	#per-annum,
+	#viva-voce { top: 33.75em; }
+
+	#elite,
+	#per-capita { top: 35em; }
+
+	ol.lower-alpha { list-style-type: lower-alpha; }
+
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+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Uses of Italic, 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: The Uses of Italic
+       A Primer of Information Regarding the Origin and Uses of Italic Letters
+
+Author: Frederick W. Hamilton
+
+Release Date: March 14, 2008 [EBook #24829]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE USES OF ITALIC ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Jana Srna and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<p class="center" style="margin: 80px auto 3em auto;">TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES&mdash;PART&nbsp;VI. NO.&nbsp;38</p>
+
+
+<h1 style="margin-bottom: 2em;">THE USES OF ITALIC<br/><br/>
+<small style="font-size: 0.7em;">A PRIMER OF INFORMATION<br/>
+REGARDING THE ORIGIN AND<br/>
+USES OF ITALIC LETTERS</small></h1>
+
+
+<p class="center" style="font-size: 1.3em;"><small>BY</small><br/>
+FREDERICK&nbsp;W. HAMILTON, LL.D.</p>
+
+<p class="center" style="font-size: 0.8em;">EDUCATION DIRECTOR<br/>
+UNITED TYPOTHETAE OF AMERICA</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/typothetae.png" width="100" height="69" alt="" title="" />
+</div>
+
+
+<p class="center" style="font-size: 0.8em;">PUBLISHED BY THE COMMITTEE ON EDUCATION<br/>
+UNITED TYPOTHETAE OF AMERICA<br/>
+1918</p>
+
+
+
+
+<p class="center smcap" style="font-size: 0.9em; margin: 10em 0 10em 0;">Copyright, 1918<br/>
+United Typothetae of America<br/>
+Chicago, Ill.</p>
+
+
+
+<div class="new-h2"></div>
+<h2>CONTENTS</h2>
+
+<table summary="Contents" style="margin: auto; border: none;">
+<colgroup>
+	<col></col>
+	<col style="width: 6em;"></col>
+</colgroup>
+<tr>
+	<td colspan="2" class="right" style="font-size: 0.8em;">PAGE</td>
+</tr>
+<tr>
+	<td class="smcap">Historical Introduction</td>
+	<td class="right"><a href="#Page_1">1</a></td>
+</tr>
+<tr>
+	<td class="smcap">Rules for the Use of Italic</td>
+	<td class="right"><a href="#Page_5">5</a></td>
+</tr>
+<tr>
+	<td class="smcap">Supplementary Reading</td>
+	<td class="right"><a href="#Page_16">16</a></td>
+</tr>
+<tr>
+	<td class="smcap">Review Questions</td>
+	<td class="right"><a href="#Page_17">17</a></td>
+</tr>
+
+</table>
+
+
+
+
+<div style="margin: 6em auto 0 auto;">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_1">[1]</a></span></p>
+<p class="center" style="font-size: 1.75em; font-weight: bold; margin: 0;">THE USES OF ITALIC</p>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<h2>HISTORICAL INTRODUCTION</h2>
+
+
+<p>The first types were cut in imitation of the Gothic or
+black letter handwriting employed at that period in
+copying Bibles, missals, and the like. It was large and
+angular and the lines were very coarse and black. These
+peculiarities gave it the name. Its characteristics made it
+easy to read even in the dim light of a church or by the
+failing eyes of the aged. This form of type, however, was
+only suitable for large pages. When reduced in size it
+became very difficult to read, being an almost indistinguishable
+blur on the page.</p>
+
+<div class="figcenter" style="width: 433px;">
+<img src="images/mazarin_bible.png" width="433" height="376" alt="" title="" />
+<span class="caption">Type of the Mazarin Bible (exact size).</span>
+</div>
+
+<p>The cost of materials and the unwieldiness of the great
+folio volumes soon caused a demand for smaller books.
+Gutenberg's 36-line Bible was almost immediately replaced
+<span class="pagenum"><a name="Page_2">[2]</a></span>
+by the 42-line Bible. A reduction of one sixth in the number
+of pages of a book as large as the Bible would effect a
+very important saving in the cost of material and labor,
+especially when we remember that the early printing press
+was a very laborious and slow affair. Gutenberg's press
+was capable of printing only twenty sheets an hour, or one
+<span class="pagenum"><a name="Page_3">[3]</a></span>
+sheet every three minutes. The invention of the movable
+bed, about the year 1500, increased the output of the press
+to two hundred sheets an hour. In 1786 the speed had
+risen only to two hundred and fifty sheets an hour. Cheap
+printing waited for the application of power to machinery.</p>
+
+<p>The big book with the big type was well enough for
+churches and libraries. But the purpose of printing was
+soon seen to be the spread of intelligence through the
+popularizing of literature. Books were to be placed in the
+hands of the people, not simply of the priests, nobles, and
+professional men. That end could only be accomplished
+by making books cheap and portable, that is to say small.
+To this end the printers soon addressed themselves to the
+task of devising forms of type which should be smaller, so
+as to reduce the number and size of pages required for a
+book without sacrifice of legibility. A clear, clean cut type,
+with sharp lines and simple forms, capable of compression
+without loss of distinction, was the great need.</p>
+
+<p>The first important departure was the cutting of Roman
+type. The capitals were imitated from the letter forms
+used in Roman inscriptions. In the earlier forms the lower-case
+letters were rough and uncouth, much resembling the
+Gothic forms. The inventor of this form is not known,
+but it was certainly employed by the German printers
+Sweynheim and Pannartz at Subiaco, near Rome, as early
+as 1467. Their example was followed by several imitators
+and improvers, but its form was not definitely settled until
+Nicholas Jenson cast his fonts in Venice in 1470 or 1471.
+It is doubtful if any more perfect Roman types than those
+of Jenson have ever been produced. The superiority of
+this type soon caused its general adoption except in Germany.
+England was slow in coming into line. Caxton
+never used anything but Gothic type. Roman type was not
+introduced into England at all until 1509, and then had to
+make its way against the older forms backed by English
+conservatism. Germany has never adopted the Roman letter
+for general use but makes some use of it in scientific works.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/jenson.png" width="600" height="431" alt="" title="" />
+<span class="caption">Roman type of Nicholas Jenson, 1472 (exact size).</span>
+</div>
+
+<p>The next step was the invention of Italic types by Aldus
+Manutius, of Venice, in 1501. He took for his model the
+<span class="pagenum"><a name="Page_4">[4]</a></span>
+handwriting of the poet Petrarch and produced a type not
+essentially different from the modern Italic. Originally the
+Italic letters were lower-case only, Roman capitals being
+retained. The incongruousness of this combination was,
+however, so evident that Italic capitals were soon designed
+and then the new fonts were complete. The Aldine capitals
+used with Italic lower-case were small, the ancestors of
+the small capitals of today. Aldus used the Italic type as a
+text letter, and such use continued frequent for a century.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/aldine_virgil.png" width="600" height="494" alt="" title="" />
+<span class="caption">Type of the Aldine Virgil, 1501 (exact size).</span>
+</div>
+
+<p>At the present day, except in Germany, the three forms
+of type have their distinct uses. Gothic, variously known
+as Black Letter, Old English, Priory Text, Cloister, etc., is
+used only for special work, particularly in ecclesiastical
+printing. The modern type called "gothic" is not derived
+from it. Roman is the general text letter. Italic has ceased
+to be a text letter, but serves a useful purpose for certain
+special uses which are to be considered at length in the
+following pages.</p>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_5">[5]</a></span></p>
+<h2>RULES FOR THE USE OF ITALIC</h2>
+
+
+<p>Italic has, in general, four uses:</p>
+
+<ol>
+<li>for emphasis.</li>
+
+<li>to set off a title, word, or passage from the context.</li>
+
+<li>for running titles, sub-heads, the headings of tables,
+and other like places where something different
+from the text letter seems needed for variety.</li>
+
+<li>for display purposes in commercial work.</li>
+</ol>
+
+<p>One very important principle should always be observed
+in the use of italic for emphasis. Emphasis should always
+be used sparingly. Make the words do their work. Do not
+try to supplement poverty of thought and weakness of expression
+by italics, capitals, and other marks of emphasis.
