Manual of Linotype Typography

'The
MANUAL
OF LINOTYPE
TYPOGRAPHY
((The Hand That Keeps the World Informed))
The
MA
VAL
OF LINOTYPE
TYPOGRAPHY
Prepared to aid Users and Producers
of Printing in securing Greater Unity
and Real Beauty in the Printed Page
Typographical 'Plan and Critical Comment by
WILLIAM DANA ORCUTT

in Co-operation with
EDWARD E. BARTLETT
'Director of Linotype Typography
Mergenthaler Linotype Company

'Brooklyn, :J(. Y.
CDPYRIGHTED 1923 :BY

THE MERGt.NTHALER LINOTYPE COMPANY
BR.OOKLYN, N. Y.
Print.d .nd bound in the U..i/ed Slates of 1I.m".i,.

by Ih. Plimpto" Prm, Norwood, Mossachusetts
Compo, it/on by the Bortlell Orr Pr...
N.wY"A
MANUAL OF LINOTYPE TYPOGRAPHY HAS

been prepared to demonstrate the possibility of producing upon
~~'{,n the Linotype machine a high quality of work without increasing the cost of the production. A piano, no matter how perfect
in workmanship and tone, yields to the performer a quality of
music equal only to the composer's genius and the ability of the artist. The same
is true of the Linotype machine. Mechanically, the Linotype is capable of producing the best in typography-artistically, it is limited to the ability of the man
who lays out the copy and the skill of the operator.
The staffs of many printing offices lack anyone with sufficient technical
knowledge and creative feeling to originate pages beyond the commonplace.
As a result, the output suffers from uninspired monotony, and there is nothing to
attract new business, or to develop old customers into larger users of print.
In other printing offices, no attempt is made to create even commonplace
pages. Instead of this, books and catalogues already issued are used as models and
copied bodily. Unfortunately, the type pages so imitated are frequently inferior, or, at best, the imitation is only an imitation, because the imitator has not
grasped the principles which make the original design good. This Manual. of
Linotype Typography places before this class of printers pages based on the best
typographic standards of today, presented with the greatest possible variety in
order to promote versatility, and accompanied with explanatory remarks. Thus
the composing-room force has opportunity to copy something really good and
to do it with understanding.
For those printing offices which possess their own typographic experts, such a
collection of typographic examples will, it is believed, be an added inspiration,
giving assistance and suggestion to much of their own creative work.
v
By deliberate purpose a considerable proportion of the Manual is devoted to

so-called Book Pages. For our standards of kind and character of commercial
printing we may confidently look to those standards which are set for fine bookprinting. An understanding of this fact is especially valuable to the creative designer
of an illustrated catalogue, who has to deal with the substitution of illustrations for
type. With full realization of the problems raised by the matter of illustration, it
still must be insistently repeated that, whether the pictures be illustrations for a
book of fiction, or reproduction of mechanical objects, or any other of the
numerous subjects that the artist may be called on to handle, the same standards
of spacing, margins, relations of type and ornament which go to make up the
Book Ideal apply equally to the commercial catalogue. Any picture or illustration
introduced into a page that preserves the canons governing the book, is in good
taste. In other words, those commercial catalogues which are most successful are
those built upon book standards.
The descriptions and comments that accompany the various examples have
been prepared with great care to give accurate and suggestive information to the
printer making use of the models. He can find here the page containing the
greatest number of words the given area will contain, as well as the page required
by the slight manuscript which the publisher desires to extend to the dignity of a
real book. He is shown the proper treatment of his front pages, and why.
. He can visualize decoration properly combined with the types best adapted to
go with it. Each design is so indicated that the printer can obtain it from the
Mergenthaler Linotype Company, and in this way produce the identical result.
The type faces shown are the standard series common to most Linotype offices,
with particular attention given to harmonious combinations which greatly extend
the versatility without adding to cost of equipment.
In fine, this volume is issued as an additional equipment which shall contribute
to the working force of printing offices ideas that will enable them to utilize the
full efficiency of the Linotype machine. These establishments whose men have
grasped the possibilities and values of Linotype Typography, as tangibly expressed
in this Manual, are in a position to combine beauty with their types, and to make
of it the greatest profit-bringing factor of today.
VI
...................................................................................................0 . 0 ..........................................11 ................................_
NOTES ON TYPOGRAPHIC ARRANGEMENT

THE ANATOMY OF THE BOOK
Page
Pall'
IX
TYPES OF CLASSIC DESIGN AND HEAVIER

FACE.
123-172
XIV
OLD STYLE TYPES
1-72
Old Style No.1
1-10
Old Style No.7
11-16
Oaslon Old Face .
17-38
Original Old Style.
39-46
Elzevir No. 3
47-52
Franklin Old Style.
53-56
RELATED DECORATIONS FOR OLD STYLE

TYPES
. . . . . . . . . . . . . . . . . .III
Benedictine
123-134-
Cheltenham
135-142
Jenson
143-147
Antique No. 1
148-158
RELATED DECORATIONS FOR TYPES OF CLASSIC

DESIGN AND HEAVIER FACES
159-172
Benedictine Series
159-163
Cheltenham Series
164-167
Jenson Series
168-172
57-72
Caslon Series
57-64-
Adam Series .
65-68
Louis XV Series
69-72
MODERN TYPES
73-122
Modern No.1
73-80
Modern No. 16
81-82
Modern No. 21
83-84
Scotch
85-94-
Bodoni
95-108
FOREIGN LANGUAGE AND SCHOOL BOOK

STYLE PAGES
173-192
English Primer
174
Elementary Language
175
Speller
176
Intermediate Reader
177
General History
178-179
Chemistry.
180
Physics .
181
Arithmetic.
182
Algebra and Trigonometry
183
109-122
Greek.
184
Bodoni Series
110-115
Latin
185
Modern Series
116-118
French
Scotch Series
119-122
German.
RELATED DECORATIONS FOR MODERN

TYPES
VII
HUNT LIBRARY,
C.MU
186-187
188
Page
FOREIGN LANGUAGE AND SCHOOL BOOK

STYLE
Page
STYLES FOR COMMERCIAL PRINTING-
Continued
PAGES-Continued
Italian
189
Booklet Pages
Spanish
190
Calendars .
Arabic
191
Catalogue Pages
R~m
In
DRAMATIC
COMPOSITION.
GENEALOGICAL COMPOSITION
193-195
196-197
212,216,230
244
226-227,229,231,234-235,245
225
Church Programmes .
Circulars, Envelope Enclosures, Folders
214,219,223-224,229,237,244
LIMIT NOTICES AND DEDICATIONS
198
House Organ Pages
BIBLIOGRAPHICAL COMPOSITION
199
Labels
248-249
,247
222,238
Letterheads
STYLE PAGES FOR CAPTIONS
200-201
Magazine Advertisements
218,233,237
STYLE PAGES FOR TOPICAL ANALYSES.
202-203
Menus .
220, 228, 236
INDEX PAGES
204-208
Miscellaneous Small Job Work
STYLES FOR COMMERCIAL PRINTING
209-256
Price Lists
Announcements and Invitations
213,220,232,255-256
Bmk Statements
215,254
Bank Stationery
254
Billheads .
242
VIn
217,223,243,254-255
. 250-251
210-211,221,246
Programmes
Stationery (miscellaneous)
222,238-239,240-241,255
Tabular Work.
252-253
SIGNERS WHO ARE

conversant with the best examples of every age of printing, have produced the type
faces and their accompaniment of decorative material which are made
available by Linotype Typography. They
have reproduced, adapted, and devised the
elements and grouped them into a complete
typographic system for every user of a Linotype ma,chine.
The selection of a typographic dress involves knowledge of the styles and periods
in decorative design. To arrange the various
elements which are to comprise a gi ven scheme
necessitates that ability cOIl').monly tenned
"good taste," by which is meant an instinct
for the determination of spaces and the grouping of type, decorations, illustrations and
white paper so that the result will be harmonious. This end has been achieved when
the completed printed product can be examined critically without feeling the need to
change any detail: the shape of the page, the
proportion of its margins, the spacing of type
groups, the selection of decorative elements,
the placing and treatment of illustrations, or
the color or tone of any portion of the whole.
booklet, pamphlet, or circular, complete unity

in margin treatment is imperative.
The book proper, requiring the most formal treatment of margins as a problem of
design, is considered as a pair of facing pages
which make a unit. Established custom places
the facing blocks of type well up on the paper,
giving ample bottom margin. Disposition of
the remaining spaces, to secure pleasing relationship, results in margins which, on the
single page, progress in width in the following order:
a. Back margin, narrowest.
h. Head (ortop), equal to back or slightly

wider.
c. Front (or outer), still larger.
d. Foot (tailor bottom), widest.

b
II
'b
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a:
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Book margins
The most liberal use of wide margins characterizes luxurious and formal work. At the
other extreme, very narrow margins denote
an effort to secure the utmost possible use of
the page for type, as in a price-list or the like,
MARGINS
The most dominant feature of a piece of

printed matter is its margins. These may be
variously composed, but in anyone book,
IX
"Vith type alone, the marginal treatment

established to fit the purpose and size of the
book is followed without the slightest divergence throughout. The introduction of illustrations often complicates the problem, but,
in which luxury has been sacrificed to commercial purposes.
The single page
The placing of type on a single page or leaf

usually calls for equal margins at the top and
sides, withaslightly wider margin at the foot.
IlZustratio'1J.S restrict.ed to type pa:.e
if the marginal scheme is steadfastly held,

illustrations are merely so many masses confined to the limits of the type page. It is
needless to add that used even thus formally
they add interest to the appearance of the
book, breaking the monotony of the solid
type pages.
The margin. as a frame
When the margin is so narrow that it becomes merely a white border around the page,
a uniform width may be used.
Illustrations e:rctending into margins,
hilt retaining th.e mD1'gin scheme
To secure further variety in the illustrated

book, catalogue, or lesser work, illustrations
may extend into the marginal space as vignettes or pleasingly planned irregular shapes.
In this case it is necessary to maintain carefully the general effect of unity in the marginal scheme by continually emphasizing the
contour and position which the normal type
page would occupy under similar conditions.
It is sometimes necessary to adopt two margin
plans: one for the type-page, and the second
Neve., tl#s -margin sr;h.~me
But the page, for any purpose, must never

have its widest margin at the head. Such a
condition outrages the established feeling
that the type hangs pendant from the top of
the page - it is not to be piled up heavily upon
the bottom.
for the i1l11~trntiom;. In thil'l ca~c, the sarne

I'igill tlllhcnmce to the plnl1!i insures unity in
the l'e!;~11tillg book,
Thus, p~lrti<.:tlla1'ly in the m~\tter of m,m'gins, the Hook Ideal dominates the dc,~iglling
of all oth<.:t" forms (If printed mnttcr, especially that l'ather difliclllt problem, the mmlcrn
ilhlstnltcd cnt:1loglle, but ut1tlcr any contliti{m~, if pktul'cS <1r ilIU!;tratiolls do not
vi()llltt~ tht' maq;in nile dmninating the
~cheme (If whkh they nre t\ P_lft, they will
be j"~~~t~ptnhle.
The amount of variation in size thnt will

contl'\ll't mOHt agreeably with the untleHirnble
equality of maSRes is determined by g()od proportion. The dCHigncl' or llkilled typographer
Ilt!etiS no forrnuht or ratio of proportion to
determine such relatiomhip-his taste and
judgment arc sufficient. But to guide thm;e
less experienced, vurious rules have beengiven,
derived from the mea~lIrement of the work
of mnny dcsigner~ nndnrchitects of all periods
of ~\rtistic activity. These rules vary in their
!,[((ll'( )R'l'ION
The rduti()n~hip of various ~i1.es, both of

single type Iin(.~!\. m:ll-1SCS of type or illm,tt':lti(m, and tlin\(m~i()ns of P:\gC~, invnlve~ propmtinn. Et{\Iltl mll"'~~'1 (If type, or the diviHion
_ _ _ _ _ _-.1
t',-,,:'" ', ",',' ' '],

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exact numerical e"pre~sion of the mnst ngrec~

nblc: PI"lp()l'tion, but they mny be ,\ppro:dmated in the Himplc pmpol"titm of 3 to 5 (the:
tnllthematic:11 solution clf the: m.ntter is thh\:
the smnller pnl't i~ to the larger ali the lnrger is
tel the i;um ()f the two, which re~u1t~ in the expression t to \/'2 "or 1 to 1.41 8),
(If sp:H:e into C'-IIL<11 parts, fit' the use of equal

tiimemiml", rlU'C.:iy n,,~hi(;!vc~ n pleasing effect.
The eye prefc:n. v:lricty in the ~hupe!l anti
tl1.a!\\lCS which for'lll the: honk.
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IrI,l,iI IN ;''',lhl
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Gooll prClpc.minn is imp()rtl\nt nt the start

in plnnn.ing tht: shape nf the page.
Xl
is balanced on its horizontal aXIS. Such a

condition, which could never be tolerated,
Agreeable proportion of masses of type and

illustrations becomes a further essential.
a
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1111
Unattractive equal mJ2S$~S of type and ;lltJ/trtltion
b
This jHJge it S,1I1metrical with respect 10 its fJei-tical
~!=
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axis, tne line ab, which. divides the type masses

centered "'/J0IJ it
would mean that the lower half of the type

page would exactly dupli.cate the upper half,
but in reversed arrangement .
=
a ---~-- b
BALANCE
Within any definite space, the critical

observer measures the attraction of the various maSSeS of type,illustration and decoration
arranged therein. If there is no desire to
move any of the masses, then a state of balance
exists. Thus balance is an apparent condition
of equilibrium between the various masses of
a design. The application of this principle is
particularly important in pages containing
several groups, and always in display pages.
POZ' """"en,cal on its
no'''""t.1 .xis (ab), uninterming
in a,,;gn and rarely demondea by copy

or ilZustf'Dtio'lu
VARIETY
The direct opposite of symmetry is a condition produced by unequal masses irregularly
SYMMETRY
When a design is so arranged that a

straight line will divide it into halves, which
would superimpose if the one were folded
over on the other, then that design is symmetrical with respect to the dividing line.
While most title pages and all similarly
arranged designs are formally balanced on
their vertical axis, it is very rare that a page
t=:l
:1
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YtJl'uty produced in a page hy balance of irregular shapes

ac.,.oss its 'lJt!rt.ical axis. This ptlg~ is not
Sjmmetrical on any axis
XII
placed with respect to the axis of the page.

This scheme of arrangement is often more
pleasing than formal balance, and so lends
itself to pages containing many illustrations
and to displayed advertisements.
also to type itself. A condensed type is not

harmonious on a wide horizontal page, nor an
extended type on a narrow verti!:al page.
CONTRAST
In displayed pages the variations of size

of type and their material are important in
securing contrast and emphasis. Judicial use
of white space plays an equal part.
MOTION
A page of varied arrangement is frequently so planned that the eye is led from
spot to spot in predetermined sequence. This
quality of motion is used to emphasize parts
of copy progressively so that the message may
be conveyed in its logical order. By thus
determining the path of the eye the casual
glance of the reader is arrested and directed.
Such use of the term "motion" is quite distinct from the pictorial representation of
moving objects.
Many years ago Hogarth discovered the
application of "the line of beauty" in the
composition of the picture, of which this idea
has been practically applied to the page
design.
CONTRAST
EmphlHis JecureJ by isoutjon ifJ
tt
fiila of un.ite
CONTRAST
of la.rge and smallilizes
of type: Bet in a single
rectangular block form
CONTRAST
secured by the
placing of spots
for variety
Page arranged to fIUl,ke tlu eye follow a definite

path. tkroflgh type and illustration.
SHAPE HARMONY
A feeling of unity or common relationship in the general shapes in a page produces

shape harmony. This applies not only to the
contours of type masses and illustrations, but
The three illustrations above indicate the

simplest phases of this important element in
typography.
With a single font of type skilful spacing
and indention will accentuate the contrast in
form of the roman capitals and lower case,
the small capitals, and the italic upper and
lower case. Subtle contrasts of type sizes require careful study, particularly to realize
the value of headings and captions in sizes
smaller than the body type. Note the type
dress of this chapter.
XIII
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THE ANATOMY OF THE BOOK
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HE
EXPERIENCED
makes no difference with the body how many

or few front pages are finally found necessary.
Thetypographical treatment of front matter and chapter pages throughout the book
must be in perfect harmony, whether the
treatment is simple typography or calls for
elaborate embellishment. The character of
the book is largely decided by what is done in
this respect, and the intelligent designer fully
realizes its importance and the chance thus
given him for distinguished work.
The following summary gives these parts.
in proper sequence, and the nature of each.
designer is familiar with the

successive parts of a complete
book. All less formal embodiments of the book idea have
some of these parts, and their position in the
whole scheme should be governed by the traditions of the book proper.
In order to leave complete freedom as to
number of pages, the favorite custom is to
number the text pagesinarabic folio numbers,
beginning with 1. The front pages are then
numbered with roman folios) and thus it
BASTARD TITLE
(always a r;gllt..lumd pag.)
Now-a-days this page (often miscalled "Half Title")

is used merely because custom demands the familiar resting place for the eye in advance of the Title Page. It
should never be omitted in work of any pretension to style
and quality, and it should never be made unduly prominent by decoration or other treatment. Conventional
dignity is the safe note for this page in the book.
ADVERTISING CARD
(always. left-htmd page)
If an Advertising Card or other similar announcement

is required, it must be typographically a part of the book,
no matter what the client's style in his advertising typography may be. If a customer has a special or unique form
of advertising, and insists on its use, the printer should
inform him that it conflicts with the harmony of the book
to do so.
THE TITLE PAGE
the three important facts that it has to tell: the title of the
book, the name of the author, and the imprint. In the
case of a business volume this means, the merchandise or
business subject, the name of the business house, and the
address or addresses. The typography must make these
three divisions clear at a glance. There must be as little
else on the title page as possible. Everything that can be
left out is an aid to quality. The principle of the page is
that it is an announcement of the book's contents and that
it should not go beyond a very few display lines. It is the
door to the house. White space is of the greatest value in
this part of the book. If decoration is used, it must never
be made more important than the type lines. The use of
different faces of type is almost always bad, and success is
obtained only occasionally by a genius. So important is
harmony that it is not safe even to combine lines of capitals and lower case letters, except after careful planning
and with assured understanding aDd talent.
COPYRIGHT
(always a rig/lt ..hand pag')
(alCIJ"YS .l,f;-hand page)
The Title Page gives the reader his sense of the whole
book's quality. It must, therefore, be as nearly perfect as
may be. Its first essential is that the eye shall read instantly
The Copyright of the volume should be placed a little

above the center of the page. The best taste calls for caps
and small caps, or small caps alone. It is customary to use
XIV
the bottom of this page for the printer's imprint or the

international requirement, "Printed in the United States
of America," or both, but the size of page must be considered.
DEDICATION
really a Preface, and should be so entitled and placed in

thc book accordingly. The Prcface is the author's personal
remarks to the reader, and these may be of any character,
treating of any subject. The Introduction, on the other
hand, should treat specifically of the subject of the book,
and should contain only statements of direct bearing and
importance.
(always a right-hand page)
The character and purpose of the Dedication dictates

that its treatment must always be formal. The "monumental" style is appropriate and correct. Small caps are
the best. The Dedication must always be a right-hand
page. Its reverse must be left blank.
HALF TITLE
As the Bastard Title always precedes the Title Page,

so the Half Title always precedes the first page of the
text-the page which carries the title of the book at its
top_ The Half Title must always be on the right-hand
page immediately preceding this page, and it should consist of not more than the title of the volume. Half Titles
may run through a book before various divisions.
PREFACE
( always a rigM-lland page)
A Preface that has simply the ordinary character usual

to most prefaces should be set in the same size of type as
the body of the book, and in the same face. For any preface of unusual importance, the page may be doubleleaded, or set in a type one size larger than the body. If
the book has both Preface and Introduction, the Preface
may be set in italics to mark the distinction. Italics may
also be employed if the Preface has been written by a
person other than the author. In this case, however, the
Preface should be placed after the Contents and the List
of III ustrations; not before.
Those sections of a book which follow the text must

be treated with the same typographic care as the pages
which precede the text. These sections are usually as
follows:
APPENDIX
(alway, a rigllt-hand pag.)
This should be set in the same face as the text, but in

one size smaller type. If the text ends on the left-hand
page, a Half Title should be thrown between the text and
the Appendix.
CONTENTS
(alway. a right-h""d page)
The Contents or Table of Contents, filling as many

pages as necessary, follows the Preface. The quality of
this part of the book-job depends on the little niceties of
spacing, margin, and proportion of white space to type
which are too often ignored, even in otherwise pretentious
books. The Contents pages are almost as important as the
Title Page in establishing a sense of quality.
GLOSSARY
(pr-Jsr,J,ly a ,igh'-"a"d page)
The size of type used for the Glossary depends wholly

upon its nature, but it usually is two full sizes smaller
than that used in the text of the volume. A Half Title
should also be thrown in before the Glossary, if the text
ends on the left-hand page.
THE LIST OF ILLUSTRATIONS