+Where there is too much emphasis attempted no emphasis
+is secured. This fault was much more common formerly
+than now.</p>
+
+<p>The accompanying reproduction of a page from a book
+printed in 1690 (place not given, but probably London)
+illustrates several of the faulty uses of italics common at
+that time. An entire paragraph is italicized (quite unnecessarily)
+for emphasis. All proper names and adjectives
+derived from them are italicized where they occur in the
+regular text and printed in roman where they occur in
+italicized passages. Note the frequent capitalization for emphasis
+and especially the italic capital with roman lower-case
+in the first line of the second paragraph. This is a frequent
+usage in this particular book. In this book all quotations
+are printed in italic without quote marks. The paper,
+composition, and presswork of the book are very poor. It
+represents English printing in its worst period.</p>
+
+<div class="figcenter" style="width: 354px;">
+<span class="pagenum"><a name="Page_6">[6]</a></span>
+<img src="images/book_1690.png" width="354" height="600" alt="" title="" />
+<span class="caption">Page from a book of 1690.<br/>(The slurred appearance represents the printing of the original copy.)</span>
+</div>
+
+<p>Moderation in the use of italics is so important that in
+many cases the compositor is justified in ignoring markings
+for italic in his copy where they are too profuse. The
+author is often surprised and disappointed at the appearance<span class="pagenum"><a name="Page_7">[7]</a></span>
+of his proof when it comes back heavily italicized. Moreover
+the occurrence of many italics increases the cost of
+composition because of the greater labor involved.</p>
+
+
+<p class="rule">I. Italicize, subject to the caution just given, any words
+or phrases which it is desired to emphasize.</p>
+
+
+<p class="rule">II. Foreign words and phrases incorporated into English
+sentences are sometimes italicized and sometimes not so
+distinguished. The deciding element in fixing the usage in
+these cases would seem to be the commonness and familiarity
+of the word or phrase. For example, the meaning of
+<i lang="la" xml:lang="la">bona fide</i> (Latin), <i lang="fr" xml:lang="fr">menu</i> (French), <i lang="it" xml:lang="it">recto</i> (Italian), or <i lang="de" xml:lang="de">stein</i>
+(German) are as well known as those of most English
+words. To all intents and purposes these words have been
+adopted into our language. On the other hand, <i lang="fr" xml:lang="fr">jeu d'esprit</i>
+(French) or <i lang="la" xml:lang="la">inter alia</i> (Latin) would probably not be immediately
+understood by the casual reader. Words of the
+first type should not be italicized. Words of the second
+type should be.</p>
+
+<p>Following is a partial list of words of foreign origin
+which should not be italicized even when the original
+accents are retained. It is better to retain the accents.
+They are, however, often omitted. Familiarity plays its
+part here also. <i lang="fr" xml:lang="fr">D&eacute;nouement</i> is very often written without
+the accent; <i lang="fr" xml:lang="fr">n&eacute;e</i> is rarely so written. The absence of
+accented letters from typewriters, from ordinary fonts of
+type, and from the matrices ordinarily used in type-casting
+machines probably contributes largely to their omission.</p>
+
+<p><span class="pagenum"><a name="Page_8">[8]</a></span></p>
+
+<div class="three-column">
+<ul class="three-column">
+<li id="aide-de-camp">aide de camp</li>
+<li id="alma-mater">Alma Mater</li>
+<li id="a-posteriori">a posteriori</li>
+<li id="a-priori">a priori</li>
+<li id="a-propos">&agrave; propos</li>
+<li id="attache">attach&eacute;</li>
+<li id="bas-relief">bas-relief</li>
+<li id="beau-ideal">beau ideal</li>
+<li id="bona-fide">bona fide</li>
+<li id="bric-a-brac">bric-&agrave;-brac</li>
+<li id="cafe">caf&eacute;</li>
+<li id="charge-daffaires">charg&eacute; d'affaires</li>
+<li id="chiaroscuro">chiaroscuro</li>
+<li id="clientele">client&egrave;le</li>
+<li id="confrere">confr&egrave;re</li>
+<li id="connoisseur">connoisseur</li>
+<li id="creche">cr&egrave;che</li>
+<li id="criterion">criterion, <i>pl.</i> -a</li>
+<li id="cul-de-sac">cul-de-sac</li>
+<li id="data">data</li>
+<li id="debris">d&eacute;bris</li>
+<li id="debut">d&eacute;but</li>
+<li id="decollete">d&eacute;collet&eacute;</li>
+<li id="denouement">d&eacute;nouement</li>
+<li id="depot">d&eacute;p&ocirc;t (= depository)</li>
+<li id="doctrinaire">doctrinaire</li>
+<li id="dramatis-personae">dramatis person&aelig;</li>
+<li id="eclat">&eacute;clat</li>
+<li id="elite">&eacute;lite</li>
+<li id="ennui">ennui</li>
+<li id="entree">entr&eacute;e</li>
+<li id="ex-cathedra">ex cathedra</li>
+<li id="ex-officio">ex officio</li>
+<li id="expose">expos&eacute;</li>
+<li id="facade">fa&ccedil;ade</li>
+<li id="facsimile">facsimile</li>
+<li id="fete">f&ecirc;te</li>
+<li id="habeas-corpus">habeas corpus</li>
+<li id="habitue">habitu&eacute;</li>
+<li id="innuendo">innuendo</li>
+<li id="levee">lev&eacute;e</li>
+<li id="litterateur">litt&eacute;rateur</li>
+<li id="litterati">litterati</li>
+<li id="massage">massage</li>
+<li id="matinee">matin&eacute;e</li>
+<li id="melee">m&ecirc;l&eacute;e</li>
+<li id="menu">menu</li>
+<li id="motif">motif</li>
+<li id="naive">na&iuml;ve</li>
+<li id="nee">n&eacute;e</li>
+<li id="net">net</li>
+<li id="neve">n&eacute;v&eacute;</li>
+<li id="niche">niche</li>
+<li id="nil">nil</li>
+<li id="nom-de-plume">nom de plume</li>
+<li id="papier-mache">papier m&acirc;ch&eacute;</li>
+<li id="per-annum">per annum</li>
+<li id="per-capita">per capita</li>
+<li id="per-cent">per cent</li>
+<li id="per-contra">per contra</li>
+<li id="personnel">personnel</li>