BIBLIOGRAPHY
(always a rigkt-l"",d paze)
(prefer,J,ly a righI-hand page)
The List of Illustrations follows the Contents pages,

but no matter where the Contents finish, the List of lllustrations must begin on a right-hand page. Obviously its
typographical style must be the same as the Contents.
The comments made under "Glossary" apply equally

to the Bibliography. The combination of titles of books
and the names of authors offers an attractive opportunity
for artistic treatment (see page 199).
INTRODUCTION
(always a right-I,...d page)
INDEX
The Introduction follows the List of Illustrations, and

its composition should be in the same size and face as the
body of the book. :Any typographical distinction between
Preface and Introduction should be limited to the former,
as stated under "Preface." Authors are not always clear
in their understanding of the difference between a Preface and an Introduction. Their Introduction often is
If the text ends on the left-hand page, a Half Title

should be thrown in before the Index. The type used for
the Index is usually 8 point size set in double column.
There is so much difference in the way the index entries
read that great care should be exercised to select a model
which will fit the particular case in hand (see page 204-).
xv
EFFICIENCY
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MATRICES
slowly discovered the secret of the punch,
matrix, and mold, would show little veneration,
we imagine, for these clumsy relics of their
ignorance, and so value them only as old lead,
to be remelted and recast by the newer and
better method. But though no relic of these
primitive cast types remain, we are happily not
without the means for forming a judgment respecting some of the very earliest types of the
more finished school of printers. In r878, in
the bed of the river Saone, near Lyons, oppo~ite
the site of one of the famous Fifteenth Century
printing houses of that city, a number of old
types were found which there seems reason to
believe belonged once to one of their presses,
and were used by the early printers of Lyons.
They came into the hands of M. Claudin, of
Paris, the famous typographical antiquary, who,
after careful examination and inquiry, has
satisfied himself as to their antiquity and value
as relics of the infancy of the art of printing. With regard to the points of interest to be
observed in these venerable relics of the old
typographers, the faces of the type called for
special mention. Here it is found that there exist
traces in most of the letters of the "shoulders"
of the body having been tapered off with a knife
or graver after casting, so as to leave the letter
[16J
CRITICAL COMMENT
THESE pages show a departure from the standard proportions. To do
this successfully the margins ought to be considered most carefully.
Experiments show that this shape of page requires extra leading, and
is not successflll where the subject matter requires condensation.
Style is given the type page as much by its proportions as by the arraIJgl"
ment of the type. The "lines" of a page are as important as those ShOl(,
in a yacht or in the cut of a garment.
The margins shown here are for 25 x38 paper (trimmed).
(8 Pain. Old Style No.1, 2 poin'lded)
....
----~~.' .
MATRICES
URNING once more from type-casting

appliances to the early types themselves,
we are enabled, thanks to one or two recent
discoveries, to form a fairly good idea as to
their appearance and peculiarities. We have
previously stated that, with reference to the
traditional perforated wooden types seen by
certain old writers, the probabilities are that,
if all these were the genuine relics they pro.:.
fessed to be, they were model types which were
used for forming moulds upon, or for impressing into matrices of moist clay or soft lead.
We have also considered it possible, in regard
to types cast in the primitive sand or the clay
moulds of the rude school, that to overcome the
difficulties incident to irregular height to paper,
uneven bodies, and loose locking up, the expedient may have been tried of perforating the types
and passing a thread of wire through each line,
to hold the intractable letters in their place. This,
however, is simply conjecture, and whether
such types existed or. not, none of them have
survived to our day. Their possessors, as they
[15 ]
SPECIFICATIONS
OVERALL SIZE: 23 x 43 pic.
RUNNING HEAD: 14 Paint Old Style No.1 caps.
TYPE: 14 Point Old Style No. I.
FOLIO: 14 Paint Old Style No.1 nllure., bracketed.
INITIAL: 36 Point Caslon (hand).
LEADING: 3 poi"t.
CHAPTER TITLE: 18 Point Old Style No.1 caps,
DECORATION: Adam Serie., 24 paint. No. 856.
interspaced.
NUMBER OF WORDS TO FULL PAGE: 224.
(6 Point Old Style No.1, 2 point leaded)
~'B'a~~l:~~~=:!:\Kl'~
r__
. _,__.. .........................._...........
,..:
~.~_.........~,.~" ...:"-" __....~_._._~,",_. _ _...._ _ _ _ _ _ _ __ __ _ _ _ _ _ _"_
.-
_'_H._'___.~'!..."'!!!2__~
,I
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BOOKS AND READING
over only. It will not do to read them out. I could never listen
to even the better kind of modern novels without extreme irk-
someness.
A newspaper, read out, is intolerable. In some o:f the Bank
offices it is the custom (to save much individual time) for one
of the clerks-who is the best scholar-to commence upon the
Times or the Chronicle and recite its entire contents aloud, pro
bono publico. With every advantage of lungs and elocution,

the effect is singularly vapid. In barbers' shops and publichouses a :fellow will get up and spell out a paragraph, which he
communicates as some discovery. Another fellow with his
selection. So the entire journal transpires at length by piecemeal. Seldom-readers are slow readers, and, without this expedient, no one in the company would probably ever travel
through the contents o:f a whole paper.
Newspapers always excite curiosity. No one ever lays one
down without a feeling of disappointment. What an eternal
time that gentleman in black, at Nando' s, keeps the paper I I
am sick of hearing the waiter bawling out incessantly, "The
Chronicle is in hand, Sir!"
Coming into an inn at night-having ordered your supperwhat can be more delightful than to find lying in the windowseat, left there times out of mind by the carelessness of some
former guest-two or three numbers o:f the old Town and
Country Magazine, with its amusing tete-a-tete pictures"The Royal Lover and Lady G--;" "The Melting Platonic
and the Old Beau,"-and such-like antiquated scandal? Would
you exchange it-at that time, and in that place-for a better
,I
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CRITICAL COMMENT
lHE regular oldstyle face has stood for years the test of competition {rom later design, and has outlived them
all in l)opularity. At one time type-founders became so fully convinced that oldstyle type would never again
be used that many of them destroyed their matrices.
.
For an ordinary book there is no occasion to Hdress" tbe page, as ita own caps dominate the lower case, and
produce pages of exc.ellent appearance. If, however, one desires to produce an effect out of the ordinary, an
excellent combinatlon is that which is sbown here, using the Bodoni tace in COTlnection with the Old Style
No. l. The :first page of the book may 'be made attractive by a lingle line of decoration,' if desired_
i - . _ _ _ _ _ _ _ ,_,_'w . ______ o
(6 Point Old
St~l.
No, 1, 2 poinlleaded)
_ _ . _ . _ _ _ _
-_.......
I!'
Bool(s and Reading
HALL I be thought fantastic if I confess that the

names of some of our poets sound sweeter, and have
a finer relish to the ear-to mine, at least-than that
of Milton or of Shakespeare? It may be that the latter are
I
I
more stale and rung upon in common discourse. The sweeter

names, and which carry a perfume in the mention, are Kit
Marlowe, Drayton, Drummond of Hawthornden and Cowley.
Much depends upon when and where you read a book. In
Ii
the five or six impatient minutes, before the dinner is quite

ready, who would think of taking up the Fairy Queen for a
stop-gap or a volume of Bishop Andrews' sermons?
Milton almost requires a solemn service of music to be
played before you enter upon him. But he brings his music,
to which, who listens, had need bring docile thoughts, and
purged ears. Winter evenings-the world shut out-with less
of ceremony the gentle Shakespeare enters. At such a season
the Tempest, or his own Winter's Tale-These two poets you cannot avoid reading aloud-to yourself, or (as it chances) to some single person listening. More
than one-and it degenerates into an audience. Books of quick
interest, that hurry on for incidents, are for the eye to glide
SPECIFICATIONS
OVER-ALL SIZE: 26 x 44 pica..
For.IO: 14 Point Bodoni roman figure.
TYPE: 12 Point Old Style No.1.
INITIAL: 60 Point C.alon Old Face (hand).
LEADING: 6 point.
DECORATION: Adam Series, 24 point, Nos. 851
TITLE: 36 Point Badon! cap. and lower caae.
and 852.
RUNNING HEAD: 14 Point Bodoni italic capa.
Tbe margins shown hero are for 25 x 38 paper (untrinuned)
(6 Point Olll Styl. No. I, 2 point lead.4)
iii;~"' .~-
..--.-.---..,...- - - - - - ,..---.-.-.-.---.------...--.-..-------~.----... - .. ~ ..-" ..... _..... - .. --__ . _____. __ .. _. _,. __ __ ......._......"."... __..."_,,........ ______,.,............ _ ..l
, I
SPECIFICATIONS
BEGINNINGS OF PRINTING
OVER-ALL SIZE: 18 x 30Y, pica

LEADING: <I point.
pamphlets. Thus, "by a Satanick irony" of

events, they so aroused appetite for print in
Boston that the newspaper press was born. And
if it was not born with hoofs and a tail, it was
surely born with teeth.
The Franklins, among others, looked out for
that. Benjamin Franklin was only fifteen years
old when his brother James published the New
England C o~trant} but he wrote some little
things for it that made far-seeing Increase
Mather utter the devout fear that "tho' but a
young man, he may be speedily called before
the Judgment Seat." Further reflecting .. out
loud before the public on the Co~trant}:
its ways, he came to the conclusion tha1
to it "Awful Judgment will come on 5
and the Wrath of God, and no remed:
Dr. Mather expired (from apoplex:
after he had expressed this pious be1i(
to say hope). It was as well for his!
mind that he did not have to live th:
following fifty years of Boston journa,
TITLE: 14 Point Dodoni roman ca.ps, interspa.ced.
CHAPTER TITLE: 6 Point Bodoni roman caps.

RUNNING HEAD: 12 Point Bodonl roman caps.
FOLIO: 11 Point Old Style No.1 roman figures.
DECORATION: Adam Series Headpiece, X1463.
(6 Poin' Old Style No.1, 2 point laaded)
THE BEGINNINGS OF
PRINTING
IN NEW EliGLAND
THE attitude of the :Mather brothers toward

newspapers was temperate rather than enthusiastic. In their milder moments they considered
them the personal work of Satan. But they
believed in the liberty of the press providing
that nobody except themselves were permitted
to print anything. Acting on this sound principle, they issued pamphlets to tell their fellowcitizens everything that was Absolutely So.
Owing no doubt to the well-known sweetness
of the Mathers' literary style, the Mathers'
pamphlets instantly made it impossible for other
earnest Boston gentlemen to eat or sleep until
they have been answered. The Mather brothers
hurled the answers back in the form of more
I,
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IN
CRITICAL COMMENT
small volumes character is sometimes secured by using a type for chapter titles, running head, etc., which dominates the text type.
For this purpose the Bodoni caps are exceedingly effective. Nate the strength of the 6 point
caps in the chapter head,
The margins shown here are for 30Y, x 41 paper
(trimmed).
(8 Poiflt Old Style No.1, 2 point leaded)
CONTENTS: Set in 11 Point CasIoll

Old Face italic lower case and 14
Point Bodoni caps.
TITLE: Set ill 18, 21 and 24 Point

Caslon Old Face italic lower case;
Rules,2 Point Matrix Slides N os.301
and 401; Decoration, Adam Series,
X-1459.
CONTENTS
I
The Lure of the Manuscript
(1D Point Old St~le No.1, 2 po;n, leaded)
PAGE
II
The Discovery of Movable Type
III
The Gutenberg Bible
49
IV
The French School
.,
............................ ,..........................-................ , ..................... .
IAldus, the Italian Masters
81
lof the Elzevi~ .
The Beginnings of
Printing
Reflections of
Ernest Lee Hamilton

\............._-_ .............................
,
italic lower case in sizes larger

than 18 point is exceedingly decorative in its design, and makes an attractive title page. Be careful1wt to
combine lines of lower case and caps'
in the same tit~e.
. CASLON
Privately Printed
(10 Point 014 S'~Ur No. I, 2 {>oill'/co4ed)
-=
'SF
.,.
......
_VL&lIiII!I4"
m.... e
THE LINOTYPE
SPECIFICATIONS
the modern newspaper, and it was from newspaper
'1
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editors and proprietors that encouragement was, in the

first place, sought.
Within a decade the Linotype transformed the Composing Rooms of the newspapers of the world, and had
it done no more than this, had its mission ended there,
it would stiII have proved itself one of the most striking
inventions connected with the Printing Art.
But Mr. Philip T. Dodge and his associates, who now
had its fortunes in charge, had a larger outlook concerning the future of the Linotype. Convinced that there
was a place for it in the offices of the Book and Magazine
publishers as well as Commercial or Job Printers, they
realized that it must be artisticaIIy, as weII as mechanically, competent to aid the Printer who wished to follow
the noblest traditions of his Craft.
So a two-fold process of evolution has ~~::..:.~ .. ~:':"':.~ ...... .
stant progress.
So on the one band the Printer and Coni
been learning the possibilities and capa(j
newest of aids to manual dexterity, while i
those who have assumed the inventive
genthaler have been consistently endeavor!
prove this new tool in accordance with :
needs. This evolutionary process is per:,
ended, but in the newest model of Ml
Linotype the Printing World has at its
Mechanical Compositor which is responsh
EVOLUTION
!
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RUNNING HEAD: 12 Point Caalon Old Face roman

caps, interspaced.
FOLIO: 10 PointOId Style No. I roman figures,
bracla:ted.
RULE: 2 Point Matrix Slid. No. 404.
INITIAL: 84 Point Adam Seri.., X1453.
DECORATION: Adam Series Headpiece, X1449.

(6 Polnt Old Style No.1, 2 point leoded)
of COMPOSITION
THE LINOTYPE
caps.
I4]
.I
lower case italic.
CHAPTER TITLE: 12 Point Caslon Old Face roman
mal
I\--
OVERALL SIZE: 20" 34 pica

TYPE: 10 Point Old Style No. I.
LEADING: 3 pOint.
TITLE: 18 Point Caslon Old Fac. roman caps with
CRITICAL COMMENT
FOR the ordinary book, there need be no necessity for

"dressing" the page, for the type carefully composed,
with the page in proper proportions, is decoration
enough. Sometimes, however, there is a demand for
some touch which will take the page out of the regular line. These pages would still stand if the decorations were eliminated.
Caslon caps are shown here in display, as the old-style
caps themselves do not possess weight enough to dominate the lower case.
The margins shown here are for 30~ x41 paper
(trimmed).
William Caxton sent out to

the world his "RecuyeU of the Histories of Troye," the first book ever
printed in the English language, he
added a note expressive of his
amazement that all the copies had
been begun upon one day and an
finished up on another day.
Four centuries and a half have passed since Caxton
thus voiced his astonishment, and one cannot refrain
from speculating as to his comment were he to be shown
a book as large at least as his "Recuyell," begun and
finished on one and the same day.
That such a feat is possible is entirely due to the invention of the Linotype, and yet speed of operation is
by no means the most noteworthy of the machine's accomplishments.
By its inventor, of course, the Linotype was primarily
conceived as a revolutionary incident in the making of
[3]
(IJ Poin' Ola Style No. J. 2 pow leotletl)
- - _ . _ ' - - " - .- - - - - - - - - -_ _ _ .. _ _ _ _c _ _ _ _ _ _ _ _ _
ADVERTISING CARD: Set in 1.1

Point Caslon Old Face caps and small
caps; 10 Point Caslon Text; Rule, 2
Point Matrix Slide No. 403.
TITLE PAGE: Set in 11, 14,18,21
and 24 Point Caslon Old Face caps;
Decoration, 24 Point Border No. 856.
THE SONG OF OUR SYRIAN GUEST

THE LOVE WATCH
SAINT ABIGAIL OF THE PINES
THE SIGNS IN THE CHRISTMAS FIRE
THE SHEPHERD OF JEBEL NUR
No ROOM IN THE INN
OUTSIDE A CITY WALL
PETER IN THE FIRELIGHT
ON THE WAY TO BETHLEHEM
.... -~ T THE CROSSING WITH DENIS MCSHANE
THE EVOLUTION
OF
COMPOSITION
BY
WILLIAM B. SHAW
BEING A BRIEF SURVEY

OF THE DEVELOPMENT OF THE
LINOTYPE
A COMPOSITOR'S slzill is shown by his

ability to combine sizes of type with
blank space. The weakest point in
the average volume is its title page,
and the 11lOre simple its form the
more lilzely it is to be inferior to the
style shown in the text pages.
NEW YORK
PRINTERS PUBLISHING CO.
PUBLISHERS
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i;'i;j;;;~~;J!Q_;~;,;:;~";m';'i;;;':;:;':;-";'~==;';;;;=""~--------;:- .~~ -~"ru;"~~~~nr,:;~~I~';;;~::/;ii.~,,;;;;~~~;~j

9
111 _ _3!
OLD STYLE NUMBER ONE WITH ITALICS AND SMALL CAPS

AND
18 POINT OLD STYLE No.1

..
~--~~~----~~~~~~-~~--~-~-~~~~-~T~~~--~~~-~-~-~-~.~-~-~~---~---~~~~~
6 Point Old Style No.1

Much has been written regardjng the necessity of keepinlJ Linotype machines
in good order to obtain large output l but little has been sald regarding the desirability of keeping the operator in good health. To secure the ma.ximum output the operator must be xept ill good condition, as well as the machine. Most
operators do not pay enough attention to the laws of health. Fast and accurate
work a.t the Linotype k~board is not simply a matter of knowing how to finger
IlO/ic and SMALL CArs
i"
AJ=J' :~"I:ete: o'b~::~a~;~a:~;:t;~~c:~~itr:;;fb~~f:;:!~f,:~ft~i~~~
j,t:~~~pot::,e;!:!u:t 1eerta~o: ::OSD::nan:ea;::, 4~oW~~r:: ,t/:: =i!~~m~:;t
etIOUJJ~ auentitm to fht laws of health. Fast and GClUf"ate

;t~~e~ th:ot::'i;~YC!tk:rs'::a:;'da~::t':Zi::'=:!~~ ':Q:::s:!o::iwi~ 1ph~$:~(Jf~!::
D/,e1'lJto1's 40 -not pa3
~~;io~yT~~o~:;~~~r~~ n:~~c~l:r c:ff;~tn r~~fr~at~uoeg!r~~eo! ri~~&~~S~~
ditiofl.
is not very great, but it is a.n occupation calling for a clea.r bra.in and steady
nerves, and anything which promotes these conduces to speed and accuracy.
Good health is au asset to any Linotype operator, and the observance of a few
T~e Gmo~"t
oj tntuculor effort 1'equired to OfJerate a Iinot:ype machiflc
IS NDT VER.Y GREAT, BUT IT lS AN OCCUPATION CALUNG FOR A CLEAR BllAIN AND
STEADY NEltVES" AND ANYTHING V'lIneR' l"ROMOTl!:S THESE CONDUCES to SPEED
AND ACCURACY.
GOO)) BEATH IS AN ASSET TO ANY LINOTYl"E OPEllATOR, AND
Italic and SMALL CAPS
Much I.as been 'WTillen regfJrrling the necessity of keeping Linotype

macl.ines in good order to obtain large output, but little has been said
regarding lI.e desirabililJ/ of keeping the operator in good health. To
secure ihe mlUimum _Ipu' the operator ",ust be kept in good condition, as well as the machine. Mos! operators do nol pay enough alten'ion to Ihe laws of ltealth. Fast and accurate "ork al the Linotype
Much has heen written regarding the necessity of keeping Linotype

machines in good order to obtain large output, but little has been said
regarding the desirability of keeping the operator in g~od health. T~
secure the maximum output the operator must be kept m good condItion, as well as the machine. Most operators do not pay enough attention to the laws of health. Fast and accurate work at the Linotype
keyboard is not simply a matter of knowing bow to finger the keys
properly, but also. to a certain extent, a question of good physical condition. Tbe amount of muscular effort required to operate a Lipotype
JCEYBOARD IS NOT SIMPLY A MATTER OF KNOWING HOW To FINGER 'rRE

KEYS PROPERLY, lIUT ALSO, TO A CERTA1N EXTENT~ A QU:ES'UON OF GOOD
"l"HYSlCAL CONDITION. THE AMOUNT OF MUSCULAR :EFFORT REQUIRED TO
Italic and S><ALL CAPS
Much has been written regarding the necessity of keeping LinoMuch has been written ,.egarding the necessity of keeping Linotype machines in good order to obtain large output, but little has
type machines in good order to obtain large output, but little' has
been said regarding the desirability of keeping the operator in good
health. To secure the maximum output the operator must be kept
in good condition, as well as the machine. Most operators do not
pay enough attention to the laws of health. Fast and accurate work
PAY ENOUGH ATTENTION TO THE LAWS OF HEALTH. FAST AND
at the Linotype keyboard is not simply a matter of knowing how to
ACCURATE WORK AT THE LINOTYPE KEY1IOARD IS NOT SIMPLY A MATTER
finger the keys properly, but also, to a certain extent, a question of
OF KNOWING HOW TO FINGER THE KEYS PROPERL 11', BU't ALSO, TO 10.
.. _.. ____ ... _... _.__
. _... _._. ______...1_________ ... _._ .... ___.____....
._ . __ ._ .__ ..... .
Italic and
Much has been written regarding the necessity of keeping

Linotype machines in good order to obtain large output, but
little has been said regarding the desirability of keeping the
operator in good health. To secure the maximum output the
operator must be kept in good condition, as well as the machine.
Most operators do DOt pay enough attention to the laws of
health. Fast and accurate work at the Linotype keyboard is
10 Point Old Style NO:;-- --. ..
..- --..
SMALL CAPS
Much has been 'Written regarding the necessity of keeping

little has been said regarding tile desirability of keeping the .
operator in good lIealth. To secure the maximum output the
I
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OPERATOR MUST liE KEPT IN GOOD CONDITION, AS WELL AS THE

MACHINE. MOST OPERATORS DO NOT PAY ENOUGH Io.TTENTION
TO THE LAWS Oll' HEIo.LTH. FAIYr AND ACCUXIo.TE WORK AT THE
------------r
---.. ---.-------.
Z",lle atld S .. ALL CAPS
Much has been written regarding the necessity of keepI

Muc/z has been 'Written regarding tlte necessity of keeping Linotype machines in good order to obtain large output,
Ii
illg Linotype machines in good order to obtain large output,
but little has been said regarding the desirability of keeping
the operator in good health. To secure the maximum output
OTUHTEpOUPTERATHTEORO'pIENRAGOOTODR HMEALUSTTllHE' TOKESpETC~NREGOTOHDECMOAXNDIITMIOUNM,
the operator must be kept in good condition, as well as the
.
...
machine. Most operators do not pay enoug.~_~~~~~~ to the _.. ___ A~ELL .~S_THE M~~~~~~~~ ~~E~~~~~_~_O_T PAY
II.
11 Point Old Style N o . 1 .
Much has been written regarding the necessity of

keeping Linotype machines in good order to obtain large
output, but little has been said regarding the desirability
of keeping the operator in good health. To secure the
maximum output the operator must be kept in good
- --.----.- ..
i
!
I
Italic and S .. ALL
CAPS

OF KEEPING THE OPERATOR IN GOOD HEALTH. TO SECURE
THE MAXIMUM OUTPUT THE OPERATOR MUST :BE KEPT
--.---.----~-----.---!------------.--------------
--_ .. _----------Italic and SMALL CAPS
Much has been written regarding the necessity

of keeping Linotype machines in good order to
obtain large output, but little has been said regard-

obtain large output, but little has been said regarding the desirability of keeping the operator in good
health. To secure the maximum output the opera-..-..-- .. ---.
ING THE DESIRABILITY OF KEEPING THE OPERATOR