+<li id="postmortem">postmortem (n. and adj.)</li>
+<li id="prima-facie">prima facie</li>
+<li id="pro-and-contra">pro and con(tra)</li>
+<li id="protege">prot&eacute;g&eacute;</li>
+<li id="pro-tempore">pro tem(pore)</li>
+<li id="questionnaire">questionnaire</li>
+<li id="queue">queue</li>
+<li id="regime">r&eacute;gime</li>
+<li id="rendezvous">rendezvous</li>
+<li id="resume">r&eacute;sum&eacute;</li>
+<li id="reveille">reveille</li>
+<li id="role">r&ocirc;le</li>
+<li id="savant">savant</li>
+<li id="sobriquet">sobriquet</li>
+<li id="soiree">soir&eacute;e</li>
+<li id="tete-a-tete">t&ecirc;te-&agrave;-t&ecirc;te</li>
+<li id="tonneau">tonneau</li>
+<li id="umlaut">umlaut</li>
+<li id="verbatim">verbatim</li>
+<li id="verso">verso</li>
+<li id="versus">versus (v., vs.)</li>
+<li id="via">via</li>
+<li id="vice-versa">vice versa</li>
+<li id="vis-a-vis">vis-&agrave;-vis</li>
+<li id="viva-voce">viva voce</li>
+</ul>
+</div>
+
+<p>Following is a short list of words or phrases of foreign
+origin which are used occasionally but are not familiar
+enough to be printed in the text type.</p>
+
+<div class="three-column-2">
+<ul class="three-column">
+<li id="ab-ovo"><i>ab ovo</i></li>
+<li id="ancien-regime"><i>ancien r&eacute;gime</i></li>
+<li id="bete-noire"><i>b&ecirc;te noire</i></li>
+<li id="comme-il-faut"><i>comme il faut</i></li>
+<li id="de-quoi-vivre"><i>de quoi vivre</i></li>
+<li id="de-trop"><i>de trop</i></li>
+<li id="en-passant"><i>en passant</i></li>
+<li id="fait-accompli"><i>fait accompli</i></li>
+<li id="grand-monde"><i>grand monde</i></li>
+<li id="hors-de-combat"><i>hors de combat</i></li>
+<li id="inter-alia"><i>inter alia</i></li>
+<li id="jeu-desprit"><i>jeu d'esprit</i></li>
+<li id="locum-tenens"><i>locum tenens</i></li>
+<li id="mise-en-scene"><i>mise en sc&egrave;ne</i></li>
+<li id="noblesse-oblige"><i>noblesse oblige</i></li>
+<li id="raison-detre"><i>raison d'&ecirc;tre</i></li>
+<li id="sans-ceremonie"><i>sans c&eacute;r&eacute;monie</i></li>
+<li id="tour-de-force"><i>tour de force</i></li>
+</ul>
+</div>
+
+<p>The following words, phrases, and abbreviations used
+in literary and legal references should be italicized.</p>
+
+<div class="three-column-3">
+<ul class="three-column">
+<li id="ad-loc"><i>ad loc.</i></li>
+<li id="circa"><i>circa</i> (<i>ca.</i>)</li>
+<li id="et-al"><i>et al.</i></li>
+<li id="ibid"><i>ibid.</i></li>
+<li id="idem"><i>idem</i></li>
+<li id="infra"><i>infra</i></li>
+<li id="loc-cit"><i>loc cit.</i></li>
+<li id="op-cit"><i>op.&nbsp;cit.</i></li>
+<li id="passim"><i>passim</i></li>
+<li id="sic"><i>sic</i></li>
+<li id="supra"><i>supra</i></li>
+<li id="s-v"><i>s.&nbsp;v.</i></li>
+<li id="vide"><i>vide</i></li>
+</ul>
+</div>
+
+<p>Do not italicize:</p>
+
+<div class="three-column-4">
+<ul class="three-column">
+<li id="cf">cf.</li>
+<li id="etc">etc.</li>
+<li id="e-g">e.&nbsp;g.</li>
+<li id="i-e">i.&nbsp;e.</li>
+<li id="v-or-vs">v. or vs. (versus)</li>
+<li id="viz">viz.</li>
+</ul>
+</div>
+
+<p><span class="pagenum"><a name="Page_9">[9]</a></span>
+When an unfamiliar foreign word is used to convey precise
+description, put it in italic, but use roman for repetition
+of the word.</p>
+
+<p>Italicize brief passages of foreign words which may be
+incorporated into an English passage but may not be long
+enough to be treated as regular quotations.</p>
+
+<blockquote><p><i lang="la" xml:lang="la">De gustibus non est disputandum</i>, or as the French have it,
+<i lang="fr" xml:lang="fr">Chacun a son gout</i>.</p></blockquote>
+
+<p>Longer passages in foreign languages should be set in
+roman.</p>
+
+<p>To set an entire paragraph of quoted matter in a foreign
+language in italic, or even to use italic too freely for phrases,
+practically nullifies the value of it as a display letter for the
+sub-headings or for any other part of the book in which distinction
+is really needed. Quotation marks, indention,
+smaller type, or any of the marks which distinguish quoted
+matter are sufficient.</p>
+
+
+<p class="rule">III. At one time it was quite customary to set all quotations,
+whether in English or a foreign language, prose or
+verse, in italics, but that fashion is now happily obsolete.
+Some modern printers use italic for bits of verse between
+paragraphs in the text of roman, but it is a fancy and not
+likely to be permanent.</p>
+
+
+<p class="rule">IV. Do not italicize foreign titles preceding names of
+foreign institutions or places, streets, etc., the meaning or
+position of which in English would call for roman type.</p>
+
+<blockquote><p><span lang="fr" xml:lang="fr">Pere Ladeau</span>; <span lang="de" xml:lang="de">Freiherr von Schwenau</span>; the <span lang="fr" xml:lang="fr">Place de la
+Concorde</span>; the <span lang="it" xml:lang="it">Museo delle Terme</span>.</p></blockquote>
+
+
+<p class="rule">V. In text matter use roman for the name of any author,
+but italicize the title of the work. This applies to books,
+including plays, essays, cycles of poems, and single poems
+of considerable length, usually printed separately, and not
+from the context understood to form parts of a larger volume;
+pamphlets, treatises, tracts, documents, and periodicals
+(including regularly appearing proceedings and transactions).
+In the case of newspapers and periodicals the
+<span class="pagenum"><a name="Page_10">[10]</a></span>
+name of the place of publication should be italicized when
+it forms an integral part of the name, but do not under
+ordinary circumstances italicize the article <i>the</i>.</p>
+
+<p>In many offices the names of papers, magazines, and
+serials are not italicized. Roman is often used without
+quotation marks, the title being indicated by capitalization.