IN GOOD HEALTH) TO SECURE THE MAXIMUM OUT-
-----------------1------------------------..
Much has been written regarding the

necessity of keeping Linotype machines in
good order to obtain large output, but little
has been said regarding the desirability of
..... ____..______1.
Italic and SMALL
CAPS

GOOD ORDER TO OBTAIN LARGE OUTPUT, BUT
LITTLE HAS BEEN SAID REGARDING THE DE-
-------_._-_._-_._------_... -._._---_.. -
Much has been written regarding the necessity- of keeping Linotype machines
in good order to obtain large output, but little has been said regarding the desirability
of keeping the operator in good health. To secure the maximum output the operator
s'rmn
ltD
%f Sill
10
oother trade brings its craftsmen

so naturallyinto direct touch with
the greatest thoughts of famous
men and women as that of the
printer, and yet out of thousands who daily
perform mechanical processes which go into
the making of books a vast majority fail to
embrace the opportunity to assimilate the
learning which is unrolled before them. The
fault lies more with the master printers than
with the journeymen, for these employers
have a wider horizon than their men; and if
they regard their calling as nothing beyond
that of business it is the natural sequence that
workmen under them should do the same.
A shining example of what this opportunitycandoisfoundinBenjaminFranklin's
Autobiography. His father sent him to school
at eight years of age. When ten years old he
was taken home to assist his father in the
tallow-chandler business, in which he worked
for two years. At this point his father feared
that he might run away to sea, such was the
boy's interest in and longing for ships, so he
.
apprenticed h!m to an ol~e~ brother, who . ~.>::J l
was the proprIetor of a prIntIng office.
~~~
~
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,-~.";7JC ()
V\~
~~
--"::-
(24 po;..t Old S'1I1. No. 7,
V"'~
.- -.:;'.: , . 1" . ;' ",~~..
_
~ ~.
~'\
".
.1'
SOl~d}
.
.
"
-.-
,t.
_'.
0~
~~"
~ 1;Jt;..'\\.;:;~~:
,0<
~--.
....-'/,'.
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...
,p..l
,. ~ "l~,
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'{
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~~.
-,
11
),.
-,~' .. \
-,:,;:.;..,...,;
Lines to
Fanny
SPECIFICATIONS
OVER-ALL SIZE: 24 x 33 picas.
SIDE NOTE; 10 Point Antique No.!.
LEADL.'fG; 3 point.
HEADING; 24 Point Old Style No.7 c.ps, interspactd.
INITIAL: 24 Point Old Style No.7.
FLORET: 18 Point CaslonBorderNo. 747
FOLIO; 10 Point Old Style No_ 7.
NUMBER OF LINES TO FULL PAGE: 29.
(6 Point Old Style No.7, 2 poinlleaded)
When every fair one that I saw was fair

Enough to catch me in but half a snare,
Not keep me there:
When, howe'er poor or parti-colour'd things,
My muse had wings,
And ever ready was to take her course
Whither I bent her force,
Unintellectual, yet divine to me;~
Divine, I say!-What sea-bird o'er the sea
Is a philosopher the while he goes
Winging along where the great water throes?
How shall I do
...... . ................ .
To get anew
Those moulted feathers,
Above, above
.
The reach of fluttering Ie:
And make him cover low. i
Shall I gulp wine No, th~;
A heresy and schism,
;
Foisted into the canon la :
No,-wine is only sweet '
More dismal cares,. Where shall I learn to ge1:
To banish thoughts of ili,;
Dungeoner of my frien~:
Where they were wreck.'d i
That monstrous region, "1':
Ever from their sordid U1:
Unown'd of any weedy-h:
VERSES
I
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KNOW it-and to know it is despair

To one who loves you as I love, sweet FannylWhose heart goes fluttering for you everywhere,
Nor, when away you roam,
Dare keep its wretched home;
Love, love alone, his pains severe and many:
Then, loveliest t keep me free,
From torturing jealousy.
To Fanny
Ahl if you prize my subdued soul above

The poor, the fading, brief pride of an hour;
Let none profane my Holy See of love,
Or with a rude hand break
The Sacramental cake:
Let none else touch the just new-budded flower;
If not-may my eyes close,
Love! on their last repose.
"l1 THAT can I do to drive away

VV Remembrance from my eyes? for they have seen,
CRITICAL COMMENT
'DIE Old Style No. 7 is especiaIly adapted to poetry

as its face is a size larger to the given body as compared with other old-style faces_ This prevents lines
from tuming yet keeps the page readable.
The margins shown here are for 3:1x44 paper (untrimmed).
(a
Pninl OlrlStyie No.7, 2 poinl/eaded)
Ay, an hour ago, my brilliant Queen!

Touch has a memory. 0 say, love, say,
What can I do to kill it and be free
In myoId liberty?
Lines to
Fanny
.J(.~al1
Grolicr
l:ornp:my or hiblinphill'!\ ('x(lmplin~d in th(~ir

daily lift, tIlt' upostrophl' which th(~ rmgl'io\ of tilt'
Philllbihlull gi\'t' to bonks: "Tlwy artl ma!\tl'r~
whu instrllt:t. lis without rod l)t' krull', wit.htl\\t
:Ln;lry wtlrd)i, without clotiw!I or mmwy. If yllu
CUItW tu tlwm dwy un~ ntlt milttp; if yllll iLlik ILnd
inquit't.' (If thl.II\. tllt'Y tit) nut withdrnw thmn.
lwl",ts; tlwy till nut chitlt~ if you mUkl! mistak(~li;
tht), do not lall~h lit ytlu if yuu artl ignorant. 0
ml"k", who alllllt' lin' lillt'nLI Hlld CrN', who give
t(l 1111 who ;\SK IIf you IIl1d t'l\fmnchi~t' all ...,lIn
:;\'rw yilu faithfullyl"
t\u( ttllltl'lit with sharinl( hi!'l litt'mry pos
:;11111:-1 with hill fril'l\dli. JI';m til'ulia madl~
point ttl tll'(~IHUt illtilllah' with thl' :LlIllwl'S
wrott tlit'III, alltl with tilt' (',litml'l and prill
\\ hI! h"1UtI.! (lwIII. trulilw iltlwt' patrons (If
!H'I'i!I(!1 tit' !It'c'(:t'(v('d ill till.' IWW illVl'ntilln:
Ild!llil\~ till' wllwltrful rUllt~tiCln whit'h it
blltlwl ttl ('Xt'n'bil' in tht cll'VI' ltlpnwnt flf
Wlldd. l~I'jlt:tinl( Iht nafrUWt'r vil'wpuint wl
itllllllputll'lIt!l <.:1I11,iVllltt\, ill tlr!lt'r to Pfl'VNlt
ptnpll frum It'(lmiulot l'al much that t\lt'y WI
lH'CuulI' !t'M\ SUbSl'fVil'lIt, (ifCllit'r tstl1blished
dww'It fllatil/lIll with thll:", who Wt'ft t'lIrnt'
!ltri\'illj.( ttl t~t'Lblish thl' lU~wb(lrtt urt 1I1HU
firm (IiUlU t;ttilln,
I t wall U:ltllral tl\'Lt Ornli('r :;htlult\ twattml
til Ahlu,\ Mallutiu'i aUtI tilt iritt'rt'stinl( gwul
11<Itlk 11I\'j'l'li who lIurNalllclrll tlw mll~tt!r llri,
ilL hi!'l I,rintinl( (lflicc.' ;It Vtnic(. Ht~ wus n!;\
nU"tll",-\t.
\' m.t!~U'!> ""hi, II
t'(lM\\n;~n'
_h,. hIlI; !.,..'.I ..... h/.r.. at~irlll1l! hI
l"'ltld'iril\' "nil. /"'Nt,lf,

~>lvl~ N.. 1, ,IIItM.. "
willi II I),III! lllo.r thr 01<1
,,,,IIII,h., III .<"blrrv,\"
"\4,,~.ul,.. In l"~ IlIirlllllllllllllltllh", 1.11"1!~'
hh
wllb
"III '**'Iulling h"lIIlh~ Il'lIjhlll~~ !If Ihr i\1 I fill I lVI'"
n........llh" 10iII6"
'XliI' IlIAfllhn dmwfI liw'
~f" II~' .U U.S tWlI""
111111111\)111
r.li "~.'.flHdY4~ :\fll":'
.V-.l
r ..~
'~"'."il.'44.III)
!l1I\'.
SI'!':C[li'lC."TIONS
on:R,\I,I. Sllm: 18 x 1611ICa.
'fYI'I:: 11 I'ulnt Old Style No.7.
l.I:AmNG: 2 I.ulnt.
ImAn: 181'ulntllcntcil ~1'1'~i'on" Im\'~rea!\C!,
{'U.\[''l't':R 'l'I'\'U:: I1I'ul11t ~'.lch <aim.
1:-.11'1'1.\[,: JO I'ulnt SI:Olth.
IWNNtNO 1I~:Ml: 14 1',,1,,1 ~ratc'h ("I'" nod IlIwer,""",
~()l.lO: II X'.,IM Ole! Slyt~ Nil. 7, brAckrlcd.
Nl!~!lIl':I~ ()lI W(.I!U)~ 'l'U 1't1I.l. l'Mll-:: 248.
(6 l'dllll Wtl .~tylr No.7, J ;01111
I~Qtl~d)
Jean Grolier
Lov('r of Books
I N 'r Jl () 1> t 1<.: '1' I () N
OME MEN giVtl lustc.'r to book", !lonw men

ft'cciv(! lustt'r from bMka. J(~nn Gw\i(lr
ilhcl\Ild htl in,~I\lclC(l in both Chl!lflC~. I~rm.m\lfl (If
l{uttt!rdmn wrotl! to him in the Sixtt~t'nth C(~n
tury: "You ()Wtl nothing to b,)<>ks; but bunks
witt ~ive yuu in the future n lasting glc)ry." This
WIl!! n prClphccy wdl fu\fiU(!ci fur J(~an Gwlier,
EM nlth(Ju~h hel h(~ld tlw imp()t'tllllt J)()fliticms ()f
trt!Uflut'(lr for hili king!! in Milan nnet in I,'ram:(!,
lind or ILmba~<I(ll)r at Iht! J'rll1a1 Cuurt tit Rome,
hill nllm(~ h:!s bt"'n hl1ndt'c\ <lown til 1'){)fltC'rity
only from hi!! lovel (If book!! lind (rom hi!! lilwrtLl
:md intcHlI('nt patronnl~ of the art (IE printing
during hifl inftmc:y.
GI'olit'r WiI!! :L h<tnklnv('r rntlwr them lL b(lt)k
colli": tor I nlthrmgh tht~ (l('olit'r l~1I1h~tti()n was
j~liitly CtUUI)U!!. But thl' c(jlh.~:t~lr IIt(!ull'lulntcd
vulunws from tht! low of I\(!quillitinl\ i tht: rnl{lk
lov('r not ollly colll'etll thl! lumkfl, but wi:-lht:iI
(ltlwr!l l.w:'!!idt')j him!ldf in tmjoy tht'ir pft'dous
t~nnlt'nts. That ill why tht! IH:.~utirul1y b<lund
vulurm'!\ (If JI'lm GrClli(~r bt!ar tllt! !ltampcd imprc'!lsiull (l f JIllln-Grulicfii (t nmit:urum." What
hI! lovt:d he shaml with hi!! fritmds, <Iud t()~t~t1U'r
tlll'Y enj(lyt~fl t'n(~h Grulier book. us (Jnt~ enjuys
nny other pr('doll!l objt!ct. 'l'oR;etiwf, this little
(I
[lJ
THE ROMANCE OF THE BOOK
SPECIFICATIONS
OVERALL SIZE: 23 x 56)/, picas.
LEADING: 3 point.
HEADING: 24 Point Caslon Old Face,
CHAPTER NUMBER: 14 Point Caslon Old Face small
caps.
CHAPTER TITLE: 14 Point Caslon Old Face small caps,
interspaced.
INITIAL: 36 Point CasloD (band).
RUNNING HEAD: 12 Point Old Style No.7 caps,
in terspaced.
FOLIO: 12 Point Old Style No.7.
(6 Po;", Old Slyle No.7, 2 poil/lieoded)
packs. . . . The chap-men thus became the purveyors

of literature to the common people before libraries,
bookstores, easy means of communication and modern
methods of publication had made cheap books of a better
grade accessible. They did their work effectively, and
libraries and library commissions at the present day, in
sending out traveling libraries, are beginning to adapt
the chap-man's methods to their own ends."
So it developed that no more popular line of general
merchandise was included in)" .. ..
the cheap, paper-covered p!
five by three and one-half '
eight to twenty-four pages, ~
"chap-books."
:
These chap-books were po~
paper, and the illustrations ~
but they conveyed to the peop
craving for something which\
I
lectual needs, information,
CHAP-BOOKS
upon religious and moral tol
biographical subjects, geogr~
OST readers have general knowledge of what a
adventure,demonology and W,
chap-book is; a considerably smaller number
and criminology, social satij
have definite knowledge-and a very small proportion,
proverbs, matrimony, odd ch~
even of book-collectors, realize their o~igin and how they
legendary romances, fairy std
came to be called "chap-books."
merical tales, sOng and jest bl
Before the days of railroads, the sale and distribution
riddles, ballads, street songs!
of merchandise depended entirely upon transportation
by roadway or by individual on foot or horseback. The
4'
roads then were, during most of the year, in wretched
condition, and human habitations so infrequent as to
make the rider or driver along these roads, particularly
if he carried a.valuable ca:rgo, an easy object of attack
on the part of footpads or highwaymen. The nature of
,
this itinerant selling on horseback or foot was such as
....., .. -. -_._._.... -._ .. _.......... __ ........... ..l
to attract to it a class of men possessing peculiar charac1
teristics, and striking. personalities, who came to be
1
known as "chap-men."
Mr. William C. Lane, in his introduction to the cataCRITICAL COMMENT
of the Harvard collection, says: "The chap-man
logue
THE Caslon Old Face is most useful in dressing up
the other oldstyle faces and the use of the small
traveled all over the Kingdom, visiting every town and
caIl'l, intezspaced, recalls those charming Aldine
hamlet; a considerable number of these little books . . .
volumes of the late Fifteenth Century.. Care should
be exercised, however, not to interspace unless the
and broadside ballads could easily be carried in their
type page is well1eaded.
3
The margins shown here are for 33 x 44 paper (un-
THE ROMANCE OF
THE BOOK
trimmed).
(8 PointOlrlSfyle No.7, 2 pom. Z..dtd)
THE
FIRST ENGLISH
PRINTER
SPECIFICATIONS
OVER-ALL SIZE: 21x34~pica._
TYPE: 14 Point Old Style No. 7.
LEADING: 2 point
HEADING: 14 Point Old Style No. 7 c'PS.
CHAPTER TITLE: 12 Point Old Style No.7 caps.
INITIAL: 7Z Point Caslon, X-1261: Second Color, X-!263_
RUNNING HEAD: 14 Point Old Style No.7 small caps,
inteISpaced_
.
FOLIO: 12 Point Old Style No.1, bracketed.
be supplied. His hand, Caxton writes, gt:ew

"weary and no t steadfast" with much writing,
and his eyes were "dimmed with overmoch
lokying on the whit paper." So he turned to
Colard Mansion, the printer of Bruges, and
(6 Point OldSlyl. No.7, 2 pointlfaded)
learned from him the newborn art, which
he later transported into England. Thus he
gave an impetus to learning and literature
in the English language of far greater import
than the original intentiD!l..w.bk.h.'!).!,.Qm.:nt...,~...._....._................_..................................... _........_.
his efforts.
Aldus in Italy was ins}
that by his printing he!
Classics, which were in i
lost to posterity, and bj
THE FIRST ENGLISH PRINTER
the hands of the peopl~
to think and act for tj
I
wished to extend the. ~
THE IMPORTANCE OF
that France might rece~
WILLIAM CAXTON'S WORKS
achievement. Plantin, i~
cerned to save the spiritQ
o more picturesque figure appears in the romantic. history
Bible. Centuries later!
. of the book than that of WilEngland, wished to truj
,
liam Caxton, the first English
[4]
u, printer; yet the rank of his
work is lower than that of others who were
, less epoch-making because he was a contemporary of the Italian craftsmen, the master
printers par excellence of the world. His
name will always be associated with the art
of printing, yet he devoted the greater part
of' his life to the business of merchandising,
spent over thirty years a self-exile from his
native country, first attracted broad attention by his translations from the French,
CRITICAL COMMENT
and took up the trade of book-making near
COMPARE this 14 Point Old Style No, 7 with other
old styles in the salDe size. It is unusually largethe close of his life because the demand for
practically as large as the Modern series. This permits small manuscripts to be extended, and produces
his litt;rary work became greater than could
a page as legible as in the Modern, yet Jess utilitarian in its appearance.

The margins shown are for 33,,44 paper (trimmed).
[3]
(8 Point Old Style No.7, 2 pointlcaded)
_iiU;-_--_ _;;;;_-;;,;;-;;;;;~'~__-;;;;-Oiii'-_'-;;-M~'-_'-_'-iiii--_;;;;-_iiii;,;_;;,;.;;;_--_--_--_-iiii-'-iiiii-_-_ __-_'-_-iiio-iiii--_-.-iiii-iiii.._--_-;;;;._-..

. ~--iiii-_"~.--.-"
......
-.-0;;;"......-M'..
...........",,"'~_.. -ii.i
...,;;;,;-.-;;;;;;;-;,;;---.-:.1
\iiiiiiij;;;;;;;;tI,_ _ _
"';;;;;F1;;;;;.;;;;,Oiii'I..;;;.;
15
-- .
--.-
t\iI1.~..,...MI'!jjt'j'ii""M'P""!'~
.....
~ .-~.--
-~--.-
..
-'-' --
_.--
OLD
STYLE NUMBER SEVEN WITH ITALICS AND SMALL CAPS

Italic and S:MAI.L

Mucb bas been written regarding tb. necessity 01 keepiDg Linotype ,.achines in
good order to obtain large output, but little has been said regarding the desirability
of keeping the operator in good health. To secure the maximum output the operator
must be kept in good COOdltiOD, as wen as the machine. Most operators do not pay
enough attention to the laws of health. Fast and accurate work at the Linotype
keyboard is not simply a matter 01 knowing how to fiDger the keys properly, but
also, to a certain extent, a question of good physical condition. The amount of
muscular effort required to operate a Linotype machine is not very great, but it is an
occupation calling for a clear brain and steady nerv~ and anything which promotes
these conduces to speed and accuracy. Good health is an asset to any Linotype
CAPS
Much /tas been written ngtJrding the net:smty oj keeping Li1Wt~pe mac~in~ .in
good Drdtr to obtain lu,e lJutput, but little has been said 1'egardl1JC the dessrabJbe,
oj keetmt the o;errdur in good "eaitlt. To 8~cure the max.lmum output the Dp51'ator
must btl kept in good condition, as 'lUlU as the machine. Most operatrJrs do '!ot pa');
BnOflgh attentitln to th6 laws oj health. Fast Gnd accurate work at the L1notyps
RlJ'jlbOQTd. Is nol simply. "",;t<1' of Anaw;ng ,",,,, ;0 /inger th, keys Properly, buJ
tJl$o, to a eerts';" e:rtent, a question oj good ph~sical condidon. The amount oj
muscwiar elMt required to ojMa" a Linotype machine is not very greatJ but it is an
OCCUPA'flON CALLING lroa A CLEAlt BllAlN AND STEADY Nl!:RV:&S, AND ANYTHING WlnCH
PltOlIOTIS TBiSE CONDUCEs 'to spnD AND ACCU)tACY. GOOD UEAL'IH IS AN AS$El' TO
It.lie and SMALL CAl'S
7 Point Old Style No. 7

Much has been written regarding the necessity of keeping the Linotype ma.chines in good order to obtain large output, but little has been said regarding
the desirability of keeping the operator in good health. To secure the uiaximum ouiput the operator must be kept ill good condition, as well as the
machine. Most operators do not pay enough attention to the laws of health.
Fast and accurate work at the Linotype keyboard Is Ilot simply a matter of
knowing how to linger the keys properly. but also, to a certain extent, a
question of good physical condition. The amount of muscular effort required
Mucn htU been wrilten r.gardin, the necessily of ke.ping the Linotype mathines in good order to obtain lerg. ""tput, but Uttle has been ,aid regarding
th. desirability of keeping the operator in good health. To secure th. maximum output Ihe op.rator must be kept in good condition, as well as the
_chme. Mo.t op.,.torr do not p.y .nougl, att.ntion to II.. laws of health.
Fast 11114 accu,at. work at the Linotype keyboard is not simply matter 0/
KNOWING BOW ro FINCER. THE KEYS P;a.OPEllLY, E'V'l' ALSO, TO A CE:iTAIN EX..
TENr, A. Ql1BSTION DJ' GOOD PHYSICAL CONDIXION. 'tHE AMO'VN'I OF :MtTSCVLAlt
.... ---.. ~------!It,lic and SMALL CAl'S

Much has been written regarding the necessity of keeping Linotype
mnchines in good order to obtain large output, but little has been said
regarding the desirability of keeping the operator in good health. To secure the maximum output the operator must be kept in good conditiun,
as well as the machine. Most operators do not pay enough attention to
the laws of health. Fast and accurate work at the Linotype keyboard is

rega,ding the desirability of keeping the operator in good h.alth. To secure tha ma,dmum output tha operator must be kept in good condition.
AS WELL AS THE l\ACmNE. MOST OPERATORS DO NOT PAY ENOUGH ATTENTION TO TH!: LAWS O'Z HEALTH. FAST AND ACCURATE WORK AT TBl!
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has
been said regarding the desirability of keeping the operator in
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has
good health. To secure the maximum output the operator must be
kept in good condition, as well as the machine. Most operators
GOOD BEALTH. TO SECURE THE MAXIMtrM OUTPUT THE OPERATOR

:MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE MACHINE. THE
10 Point Old Style No. 7
It,ZIc and SlIlAL:t CAPS
Linotype machines in good order to obtain large output,

the operato~ _i~ ~~~~_h~~~~~~~_~~~~~ ~~~~~._j
10~

BUT LITTLE HAS BEEN SAID REGARDING THE DESIRABILITY OF
....KEEP~:~.~OPERATOR n! _~~~ __HEALTH. TO .SE~~.:r~
Point Old Style No.7
Italic and SMALL CAl'S
Much bas been written regarding the necessity of keeping the Linotype in good order to obtain large output, but
little has been said regarding the desirability of keeping
the operator in good health. To secure the maximum work
Much has been written regarding the necessity of keeping the Linotype in good order to obtain large output, but
LITTLE HAS BEEN SAID REGARDING THE DESIRABILITY OF
XEEPING THE OPERATOR IN GOOD HEALTH. TO SECURE THE
1I,lie and SMALL CAPS
11 Pomt Old Style No. 1


OUTPUT, BUT LITTLE HAS BEEN SAID REGARDING THE
DESIRABn.ITY OF KEEPING OPERATORS IN GOOD HEALTH
Italic and SI<AL:t CAPS

keeping Linotype machines in good order to obtain
large output, but little has been said regarding the
desirability of keeping the operator in good health.
To secure the maximum output the operator must

DESIRABILITY OF KEEPING THE OPERATOR IN GOOD
HEALTH. TO SECURE THE MAXIMUM OUTPUT THE
Italic and SMAI.L CAPS
Much has been written regarding the neMuch has been written regarding the necessity 0 f keeping Linotype machines in go ad
cessity of keeping Linotype machines in good
ORDER TO OBTAIN LARGE OUTPUT, BUT LITTLE
order to obtain large output, but little has
HAS BEEN SAID REGARDING THE DESIRABILITY
been said regarding the desirability of keep-.---- -------------- -- ..----- .---" ._.- - ._------.,--~--------'.-- ---.-----~-.--.
~-
24 Pomt Old Style No.7
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large out'"'
..
16
CASLON versus BASKERVILLE

:~~~-;:;,;:(;
" >:;<:)tL.-J, I."
1 .
~~.t~1.:;ti{~.~.
~:. a typefounder was John
\"'-t. ~" fril.
'j
fi
1\
: ASLON'S only rival as
.:
1t ,
\';':~~~~~~'~~:~ Baskerville, of Birming-
di~~~
ham. Benjamin Franklin,

in the following letter to Baskerville,
explains in an amusing manner the
difficulty even connoisseurs find in
comparing the work of the two typefounders: "Let me give you a pleasing
instance of the prejudice some have
entertained against your work. Soon
after I returned, discoursing with a
gentleman concerning the artists of
Birmingham, he said you would be
the tneans of blinding all the readers
of the nation, for the strokes of your
letters, being too thin and narrow, hurt
the eye, and he could never read a line
1 ..t'l-'tC.'h~U ... dl":t
JI " .. .",., f.~!.. t 0:'
fir. .f , ..
l1li' ,,,,.4...';
Il"' . . M ...U........ rd,., r,HJt~" Itdll"t j :C~I-'~'. Ihu"J
('"i'll',
!'.!'::':J~~~~ ~";;r}t::';'.'..~:';';~~1 ~~,'~:',(~7i:.::t:~1t ~~.~~:~J';!'j~::l1~ 't'I:~~!; hJ'~;7;~; ~:';!1htt~~!. 'lj4~;~~'ii,j:
'_t",'tt,
w,.,,,,,.
~.. .~ f1 ( \ , ....., t~ ", ...m ~f Ii..," /..... I 1'....... l4 ..t",w :lh4.. ".~. .,11 'Ajt Uw/tml 1(,,1#
tit ... ""ll .,.J
ti""U
,~ ,,,..... 4- "'.~fM.. ~f"-l"j. ';,I~ ,'Ii.,. 11 .......... ~.. , .. ...
lot P...I". "",.'/1 ."., , .. , _""f ~ u,w*,r"'y';!Il .\' 1..:lJ!" l1"w'''il1I
J4j.,f,J .....J~
t< .. *-,t",hf
If tiM. /.,.,. i "Mfnf 14.""w #If,l# J!eII. t II!~.
tA._ 1'''-..
~~> '."'~~~"." ".".~~.-
.,.JI.,."
.Ii" ,-'II"."
_,,,,.,.1 ,.,
.!"," .. '~ ...~~ _, "' :.~~~~~~::~.~.<: . _~ ~.._~'."~~ ~~~~".; . ~~-"-.".:".~~_.:::: :.' .' ~. . . '.:--.~.:'~...~< '~~.:~,::'~:""'--~"-.'
,:.,'~::\''~:7,:, .. "' .~.:::.~,~,,~':':;Ii.~~ ~"~''''''"~:~~'."< ~ .. ~
~r~...~r~~~~~):():(~~~r~~~~
. . . ,"
The Story of the Gaxton Types

Amman, which was issued at Frankfort in
1568. The author, in the few lines which
accompany the illustration, omits all reference to the process, but, from the wood-cut
of the "Schriftgiesser" and his tools, we
shall have occasion further on to draw some
practical inferences in regard to early typefounding.
Whether Caxton, whose account of hia
nrst venture in the typographic art is contained in the prologue to the Third Book of
"The Recuyell," made himself acquainted
with the manufacture as well as with the USe
of his types there is 110 evidence to prove.
He simply remarks, "Therefore I have
practy~ed and lerned at my grete charge and
dispense to ordeyne this said book in prynte."
If he only produced types and presses, and
the requisite knowledge to control their use,
it no doubt cost him a considenble sum. The
probability is that his first two fonts were
a strain upon his financial no less than his
physical resources, for un til his reputation
T he Story of the
Caxton Types
Chapter I
Early Type-casting
no part of the typographic art is hidden in
more complete darkness than
the early manufacture of the
types. Considerable secrecy no doubt accompanied all the operations of the first printers,
and was maintained down to a comparatively
late period. Moreover, it was but natural
that the results of the new art should hold a
more prominent place in men's minds than
the process by which those results were produced, and therefore, although printers and
printing were often mentioned, we find
nothing concerning the mechanical part of
type-founding anterior to that curious little
book of trades, with illustrations by Jost
SPECIFICATIONS
CRITICAL COMMENT
THE popUlarity of little volume. which may
be carried
in the pocket suggests the format for these sample pages.
The bold treatment of the opening page of the book

gives char.cter to the typography and interest to the
book. By using large Cas Ion italic lower ease in the run..
ning head the boldness of the opening page i. ecnoed
throughout the book.
The margins ,llOwn here are for 26,,33 paper(trimmed).
(8 PO;/1:
Cdflon
old Face} 2
faint
l,.d,d)
OVER.ALL SIZE' 14 x 28Y, pic...

TYPE: 10 Potnt Casten Old File,.
LEADIN G: 3 poInt.
TITLE; 24 Point C:tslcn Old Face itE1llC caps And loWer ccu.
CHAPTER TITLE: 14 Point Caslen Olcl.F;1ceit:dlc: caps ~nd
lowel'c.a.ae.
RUNNING EEAD: 14 Point CiiI.Ilon Old PlI.ce italic cnps ,md
lower case.
FOLIO: 10 PoInt Casten Old 'Pace.
RUI.,ES: 2 Point MAtrix SlitleNo. 401.
IN!TIAL: Decorative, 48 Point, X.. 12S 3, Second Color,
X-12H.
NUMBER 01' WOlUlS
'to
FULL PAGE: IBO.
",
",,'
. \
" or
~,
"I"
"
l'
>',!I
"
"'~'
~"~;;;;..;,-- ';;o-"'"'ii.'''''';'',!'''ii'''';;;'''!'i-;;''''-'''~~''''''';;~!.ii!i!!~~!!!5!~~~~3
,--;"
,..., ....".
...."._..-.."".,..." .... ....
",-_
A
Typ~f[raphtcal
R01J20nt(J
By
Paulus Aldus Manutius
Illwtratf!d
Tht' PrinleN Puh/hhi/'J,t>; Co,

1o'ourlh A'I.'t!rJI#! & 49th SIn/cit
"
Nt-"W YtJrk
',1 ,~
Tl"n.li: 1'\( if',

II ".,) >~ I
'1~~';:1r1 ~
,~~I ,,; (.'.,,1,,'1 WJ I")'I!. 1;\
,'j.,q
.;/li/. ,f
If.:I,
'f t'i~""
1.,1#
,',/1'
il-irll
j/.,r~/ 'tn:J,j r;f"~.:"#'
0'.,/, /o"/.,,r,l, fh.:.,.,\' 1'".1/, .~/.llfi.w .'i/'.!Ji

\""", ;J.~~;. ",,' P",,'~I It.,,,JilI' ~V~!i. i:~~;J,. rj',~J
'1!i .'Y.
COMl'.\JU\ llIil il"lir Iml'/Jr til,lf fit/If "".~i<

(dlli 111.11 till t,I./iI'.J 1,11"';"g Ihl' Ji8"I',,1
,ff"/'I glllm,llly IiiI' ",,. ,'I ,,m.m "'fl .
WILLIAM CAXTON
In history the only available works in English were the

SPECIFlCATrONS
"Chronicle of Brute" and the "Polycronicon"; the latter
OVER.ALL SIZE: 21 x 38 pic".
TYPE: 11 Point ClI.slon Old Face.
Caxton carried down, to the best of his ability, to nearly his
LEADING: 3 point.
RUNNING HEAD: 14 Point Caslon Old Face IIlfUlll cap!~
own time. It was, indeed, as a writer of history that Cmon
intersp:l.ce.d.
TITLE; 18 Point Ca.slon Old. Pl1ce caps.
was best known to our older authors, some of whom, while
FOLIO: 11 Point Caslon Old Face roruan.
HEADPIECE: C~slon Serles, .x~127$.
including his name among those of English historians, have
INITIAL: D~col'1l.tive, 90 Point, X~1Z6S.
NUMBER OF WORDS TO FULL PAGE: 1 SO.
overlooked the far more important fact that he was also
(6 Point ell/1M Old Fac8, 1 toint /#lIuJ.ed)
England's prototypographer.
All reference to the literary forgery of Atkyns, who,
in the Seventeenth Century, to support his claim to certain
exclusive privileges of printing under the Icing's patent, invented the foolish story of the abduction, by Turnour and
Caxton, of one of the Haarlem workmeo:-at Oxford in 1464, has here been pur
whole account is so evidently false, so:
with the known facts in Caxton's histo
often disproved in works on English:
needs no further refutation.
As to Caxton's industry, it was rna:
when most men begin to take life eas(
barked in an entirely new trade, but ad'
ADDRESSES AND DISCUSSIONS
its general supervision and management:
have been light, the task of supplying h:
AT THE THIRD CONFERENCE
copy from his own pen. The extraordin:
ON EARLY PRINTED BOOKS
printed matter, original, and translated:
S TRANSLATOR, editor, and
has already been noticed; but there see
author, Caxton has not received his
that some of his works, both printed an;
due meed of praise. The workswhich
been entirely lost. Of his translation or:
he undertook at the suggestion 0 f his
of Ovid," only Book XV has been pres!
patrons, as well as those selected
be certain that Caxton never would hav'
by himself, are honestly translated,
[5]
and, considering the age in which he
lived, are well chosen. Romances, the favorite literature of
his age, were Caxton's great delight,-and that not merely
for the feats of personal prowess which they narrated, although no quality was morc desirable throughout the Fifteenth
Century, but rather, as he himself says, for the examples of
"courtesy, humanity, friendliness, hardiness, love, cowardice,
murder, hate, virtue, and sin," which "inflamed the hearts
of the readers and hearers to eschew and flee works vicious
Cl!.ITICAL COMMENT
and dishonest."
ffiAVY manuscript!!, which require a con..
In poetry Catton shows to remarkable advantage, for
den.sed paS'e cDlttaining a maximum number
he printed all the works of any merit which then existed.
of word. to keep the length of the volume
within bounds, may be let with advantage in
The prologue to his second edition of the "Canterbury Tales"
the 11 point liz. of tho Cadon Old Face.
proves how anxious he was to be correct, and at the same
Not. the larro number of word. this page
contains in proportion to its size, and yet.
time shows the difficulty he had in obtaining manuscripts
how readable i. the pago in view of the
free from error. The poetical reverence with which Caxton
matter crowded on it. This legibility is ....
cured by .xtra leading.
'The margins shown here are for 33

(trimmed).
J:
44 paper
(8 PlIine Carlon Old Fac., Z P(Jinf 16t1d,J)
20
CONTENTS
CONTENTS PAGE: Set in 9, 11 and 14

Point Ca;/on OlJ Face and 10 Point
INTRODUCTION
TITLE PAGE: Set in 11 and 18 Point
Caslon Old Face; Decoration, Tailpiece,
X-1277; 18 Point Border Nos. 752L and
752R.
FAGE
SCIENTIFIC MANAGEMENT
HAIlLOW
S.
PUSON,
Director, TItS Amos Tuck School, Dart-
mouth CoUege
(10 P."" COIl ... Old Fo, 2 f''''' h .J.d)
jftt~t ~t~~ton
THE PRINCIPLES OF SCIENTIFIC

MANAGEMENT
INTRODUCTION BY THE CHAIRMAN
HONOIlABLE HENIlY
. . .
19
B. QUIMBY, ex-Governor 0/ New Hamp
..
2.0
: Pt'esident of Dartmoutl. CoUsgs
iTIC MANAGEMENT
: ,nStllting E1Igjnee,., Philadetpllia
ADDRESSES AND DISCUSSIONS

AT THE THIRD CONFERENCE
ON EARLY PRINTED BOOKS
:>2
'nil ~t~~ton
,ANAGEMENT AND
'LABORER
t CHAIRMAN . . . .
59
'Pnsident of tile Mechanics Na-
:!
of the Concord and Montreal
'PS WORK . . . . . 60
ing Engine.., New York
I:.ABOR UNDER SCIENTIFIC
.8
84-
E?It8rso,. Company, Consulting
ix
THE blocked title page is ejfectirJe whm

the balance of the Jines can be sscul'sd
without "neven spacing.
THE BUREAU OF PUBLICATIONS

OF THE BIBLIOPHILE CONFERENCES
NEW YORK CITY, NEW YORK, U. S. A.
_0,1';~'!~~ji._~"
(10 Point Caslon Old Fa~_j 21'cint l"adsd)
-5' , ~;p~.r~~.~~~;;;'~~'::;~M,~~~~!{~~~,.;,;,_:;~~,\~');.~;;.oll.-~~:;,",'!';1~;,,;~~.~P..t:I;);~;';;'''~!::J~.lI~~'~''!.rj~~~~j~;;:l~~,,:!:';:':;;:,_1"'~'.';"'~":1~'';""'ltI,""~W:;,.,i~'l~,~;~W';;~~;;a.~;",~~. .~::;.:.t.

:~ .1
MOVABLE
TYPES@)
SPECIFICATIONS
OVER.ALL SIZE: 19 x II jI, plc...

lines, with a clear space between each character, the
TY.P.E: 11 Point CaslonOld. Face.
letters of the alphabet, and speculating as Cicero had
LEADING: 2 point.
CHAPTER. NVMBER.: 11 Point Caslon Old. Face itaUe
speculated centuries before, on the possibilities presented
cap!) inters~ccd.
RUNNING HEAD: 14 Point Caslon Old Face ;toman CliPS,
by the combination in indefinite variety of those twentyintCnpllced.
POLIO: 12 PoInt elLSton Old Face, bracketed.
five symbols. Being a practical man as well as a theorist,
kULSS: 2 Point Matrix Slide No. 401 and 4 Point M3.uix
SUd,No.lOS.
we may suppose he would attempt to experiment on the
PLOR..E;TS: 10 Point Border No. 223.
INrI'IAL: Decorative, 72 Point X.1261. Sec.ond. Color,
little wood block in his hand, and by sawing off Erst the
X.1263.
NUMBER OF WORDS TO PlTLL PAGE: 240.
lines, and then possibly some of the letters in the lines,
(6 Point C.ulon Old Fate 1 'P0;"~ leaded)
would attempt to arrange his little types into a few short
words. A momentous experiment, and fraught with the
greatest revolution the world has ever experienced! No
question has aroused more interest, or excited keener
discussion in the history of printing, than that of the use
of movable wooden types as a first stage in the passage
from Xylography to Typography.
Exactly how Gutenberg cast his typ
know. Mr. W. Young Otdeyandothei
that they were cast with a circular hole
shanks, so that when a line was assemb
string could be passed through so as t
securely in their place. It is noticeable
8MOVABLE TYPES
variation existed affected the type la
CHAPTER II
suggests facilities for support at top and
while only temporary protection was a
TAINLY IT WOULD BE
for the sides. At all events the evidence
but reasonable to suppose that the
has been gathered together all goes to pr
first idea of movable type may have
that there was a distinct handicap in the
been suggested tothe mind of the
[ 18]
inventor by a study of the crude
work ofaxylographic printer, and
a careful observation of the cumbrous and wearisome
method by which his books were produced. The heavy
toil involved in first painfully tracing the various
characters and ligures, reversed, on the wood, then of
engraving them, and, Enally, of printing them with
the froterer, would appear, at any rate in the case
of the many small school books for the production of
which this process was so largely resorted to, scarcely
less tedious than copying the required number by the
deft pen of a scribe. And even if, at a much later period,
the bookmakers so far facilitated theirlabors as to wri te
CRITICAL COMMENT
their text in ordinary manner on a prepared paper, or
THESE pages represent thc reverse of the ordinary
with prepared ink, and thus transfer their copy, after
treattnent in that the blank .pace iI disregarded
and the entire ar"" of the type page i. used. The
the old manner of the Chinese, on to the blocks when
rules ,Prcserve a uniform. measure, and the: use of
once their work was done, their process would doubtless
caps in the nr!t line of text on the chapter pagel
impress those who are possessed of any inventive genius
prevents the running head from too great domi ...
with a deep sense of dissatisfaction and impatience. We
nmce. This treatment is a modern adaptation of
the old chap.book .tyle.
can imagine him examining keenly the first page of an
The margins .hown here are far 30';' x41 paper
Abecedarium, on which would be engraved, in three
(trimmed).
J
(8
Po~tJt
ClUllm old Fatu, 2 pa'rJt l~.a.d)
.. ~~mAA:~~l'J.MiI~~i#.'1&!":~;!;,,v.I$""* .;.,l\lIOJ,:,.IMI~j,l,l~A.m:.-~!IIIirJM~ILL~~W.!.;:...:....~fi'r;!","'!!.~:::M"~~~~~"'~_
I 1\-"';I!<o,:-.:r~~~:~~l:G~~':jj,~~1:\:'AJ?~"~.:~.~,,,.,t.1!'\1!!r>~~~!E'~~_:r.l'~~':iMi~""'~,'.w,~~I.4"~"'dIt~,j1"'!~,
..........,........ ,.,,,.,. _'.---,.. _ .. ,, .... - .. _,,,,- .._........... __ .............,.. " ...... ,. ........ "..... .... ....
,.
......
."
.................. "',.
. ............ _...........
'"
CONTENTS PAGE: Set in 14 Point

Caslon Old Face small cap; and old st~le
figures, and 12 Point Caslon Old Face
italic cap'; Rule" 2 Point Matrix Slide
No. 403 and 4 Point Matrix Slide No.
508; Florets, 10 Point Border No. 223,
G)
TrTLE PAGE: Set in 8, 10, 12 and 18

Point Caslon Old Face; Decoration, 12
Point Border Nos. 1025 and 1026;
Florets, 18 Point Border No. 716; Rul4,
4 Point Matrix Slide No, 508.
CONTENTS
PROCESS OF TYPE MAKING
(1.0 Point. Catlon Old Fife., Z poInt l,ad,d)
NAMES OF LEADING SIZES OF TYPES

POINT SYSTEM
A FONT OF TYPE
, ROMAN
182
OF ROMAN LETTER
20 9
ROMAN TYPES
255
26 9
281
294
YPES
OF TITLE TYPES
THE DISCOVERY OF
MOVABLE TYPES
9
53
12 3
16 5
ONS
BY
ROBERT AMES BOOTH
THIS title and that skown on page 2S COI~

lain practically the ,ame amount of copy,
and arB Il'eated witk slight flariationI; yet
tke effect secured b~ eac/~ i, indiflidual
and di,t;nctifl8.
THE PRINTERS PUBLISHING CO.

BOSTON
NEW YORK
CHICAGO
.!,
COLARD MANSION
Colard Mansion is now generally admitted to
have been the nrst printer at Bruges, but of his
history little is known. His name occurs many
times in the old records still preserved in the
municipal library, and always in connection either
with his trade of nne-manuscript writer, or with
the guild of St. John. The first time it appears it
is written "Collinet," a diminutive of Collaert,
from which VanPraet, his nrst biographer, thinks
he was at that time underage. In 1450 "Collinet"
received nfty-four livres from the Duke of
Burgundy for a novel, entitled "Romuleon,"
beautifully illuminated and bound in velvet.
This copy is nowin the Royal Library at Brussels,
and another copy, written in characters exactly
like the types used twenty years later by Colard
Mansion, is in the British Museum. B9th the
Seigneur de la Gruthuyse and the Seigr
Creveceur were his patrons; the former;
was at one time on such friendly and '
terms with Mansion, that he stood gocl.f,
one of his children. It does not, however,:
that in later years, when poverty laid its;
hand on the unfortunate printer, any :
patrons came to his assistance.
.
From 1454 to 1473 the name of M:
found, year by year, as a contributor to t'
of St. John, the formation of which h
already noticed. In 1471 he was "do!
dean, an office which he held for two yea:
expiration of which time he is suppose
CRITICAL COMMENT
FREQUENTLY a printer recei.... a mm...
script which lends itself favorably to .ome
.pecial treatment, and the.e pag-es are rubmi tted as a 8u,gestion to cover auch a case.
Caslon Old Face type itself is
decorative, and the little :florets jn connection with the Odord rules produce an effect
without over-elaboration.
The margins .bawn here are for 30* ,,41
paper (trimmed).
.lwa,.
(B Pomt. ClISioJS OIl FAeliJ Z f'oint l,"")
SPECIFICATIONS
OVERALL SIZE: 19 x 13 pt,...
TYPE: 12 Point Caslon Old Fa.ce.
LEADING: SoUd.
TITLE: 14 Point Caslon Old. Face italic caps.
CHAPTER NUMBER: 12 PoInt Ca$Ion Old Face rome caps.
RUNNING HE-AD: 12 Point Caslon Old Face italic caps.
FOLIO: 12 Point Caslon Old Fnee.
INITIAL; Decorative, 66 Point, %.1257, Second Color l
Xl2l9.
DECORATION; 12 Point Border Nos. 1025 anc:!. 1026.
R.ULES: 4 Polnt Matrix Slide No. 508 and 2 point Matrix
SUd. No. 401.
NUMBER OF WORDS TO FULL PAGE, 2l0.
(6 Point CIJIlo" Old. FlJc., 11'oinil.lJtled)
COLARD MANSION
II
the old metropolis of

Flanders, offers many points
of the greatest interest to the
historian and the antiquary. In
the Fifteenth Century it was the
residence of the sovereigns of
the House of Burgundy, and to its extensive
marts resorted the most opulent merchants of
Europe. There the arts, as well as commerce,
were developed to a degree of excellence unequaled since the Augustan age, and even Paris
was surpassed in literary and artistic treasures.
Artists and craftsmen were consequently numerous, and those of them who were connected with
the production of books were enrolled as a trade
guild. And this pre-eminence is not immaterial
to our inquiry, for William Caxton was not only
for more than thirty years a constant resident in
Bruges, holding for a considerable period a position of great authority, but in this city likewise
took his first lessons i.n typography, and obtained
the materials that were necessary for the introduction into his native country of the new art
I:
Ii
L
L
I:
n
I;
I'
I
"
It"d
)I
Ii
I'
I:
ii
""
il
!!
INTRODUCTION PAGE: Set in Caslon

Old Face 12 point roman and italic lower
case; Heading, 14 Point Ca,lon Old Face
italic; Rule" 2 Point Matrix Slide No.
401 and 4 Point Matrix Slide No. 508;
Florets, 12 Point Border Nos. 1025 and
1026.
INTRODUCTION
TITLE PAGE: Set in Caslon Old Face 11

point italic, 9 point caps and ,mail caps,
18 point roman cap!; Rule!, 2 Point
Matrix Slide No. 401 and 4 Point Matrix
Slide No ..508; Florets, 12 Point Border
Nos. 1025 and 1026.
(10 Point,Ca!lon Old Face, 2 point leaded)
THE LIFE OF
CO LARD MANSION
BY
ALEXANDER GREY BENNET
WHEN Othello was about to end his troubled

career he exhorted those in attendance,
"1 pray you, in your letters,

When you shall these unlucky deeds relate,
Speak of me as 1 am; nothing extenuate,
Nor set down aught in malice."
It has always seemed to me that in these few
words Shakespeare formulated a guiding rule
for all who would assume the responsibilities of
': raphy, ond upon this principle, there'allowing unvarnished tale has been
;effery Amherst was human and, like
'is, possessed faults as well as virtues,'
: would have been far less interesting.
\ ciates his name with the conquest of
, d America connects it with an institu: rning in the loirest region of New
~ t the marls personality has been ever
; The ensuing pages may throw more
'subject, and 1 confidently hope that
: t to tell the truth, the whole truth,
: g but the truth, may in no way tend
;lustre of "a name known to fame ,in
AUTHOR OF "THE STORY OF THE CAXTON TYPES"
NEW YORK
PRINTERS PUBLISHING COMPANY
THE combination of roman tl1zd italic caps

. on the title page introduces variety without destroying the simplicity of treatment.
Compare this with the "ll-romtm-cap title on
page 23.
(10 Point Ci1.sltm Oid Fn~e, 2 point leaded)
SPECIFICATIONS
~a:tIy
J>dntfng
OVER.-ALL SIZE: 22 x ll,.. pic...

TYPE: 12 Point Caslon Old Face.
LEADING: 2 point.
II
TITLE: 30 Point Prlory Text caps and lower ease
(h.nd).
R.UNNING HEAD: 12 Point Caslon Text C4pS and
lowerc:ale.
but there were also other motives active; for while we

examine the amount and the variety of the works issued
it is suggested to us that the production of books was
business, and thought of remuneration or profit, if not
as keen as now, was lively. The men who produced the
books produced such a;s were likely to sell, and thus we
have important evidence of the tastes and demands of
the time. More than this, we find what arbitrary medireval power, civil, milit . ... ... ..... ... . . . ..
to be published, and tha
as great as it is at presen
The new art could giv
priate first book than the
That was its first contr.
I455, and a monumenta
for the great reason tha.
the first printed Bible; i
of human invention, skil,
the countless editions th:
ing almost every conce'
workmanship, cheapness'
all attempts that have b
ments, it still remains v
durability, strength of p
lence of presswork mag
Compared with it, the g
CRITICAL COMMENT
THE combination of text letter with

CaRlon Old Face or witb otber old,!),le faces produce, a ple.. ing effect
when carefully consi derecl in execu ..
tion. The oxt" weig-ht of the text

letter i, relieved .om.what if set between rul.., pecially if the title i.
not .ufficient to Jill the entire length
of the running head.
The marrin, .how.:here are for 33 x48
paper (untrimmed).
FOl.IO: 12 PolntCaslon Old Fac

RULES: . 21'Dlnt Ma.trix Slide NCI. 4D1 aud." Point MAtrIx
Slide No. 50S.

INITIAl.: S4 Point Ca.lon Old Faoe (hand).
NUMBER OF WORDS TO FULl. PAGE: 260.
~br
<!arltrgt )Sooku
I;,.
f:
,.
order to understand and appreciate what was at

first, and within a short period, accomplished by
the art of printing, let us review what was done
during the twenty-five years after the date of the first
book printed from movable type in 14SS.
Weare to bear in mind that these years were in the
Middle Ages, when medireval ideas and practices of
monarchy, feudalism and arbitrary rule Were in full
force, and when the Church of the Supreme Pontiffs at
Rome, with all of its real or supposed repression, had.
unbroken power throughout the then civilized world.
Not only was this period before the New World was
known, and chiefly before it was even dreamed of, but
also before much of the revival of art, at least in painting and sculpture or any considerable practice of engraving, and before the Reformation in religion, and
the exercise of free thought had become apparent, or to
any great degree even latent, forces. It was, indeed, an
age despotic, warlike, disturbed.
Devout feeling and purpose, or fresh enthusiasm for

the work of classic genius, caused ~uch to be produced,
i
i~
,~
,"
I,
I;'
(8 POint elision .old '1.(;1, 2 t'alnt l"aa,fl)
!
~
.'
111
jL'
i
."",,. ... , '-' ".'''... "" """""-"
. . . ~..,. ,-. ,....-- . .,.-;,...-.....- ... ". ,., ... "." ....,....-_.,_....,. . "._.,_ . " . , "....,. . ,~".-~-~~,. . . ,.~.-~. . . . ~ .. ,~~ .........,..~.~--'-'-'
.."...."'-.--."-,.~---." ......
11~~~~~~~~"iIGIm.ft!Ir,\RIIo~~~~~~~~~~~11W!$ . . . .".,>NWi..........,~" . . . . . . .~JI?.MW~I!\:,'~'\">'6:r?'<i!'ia;;:

Caslon OIJ.FlZCeromancaps and smalJ
caps, italic caps and lower case, and
8 point smaU caps; 12 Point Caslon
Text; Rules, 2 Point Matrix Slids
No. 101 ant!. 6 Point Matrix Slide,
spedal alignment, No. 505.
lltontents
TITLE PAGE: Sst in 30 Point Priory
CHAI"l'JtR
Text caps and lO"""T cas. (Jumd),

and 12, 14 ant!. 21 Point Caslon Old
Face; Rules, 2 Point Matrix Slide
No. 401 and 6 Point Matrix Slide,
special alignment, No. 505; Ornaments, 12 Point Bortler Nos. 1021,
1027 and 1028.
PAGlt
INTRODUCTION
JosephH. Choate
1.
EARLY YEARS
Clarendon Gould
(9 Point C.ulan Old F.uJ solid)
II.
A STUDENT AT JOHNS HOPKINS
13
Albert Shaw
35
43
' . .
.. . . . . . . . . .
HOMES.
53
LEAGUE
59
LEAGUE
61
HURCH.
65
~~
... ~~-.-.~----~- ... ---~-.-~-------~-- ~
:fi:
~bt
~arlttst
lSooks
Their Significance
73
An Essay by
John Gutenberg, Jr.
Privately Printed
L~_ _~___._ _._~._ ._
):(~.
...
I~
tif.'i'Jf!.
TEXT letter is so decO/'ative a typ

that il may be used in moderalia;
wilh good effect on litle page
which call fa?' something out oj th
commonplace.
(10 Point Cadets Old F4ell Z pri!nt leaded)
.,
11;
.j.
11:
~,
:1~.:';;''';;';'~~~~~~~~~~-;':;i-:.-)-~~;~~;,,;l;';';'~~M:'''7.::.;i).'''.~~~~W;~,,",~':,,"V:~lW""" '~<J~l4'"\.'""';;'/I',.,I;';-;'4'
}7
...... ,. . . .-.-".."," , ,. . . . . "" .....,... ,. ',' .. . . . . , , . . ,"",,-., ... . . .....
. . ". -..."' . . .
. "." ... . . . . . . . . . '. ---.. -----.--i'-.................. _. __ .._--.. -......--..-...,._ . _. . . . . . --.-'-.--.. -..-.. . . . . .
. . . . . . ' '.-'' "'-' '
~~~~:w,.. :ru.~~tt,#:1'I~'{\'fA."'~~"~U,.ltl'''~~J.l6tkJ'~~oj,.",~.~~~1t..o,,>J.n.Ui<Uil>:~a:a.~~~~~~'a"~~
~
~ ~
~~
,.~".""~",~
~."', ~"
,.~
".~
,'-.~
~~"'
Old Style and Modern Types
73
reign of Charles 1. The original matrices