+When such names are used as credits at the end of citations
+or notes they should always be italicized.</p>
+
+<p>This is largely a matter of individual taste and office
+style. Ample warrant can be found for either form in the
+writing of the best authorities and in the practice of the
+best offices.</p>
+
+
+<p class="rule">VI. In citations which make a full paragraph, and in
+footnotes, the name of both author and book are commonly
+set in roman lower-case. At the end of a paragraph
+or footnote specification of author and book may be roman
+for author and italic for book. When only the book is
+given, use italics.</p>
+
+<p>These rules are often modified in long bibliographical
+lists, tables, or other cases when following them would
+cause a great accumulation of italics and spoil the appearance
+of a page. Do not italicize the books of the Bible
+(canonical or apocryphal) or titles of ancient manuscripts,
+or symbols used to designate manuscripts.</p>
+
+<p class="center">D&nbsp;16, M&nbsp;6, P, J.</p>
+
+
+<p class="rule">VII. Italicize <i>see</i> and <i>see also</i>, in indices and similar compilations
+when they are used for cross-reference, and when
+it is desirable to differentiate them from the context.</p>
+
+
+<p class="rule">VIII. Italicize <i>for</i> and <i>read</i> in lists of errata to separate
+the incorrect from the correct.</p>
+
+<p class="center">Page&nbsp;999 <i>for</i> Henry <i>read</i> Henri.</p>
+
+
+<p class="rule">IX. The phrases <i>prima facie</i> and <i>ex officio</i> are sometimes
+used to qualify the nouns which follow, and sometimes
+used as adverbs. As qualifiers they are often printed in
+roman with the hyphen.</p>
+
+<blockquote><p><span class="pagenum"><a name="Page_11">[11]</a></span>
+Prima-facie evidence.<br />
+An ex-officio member of all committees.</p></blockquote>
+
+<p>When used as adverbs they may be printed in italics
+without the hyphen.</p>
+
+<blockquote><p>The evidence is, <i>prima facie</i>, convincing.<br />
+The speaker is, <i>ex officio</i>, the chairman.</p></blockquote>
+
+
+<p class="rule">X. Names of ships, especially when they are taken from
+places, as in the United States Navy, are often italicized.</p>
+
+<p class="center">U.S.S. <i>Philadelphia</i>, U.S.S. <i>Alabama</i>.</p>
+
+
+<p class="rule">XI. Names of paintings, statues, musical compositions,
+and characters in plays are sometimes italicized. This is
+not ordinarily advisable. It violates the rule of never using
+italics or other emphasizing devices needlessly and is liable
+to mar the appearance of the page. It is sometimes necessary,
+however, to avoid ambiguity. For example, Julius
+Caesar is a historical personage, "Julius Caesar" is one of
+Shakespeare's plays, <i>Julius Caesar</i> is a character in the play.</p>
+
+
+<p class="rule">XII. Italicize the symbols <i>a)</i>, <i>b)</i>, <i>c)</i>, etc., used to indicate
+subdivisions when beginning a paragraph and <i>a</i>, <i>b</i>, <i>c</i>,
+etc., affixed to the number of verse, page, etc., to denote
+a fractional part.</p>
+
+<blockquote style="width: 11em; margin: auto;">
+<p>See Chap.&nbsp;iii, sec.&nbsp;2&nbsp;<i>a)</i>.<br/>
+Luke&nbsp;4&nbsp;:&nbsp;31&nbsp;<i>b</i>.</p>
+</blockquote>
+
+
+<p class="rule">XIII. Italicize letters used to designate quantities, lines,
+etc., in algebraic, geometrical, and similar matter, and in
+explanation of diagrams and illustrations.</p>
+
+<blockquote>
+<p>(<i>a</i>+<i>b</i>)<sup>2</sup>=<i>a</i><sup>2</sup>+2<i>ab</i>+<i>b</i><sup>2</sup>; the line <i>a c</i>=the line <i>a b</i>;
+the <i>n</i><sup>th</sup> power; at the point <i>B</i>.</p>
+</blockquote>
+
+
+<p class="rule">XIV. Italicize particular letters of the alphabet when
+referred to as such.</p>
+
+<p class="center">We use <i>a</i> much more frequently than <i>q</i>.</p>
+
+
+<p class="rule"><span class="pagenum"><a name="Page_12">[12]</a></span>
+XV. Authorities in science differ in the use of italics
+and capitals. In strictly scientific matter it is better to
+follow copy if the copy is intelligently prepared; if not,
+follow some recognized text-book on the subject.</p>
+
+<p>In general the following rules will be found serviceable.</p>
+
+<ol class="lower-alpha">
+<li><p>In botanical, zoological, geological, and paleontological
+matter, italicize scientific (Latin) names of genera
+and species when used together (the generic name being
+in the nominative singular), and of the genera only, when
+used alone. When genera and species are used together
+the genus always comes first, species second.</p>
+
+<blockquote lang="la" xml:lang="la"><p><i>Agaricus Campestris</i>, <i>Felis leo</i>, <i>Conodectes favosus</i>, <i>Phyteuma
+Halleri</i>, <i>Pinus</i>, <i>Basidiabolus</i>, <i>Alternaria</i>, <i>Erythrosuchus</i>.</p></blockquote>
+</li>
+
+<li><p>In medical matter the general practice is to print
+names of diseases and remedies in roman. In the <i>Encyclopedia
+Britannica, Eleventh Edition</i>, however, the scientific
+names of diseases are printed in italics.</p>
+</li>
+
+<li><p>In astronomical and astrophysical matter italicize:</p>
+
+<ol>
+<li><p>The lower-case letters designating certain Fraunhofer
+lines: <i>a</i>, <i>b</i>, <i>g</i>, <i>h</i>.</p>
+</li>
+
+<li><p>The lower-case letters used by Baeyer to designate
+certain stars in constellations for which the Greek letters
+have been exhausted: <i>f</i>, Tauri; <i>u</i>, Hercules.</p>
+</li></ol></li>
+
+<li><p>Italic should not be used for:</p>
+
+<ol>
+<li><p>Greek, Latin, and Arabic names of planets, satellites,
+constellations, and individual stars: Neptune, Thetys,
+Orionis.</p>
+</li>
+
+<li><p>Symbols for chemical elements: H. Ca. Ti.</p>
+</li>
+
+<li><p>Capital letters given by Fraunhofer to the lines of the
+spectrum: A&ndash;H, K.</p>
+</li>
+
+<li><p><span class="pagenum"><a name="Page_13">[13]</a></span>
+Letters designating the special types of stars: A&nbsp;5,
+B&nbsp;3, Mb.</p>
+</li>
+
+<li><p>The capital letter H with different Greek subscript
+letters, used to designate symbols of hydrogen: H<sub>a</sub>, H<sub>b</sub>, etc.</p>
+</li>
+
+<li><p>Designations of celestial objects in well-known catalogues;
+also the Flamstead numbers:</p>
+
+<blockquote><p>M&nbsp;13 (for No.&nbsp;13 of Messier's <i>Catalogue of Nebulae
+and Clusters</i>), Bond&nbsp;619; N.&nbsp;G.&nbsp;C. 6165; B.&nbsp;D.-18&deg;&nbsp;4871;
+85&nbsp;Pegasi, Lalande&nbsp;5761.</p></blockquote>
+
+<p>But when initials are used to express the titles of catalogues,
+as such, and not to designate a particular celestial
+object, such initials are to be italicized, following the usual
+rule of references by titles.</p>
+
+<p class="center"><i>B.&nbsp;D.</i>; <i>N.&nbsp;G.&nbsp;C.</i></p>
+</li>
+</ol>
+</li>
+</ol>
+
+
+<p class="rule">XVI. In resolutions italicize the word "<i>Resolved</i>," but
+not the word "Whereas."</p>
+
+
+<p class="rule">XVII. Italicize the names of plaintiff and defendant in
+the citation of legal cases; also the titles of proceedings containing
+such prefixes as <i lang="la" xml:lang="la">in re</i>, <i lang="la" xml:lang="la">ex parte</i>, <i>In the matter of</i>, etc.</p>
+
+<blockquote><p><i>The Boston Elevated Railway Co.</i> vs. <i>The City of Cambridge</i>.