made by the first William Caslon having
been fortunately preserved, Mr. Caslon
undertook to supply a small font of Great
Primer. So well was Mr. Whittingham
satisfied with the result of his experiment
that he determined on printing other volumes in the same style, and eventually he
:was supplied with a complete series of old
fonts."
Under the influence of the Chap-Book
and some architectural publications in
which better display effects were desired
than could be obtained with types in_n:lMp.
common use, Caslon Old Style cam
use in this country, until today it is
the most used body and display lette:
some specimens it is shown as Origi:
Style. The letters are somewhat in-'
in face, the a, sand t being partid
narrow. The upper portion of th;
small. This type is especially desirabl
display purposes, in that the cap liIi
much heavier in proportion to the
case than any other Roman fonts. :
CRITICAL COMMENT
THE
use of caps and lower case for the running

head and also for the chapter heading is sometimes
desirable when the length 0 f the title is sud! as to
make caps overpowering. In doing this~ however]
care should be taken not to combine old~style caps
and modern faces. The Scotch face, possessing
charactertistics of each, may be used with both.
Here Original Old Style j. used with the Cadon
Old Face text because it is slightly heavIer in line
and produces a better contrast.
The margins shown here are for 30Y." 41 paper
(trimmed).
(8 Point Cttr~on Old Face, 2.lIo;nt l~ltd~d)
SPECIFICATIONS
OVER-ALL UZE, 19 X B pleas.
TYPE: 14 Point Ca.slon Old Fncc.
LEADING: 1 point.
TlTL: 14 Point Original Old Style roman taps and lower
..
.,..
RUNNING HEAD: 14 Point Original Old Stylf: loman capa.

and lower case.
rouo: 14 Point Original Old Style.
INITIAL, 28 Point CaSlon Old Faco (hand).
NUMBER OF WORDS TO FULL PAGE' 16S.
(6 Point Culon Old FlUe, 1 ,oint lelldod)
I
i
I
\'
Old Style and Modern Types
HE Roman letters were cast in the

early part of the Eighteenth Century
and the faces which have come to be regarded
as the standard are those cut by William
Caslon about 1750. The Elzevir or French
Old Style types also come within this classification. In the early Nineteenth Century
the foundries began to make Roman letters
which differed from Old Style in that they
were more regular and even, and had less
angular serifs.
It is said that type-founders became so
thoroughly convinced th~t Old Style types
would never again be called for that nearly
all of them destroyed their matrices. Dr.
Jacobi records the revival of the use of Old
Style type as follows: "In the year 1843
Mr. Whittingham, of the Chiswick Press,
called upon Mr. Caslon to ask his aid in
carrying out the then new idea of printing
in appropriate type a 'Diary of Lady Willoughby,' a work of fiction, the period and
diction of which were supposed to be of the
28
PREFACE PAGE: Set in 12 Point Cmion

Old Face italic caps and lower CfJle, 2
point leaded; Title, 14 Point CfJllon Old
Face caps; Folio, 12 Point Caslon Old
FlJce mMli ClJpS; Initial, 36 Point ClJJion
Old Face (hand).
TITLE PAGE: Set in 11, 14 tJnd 24 Point

Cas/on Old Face; Decoration, Louis XV
SeNes, X-1193.
PRINTING TYPES
Containing
A COMPLETE SERIES OF
OLD STYLE and MODERN
FACES
III
PREFACE
OVED by a common interest in the

subject, the authors in I915 undertook
jointly to make a careful and comprehensive
investigation of the subject of profit sharing.
The purpose of this effort has been to mark out
the proper scope of profit sharing, to determine
the limits, if any, within which it is practicable,
and to discover the results which may be expected
from its use, as well as the most effective method
of utilizing the profit sharing principle. In
doing this work the profit sharing methods oj a
100:":". M.4JAnher oj employers have been studied
ced, a first-hand investigation has
'de of a considerable number of profit
0ts, many employers and employees
ferviewed, and much correspondence
;onducted. The effort has been not to
~alidity of any particular theory re[ofit sharing, but rather to learn the
:0 truth regarding the subject. This
~he outgrowth of these joint efforts.
pers oj the group approached the
~ somewhat different points of view
lifferent ideas as to the practicability
[vJ
SCOTCH, CHELTENHAM, BODONI

AND
OTHER STYLES SINCE 1800
THIS is a difficult title to htmdle because it

is or;erloaded witl. matter. W hener;er possible, the wOI'ding of a title page should
be limplified to meet the demands of
proper type expression. See olso page 43.
(10 PCli"t Cn:l10tl Old F~ce, 2 ~ci"t.letllied)

NEW YORK
2')
:, ";~:,~::"~''''''''~''"'::-<~'''??'':'''."''''':''':'''",:','~:~::::~~~:':'~:'_::':':'::c>::!j''::':::;~::::~~:;:'."'-""'-:_"~"'c:~':::':~:~:~:_"~_::'''::'~'':''''-'':',~'-~~'~~~''''--:""'r::<.'>~':C~~~~~'~:~l"
)
TYPE-FOUNDER AND PRINTER
III
139
become acquainted with Anderton, and possibly

SPECIFICATIONS
with Samuel Caslon himself; at any rate we see
OVER-ALL SIZE: 21 X I S pi ....
here a probable explanation of the way in which
TYPE: 14 Point C:aslon Old F:acc.
LEADING 2 point.
TITLE; 18 Point Caston Old Face caps, interspaced.
the japanner's interest became more than ordiRUNNING HEAD: 12 :PointCllsion Old FaceiuUc caPSI
interspaced.
narily aroused in William Caslon's work. The
FOLIO: 12 Point Caslon Old Pace modemi;,r:ed.1igutes~
DECORATION: 12 Point Border Nos. 1027 2nd lQZS.
greater part of his life had been spent in the forINITIAL: 28 Point Caslon Old Face (hond).
mation of beautiful letters-he had both written
(6 Po~ ClitIon Old Fllce, I 'Point leaded)
them upon paper and cut them into stone-and
Caslon must have appeared to him in the nature
of a rival designer. New fields unfolded themselves to his imagination, and just as he had
turned some fifteen years before from letterwriting to japanning, so now he gave the best of
his atten~ion to the designing of fresh 1~~.. ~_"
to be used for purposes of printing. Suc
was only a natural progression.
At the outset it appeared to Baskervi
success in his new undertaking could anI
on the practice of new methods and on f
WILLIAM CASLON
coveries in purely technical matters. T
have come to him early in his typefoun
T was owing to William Caslon that English
periments that to achieve great fame h
letter-founding became of international imnot only have to cut types which sh
portance in the world of printing, for his work
superior to any of those which had aIr
"so far surpassed the best productions of foreign
peared (including Caslon's), but also'
artificers that the importation of foreign types
ceased, and his types, in their turn, were frequently exported to the continent." At the beginning of the century there was practically no
real type foundry in England, and most of the
type in use in that country was imported from
Holland. But in 1737 Caslon issued a specimen
sheet of his fonts, and after that date England
could depend upon her own resources for types.
CRITICAL COMMENT
William Caslon's brother Samuel, who served as
THE majuscules of the Caslon Old Face are
his mold-maker, afterwards lived in the same
particubrly decorative in the simplicity and
purity of their line, and it is rarely n~ces
capacity with a Birminghamtype-founder,Wilsary to employ other types in combination.
liam Anderton. It is not quite clear when AnOwing to the nne-line serifs, this face should
be avoided in pages set to print on coated
derton started his -foundry, but he printed eea
paper.
The margin, shown here are for 30 y, g 4-1
little specimen of Great Primer, Roman, and
p.per (trimmed).
Italic, in the year 1753." It seems reasonable to
(8 Point CtttirJn Old Fdta, 2 'POint l81Zd.=d)
suppose that Baskerville as one interested in anything pertaining to the formation of letters had
~
30
II~
I
I
!
il
,!~
II
CONTENTS PAGE: Set in 12 and 21

Point CfJI/on OlJ Face italic with muzlJ
c"1s and oU-style ftgurM; folio, 12 Point
Caslon OU FtJce small caps; 12 Point
DecoratifJ8 Border Nos. 1027 a"d 1028.
TITLE PAGE: Set in 12, 14 and 21 Point
CaJlon Old Face itdie caps and lower
case; 36 point italic caps and lower case
( hand); 12 Point Decorative Border
Nos. 1027 ond 1028.
Contents
PAGE
A Preacher on a Pole.
71
Three Little Travelers

Sand in the Shoes .
73
75
Why She Didn't SQVe Herself.
77
What a Ropemaker Did for the World
79
The Bible and the Cook-Book
81
A Loaf of Bread .
83
Are Squirrels Wiser Than Boys?
85
Cas/on
to a Great House.
87
Mountain.
89
t Hadlts Own Way.
Bank
91
93
a Roof.
95
;Secret
97
Who Remembered
a Big Iron Bedstead .
. Teacher
Typefounder and Printer
99
101
10 3
[VII]
By
Wallace Dennison Thomas
With fOW' subjects in colour
and twenty-four reproductions
THE CMloll Italic is decora/we and effectifJe when used to dreu the front matter.
Occosionally a combination with. j'oman
initials is desirable, as Joown on page 19.
(10 Poinl Cad{lft Old Fdce, 2 ,lJsr:zt J.D.4,d)
Published by the Printers Publishing

Company, New York and London
,i
I... ._. _...... _... .... ..._._.. _.__......_..... _._ ......__._... .""". ....... . . .. . . .
~AlOft~~:.ioi"~~~'!';~~~""f~~~oJt~.t.'.~"""-,c3{,:;e'''-''.{';i-j;'-.-:t~t-D:I..I<~,~,'~IliI:'UtY'....t,w..;l:t;AAI'l~"""'<4':;::.sc,I~G:,
"(!
HUNT LIBRARY
C.MU
........... , ................................................. ..
I
Meg(;~~Me~}~i~f:le-ei(~M~:(~~~t:1~e'!'t{~fi~~f:!5~b(f~~~~~
In his Maties shipp the Rose
I I
~~
and as far as I can perceiue by the euidence the

constables power and further saith not:
as
~'"rT':_~5.
ber
168
Elizabeth
9
10Higgins
3 testifieth that I ouerheard the
aboue said men swear and curse seuerall times
and saw them strike the constable untill at last he
with his brother by striking clearehd themseblues
alsoe I heard Mr. Phips taunt at t e consta les,
saying you broke the peace. If I had been here
I would haue broke your head and further saith
not: dater: 9ber 10: 1683 : Mary Beuis and Eliz:
Higgins were sworn to the truth of what is here
written: 9ber 12:(83) before: Richard Pike:
Assistant.
This is a trew coppy compared with the original
left on file as Attested. By Edward 1. Rawson:
&~~.
After the depositions on bO.th sides had been read
the Gouernour said Capt Phips you haue now
heard what has been said and sworn on both sides
and as far as I can perceiue by 'the euidence the
constables power and further saith not:
Elizabeth Higgins testifieth that I ouerheard the
aboue said men swear and curse seuerall times
and saw them strike the constable untill at last he
with his brother by striking cleared themselues
alsoe I heard Mr. Phips taunt at the constables,
saying you broke the peace. If I had been here
I would haue broke your head and further saith
not: dater: 9ber 10: 1683: Mary Beuis and Eliz:
~_
~:,..
\,
~
':,'J,~
".
;~
,(f?
Sf:
~V
(,
')"l:.,
V
~
~
"K
~~f
v;
':~!
?f
;~f
J:
;2
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:b~
~t
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J
~
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~,;.' ~,'"
~
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~
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the
Zj'
deposition
of
;;:;~ins
Zf
~~
~
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'$!{
.:;,t
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~
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~
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4th
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[lli~m]
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).:(
).;\>.{~5'.D1~~~:;ylG%\01-il~~\\}~~Gj;X~~~~~~~~~~t~~QGiWJ;(
SPECIFICATIONS
OVER-ALL SIZE: 12 x 44 pica
MARGINAL NOTES: 12 Point Callon Old Face rom2n and

ita.lic Cll.pS and lower else and small caps.
POLIO: 21 Point Caslon Old Face old atyle figures.
TYPE: 14 Point Caston Old. Face, solid.

TITLE PAGE; 12 Point Caslon Old Face lower case for
superior ehnacterl, 18 peint caps, 21 point C:lpS 1IJ1d

lower CISe of bath the ramln and. the itnHe, 24 poin.t
DECORATION 12 Point Border Nos. 1024, 1025, 1026,

I061R nnd 1061L, 18 Point Border No 710R, 1S0L,
151R .nd 7S1L.
Iman caps.
RVNNING HEAD; 21 Point ellslon Old Face loman and ltaUe
I:8pS and lower casc, 12 point lower calJe \lsed for superior letlers.
'~
..
~'m'_
..... ____ ..,..
:e;1t
~..
R.ULES: 2 Point Matrix Slide No. 404 and 8 Point Matrix
Slide No. 115.

NUMBER. OF WORDS TO ]11JLL PAGE, 270.
__ _. __ _._ . ___ ....-_ _ _ ._ _ _ .... _ ..... _ _ . _ _ _ _ _ _ _ _ _ _ . _ _ . _ _ _ .
al
....
em-
rn7l=1PW
'f'"W
32
_m?AI
__._._,_ _ _ _ _
II'
p _ _ _ _ P _ _ _ .~ _ . _ _ _
?::rrn:"
;1_
....
= nrz
i
, I
;........................................................................................... -.............. -..._...................-.........................................................................._.................... ...... ..................1

,
i:
;
;
I
i
Ii
Mr. Phips's
I!
TREASURE ISLAND
Being a true Accounting of the
Extraordinary ADVENTURES of
his Maties shipp the Rose in divers
PORTS and on Sundry OCCASIONS
Ij
J
~
$f
IJ
I
Published in Boston by the MAssetts

HISTORICAL SOCIETY MDCCCCXXII
1.. ,._._ .... ,... "" ..... ,
. . . . . . . . . _. . . . . . . . . _. . . . . . . . . . .. . . . . . . . . . . . _. . . . . . _. . . J
CRITICAL COMMENT
THESE two pages .how the vu,atiIity of the Lin.otype

machine. The superior letters, the combination of
roman ~nd italic, the marginal notes are all chaTacteristics of old volumes which are frequently reproduced
in facsimile. Previously this has been 8UppO.ed to

require hand composition.
The margin. shown on this page are for 27 x 37 paper
(untrimmed).
"-,.-,,,,.- ....-
1W1I1I U _ _ PAliniUIJi
:n
........ ,................. " .............................................. "....................................".......... ,,, ................ ,,.....,, ........ ,......,,.......,, .............. ,,,,,,,...... '1
"
THE CASLON OLD STYLE FACES
.~
~ .......... "
never did he lose sight of the fact that type, as regards

the public, must be made to read, and, as regards the
printer, to wear,.
So rapidly did his business grow that, by 1734, he
was enabled to issue his celebrated sheet of specimens,
showing twelve faces of roman and italic, seven faces
of two-lines, seven faces of flowers, and seventeen faces
of foreign letters.
The further history of the house of Caslon, carried
on by five succeeding generations, was one of commercial success but of gradual artistic extinction. In
1843, however, it was touched by the fairy wand of
romance. In that year Mr. Whittingham, head of the
well-known Chiswick Press, was asked by an English
publisher to print a work of fiction in a style which
should suggest the period of the Eighteenth Century.
He bethought himself of the Caslon Foundry, then
under the direction of Henry Caslon, the fifth of that
name. From the vaults were taken out the matrices
for a font of Great Primer cut by William Caslon, and
from a font cast from these the book was printed. So
instant was the approval which it met that all the other
matrices of this Caslon foundry were cast aside, and
the demand for the new font more than equaled that
[4]
.. " ............. " .................................... , ....................... ,. ..... " ....... .. ............... " ........................., ...... , ...... "",. "" ...... " " ... 0""", " .................... , ... ,
SPECIFICATIONS
OVER-ALL SIZE, 27 x 44 pi""
TYPE: 1 B Point Caslon 014 Face.
LEADING: 2 point,
TITLE: 24 Point Caslon Old Face reman caps tLnd haUc:
lowercQe.
FOLIO: 14 Point Caslen Old Pace roman figures,
brac:keted.
'
RUNNING HEAD: 11 Poillt Caslon Old. Face cups,