+<i><span lang="la" xml:lang="la">In re</span> Johnson</i>; <i><span lang="la" xml:lang="la">ex parte</span> Thomas</i>; <i>In the matter of
+the petition of John Smith for a change of venue</i>.</p></blockquote>
+
+
+<p class="rule">XVIII. Italicize address lines in speeches, reports, etc.,
+and primary address lines in letters. Set the address flush,
+in a separate line, with the nouns capitalized.</p>
+
+<blockquote>
+<p><i>Mr. Toastmaster, Ladies and Gentlemen.</i><br/>
+<i>Mr. Henry&nbsp;P. Porter, 148&nbsp;High St., Boston, Mass.</i></p>
+</blockquote>
+
+
+<p class="rule">XIX. In signatures italicize the position or title added
+after the name. If this consists of only one word, it is
+usually run into the same line with the name.</p>
+
+<p class="center">Frederick&nbsp;W. Hamilton, <i>Clerk</i>.</p>
+
+<p><span class="pagenum"><a name="Page_14">[14]</a></span>
+If the title consists of more than one word but is no
+longer than the name, center the first letter under the name
+line, and indent one em on the right.</p>
+
+<p class="center">John&nbsp;F. Fitzgerald,<br/>
+<span style="margin-left: 7em;"><i>Mayor of Boston</i>.</span></p>
+
+<p>If the title is longer than the name, center the name over
+the second line and set this flush:</p>
+
+<p class="center">Minton&nbsp;P. Warren,<br/>
+<i>Professor of Latin Language and Literature</i>.</p>
+
+<p>Sometimes a long title may be set in a smaller type, or,
+if this is not advisable, it may be put into two lines.</p>
+
+<p>These rules are generally sound, but may have to be
+varied to suit special conditions.</p>
+
+<p>Italicize the signatures of contributors to magazines, etc.,
+when the names appear at the end of the article. If the
+name appears at the head of the article use small capitals,
+or, as is often done, the same type as the text.</p>
+
+
+<p class="rule">XX. Italic may be used to distinguish the words or
+clauses which serve as verbal texts for an extended comment.
+In printed sermons, for example, the text is often
+set in italics.</p>
+
+
+<p class="rule">XXI. Italic may be used with good effect for running
+titles, for table headings, and for sub-heads. It is not desirable
+for side notes. It has many kerned letters which are
+liable to break off at the ends of the lines in an exposed
+position.</p>
+
+
+<p class="rule">XXII. In the English Bible italics are used to print words
+which are not expressed in the original Hebrew or Greek but
+are implied in the original and expressed in the translation.</p>
+
+<blockquote><p>Their quiver <i>is</i> an open sepulchre; they <i>are</i> all mighty
+men.</p>
+
+<p>I find in him no fault <i>at all</i>.</p></blockquote>
+
+<p>These italics should never be mistaken for marks of
+emphasis.</p>
+
+
+<p class="rule"><span class="pagenum"><a name="Page_15">[15]</a></span>
+XXIII. Care should be taken that the italic type used
+should mate well with the roman. The fact that it often
+did not so mate, even in fonts supposed to go together,
+was one cause for the disfavor which came to attend its use.
+Typesetting machines constructed without proper provision
+for the composition of italic have been very influential in
+restricting its use. Italics are now practically abolished from
+newspaper work except in advertising matter, though they
+were used in newspapers to excess in the eighteenth century.</p>
+
+
+<p class="rule">XXIV. Italics are indicated in manuscript by drawing a
+single line under the words to be so printed.</p>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_16">[16]</a></span></p>
+<h2>SUPPLEMENTARY READING</h2>
+
+
+<p style="padding-left: 2em; text-indent: -2em;"><cite>Correct Composition. By Theodore&nbsp;L. DeVinne.</cite> Oswald Publishing
+Co., New York.</p>
+
+<p style="padding-left: 2em; text-indent: -2em;"><cite>The Writer's Desk Book. By William Dana Orcutt.</cite> Frederick&nbsp;A.
+Stokes Co., New York.</p>
+
+<p style="padding-left: 2em; text-indent: -2em;"><cite>A Manual for Writers. By John Matthews Manly and John Arthur
+Powell.</cite> The University of Chicago Press, Chicago.</p>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_17">[17]</a></span></p>
+<h2>QUESTIONS</h2>
+
+
+<ol class="questions">
+<li>Describe the first types.</li>
+
+<li>What caused the demand for smaller books?</li>
+
+<li>What was done to meet this demand?</li>
+
+<li>What was the first step in the improvement of type?</li>
+
+<li>What was the next important step?</li>
+
+<li>What are the present uses of the three principal
+forms of letters?</li>
+
+<li>What are the general principles governing the use of
+italics?</li>
+
+<li>What important principle should be observed in the
+use of italic?</li>
+
+<li>Is a compositor ever justified in not following an author's
+marks calling for italics, and why?</li>
+
+<li>For what, in general, is italic used?</li>
+
+<li>What is the general usage regarding foreign words
+and phrases?</li>
+
+<li>What decides whether they are italicized or not?</li>
+
+<li>What about accents in foreign words?</li>
+
+<li>Give a list of common words, phrases, and abbreviations
+used in literary and legal references which
+should always be italicized.</li>
+
+<li>Give a short list of abbreviations of foreign origin
+which should not be italicized.</li>
+
+<li>How should quotations in foreign languages be
+treated?</li>
+
+<li>What is the use of italic in English quotations?</li>
+
+<li>How should you treat foreign titles preceding names
+of persons, streets, and the like?</li>
+
+<li>How are names of authors and of books, magazines,
+and the like, treated?</li>
+
+<li>How do we use italics in citations, in footnotes, in
+indices, and in errata?</li>
+
+<li>When are <i>prima facie</i> and <i>ex officio</i> italicized, and
+when not?</li>
+
+<li><span class="pagenum"><a name="Page_18">[18]</a></span>How are names of ships printed?</li>
+
+<li>How are names of paintings, statues, musical compositions,
+and characters in plays treated?</li>
+
+<li>What is the rule about letters used to indicate subdivisions,
+etc.?</li>
+
+<li>How do we print letters of the alphabet when referred
+to as such?</li>
+
+<li>What can you say of the use of italic in scientific
+matter generally?</li>
+
+<li>Give the particular rules for the use of italic in certain
+sciences.</li>
+
+<li>What is the rule for italic in resolutions?</li>
+
+<li>How are italics used in legal matter?</li>
+
+<li>How are italics used in signatures?</li>
+
+<li>Where are titles placed when following names in
+signatures?</li>
+
+<li>How may texts of sermons and the like be printed?</li>
+
+<li>What can you say of the use of italic in running
+titles, table heads, side notes, and the like?</li>
+
+<li>What should be looked out for in combining italic
+with roman?</li>
+
+<li>What has been the influence of machine composition
+in the use of italic, and why?</li>
+
+<li>How does the use of italic in newspapers at present
+compare with that of a hundred years ago, and why?</li>
+
+<li>How are italics indicated in manuscript?</li>
+</ol>
+
+
+<p style="font-size: 0.9em;">As elsewhere in this section of the Typographic Technical Series,
+the learning of the rules must be supplemented by extended practice
+in their application. Constant drill should be given the apprentice in
+the setting of matter requiring the use of italics, or in writing out
+manuscripts with the italics properly indicated. There is no other
+way in which accuracy and practical proficiency can be acquired.