in terapaced.
DECORATroN: 18 Point Border Matric:es Nos. 7S0L
ond 7l0R,
RULES, 2 Point Matrix SUd. No, 404,
INITIAL: 24 Point Caston Old. Face, above:.
NUMBER Of WORDS TO FULL PAGE: 240.
34
;
!
~~~a~~~~~
The Caslon Old Style Faces
EARLY in the Eighteenth Century William Caslon

was a London apprentice working at his trade as an
engraver. As he grew to manhood he confined himself almost entirely to the cutting of letters and ornaments for bookbinders' stamps, and so excellent was
his lettering that it attracted the notice of two printers,
John Watts and William Bowyer, who, in 1719, gave
him a commissi<?n to cut a set of punches for a font
of Arabic type.
In such fashion did Caslon acquit himself of this
commission that Watts and Bowyer found the money,
some $3,000, with which he set himself up in the business of a type-founder. At first his attention was
evidently attracted by the sinuous elegance of the
Oriental calligraphers, but in 1721 he issued to the
trade a full font of Pica, in both roman and italic,
which met with an almost sensational success.
To a keen sense of beauty, both of line and proportion, Caslon united an instinct for fitness amounting
almost to genius. During his lifetime he cut many
faces, which varied, of course, in attractiveness, but
[3]
I
!
,I
I
CRITICAL COMMENT
As the size of the Caolon Old Face type increa,e', the beauty of the design
on tb. 24 point ,i , the extra strength. thus given adding vel')' much to its
becomes more and more apparent) particularly in the cut or the italic. For
volumes of generous aize no more dlrniiied nor e1feetive trpoB'raphic.al treat-
e:ffectivenesa and appearance.
In the title-heading uggestion i, shown of using the roman tap. with the
ment can be given to the page than to dre .. it up in 18 Point Cadon Old
Face. The weight of the Caolon Old Face italic changes to a marked extent
italic lower case. This must be used carefully, but in some inatanees It give, an
added decoration. Them.rgin, .bowc.hereare for 38 x 50 paper (untrimmed).
.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
. . - . -.---. .
. .- - -..-.--.-------.. . --,.----,
~---~"'"-'"---------------
-"--~~~---T--
SPECIFICATIONS
OVEIL-ALL SIZE: 22 x 40~ pic...
TYPE: 18 Point Caslon Old Face.
LEADING: 1 point.
CH.!IT!P;/!~~BER: 24 Point Caslon Old
REMARKS ABOUT FOUR-COLOR PRINTING
Clpl.
POLIO: 14 Paint Caslon Old Face roman.

R~ri~~:N!.~OJ8~ Mattlx Slide No.
and
403
:;:::i
.......-..-.....-....-.-.........................................
fr!
th:
. . . -. . .
:I~.~~~~~::~~T
. . . . . . . . . . j
A MODERN .pplication of the early tendenor

to ooeupy the entire area of the type page with
type is shown in these samples .. There is no
chapter ainlcag-e, and the decoration ill g.:lined
by the boldness of the type combination. The use
of caps and sruat! caps in running heads can
rarely be .uccessfully worked out, but in thi'
case it ccboCl the unusual display shown on the
chapter page, and add. uniquenea. to the tat.
Th. margin. shown here are for 36>:# pap.r
(untrimmed).
(8 Point Ctltion Old. FtJ~, 2 t""nt lMi.e4)
------,~-----
Chapter. I
Some General Remarks about Four-Color Printing
HE latest development has been the

invention of four-color process work,
by which fully colored pictures are placed
on the photographer's screen, and three
negatives made through different colored
glasses placed in front of the camera lens.
Each of these negatives is then used for
making a halftone block, and the three
blocks-printed in yellow, red, and blue,
respectively, one above the oth~roduce
a faithful representation of the original.
The addition of a fourth halftone plate
which is printed in black and acts as a keyplate, completes the process. The process
was perfected by Frederick Ives of Philadelphia, Pennsylvania.
All the ordinary equipment of a photographer's studio is required. As the exposure
of negatives for process may be long, it is
advisable to have the camera swung so that
36
4Polnt MD.trJx
ORNAMENTS: 12 Point Bor4er Nos. l06IL :md l061R

INITIAL: 42 Point Caslon Old Fru;e (hand).
NVMBER. OF WORDS TO FULL PAGE: 168.
(tS PlJine Caslon Old Ftu:.e, 1 'Poi"t le4a.d)
~~ep~:':i !ep~~:!i"],;<:-."""t""..._...L
original will be reversed
if the negative is taken in t
Process cameras are theref f
right-angled reversing pris'!
lens, the subject to be pho I
placed at right angles to thi
recently wet collodion pIai
most entirely by process wi
are still preferred for line a!
black-and-white originals. i
colored subjects requiring!
are generally made with ti
plates. For most processes I
quired is a very sharp, well!
ative; but in halftone gre!
required, in order to get
distance of screen, and dev'l
sary to represent high and
ClpS
llUNNING HEAD: 14 Point Caslon Old Flce CI,PS aDd smalL
25
there are generally three stages of process

from the original to the printed illustration
Face roaum
C~~~ ';:I~ING: 12 Point Cas Ion 014 Face italic c:1pI
--1
_~
______
._~"""''''
_ _-'''-'' _ _ _ _ _ _ '' _ _ _ '''' ___ ''_''' _ _
'~~''''
__
En
""'i'!"'W
____..=m::"""""5Cpaew'"t'W""=M)"~~
._ _. _ _ _ _ _ _ _
'_'~_MW_'
I
:
'lII:.J!I"'lII:.J!I""_.J!I"'lII:_1!rlll:.._1II"'lII:_1II"lII:...J!I"'lII:.J!I"'lII:_1II"'lII:~lII:..3II"
4R:~~~~~~~..e<:~~~
f Contents
T a hIeo.
INTRODUCTION
TREATISE AND HINTS
q_. . . _. . . . . . . . . . .
""""-._"_'~_'_~"_'"_'_
(9 Poil1t CQ$ion Old FtJ~e, ~olid)
xv
Some Generall
about Four-Cd;
I.
Different Gha~
CHAP.
II.
C ondition of ~.: ';

Landscapes
CHAP.
III.
Proper Prepar~
FOUR-COLOR
CHAP.
IV.
Photography I.
Etching
.
CHAP.
V.
CHAP.
VI.
::-;:ngrl
PRINTING
CHAP.
VII.
Inks
CHAP.
VIII.
Affinity betwix
Color Printing,
CHAP.
IX.
Sources of Ple~
Profit in Colml
CHAP.
The Art of
By J!)ugb ~aEtutlI,
ESQ.
Including his TREATISE AND HINTS

ON FOUR-COLOR PRINTING and
THEORY AND PRACTICE OF
MAKING FOUR-COLOR PLATES
Edited by WILLIAM SMITH, A. M.

Member of the Royal Society of Engravers and Printers
------_._---------_._-
, ~
')
j'r;...
....... ' ...................... -,........................
LONDON
IF the treatment is bold on the title page,
ROBERT MAINWARING
the type sizes used in the front matter

must be kept consistent.
The combination of caps and lower case
on a title page requires the greatest
care in putting together. Early Colonial titles were frequently made grotesque by unintelligent treatment.
OPPOSITE SAIN'f PAUL'S
(11 Point. C4Ilon Old Fdee,.1 taint lnlletl)
37
r~:
_
_ _
TITLE PAGE: Set in 9, 10, 12 G"d 14 Faint

Casion Otd Face with italic and small caps;
12 Point Carlon Text; 30 and 36 Point
Carlon and 36 Point Carlon italic (hand);
12 Point Border Nos. 1024, 1025, 1026,
1061L and 1061R; 18 Point Border No.
716; R"les, 'I Point Matrix Slide No. 508,
and 2 Point Matrix Slide No. 403.
CONTENTS PAGE: Set in 14 Point Caslon
Old Face with italic and small caps; 21
Point Casion Old Face; 12 Po;nt Border
Nos. 1061L and 1061R; R"les, 4 Point
Matrix Slide No. 508, and 2 Point Matri.~
Slide No. 403.
FOUR-COLOR PRI~
PREFACE
~,.
CASLON OLD FACE WITH ITALICS AND SMALL CAPS

_
_ ..
_,._.~_
... _ .....
_~.J,
'r'"
_ , __
or::: ~:d~e:,;rl:ut;u~e~~tl~i2~e~~:tyu1a: .r!:!n~Z::tX:~r~~~ne:f l:e~i~ IIt
.....
n.-'..
the Dperator in aGod hedlh. To secure the maximum output the opentor must be kept In
eood. canditioD, :lS well as the machine.. MOlt operatOl's do not p:l)' enough :a.trention 10
the la.ws of health. Fist and accurate work a.t the Linotype keyboard is not limply.
matter of knowing how to finger the keys prClpczly, but :11&0, to a certain exlent, I
quesclOD of .DOd phyllcai condition. Tile amount of muscular eflatt required to opClate:
.. c_ ...... ~
......................... .
6 Pal.t Caolon Old Foe.
,..,.trd;", lh. ne~euit:J
Mut:h hq~ h,." Ul'#~~"
1~lIli~ and. SMALL CAPS
oj A,.pinr Llnot11'ts ,ntlr:h~ntJ in ,oad
o,.d.~ til IIbt{#n Jarr' OldPUf, b,,~ U=tz, h41 61e" sa;o r~rardi"g t.h. d,sirtlbm~1 o} klllplnr
'the oPff.:.t.or in gooJ. hdrh. 7'0 t."~r. tn. 11SQJtimum O"t,Ui the 0/'rtJt.c, rmut 6. kll~t ~fJ
100d eotiliitlonJ as !D,ll
01
the IdVJt of h.alth. FIUt.
th. tIIlZchln . Mort n/l"rotorJ' do rlnf 'I'ay ,""ugh. atu~HOn to

4IIC:(:Urata work 4l th" Linotrp, kllr6oilf'd it
limply II
."tl
""t
kAT'l'.ER OJ' KNOWING HOW TO JI'lNOER THE XF:YS PROPERLY, BUT ALSO, TO A Cl.RT.AlN
EXTENT, A QVESTION' OJ' CiOOD PHYSICAL CON'DITION. THE AMOUN'T or MUScUI.AK.
--.. -....._."' .- ..
~-
.........._.-........... _-- .-.- ..-...-.
_....._---- .....-_....._.__.__.._-- -----
IUll;c and SMAl.L CAPS
B Point Clillon 014 Fxe
Much has been written regarding the necessilf of keeping Linotype ma..:
chin .. in rood order to obtain large output, but little has been. said regarding
!
the d ..irability of keeping the operator in good health. To cure the maximum
'
output the operator must be kept in good condi.tion, II well as the machine.
\
Most operator. do not pay enough attention to the laws of health. Fa.t and
I
accurate work at the: Linotype keyboa.rd is not simply a matter of knowing
Much hat bee.. written r.garding the ...emity of " ..ping Linotype ma..
dines in good ord.r to 06ta;" ''''ge ou.put, but little ha. 6.1m said regarding
the desirability of keeping t". o'P"atorin good h.alt", T. secu,". m.~im.m
t)ulput tke "P41'4tOf must be kept in goad condition, as well fZS the machine.
MOlt operato .. do fl(Jt pay moug" atttn.';o.,. to th. laws of ",alth, Fa.t and
..--.-...------..----.-............. - ....-.---.-----.---........ - . -- "I' ........... -.....-.. - .. -....-..... ----.............-.. --.---------...-...... .
ACCURATE WORE A't THE LINOTYPE KEYBOARD IS NOT SIMPLY A. MATTER 01'
9 Point Cll!llon Old. Fsce
lulit; and. SMALl. CAPS

rega.rding the desirability of keeping the opera.tor in good health, To
secure the maximum output the operator must he kept in good condition, as well as the ma.chine. Most operators do not pay enough
Muck has been'llJl'itten regarding the necessity of keeping Linotype

maclUnes in good Of'der to obtain large output, but little has been said
regarding tile desirability of keeping th. operator in good h.cdth, To
seCf~re the maximum outpf~t tile operato, must he kept in good condi..
TION, AS WELL AS THE MACHINE.
MOST OPERATORS DO NOT PAY
10 Point C..I Old I'",e
ltaljc and SMALL CAPS
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, hut little has
heen Mid regarding the desirability of keeping the operator in good
health. To JeCUre the maximum output the operator must be kept
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output,but little has
been said regarding the desirahility of keeping the operator in good
IN GOOD CONDITION, AS WELL AS THE MACHINE. MOST OPERATOR'
11 Point C"Io. Old F...

operator in good health. To secure the maximum output
12 Point C:WOD Old Face

little has been said regarding the desirability Of keeping the
operator in good health. ,To secure the maximum output
THE OPERATOR MUST EE KEPT IN GOOD CONDITION, AS WELL

Italic and 5MAI.L C.APS

14 Point Calon Old P:tee
Much has been written regarding the necessity of keeping Linotype machines in good order
to obtain large output, but little has been said
regarding the desirability of keeping the oper18 Point Caslon Old Face

necessity of keeping Linotype machines
in good. order to obtain large output, but
21 Paint Caston Old P.cc
Much has been written regard

ing the necessity of keeping Lino

large output, but little has been .raid regarding the
I#4lic and SM.ALL CAPS
M uch.has been written regarding the necessity of keeping Linotype machines in good order
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REGARDING THE DESIRABILITY OF
KEEPING
18 Point CashIn Old Fl1ce Italic
Much has been 'Written regarding the

necessity of keep in g Linotype machines in
21 Point CAslon Old Face It'U!;
Much has been written regarding

the necessity of keeping Linotype ma
24 Point C;I.!!lQn Old 1ace ItaUc
24 Polo, Cadon Old Face
Much has been written re

I
garding the necessity of keep
I
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Figures
1234567890
B.", old styu ""d moJernje.J figu," sre "."a. for "II
.iu.,
,lth., ,,,,Ie may
... _. ._..!'
Swash Characters
rnclutled ...it" aU Cask". Old Face witl. Ittdic and Small CtJj> Fonl.r from 6 t
14 point ""d in III, 21 tmd 24 Point CalIon Old FaCl It4lie F.1JI.r
~
, ........... "..~.~.....
.... " ......... , "'........... " .... ' ...." .... ". ". ~ ....--." ........................... .,.,~........... ~.~... ...
...... ......................
-.-,
..
The 30 IJnd 36 point size! of 1M! !4rieJ, in roman, are in 'Process of mtJnufacture
38
THE QUESTION OF MARGINS
THE PROPER LOCATION OF THE TYPE PAGE UPON THE

PAPER LEAF WAS ARRIVED AT ORIGINALLY AS A RESULT OF
PRACTICAL NECESSITY
the earlier days, in printing on hand-made paper,
the sheet varied from one-half to one inch in each
dimension, so that it was impossible for the pressman to place the type page accurately in the center
of the sheet. He could only lay the sheets on the
tympan as accurately as possible estimating the
proper margins. In this way the margins at the head
and back of each page were uniform, but it was
unavoidable that there should be inequalities in the front and tail margins.
The binder was depended upon to cut down those leaves which extended
too far; and thus produce a volume of uniform appearance.
A later reason for the broad front and tail margins was a desire on the part
of certain readers to annotate the text. Erasmus once said, "They do not
love books who do not correct with a pen the errors they may discover in the
text, and who do not make frequent notes or criticisms upon the margins."
In modern times it has been generally accepted that inasmuch as the eye
takes in two pages instead of one, the double page must be considered the unit
in determining the margins. Theoretically, therefore, the inside margin of
each page is made uniform with the head margin, and the fore margin uniform
with the tail margin, the top and back margins being similar. In this way,
the two back margins come together, and the entire white space shown between
the two printed pages approximates the fore margins and the tail margins.
The perfect type page is supposed to be proportioned in such a way that
its diagonal is twice its width. With such a page as a basis, the above approximate proportions will work out successfully; but, after 'all, the margins
must be determined by the eye, simply taking any rules which may be set
down as a basis from which to work.
(14 Point Origin.l Old Styl. ""tn It.#<
39
.n.
Small Caps, 2 p.i.t l.ad,d)
"-r"' ... ........." .. ,,, ........" ... ,..,,,, ......... '"'" ....... " ................ '.. ,........
. . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . . . . - . . . . . . . . . . . . . . . . _, . . . .
I
The Grimani Breviary
:five hundred ducats to Cardinal Domenico
Grimani, whose name it bears.
When the Breviary was delivered over
to the Doge Pasquale, the Republic voted
to entrust the binding to one Alessandro
Vittoria, who succeeded in satisfying every
expectation. The binding itself is of crim.
son velvet, largely hidden by ornaments
of silver gilt. On one cover are the arms
and the medallion of Cardinal Domenico
Grimani, and on the other those of his
father, the Doge Antonio. Both sides con
tain further decorations and Latin inscrip.
tions, relating in the first case to the gift,
and in the other to its confirmation. In
the small medallions in the border one sees
a branch of laurel, - the emblem of vigi.
lance and protection, crossed by a branch
of palm, - the symbol of the religious
life. The dove typifies charity and the
griffin stands for defense.
The volume itself consists of 831 pages
about 10 inches high by 9 inches wide. It
contains no frontispiece, but starts in at
HE Grimani Breviary is probably

the most famous and the most valu
able manuscript volume in the world, and
for many years it has been jealously
guarded in the library of St. Mark's, at
Venice. Internal and external evidence
places the date of its execution at 1478 to
1489 - ten years being required for its
completion. It is believed that the com
mission was given by Pope Sixtus IV.
The Pontiff, however, died before the vol
ume was finished, and it was left in the
hands of one of the artists engaged upon
it. Antonello di Messine purchased it
from this artist, who is supposed to have
been Hans Memling, and brought it to
Venice, where he sold it for the sum of
12
11
World-Famous
Books
Chapter I
The Grimani Breviary
,,
.................................'............,. ..... ,... ,.-.~, ... "' .... " ... -..... , ............ , .................... '.0' . , . -............ ,.,." .. ,_!" .... " . -." ......... , ,,, .. , .. , .. ,..... _. ,......... ,",. ,.,, .. ,, .......... , .......... n' .... ""',., , ..................... ' ..
CRITICAL COMMENT
SPECIFICATIONS
THESE pages show the .ffect when lower case

letten are used for display a. well as for the
text itself. The Original Old Styre face is so
beautiful in itself that the lower case characters lend themselves with striking success to
the dressing up of the page, giving a simplicity and harmony which is most attractive. It
i. seldom that the running head is So successfully made an actual part of the page of text.
The margins shown here are for 25 x 32 paper
(untrimmed).
OVER.ALL SIZE, IS x 28~ pica.

TYPE: 10 Point Original Old Styl .
LEADING: 3 point.
TITLE: 18 Pcint Ca,lon Old Face.
CHAPTER NUMBER: 12 Pcint Orisinal Old Style.
CHAPTER TITLE: 12 Point Original Old Styl,.
RUNNING HEAD: 12 Point Original Old Styl.
FOLIO: 10 PoInt Ori,innl Old Styl .
(6 p.int Original Old $1,1 Z ".iot Id)
(8 Po;nt Original Old $t~I,. 2 "'ioll,d)
_1
40
FI
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.. ............................................ ............. -.- .................... , ..

'
, "
"
e'!S!,.,.;
..... "." ... , ...... ,...... , .......
.................................................................................... -.............
-.- ...........................................,............. -.,,,
World-Famous Books
Contents
A Critical Study
CHAPTElI. I.-How the Bishop of Westchester

Remarked on the Passing from the Ordinary to the Extraordinary 11
CHAPTElI. H.-Being a Confession of Susceptibility
26
By Herbert Gay
-I
CHAP:rER III.-How r Lodge My Visitor,

and Wonder at Mysdf
CHAPTElI. IV.-How I am Convinced There
Ma.y Be Real Occurrences Stranger than
Fiction
CHAPTI!ll V.-How I am Carried Acro.s the
Sea
CHAP:tER VI.-How I Came to the Hut of
the Shepherd of Saint Croix
CHAI'TElI. VIl~How, if You Think Intently
of a Mystery, You May Arrive Near its
Solution
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36
43
S3
63
72
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New York
Printers Publishing Company
I!
Publishers
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II
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THE
TITLE PAGE: Set in 12 Point Original

Old Style and 18, 21 and 24 Point
lower case treatment of tke book

pages is here carried out consistently
in the front matter_ Nothing cot,ld he
more simple, yet nothing more beautiful, than the stately lines of these welldesigned letters.
Caslon Old Face caps and lower case;

Floret, X-I1M_

Original Old Style caps, small caps
and lower case, and 12 Point Roman
cap and lower case.
(10 Poi.t Original Old Style, 2 point leaded)
(10 Point Orioinai Old Style, Z ~oint leaded)
41
.. ,..............
I
PRINTING IN AMERICA
leaves without folios. Only ten copies are known
SPECIFICATIONS
to be in existence, and, of these, collectors have re-
OVER-ALL SIZE: 20 x 36 pi",.

TYPE: 12 Point Odgin.1 Old Style.
LEADING: 5 point.
corded four only as perfect.
TITLE: 24 Point Caslon Old Face italic caps. and

low(! case.
By the year 1668 the equipment brought to
RUNNING HEAD: 12 Point Original Old Style

small caps., interspac;ed.
this country by Stephen Day became so worn
FOLIO: 12 Point Original Old Styl. ngurtS.

bracketed.
that Samuel Green, his successor, arranged with
DECOM TION: 24 Point Border No. 814.

NUMBER OF WORDS TO FULL PAGE: 18S.
(6 Poinl Original Old SI,le, 2 /loinllead,d)
Mr. Hezekiah Usher, a prominent Boston bookseller about to make a business trip to London, for
the purchase of an additional outfit. Thus a new
supply of types and paper was obtained from England. The influence acquired by this first press is
shown by an act of the General Court on May 27,
1665, prohibiting any printing presses or .o/.P.~.Jn
any town in their jurisdiction except Can;
Of the books produced at this early prt
the direction of Samuel Green, one of thel
was "The General Laws and Liberties of!
Massachusetts Colony." By order of the!
Printin g tn America
Court in 1672 this book was revised and rei

The title page indicates that it was prin;
Samuel Green for John Usher of Boston~
examination of the types shows them to
bi
cut and faulty as to alignment. The bookl

[ 12 5]
The first issue from the first press m British
America is said to have been "The Freeman's

Oath," which was printed on a small half-sheet.
No copy of this has come down to us, nor have we
any copy of the second issue of this press, which is
supposed to have been "An Almanac for the year
1639, made for New England by Mr. William
CRITICAL COMMENT
fHE Original Old Style type i. thus termed to

distinguish it from the lato< CasIan face, both
being cut by William CasIon. Until the Seventeenth Century there waS a general Sameness in
the lines of the so-called roman type faces, but
when William Caslan, in the middle of the
Seventeenth Century, recut the roman face, he
robbed it of its imperfections, and produced a
type of surpassing beauty.
Ie small-cap running head shown here is an
adaptation from Aldus, who first felt the need
of smaller characters which preserved the exact
form of their larger prototypes.
e margins shown here are far 30~ x 41 paper
(trimmed).
Peirce, Mariner." This volume, so far as we know,

was the first book printed in the English Colonies.
"The Bay Psalm Book," printed in 1640, which is
the earliest example of Colonial book-printing
which we possess, shows poor punctuation and frequent typographical errors; the presswork, however, is excellent, which would seem to indicate that
Stephen Day-at that time proprietor of the
press-was a pressman rather than an all-round
printer. The book is an octavo and contains 147
[ 123]
(8 PDint Original Old Sl"le, 2 point leaded)
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42
~~E:~R~~~~----I
j
ROBERT BROWNING
WITH INTRODUCTIONS BY
SIR F. G. KENYON, K.C.B., D.LITT.
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,1
VOLUME IX-PACCHIAROTTO AND

HOW HE WORKED IN DISTEMPER,
WITH OTHER POEMS-LA SAISAZ
-THE TWO POETS OF CROISICDRAMATIC IDYLS
WITH SEVEN ADDITIONAL POEMS
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SMITH, ELDER & COMPANY, ~ONDON

R. H. HINKLEY COMPANY, BOSTON
PUBLISHERS
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ANOTHER example of the overloaded title

Caslon Old Face caps and 14 Point
page, relieved in this case by harmonious decoration. Compare with page 29.
Original Old Style; Floret, X-1194:

Ornament, X-1196.
(10 Poi., Original 0 I.d Style. Z poi.t I..ded)
(10 Poinl Original Old Style. 2 point l ..ded)
_._~,_
ArwQUtJ
.......
,.,~"
...
,.--._.~
..
_~~"".
lidl :1m
,....._...,..'~'.r"~""
t'wn'Ri~[
",".--"'_...,"...."'.
,OO?1I2mi
_,"~_~
.. __
- ._ _ _ _
ii\i!.zu:r~u
43
XU[
~_....-
___ .
-------
.-,., ......,.....
<
___ . _ , . _. . . . . . . _ _ . . .
SPECIFICATIONS
AUTOBIOGRAPHY
OVERALL SIZE: 2S x 38)1 picas,

TYPE: 12 Point Original Old Style,
LEADING: Solid,
RUNNING HEAD: 12 Point Culon Old Face
roman caps, interspaced.

bookish inclination at length determined my
SIDE NOTES: 8 Point Original Old Strle italic,
father to make me a printer, though he had alRULES: 2 Point Matrix Slid, No, 405.
FOLIO: 10 Point Original Old Style figures.
ready one son (James) of that profession. In
bracketed.
1717 my brother James returned from England
with a press and letters to set up his business in
(6 Point Original Old Slyle. 2 poinl leaded)
Boston. I liked it much better than that of my
father, but still had a hankering for the sea. To
prevent the apprehended effect of such an inclination, my ["ather was impatient to have me
bound to my brother. I stood out some time,
but at last was persuaded, and signed the indentures when I was y" ... " .,",....''',' ..., ,,,,, ' .... ".. ,
was to serve as an a)
one years of age d.
journeym<m's wage:
Vttle time I made g
ness, and became' i
FRANKLIN
BENJAMIN
I now had access to:
ance with the appre!
put me on composing occasional ballads. One
me sometimes to bo'
was called "The Lighthouse Tragedy," and conwas careful to retu~
tained
an account of the drowining of Captain
sat up in my room:
W orthilake with his two daughters. The other
the night, when the:
was a sailor's song on the taking of Teach (or
evening and to be to
Blackbcard) the pirate. They were wretched
lest it should be mil
stuff, in the Grub-Street-ballad style; and when
And after some t
they were printed he sent me about town to
Mr. Matthew Ada:
sell
them. The first sold wonderfully, the event
tion of books, <mdj
Early
being recent, having made a great noise. This
house,
took
notice
Tests for
flattered my vanity; but my father discouraged
library, and very k
Reading
me by ridiculing my performances and telling
I chose to read.
me
verse-makers were generally beggars. So I
and made some littl
escaped
being a poet, most probably a very bad
ing it might turn to;
one. But as prose writing has been of great use
to me in the course of my life, and was a princi[ 1021
pal means of my adv<mcement, I shall tell you
how, in such a situation, I acquired what little
i
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ability I have in that way.
~
There was another bookish lad in the town,
j
John Collins by name, with whom I was inti!
mately acquainted. We sometimes disputed,
i!
and very fond we were of argument, and very
-.- ...... ,-.. - .... -........... ...... -.:
desirous of confuting one another, which dispu- Disputatious
,
tatious turn, by the way, is apt to become a very Character
bad habit, making people often extremely disaCRITICAL COMMENT
greeable in comp<my by the contradiction that is
r planning out volumes of biographical or
necessary to bring it into practice; and thence,
historical natut< the full.rule treatment is
besides souring and spoiling the conversation,
always effective; and for this kind of page no
type ever cut is more appropriate than the
is productive of disgusts and perhaps enmities
Original Old Style.
where you may have occasion for friendship. I
balance of the page is better preserved if the
had caught it by reading my father's books of
unning head is interspaced, as the space be
dispute about religion. Persons of good sense,
ween the letters offsets the marginal blank
Becomu a
Printer
0:
r:
"
etw<en the side notes. If the nature of the

'Unning head makes this impossible, the lead.
ng of the page should be increased.
margins shown here are for 33 x44 paper
untrimmed).
[ 103
,
(8 Point Origi 1 Old Style. 2 poi.t I,ad,d)
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~~.....uat~~~!;Q~~~'~~in~~~~~u~~~k~----~!....__....mu__.~I_.~G~.~~'.~M~.~~~~;A~
..~w!~;m~_;am-~~__~~__~,~-gg~w~.~-UW;~
44
:iIi-
l>IiWEg~
!.~
.~.---
- f
SPECIFICATIONS
OVERALL SIZE (inside bordor) : 17 x 30 pic...
TYPE: 14 Point Original Old Styl,
. LEADING: 1 point.
TITLE; 14 Point Origin.1 Old Style raman cap
FOLIO: 12 Point Origin.1 Old 8",10.
INITIAL: 21 Point Clon Old 1'"".
.BORDER: Decora.tion. X-I44!) top. mortised for
Folio, and X-1451 bottom. connected by rule

cast from 2Pomt Matrix Slide No. 401.
NUMBER OF WORDS TO FUIL PAGE: 100.
(6 Point Original Old Sty/., 2/1.int l.ad.d)
not only introduced to the

world a new and beautiful
type-face, but by incidentally
decreasing the cost of bookmaking gave a _~~.~~~~...J~: . . . . . . . . -,. . .-.. . . . . . -.. . .-.. . . . _
........_._. . ._.__. __. . . ._. . _. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
petus to the art 0 ~
in general.
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It was in the yi
Aldus founded h!
Academy for the i
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Greek and the p:
b~" .~q!f.rr:~",,'
.U1"1
of the CTreek cIa;
:;~_l&:!Zi1;.;
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it was probably d :
urging of its me
he determined on
THE STORY OF
~l
ing of a new ty:
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PRINTING TYPES
would further t;
tion in a cheap!
Latin classics. J:
IT IS the fashion nowadays
!
based his famous:
to enlarge upon the merit of
Aldus Man utius as a scholar
and publisher somewhat at
the expense of his reputation
as