+Printed matter may be shown for criticism and discussion, and incorrectly
+italicized matter may be given out for correction.</p>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_i">[i]</a></span></p>
+<h1 style="font-size: 1.3em;">TYPOGRAPHIC TECHNICAL SERIES
+FOR APPRENTICES</h1>
+
+
+<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&mdash;employers, journeymen,
+and apprentices&mdash;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&nbsp;&times;&nbsp;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.&nbsp;S.&nbsp;A.</span></p>
+
+
+<div class="new-section">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_ii">[ii]</a></span></p>
+<h2 class="section">PART&nbsp;I&mdash;<i>Types, Tools, Machines, and Materials</i></h2>
+
+<div class="books">
+<p>1. <b>Type: a Primer of Information</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>Relating to the mechanical features of printing types; their sizes, font
+schemes, etc., with a brief description of their manufacture. 44&nbsp;pp.;
+illustrated; 74&nbsp;review questions; glossary.</p></div>
+
+<p>2. <b>Compositors' Tools and Materials</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A primer of information about composing sticks, galleys, leads, brass
+rules, cutting and mitering machines, etc. 47&nbsp;pp.; illustrated; 50&nbsp;review
+questions; glossary.</p></div>
+
+<p>3. <b>Type Cases, Composing Room Furniture</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A primer of information about type cases, work stands, cabinets, case
+racks, galley racks, standing galleys, etc. 43&nbsp;pp.; illustrated; 33&nbsp;review
+questions; glossary.</p></div>
+
+<p>4. <b>Imposing Tables and Lock-up Appliances</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>Describing the tools and materials used in locking up forms for the press,
+including some modern utilities for special purposes. 59&nbsp;pp.; illustrated;
+70&nbsp;review questions; glossary.</p></div>
+
+<p>5. <b>Proof Presses</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A primer of information about the customary methods and machines for
+taking printers' proofs. 40&nbsp;pp.; illustrated; 41&nbsp;review questions; glossary.</p></div>
+
+<p>6. <b>Platen Printing Presses</b> <span class="author">By Daniel Baker</span></p>
+
+<div class="book-info"><p>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&nbsp;pp.; illustrated; 49&nbsp;review questions; glossary.</p></div>
+
+<p>7. <b>Cylinder Printing Presses</b> <span class="author">By Herbert&nbsp;L. Baker</span></p>
+
+<div class="book-info"><p>Being a study of the mechanism and operation of the principal types of
+cylinder printing machines. 64&nbsp;pp.; illustrated; 47&nbsp;review questions;
+glossary.</p></div>
+
+<p>8. <b>Mechanical Feeders and Folders</b> <span class="author">By William&nbsp;E. Spurrier</span></p>
+
+<div class="book-info"><p>The history and operation of modern feeding and folding machines; with
+hints on their care and adjustments. Illustrated; review questions;
+glossary.</p></div>
+
+<p>9. <b>Power for Machinery in Printing Houses</b> <span class="author">By Carl&nbsp;F. Scott</span></p>
+
+<div class="book-info"><p>A treatise on the methods of applying power to printing presses and allied
+machinery with particular reference to electric drive. 53&nbsp;pp.; illustrated;
+69&nbsp;review questions; glossary.</p></div>
+
+<p>10. <b>Paper Cutting Machines</b> <span class="author">By Niel Gray, Jr.</span></p>
+
+<div class="book-info"><p>A primer of information about paper and card trimmers, hand-lever
+cutters, power cutters, and other automatic machines for cutting paper,
+70&nbsp;pp.; illustrated; 115&nbsp;review questions; glossary.</p></div>
+
+<p>11. <b>Printers' Rollers</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A primer of information about the composition, manufacture, and care of
+inking rollers. 46&nbsp;pp.; illustrated; 61&nbsp;review questions; glossary.</p></div>
+
+<p>12. <b>Printing Inks</b> <span class="author">By Philip Ruxton</span></p>
+
+<div class="book-info"><p>Their composition, properties and manufacture (reprinted by permission
+from Circular No.&nbsp;53, United States Bureau of Standards); together with
+some helpful suggestions about the everyday use of printing inks by
+Philip Ruxton. 80&nbsp;pp.; 100&nbsp;review questions; glossary.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_iii">[iii]</a></span></p>
+
+<div class="books">
+<p>13. <b>How Paper is Made</b> <span class="author">By William Bond Wheelwright</span></p>
+
+<div class="book-info"><p>A primer of information about the materials and processes of manufacturing
+paper for printing and writing. 68&nbsp;pp.; illustrated; 62&nbsp;review questions;
+glossary.</p></div>
+
+<p>14. <b>Relief Engravings</b> <span class="author">By Joseph&nbsp;P. Donovan</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>15. <b>Electrotyping and Stereotyping</b> <span class="author">By Harris&nbsp;B. Hatch and A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A primer of information about the processes of electrotyping and stereotyping.
+94&nbsp;pp.; illustrated; 129&nbsp;review questions; glossaries.</p></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;II&mdash;<i>Hand and Machine Composition</i></h2>
+
+<p>16. <b>Typesetting</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A handbook for beginners, giving information about justifying, spacing,
+correcting, and other matters relating to typesetting. Illustrated;
+review questions; glossary.</p></div>
+
+<p>17. <b>Printers' Proofs</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>The methods by which they are made, marked, and corrected, with
+observations on proofreading. Illustrated; review questions; glossary.</p></div>
+
+<p>18. <b>First Steps in Job Composition</b> <span class="author">By Camille DeV&eacute;ze</span></p>
+
+<div class="book-info"><p>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&nbsp;pp.; examples; 55&nbsp;review questions; glossary.</p></div>
+
+<p>19. <b>General Job Composition</b></p>
+
+<div class="book-info"><p>How the job compositor handles business stationery, programs and
+miscellaneous work. Illustrated; review questions; glossary.</p></div>
+
+<p>20. <b>Book Composition</b> <span class="author">By J.&nbsp;W. Bothwell</span></p>
+
+<div class="book-info"><p>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&nbsp;I: Composition of pages. Part&nbsp;II:
+Imposition of pages. 229&nbsp;pp.; illustrated; 525&nbsp;review questions; glossary.</p></div>
+
+<p>21. <b>Tabular Composition</b> <span class="author">By Robert Seaver</span></p>
+
+<div class="book-info"><p>A study of the elementary forms of table composition, with examples of
+more difficult composition. 36&nbsp;pp.; examples; 45&nbsp;review questions.</p></div>
+
+<p>22. <b>Applied Arithmetic</b> <span class="author">By E.&nbsp;E. Sheldon</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>23. <b>Typecasting and Composing Machines</b> <span class="author">A.&nbsp;W. Finlay, Editor</span></p>
+
+<div class="book-info"><p>
+Section&nbsp;I&mdash;The Linotype <span class="author">By L.&nbsp;A. Hornstein</span><br />
+Section&nbsp;II&mdash;The Monotype <span class="author">By Joseph Hays</span><br />
+Section&nbsp;III&mdash;The Intertype <span class="author">By Henry&nbsp;W. Cozzens</span><br />
+Section&nbsp;IV&mdash;Other Typecasting and Typesetting Machines <span class="author">By Frank&nbsp;H. Smith</span></p>
+
+<p>A brief history of typesetting machines, with descriptions of their
+mechanical principles and operations. Illustrated; review questions;
+glossary.</p></div>
+</div>
+
+
+<div class="new-section">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_iv">[iv]</a></span></p>
+<h2 class="section">PART&nbsp;III&mdash;<i>Imposition and Stonework</i></h2>
+
+<div class="books">
+<p>24. <b>Locking Forms for the Job Press</b> <span class="author">By Frank&nbsp;S. Henry</span></p>
+
+<div class="book-info"><p>Things the apprentice should know about locking up small forms, and
+about general work on the stone. Illustrated; review questions; glossary.</p></div>
+
+<p>25. <b>Preparing Forms for the Cylinder Press</b> <span class="author">By Frank&nbsp;S. Henry</span></p>
+
+<div class="book-info"><p>Pamphlet and catalog imposition; margins; fold marks, etc. Methods of
+handling type forms and electrotype forms. Illustrated; review questions;
+glossary.</p></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;IV&mdash;<i>Presswork</i></h2>
+
+<p>26. <b>Making Ready on Platen Presses</b> <span class="author">By T.&nbsp;G. McGrew</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>27. <b>Cylinder Presswork</b> <span class="author">By T.&nbsp;G. McGrew</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>28. <b>Pressroom Hints and Helps</b> <span class="author">By Charles&nbsp;L. Dunton</span></p>
+
+<div class="book-info"><p>Describing some practical methods of pressroom work, with directions
+and useful information relating to a variety of printing-press problems.
+87&nbsp;pp.; 176&nbsp;review questions.</p></div>
+
+<p>29. <b>Reproductive Processes of the Graphic Arts</b> <span class="author">By A.&nbsp;W. Elson</span></p>
+
+<div class="book-info"><p>A primer of information about the distinctive features of the relief, the
+intaglio, and the planographic processes of printing. 84&nbsp;pp.; illustrated;
+100&nbsp;review questions; glossary.</p></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;V&mdash;<i>Pamphlet and Book Binding</i></h2>
+
+<p>30. <b>Pamphlet Binding</b> <span class="author">By Bancroft&nbsp;L. Goodwin</span></p>
+
+<div class="book-info"><p>A primer of information about the various operations employed in
+binding pamphlets and other work in the bindery. Illustrated; review
+questions; glossary.</p></div>
+
+<p>31. <b>Book Binding</b> <span class="author">By John&nbsp;J. Pleger</span></p>
+
+<div class="book-info"><p>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></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;VI&mdash;<i>Correct Literary Composition</i></h2>
+
+<p>32. <b>Word Study and English Grammar</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A primer of information about words, their relations, and their uses.
+68&nbsp;pp.; 84&nbsp;review questions; glossary.</p></div>
+
+<p>33. <b>Punctuation</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A primer of information about the marks of punctuation and their use,
+both grammatically and typographically. 56&nbsp;pp.; 59&nbsp;review questions;
+glossary.</p></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_v">[v]</a></span></p>
+<div class="books">
+<p>34. <b>Capitals</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A primer of information about capitalization, with some practical typographic
+hints as to the use of capitals. 48&nbsp;pp.; 92&nbsp;review questions;
+glossary.</p></div>
+
+<p>35. <b>Division of Words</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>Rules for the division of words at the ends of lines, with remarks on
+spelling, syllabication and pronunciation. 42&nbsp;pp.; 70&nbsp;review questions.</p></div>
+
+<p>36. <b>Compound Words</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A study of the principles of compounding, the components of compounds,
+and the use of the hyphen. 34&nbsp;pp.; 62&nbsp;review questions.</p></div>
+
+<p>37. <b>Abbreviations and Signs</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A primer of information about abbreviations and signs, with classified
+lists of those in most common use. 58&nbsp;pp.; 32&nbsp;review questions.</p></div>
+
+<p>38. <b>The Uses of Italic</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A primer of information about the history and uses of italic letters.
+31&nbsp;pp.; 37&nbsp;review questions.</p></div>
+
+<p>39. <b>Proofreading</b> <span class="author">By Arnold Levitas</span></p>
+
+<div class="book-info"><p>The technical phases of the proofreader's work; reading, marking,
+revising, etc.; methods of handling proofs and copy. Illustrated by
+examples. 59&nbsp;pp.; 69&nbsp;review questions; glossary.</p></div>
+
+<p>40. <b>Preparation of Printers' Copy</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>Suggestions for authors, editors, and all who are engaged in preparing
+copy for the composing room. 36&nbsp;pp.; 67&nbsp;review questions.</p></div>
+
+<p>41. <b>Printers' Manual of Style</b></p>
+
+<div class="book-info"><p>A reference compilation of approved rules, usages, and suggestions
+relating to uniformity in punctuation, capitalization, abbreviations,
+numerals, and kindred features of composition.</p></div>
+
+<p>42. <b>The Printer's Dictionary</b> <span class="author">By A.&nbsp;A. Stewart</span></p>
+
+<div class="book-info"><p>A handbook of definitions and miscellaneous information about various
+processes of printing, alphabetically arranged. Technical terms explained.
+Illustrated.</p></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;VII&mdash;<i>Design, Color, and Lettering</i></h2>
+
+<p>43. <b>Applied Design for Printers</b> <span class="author">By Harry&nbsp;L. Gage</span></p>
+
+<div class="book-info"><p>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&nbsp;illustrations; 46&nbsp;review questions;
+glossary; bibliography.</p></div>
+
+<p>44. <b>Elements of Typographic Design</b> <span class="author">By Harry&nbsp;L. Gage</span></p>
+
+<div class="book-info"><p>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></div>
+</div>
+
+<p><span class="pagenum"><a name="Page_vi">[vi]</a></span></p>
+
+<div class="books">
+<p>45. <b>Rudiments of Color in Printing</b> <span class="author">By Harry&nbsp;L. Gage</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>46. <b>Lettering in Typography</b> <span class="author">By Harry&nbsp;L. Gage</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>47. <b>Typographic Design in Advertising</b> <span class="author">By Harry&nbsp;L. Gage</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>48. <b>Making Dummies and Layouts</b> <span class="author">By Harry&nbsp;L. Gage</span></p>
+
+<div class="book-info"><p>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></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;VIII&mdash;<i>History of Printing</i></h2>
+
+<p>49. <b>Books Before Typography</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A primer of information about the invention of the alphabet and the
+history of bookmaking up to the invention of movable types. 62&nbsp;pp.;
+illustrated; 64&nbsp;review questions.</p></div>
+
+<p>50. <b>The Invention of Typography</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A brief sketch of the invention of printing and how it came about.
+64&nbsp;pp.; 62&nbsp;review questions.</p></div>
+
+<p>51. <b>History of Printing&mdash;Part&nbsp;I</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>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&nbsp;pp.; 55&nbsp;review questions.</p></div>
+
+<p>52. <b>History of Printing&mdash;Part&nbsp;II</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>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&nbsp;pp.; 128&nbsp;review questions.</p></div>
+
+<p>53. <b>Printing in England</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A short history of printing in England from Caxton to the present time.
+89&nbsp;pp.; 65&nbsp;review questions.</p></div>
+
+<p>54. <b>Printing in America</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A brief sketch of the development of the newspaper, and some notes on
+publishers who have especially contributed to printing. 98&nbsp;pp.; 84&nbsp;review
+questions.</p></div>
+
+<p>55. <b>Type and Presses in America</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A brief historical sketch of the development of type casting and press
+building in the United States. 52&nbsp;pp.; 61&nbsp;review questions.</p></div>
+</div>
+
+
+<div class="new-section">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_vii">[vii]</a></span></p>
+<h2 class="section">PART&nbsp;IX&mdash;<i>Cost Finding and Accounting</i></h2>
+
+<div class="books">
+<p>56. <b>Elements of Cost in Printing</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>The Standard Cost-Finding Forms and their uses. What they should
+show. How to utilize the information they give. Review questions.
+Glossary.</p></div>
+
+<p>57. <b>Use of a Cost System</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>The Standard Cost-Finding Forms and their uses. What they should
+show. How to utilize the information they give. Review questions.
+Glossary.</p></div>
+
+<p>58. <b>The Printer as a Merchant</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>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></div>
+
+<p>59. <b>Fundamental Principles of Estimating</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>The estimator and his work; forms to use; general rules for estimating.
+Review questions. Glossary.</p></div>
+
+<p>60. <b>Estimating and Selling</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>An insight into the methods used in making estimates, and their relation
+to selling. Review questions. Glossary.</p></div>
+
+<p>61. <b>Accounting for Printers</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>A brief outline of an accounting system for printers; necessary books and
+accessory records. Review questions. Glossary.</p></div>
+
+
+<div class="new-section">&nbsp;</div>
+<h2 class="section">PART&nbsp;X&mdash;<i>Miscellaneous</i></h2>
+
+<p>62. <b>Health, Sanitation, and Safety</b> <span class="author">By Henry&nbsp;P. Porter</span></p>
+
+<div class="book-info"><p>Hygiene in the printing trade; a study of conditions old and new; practical
+suggestions for improvement; protective appliances and rules for safety.</p></div>
+
+<p>63. <b>Topical Index</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A book of reference covering the topics treated in the Typographic
+Technical Series, alphabetically arranged.</p></div>
+
+<p>64. <b>Courses of Study</b> <span class="author">By F.&nbsp;W. Hamilton</span></p>
+
+<div class="book-info"><p>A guidebook for teachers, with outlines and suggestions for classroom and
+shop work.</p></div>
+
+</div>
+
+
+
+<div class="new-section">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_viii">[viii]</a></span></p>
+<h2 class="section">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>
+
+<div style="margin: 0 0 0 auto; width: 21em;">
+<p><span class="smcap">Committee on Education,<br />
+United Typothetae of America.</span></p>
+
+<p style="margin-left: 4em;"><span class="smcap">Henry&nbsp;P. Porter</span>, <i>Chairman</i>,<br />
+<span class="smcap">E.&nbsp;Lawrence Fell</span>,<br />
+<span class="smcap">A.&nbsp;M. Glossbrenner</span>,<br />
+<span class="smcap">J.&nbsp;Clyde Oswald</span>,<br />
+<span class="smcap">Toby Rubovits</span>.</p>
+
+<p><span class="smcap">Frederick&nbsp;W. Hamilton</span>, <i>Education Director</i>.</p>
+</div>
+
+<div class="new-section">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_ix">[ix]</a></span></p>
+<h2 class="section">CONTRIBUTORS</h2>
+
+
+<h3>For Composition and Electrotypes</h3>
+
+<ul class="no-bullets">
+<li><span class="smcap">Isaac&nbsp;H. Blanchard Company</span>, New York, N.&nbsp;Y.</li>
+<li><span class="smcap">S.&nbsp;H. Burbank &amp; Co.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">J.&nbsp;S. Cushing &amp; Co.</span>, Norwood, Mass.</li>
+<li><span class="smcap">The DeVinne Press</span>, New York, N.&nbsp;Y.</li>
+<li><span class="smcap">R.&nbsp;R. Donnelley &amp; Sons Co.</span>, Chicago, Ill.</li>
+<li><span class="smcap">Geo.&nbsp;H. Ellis Co.</span>, Boston, Mass.</li>
+<li><span class="smcap">Evans-Winter-Hebb</span>, Detroit, Mich.</li>
+<li><span class="smcap">Franklin Printing Company</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">F.&nbsp;H. Gilson Company</span>, Boston, Mass.</li>
+<li><span class="smcap">Stephen Greene &amp; Co.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">W.&nbsp;F. Hall Printing Co.</span>, Chicago, Ill.</li>
+<li><span class="smcap">J.&nbsp;B. Lippincott Co.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">McCalla &amp; Co. Inc.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">The Patteson Press</span>, New York, New York</li>
+<li><span class="smcap">The Plimpton Press</span>, Norwood, Mass.</li>
+<li><span class="smcap">Poole Bros.</span>, Chicago, Ill.</li>
+<li><span class="smcap">Edward Stern &amp; Co.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">The Stone Printing &amp; Mfg. Co.</span>, Roanoke, Va.</li>
+<li><span class="smcap">C.&nbsp;D. Traphagen</span>, Lincoln, Neb.</li>
+<li><span class="smcap">The University Press</span>, Cambridge, Mass.</li>
+</ul>
+
+
+<h3>For Composition</h3>
+
+<ul class="no-bullets">
+<li><span class="smcap">Boston Typothetae School of Printing</span>, Boston, Mass.</li>
+<li><span class="smcap">William&nbsp;F. Fell Co.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">The Kalkhoff Company</span>, New York, N.&nbsp;Y.</li>
+<li><span class="smcap">Oxford-Print</span>, Boston, Mass.</li>
+<li><span class="smcap">Toby Rubovits</span>, Chicago, Ill.</li>
+</ul>
+
+
+<h3>For Electrotypes</h3>
+
+<ul class="no-bullets">
+<li><span class="smcap">Blomgren Brothers Co.</span>, Chicago, Ill.</li>
+<li><span class="smcap">Flower Steel Electrotyping Co.</span>, New York, N.&nbsp;Y.</li>
+<li><span class="smcap">C.&nbsp;J. Peters &amp; Son Co.</span>, Boston, Mass.</li>
+<li><span class="smcap">Royal Electrotype Co.</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">H.&nbsp;C. Whitcomb &amp; Co.</span>, Boston, Mass.</li>
+</ul>
+
+
+<h3>For Engravings</h3>
+
+<ul class="no-bullets">
+<li><span class="smcap">American Type Founders Co.</span>, Boston, Mass.</li>
+<li><span class="smcap">C.&nbsp;B. Cottrell &amp; Sons Co.</span>, Westerly, R.&nbsp;I.</li>
+<li><span class="smcap">Golding Manufacturing Co.</span>, Franklin, Mass.</li>
+<li><span class="smcap">Harvard University</span>, Cambridge, Mass.</li>
+<li><span class="smcap">Inland Printer Co.</span>, Chicago, Ill.</li>
+<li><span class="smcap">Lanston Monotype Machine Company</span>, Philadelphia, Pa.</li>
+<li><span class="smcap">Mergenthaler Linotype Company</span>, New York, N.&nbsp;Y.</li>
+<li><span class="smcap">Geo.&nbsp;H. Morrill Co.</span>, Norwood, Mass.</li>
+<li><span class="smcap">Oswald Publishing Co.</span>, New York, N.&nbsp;Y.</li>
+<li><span class="smcap">The Printing Art</span>, Cambridge, Mass.</li>
+<li><span class="smcap">B.&nbsp;D. Rising Paper Company</span>, Housatonic, Mass.</li>
+<li><span class="smcap">The Vandercook Press</span>, Chicago, Ill.</li>
+</ul>
+
+
+<h3>For Book Paper</h3>
+
+<ul class="no-bullets" style="margin-bottom: 80px;">
+<li><span class="smcap">American Writing Paper Co.</span>, Holyoke, Mass.</li>
+<li><span class="smcap">West Virginia Pulp &amp; Paper Co.</span>, Mechanicville, N.&nbsp;Y.</li>
+</ul>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Uses of Italic, by Frederick W. Hamilton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE USES OF ITALIC ***
+
+***** This file should be named 24829-h.htm or 24829-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/4/8/2/24829/
+
+Produced by Barbara Tozier, Bill Tozier, Jana Srna and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
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