a printer.
.
Yet surely entitled to a
place among the great ones
is he who printed the "Hypnerotomachia," that most
,
beautiful of all illustrated
1_.. - .................................................................. _ ..................................
books, and who cut the first
font of italic type.
CRITICAL COMMENT
Indeed, it is owing to this
THE treatment of the pages shown here i. sug
last-named exploit that Aldus
gested in cases where the manuscript is exceeddeserves the gratitude of the
ingly slight, and the nature of the subject matter
permits ornamentation. In gift books, if light in
modern printer, for by it he I
~I
'f!i!I;~~=~~~~____ . . ____ -=:.::_:~'l"~iJ
II
! _. __.__._-_.__._. ._-----------_ . .
l_._
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nature, the decoration may be ornate, hut when

the subject is serious, the decoration should be
simple in line and non-committal in design,
heaTing in mind that when decoration i5 com
bined with type it must contribute its share
without predominating at the expense of the
..1
type itself.
The margins shown here arc for 33 x44 paper

(untrimmed).
(8 Point Origi'41 Old St~l 2
fHJ/., leaded)
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_ _ _ _ _ _ _ _ _ _ ~_...._:..~.:: ~~ .......... r.~ ...... _ _ _ _ _ _ _ _ _ _ . _.~_. _ _ ... _................ _ .. _ ...... " _._ . . . . .
--.,.- ... -,.".,....-,...
~--"
'""' ,...,-
.... II'.....
"."~~,
~,.,,-,
.. ... . ,,
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rn,nnm,
~~twm1WVi~twL
. ...
~,.to.....
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n. __ ._. __ !!fff!:fiiI.'l(!IM!!p-llit
._ _ ,__ ... _.... ___
~._
. ___
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'IRIRI!*
ORIGINAL OLD STYLE WITH ITALICS AND SMALL CAPS
6 Point Original Old Style

Much has been w!itun regarding the necessity of keeping
machines
in
order to obtain large output. but little has been sai.d ngarding the desirability of keeping the o'p.erator in g~od health. To secure the maximum output the operator must be kept in good condition, as well u the machine. Most
operators do not pay enough attention to the laws of health. Fast and accurate
work at the Linotype Jceyboard ia not aimply a matter of knowin~ how t() nngtr
Linotype
good
It41ic and SMALL
~tio~~YTh~O~~~n~u~t~~~;~I:r C!~:;~ ;:~~r:~da~u;~~~~eo~ ~fno~~si~~Chl;;;
is not very great, but it is an occupation calling for a clear brain and ~tea.dy
nerves. and anything which promotes these conduces to speed and a.4:curacy.
Good health il5 an ;ulset to any Linotype opera.tor. and the observance of a few
rules will aid in maintaining it. Much has been written regarding
NEaVES, AND A.NYtHING WHICH PROMOTES THESE CON'DUCER TO SPEED nm ACCURACY.

COOD HEALtE IS .AN .4.SSET TO A.NY LINotYPE Ol'EJtATOlI., .4.m THE OloSEP,vANCE 0' A JEW
COMMON-SENSE R.VLES WILL AID IN MA.INtAINING IT. MUCH BAS BERN WJlITttN It-
common~$en!e
8P~:C~ri~~Sa~~~:S:;~tten--re~a:~g-~~e
CAPS
M ,"en. has bun TJJritttn r~Qarding th~ ntcuJity of keeping Liftoty/lt m~chilltJ
in good order to abtam large output, but little has be.en said regardin,g the desirability of Aeepinu t/u oPerator in good health. To stcUr~ the maxt.mum out
put the operator must bt !J.ept in go04 condition. as lUeU a.r the machIne. Mo.rt
operator.s de net pay enough Idttntion to the laws of health. F QJt and accurale
zt)orR. tJt the Linotype 1t.tyboard is not simPly Il matttr <!f knowing how ~o finger
tke Iu:ys properly. ht also. to a certain ,xtent, a lJuestton of good phYSIcal C~tl.
Jition. Tlu amount of muscular effort required to operate 4 Lino.type 11J.tlcklnl!
is not very great. hut it is an occupation calling for a clear brau! and steruly
~~o. --r----~UCh h~ w~:~-n:e:ard~n~t;e necessit:,~;e ;;;P~:;L~::'
necessity of keeping
type machines in good order to obtain Jar(le output, but little has
been said regarding the desirability of keepmg the operator in good
health. To secure the maximum output the operator must be kept in
good condition, as well as the machine. Most operators do not pay
enough attention to the laws of health. Fast and accurate work at the
Linotype keyboard is not simply a matter of knowing how to linger
the keys properly, but also, to a certain extent, a question of good
physical condition. The amount of muscular effort required to oper.
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heen
type machines in good order to obtain large output, but little has
been said regarding the desirability of lleeping the operator In goo.d
health. To secure the maximum output the operator must be i<ept 1n
good condition, as well as the machine. Most operators do not pay
enough attention to the laws of health. Fast and accurate work at the
LINOTYPE KEYBOAIUl IS NOT SIMPLY A MATTER OF KNOWING HOW TO

:FINGER THE KEYS PROPERLY, BUT ALSO, TO A CUTAIN EXTENT, A QUESTION
OF GOOD PHYSICAL CONDITION. THE AMOUNT OF MUSCULAR ltFll'ollT m
.._.-L.-!
10 Point Original Old Style
lJaUc and Sx.w. CAPS

little hilS been said regarding the desirability of keeping the
operator must be kept in good condition, as well as the mao
chine. Most operators do not pay enough attention to the
laws of health. Fast and accurate work at the Linotype key-
Much has been written regarding the necessity of li.eeping

little has been said regarding the desirability of k.eeping the
OPERATOR. MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE
MACHINE. MOST OPERATORS DO NOT PAY ENOUGH ATTENTION
TO THE LAWS 01' HEALTH. l'AST AND ACCUIUTE WORK AT THE
I
!--1
l2p.int Original Old Style

To secure maximum output the operator must be
kept in good condition, as well as the machine. Most
I1.lie .nel Swu. CAP.


HEALTH. TO SECURE THE MAXIMUM OUTPUT THE
OPERATOR MUST BE KEPT IN GOOD CONDITION, AS
--. __ ". ___________ .________.__._. ______. ________L____________.____ ._________ ._________________ -- -.. _

14 Point Orliinal Old Style
to obtain large output, but little has been said regarding the desirability of keeping the operator
in good health, To secure the maximum output the operator must be kept in good condition, as
well as the machine. Most operators do not pay enough attention to the laws of health. Fast
and accurate work at the Linotype keyboard is not simply a matter of knowing how to finger
the keys properly, but also, to a certain extent, a question of good physical condition. The
IllIlie and SMALL CAPS
to obtain large output, but little has been said regarding the desirability of keeping the operator
in good health. To secure the maximum output the operator must be kept in good condition, as
WELL AS THE MACHINE. MOST OPERATORS DO NOT PAY ENOUGH ATTENTION TO THE LAWS OF
HEALTH. FAST AND ACCURATE WORK AT THE KEYBOARD IS NOT SIMPLY A MATTER OF KNOWING
HOW TO FINGER THE KEYS PROPERLY, BUT ALSO, TO A CERTAIN EXTENT, A QUESTION OF GOOD
-.~
. . . - .....-= ...,.......
U~~
--~.
~~.,~
....
-.~~-
ZlliWO;;-=
III
<=
46
THE ELZEVIRS
HE period between Plantin of Antwerp, ~nd Baskerville of England,
represented a lower standard of
printing throughout the world,
and for this reason the work of
the Elzevirs in Holland stands
out in far greater relief than if it
were to be compared with that of the great Italian and
French master printers. This family first became known
as bookbinders in 1540, their earliest printing .press
being set up by Isaac in 1617. For the next twenty
years the production from their press attracted worldwide admiration, the summit of their excellence being
obtained by Bonaventura and Abraham Elzevir in
the editions of Terence, Cresar, and Pliny, in 1635.
The originality of the Elzevirs consisted principally in the cut of their types and of the small size of
many of their volumes. Naturally, innovations met
with certain criticism. The scholar De Put, in writing
. to Heinsius in 1629, says: "The Elzevirs certainly are
great typographers. I cannot but think, however, that
their reputation will suffer in connection with these
trifling little volumes with such slender type." In time,
however, the new typographical format established
(24 Point BIt",;r No. J ClIpSDfld 18 Point Bll.~ir No. J caps an410wer <,m. J po;"t 1.411, d)
47
THE WORK OF THE ELZEVIRS
SPECIFICATIONS
OVER-Al.L SIZE: 21 x 36 picas.
TYPE: 12 Point Elzevir No.3.
LEADING: 2 point.
TITl.E: 14 Point Bodoni roman cap .
RUNNING HEAD: 12 Point Bodon; italic caps.
FOLIO: 12 Potnt Bodoni roman figures.
HEADPIECE: X-I191.
INITIAl.: 36 Point Bodoni.
(6 Point Elr,vir No. J,2 po;"t I..d,d)
39
Switzerland, had come into the market, and this

inferior, unbleached variety replaced the Italian
and French manufacturers which had contributed
no small part to the beauty of the pages printed
upon them. Ink-makers had learned how to produce cheaper and poorer ink, and the types themselves, from constant use, had become worn down
to an extent which made real excellence impossible.
The originality of the Elzevirs consisted principally in the cut of their types ar.::!h~.. t.b.'i!..~.T...?l.1..!!.i.?~" .......................................... ,L, ........................................................ ..,......................' ...... .
of many of their volumes. Nai
vations met with certain critic:
De Put, writing to Heinsius, in!
Elzevirs are certainly great typ!
but think, however, that their:
fer in connection with these trl
with such slender type." In tl
new typographical format esta!
The Elzevir model was copied!
printers in France and Italy, al
THE WORK. OF THE
quartos of the preceding ages!
ELZEVIRS
came into favor.
j
OR over a century the world was deluged with
The Elzevirs show a decided!
a mass of wretched examples of bookmaking,
ness organization over any of!
and for this reason the work of the Elzevirs, in
Freed from the oppressive ceni
Holland, stands out in far greater relief than if it
able to issue many volumes, wi
were to be compared with that of the great Italian
of through connections establi 1
and French master-printers. This family of
pal book centers of Italy, Fran!
printers first became known as bookbinders in
Scandinavia, as well as throug 1
1540, their first printing-press being set up by
~
!
Isaac in 1617. For the next twenty-six years the
!
products from their press attracted world-wide
~
admiration, the summit of their excellence being
I
attained
by Bonaventura and Abraham Elzevir
1
in the editions of Terence, Cresar, and Pliny, in
!
the year 1635.
. 1
By the end of the Sixteenth Century, printing
!
CRITICAL COMMENT
for
definite reasons had lost much of its art and
!
had
become a trade. This perhaps is not to be wonTHE Elzevir face has been largely used in the !
production of limited editions, bu t its choice
dered
at, for by this time, as has been seen, the list
has not always been well considered. The type J
itself, owing to its "leanness," is useful in vol- !
of disasters which had overtaken without excepumes where it is desirable to get the greatest !
:
tion all those printers who had striven for glory
number of words upon a given page, but in
;
spite of the grace and dignity of its line there
j
was
an ominous one; while, on the other hand,
is an ornateness which makes it out of place for
any volume not possessing in itself a degree of
the
demand
for low-priced books was consider
distinction.
The combination here of the Bodoni caps for the
able. In addition to this, cheaper paper, made in
title and running head is intended to give

strength and virility, by the added weight of
the dominating lines, to a page which otherwise becomes monotonous through sameness of
color. On a smaller page its own caps could
be used.
(untrimmed).
(8 Point Elf,vi, No.1, solid)
- ...----...
'$M'T1
~-~---.--
--
.. .'MS"
'I:,
lIB'
48
--
.............,.-... ... .
~
F~rl
,.--~
The Work of the Elzevirs
HALF TITLE: Set in 6 and 12 Point

El{evir No.3 caps and lower case;
Floret, X-1197.
TITLE: Set in 6, 10, 12 and 24 Point
EI{evir No.3; Floret, X-1194.
-''The creators of a new typographical !ormat."-D, Put to Hems;." 1629
(10 Point Eltevir No. J, Z point leaded)
THE WORK OF THE
ELZEVIRS
By ARTHUR SPENCER
LECTURER ON THE ART OF PRINTING
IN THE SCHOOL OF PRINTING, BOSTON
AUTHOR OF "FRENCH OLD STYLE:'

"THE MOTHER OF JOURNALISM," &c.
THE EI{evir type is too thin in line for

general use in title pages, but when the
text pages are set in El{evir, the tall,
narrow caps barmoni{e well.
NEW YORK
PUBLISHERS
(10 Poi.t EIr,vir No. J, Z point letul.dj
49
ELZEVIR, OR FRENCH OLD STYLE
French
Types
HAS BEEN SAID BY THE LEADING

printer of this country, the late Theodore
Low DeVinne, that the French excel, in an
eminent degree, in "the art of making books
attractive." Whether this is due to a feeling
for art, engendered by the study of the beautiful creations of artists and handicraftsmen
.....-==..il of past times or to the strong attachment
which many of the French workmen have for their own trade or
handicraft, whereby the son is taught the trade of the father,
and so the name of a family becomes identified with a certain
trade through generations, and in some measure the individuality of the workman seems imparted to the work itself, the
writer will not attempt to state positively, but it has been well
said that there is always a certain quality and tone about a
French book of the better class which stamps it definitely as
French, even though the title page of the book may not bear the
imprint of a French publisher or printer.
SIDE FROM the general effect of the books

made in France, is the design of the types-for
although the various forms of roman types origiElzevir
nally sprang from the early Italian models, the
French designers and punch-cutters have given
the French types a character all their own, by reason of the individuality which they impart to some of the characters. In fact it seems impossible for punch-cutters of different
nationalities to recut an old face of type without giving it
some of the general characteristics of the faces of type made in
their respective countries: thus the German artisan will be likely
to give the recut face a German effect, the Frenchman will give
it a French effect, and the Englishman will give it the effect of
other types cut in England; just as in lithography the artist who
redraws the subject upon the stone (most of the lithographic
artists are German) frequently imparts a touch, here and there,
which makes the subject distinctly German in treatment.
As a rule, the French roman types in use today are very
"lean," or compressed in face, so made for the purpose of
Mayeur
18
SPECIFICATIONS
FOLlO: 14 Point Elz.vir No.3 figure .
DECORATION: Louis XV Headband. X-I348.
INITIALS; 108 Point Louis XV Series, ,peclal size, and 73 POint, X-1341
NUMBER OF WORDS TO FULL PAGe: 440.
(6 Point Elf.vir No. J. Z point l,ad,d)
OVER-ALL SIZE; Te.131 x S4 picas. side heads 4 picas with I pica between.
TYPE: 14 Point Elzmr No.3. solid.
TITLE; i 4 Point EI",vir No.3 roman caps.
SIDE HEADS: 14 Point Cheltenham Bold caps and lower ca
TilE MOTHER Or: JOURNALISM
a big. qukk, :lIt~rt ;md very practical town,

quito :lblc to htlld its own in lIlly Atm:ric:tn
crtlwd l~Vt\n whilt~ it M:dns its n:ttive qualities.
Wlwn Alm~fka was only "The C(lionics," the
British 1-\(\\'Nlltllt'nt fmmd it ncct~ssary ttl fllck()n
with lIoston Ilt'W~papl~r~. Whcn the Colonies
bl,~~.tnW tilt' United St;t!.l:S, tim AmlJric:m govern!lll'nts had to dt) the s.tltlc. Today, Wa~hington's
t'.tr is mtll''"' ;lttt'rlli\'c ;md considerate dum ever.
If ;mythinN in the way nf :lllOt!wr Tea P:trty
should tw(mlw ,h~sir:lblt\ we moly be quite sure
tll.tt tlw invit;ltinns 10 the .lfT.lir will be printed
prompt!y ;lUd prmlli!wntly by tht: present cit....
~ctlld:UlI~ (If III(' n'I\'hr;\lI~d Iltmj:lmin Franklin
,,"d tlw SI!I1~ tlf Uhtrly.
If p~y . . htJloHk;11 di~qllhiti(jn ditl Mt dem:md
sudt a 1111 of ~t;tl'Ilnrn. Ihb :Irtidt~ ~'nuld prow
mll,t h(';llIlifu!ly th;lt t"l~ inll'nse rnndt.!rnily of
IIll'\lol\\ \<IIII!t'mptll';I!lI'Ul/S m!W~p;LPl'I'S is (\ diI'I\.'!. illl!td f a11.(' fl'OIll tht! 1i1~,1 ;ln~I'~wr~. They
CHAPTGR ONE
BOSTON'S newspapers prescnt no trace of
the venerable aspect that one might expect to
find in the descendants of the oldest journalistic
f'lmily in the hmd. Not theirs is the over-lofty
brow that is so dear to the simple mind and the
llimpler pencil of the outer barbarian cartooni~t. They do not survey the world through
goggling spectacles, and their Linotype maga:r.ines contain plnin American matrices, without
any ch:mtcters to represent the more or less
noted Boston accents.
I f tho other American newspapers tlo not any
longer carry the stamlardold jokes about Boston
in sto(;k as they diu, it is due without duubt to
the fact that in the fllce of Boston's newspaperll
the joltcs bcctlme really too feeble. Its journal:;
have imprc~scd anotlwr picture of the city on
tl III American c()nsci()u~no~s-thl.! true picture of
pl'illlr'd 1111 \o\'un\otiVt1-likc prl!SSCS.

Itow 1I1i1l1!l\'i bdliud the IWWS. But
Wl'ft' 1I1l!
llll'}'
THE
MOTHER of JOURNALISM
\Wlt' ;t
tlwy Wt'n~ MI adv;lII~t'd ill Ihl!ir hk!:IS tlmt the

(lilly W.lf in whkh thl! Wllf'\hipful ;llltl\(ld!il!~
ruuld l \\'t' fhtm,!I,,!, frum :tl!vandng with
tlwn\ W,I\ In pUI Iht~ ~di\lH" ill j;lil.
[I)
!.!l
I:I~I
neAl CClIltMI(NT
SPtlCIl'lCATIONS
OVfiRAU. SI7.Ii: Ih.q rim.
TYI'Ii: It) I'ninlliltl!vir Nu. J.
UiAIlINli: 2 ~"II1I.
TITU,: 14l'"inr muvirNn.l.
t:lIA1'Tliit Tl'rl.ri: 10 Pullli ml~vlrN(). J. rllm~1I C~pl.
1I1iNNINCi IWAfi: 1I1'"lnt !!I1.vir Nu. 1. WIIIOII
1'C1I.ICl: 10 Puinl [1I~eYir N". J. rurn.n fi~l\ru. hmkelml.
INITIAL: 1M PII/llt !!Ite.ir Nn. J.
NUMUBR CH' worms 'ro !'L1Lt. !'A(lr!: 21)0.
(6f'uin/lJl(nir N~. J. 2 poi"t '.ad,d)
SM.\!.!. 1.',,111111'" rrtluire \lvrll IIlUf~ "m'ful

'IIti'I.lrf;lflllll tll;!11 11111'(' o! IIlIIft! MIIII'I~ /"., ..
tII./t 1' ;UW hlt'llIhh 11l":lIm~~ lIIillloitill(1. '('he
1',1/1'\'11 1;\, .. HI fill' ,rnilU"r ~il.l~ I, II:~~ flfe>(1111111(,,1 III ih p~r~nl1;lIil"'. ~!II1 lend~ ic"M
tIl 11\1' '"111)"
oln":!!:'
lOr
"r
Ih~
"'I".
I'Jllr. The InY~rhl,1 frl
III,mh. IlI'lI~.1I1t fhll litle, !IC\lOIrlll~~
it fr ..1II IhI! ~h.t\ll~r hra!! with lC~5 r"rmalilY

Ih~1I ;\ lI.erd,
lhr lII;lf1l1l11 .,tllfWn
IIl'fl1 11ft
(IInlflllllllr.l )
I ~ I'",., f'/;w N... J,
fur 211)( :12l~ p;lpcr
a I''''~I l.dJ.J)
'\'~~' ....... r;:,.,.Iii;.,\I ...It<1IW.'~"TM''''~'';;>J/'.;:t.. '~~N~~~'.''I:''''II\h,,~~~.:!::Y.;~.~~t.'<:r.O~~~~~~>JR~~~~~~>'Ir.!l!:'~~I/'~"'I'>\WJ!'.,~.~~<f~':'iI\!l'$*:,!:1I')i0li~:~,\\"'n~"'!iJMjII!:f:"tfI':oIIII~,;.;;o-'''''''~.ft1I.1ol!!\l;'/'lI'1!','~'A-:lI~:)'::M1f,/%1''''''~il:ll'~.,'($~("'"~
~; !.
ELZEVIR NUMBER THREE WITH ITALICS AND SMALL CAPS

AND SWASH LETTERS
6 Pcint Elzevir Nc. 3
M:a graJerbet~n o~~~1~enla~a~~rlut:h~u~efj~~~t~a~f b~:~pj~a~dL!~:~rJI~gm;~:i~:~

Si~i!ity
in
of keeping the op'erator in good health. To secure the maximum output

the operator must be kept in good conditionJ as well as the machine. Most oper..
ators do not pay eno'1gn attention to the laws of he.a.lth. Fast and accurate work
at the Linotype keyboard is not simply a. matter of knowing how to fmier the
keys properly. but also to a certain extent~ a question of good physical condition.
TOe amount of muscular effort required to operate a Linotype machine is not very
-
- - - . -
- . , . - - -
'<
- - . - - - - - . - - . , - - - - -
a Point Elzevir No.3
--,,-
Much has been written regarding the necessity of keeping linotype machines in good order to obtain lar~e output, but little has
health. To secure the maximum output the .operator must be kept
pay enough attention to the laws of health. Fast and accurate work
at the Linotype keyboard is not simply a matter of knowing how
atof's dQ not pay enougb attention to tb, laws of Jualth. Fast and acc:urats 'flIork
at tbe Li7J.Otype k,yboard is not limply a mllttu 01 k1Ulwing bow to /inglT the
. . ". --.. ,,--".--- ...... -. ,... ,. .-- -.......-........- .. ---..---.---.-..- ..-....- -I'
9 Paint Elzevir No.3
Italic and SMALL CArs

Much has be.n written regarding ibs -necessit)' 01 klfepillg Li-notY'Pe mat:hines
~od ord,,. to obtain largll output~ but little btu be,,, said regarding tbe de ..
i
~!~;~/:=fJ:Pi~"::~i~o8nod~~o~~a~$bw~l1 ~c;h: ~':et/:~~tn;;";s:~t:,~:
It: jL ;rat1r
'--"-'--1i
:~~kinbgutw~ic~ ~~o~~;~~a~~e~e c~~~nfu!e~r t~ c~~:~l~~~ ~~:u:i~;~Y G~e~de~e:ng
in
keys properl,. but IdsD to a certain extent, a qutJtion 0/ good '/Jh1sical condition.
Tbe amount 01 muscu.lar Ilion rlqu,rld to ojJt,Qte a LitJotyfJI machine is "of 'Vlr:t
GR.EAT. BUT IT IS AN' OCCUPATION CALLtNG FOR A CLEAR BRAIN AND STeADY NERVES.
AND ANYTHING WHICH PR.OMo'!ES THESE CONDUCES TO SPEED AND ACCURACY. GOOD
Italic and
SMALL CA..
Much bas been written regarding the necessity of keeping Linotype machines in good order to obtain larl;e output, but little bas
been said regarding tbe desirability of keepIng the operator in good
bealth. To secure the maximum output the operator must be kept
in good condition, as well as the macbine. Most operators do not
PAY ENOUGH ATTENTION TO THE LAWS OF HEALTH. FAST AND ACCURATB
WORK AT THE UNOTYPE KEYBOARD IS NOT SIMPLY A MATTER OF KNOW
Italic and 5 MALL CAPS

Linot")'pe machines in good order to obtain large output, but
little has been said regarding the desirabilit:y of keeping the
operator in good health. To secure the ma~mum output tbe

operator in good health. To secure the maXImum output the
operator must be kept in good condition, as well as the machine. Most operators do not pay enough attention to the laws
OPERATOR MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE

MACHINE. MOST OPERATORS DO NOT PAY ENOUGIi ATTENTION TO
10 Point Elzevir No.3
1I.lie and SMALL CArs
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has been said regarding the desirability of
keeping the operator in good health. To secure the maximum output the operator must be kept in good condition,
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has been said regarding the desirability of,
KEEPING THE OPERATOR IN GOOD HEALTH. TO SECURE THE
MAXIMUM OUTPUT THE OPERATOR MUST BE KEPT IN GOOD
II Pcint Elzevir No.3
Italic and
SMALL CAP.

large output, but little has been said regarding the'

desirability of keeping the operator in good health. To
secure the maximum output the operator must be kept

HEALTH. TO SECURE THE MAXIMUM OUTPUT THE OPER
12 Point Slzevir No.3
It.lie and SMALL

obtain large output, but little has been said regarding the desirability of keeping the operator in
good health. To secure the maximum output the
CAP.

"Of keeping Linotype machines in good order to
obtain large output, but little has been said re ...
GARDING THE DESIRABILITY OF KEEPING THE OPERATOR IN GOOD HEALTH. TO SECURE THE MAXIMUM
14 Point Elz.virNo. 3
Italic and SMALL Cus

Much has been written regarding the.

,
GOOD ORDER TO OBTAIN LARGE OUTPUTJ BUT
.i..____ .~~!!.~~ __J:i~~...~~~~.~~.~~_.~.~~~~~.I~~.~J:IE
DE-
18 Point Elzevir Nc. 3
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has been said regard-.
ing the desirability of keeping the operator in good health. To secure the
24 Poi.t Ellzevir No.3
.M uch has been written regarding the necessity of

keeping Linotype machines in good. order to obtain
lar~~_ . . ?~!P~!'.. __.~.~t little has been said regard~!?g.__ !~.~
Both Old Style and Moderni{ed Figures made for all
si{es; either style may be ordered with a font
Swash Characters
Included with all El{evir No.3 Fonts from 6 to 24 Point
1234567890
__
NR
Rili
52
JU
_
T
r-."-'." . . -.. .- . -.-.. .
,
I
j
~-.-.-
................
,1
l
j
'1
FRANKLIN OLD STYLE

HE Franklin Old Style Series of Roman and Italic
[~~JI
printing rypcs W~ d~ignoo by Alexander Phemister, a

Scotchman. While Mr. Phemister was employed in the
type foundry of Miller & Richard, in Edinburgh, he
1...:=====;;,,1 designed and cut the steel punches of the Roman and
I talic in a Long Primer size of old style character, modernized in shapes,
proportions and weights, to avoid the irregularity and obscure qualities of
the Caslon face. Before adding additional sizes, Mr. Phemister came to
Boston, Mass. ,where he became a partner in the famous concern of Phelps,
Dalton & Co., proprietors of the Dickinson Foundry. A few months
later, he began the cutting of the Franklin Series as we know it today,
utilizing in part the design of the Long Primer size which he had cut in
Edinburgh, but improving it in shapes and proportion which gave to the
new face more of the old style character and definiteness. The completed
series included Nonpareil, Minion (the last size Mr. Phemister cut),
Brevier, Bourgeois, Long Primer, Small Pica.
The Franklin Old Style revolutionized book types, and the soundness
of Mr. Phemister's taste and discernment was indicated by the general
approval and adoption of these types by all classes of printers and publishers. They found their way into every printing office of importance in
America and abroad, even being adopted by the English, German and
French foundries. The success of the type was due not only to Mr.
Phemister's wonderful knowledge of proportion and his artistic eye for
curves and shading effects, but equally to his rare skill in handling fine
tools. It is said that Mr. Phemisterwas one of the half dozen best Roman
and Italic punch cutters since Gutenberg.
SPECIFICATIONS: 18 Point F,,,,,lIlin Oltl Sljll., 3 ~oint leadBtl. D"O,"/i01l,
H ,adhQ:ll,;l was fJllilt *OP wit" sl-C$ cast IrljlM ~fJ ",tler;.s slidN fINl, tflla l8 point
"orders, 'llIAicn are namoerlt/. as /oll0fJJ4, 6"ginni"K at tlld ouuftt.: oS Poin' Matm
Slitl. No. 506, 4 Point Maer;.; SUa. No. 1108, 6 Poin/ C..,w MiUM Sluu No.
404, 18 Point Bortler N08. 716 ",,/l 719. Tlo8 initial was ",,,tl ..p of ~.68 ,.",. _.
I,rial. /JNt~ insUtul of t/Js IS '/Joi."t lJortltw. SA0'lIJ3 a ,."z~ cu# /rDm 2 pov.l M"tr~
Slitl. No. 126 as /.68 fi,t;'lh.,y ..m.
SPECIFICATIONS
OVERALL SIZE: 24 x 42 picas.
TYPE: Sand 11 Point Franklin Old Styl
LEADING: 1 point.
TITLE: 36 Point Caslo. No. 71 (hand).
CHAPTER TITLE: 14 Point Caslon Old
Fa.ce.
RUNNING HEAD: 12 Point C.slonOld
Fa.ce.
FOLIO: 12 Point CasioD Old Face figur .
INITIAL: 28 Point Ca,Ion No. 71 (hand).
NUMBER OF WORDS TO FULL PAGE:
430.
HARVARD 19I6-REPORT III

ELI] AH ADLOW
0'
at Boston, Sept. 3, ,896. SON Nat""n and Bessi" Atllo1JJ. PnPAllED

at Boston English Hig".
YEARS IN COLLEGE' '9'3-16. DEGREES: ..t!..B.; LL.B.
WAll SERVICE: Enlistd I~ 5, 1918, in tIu Ntwy. Boston.
BORN
UNMARRIED.
OCCUPATION:
r.aw,....
AnDRESS: (home) 35 Elm Ria PMk. Boston; (business) ,8 Tr.mont St.,
Boston.
years at:
M ytothree
state I was nq
With the assistance
et aI., I became a seani
cruise on the good ship
decorations, no citatio
enough influenza to gi
Little Bldg. as orderlj
First Naval District. .
Elected to Mass. leg
Nov., I920. Republica
in politics to have a sp
and other Reformers..
nothing). Tried to ele
tried harder.
I am one of the fewi
wood). My clientele i
narrow in poCket book"
j}fember: Harvard
WALTER
at Borton, MMs.
at Boston Latin Sckool
BORN
YEARS IN COLLEGE: 19I'
WAR SERVICE: Enlire.d-
murioned 2nd Lieut. i

L .., Virginio, until At
UNMARRIED.
:
OCCUPATION: Cotton y,i
AnDRESS: (home) 48 E11.
Sum1'l'U1' Strut, Boston.
Monday, of CI'
O NNational
Guard .
EI Paso, Texas, I spent
CRITICAL COMMENT
THE simplicity of iine in the Franklin
Old Style makes it an ideal type for
volumes which possess permanent
value. The reverse indention sets off
the vital statistics without undue emphasis. Note that the figures are
roman while the letters are italic.
The margins shown here are for 25 X 38
paper (trimmed).
(8 po;"e , .;"U" Old Style, 210inllomkd)
Harvard 1916
RECORDS OF THE CLASS
EUGENE L. ACH
at nayton. 0;';0. SON 0/ Ferdinand I. and Carrie K. Aclt. PREPA1<.ED
at Pkillips Exeter ..t!.cademy.
YEARS IN COLLEGE' I912-15. DEGREE: A. B.
WAR SERVICE: Inducted Camp Sherman, Ohio, Oct. 2, I9I7. Commissioned- 2nd- Lieut., Q.M.C., September, I918. Discharged W Mhingto ..
D. C., IJe.ccmlJB1', 1918.
MARRIED: Ruth ilfeld, at Albuquerque, New Mexico, January 9, "9'7.
CHILDREN: F. I. Ad" 2nd. born April 9, 19~I.
OCCUPATION: Secretary, The C""by, Ack and Canby Co., nay ton, Ohio,
Coffee Roasters and Importers.
AnDRESS: (home) IZ03 W. H aTvard Boulevard, Dayton, Ohio.
BORN
years' retrospect is not a pleasant thought when one

A S1X
has accomplished so little, and moved so lightly along the
highway. I'm already a tired old business man in almost every
respect. Mter fifteen months of monotonous service in the army,
all on thi~ side of the water, without one single relieving ray of
excitement, I returned to just as monotonous an' existence in
Dayton. Main Street has nothing on me. I'm disgustingly
settled down. Perhaps I'm too much in love with my wife and
child, and too contented in our home. My greatest joy is to sit
in front of the fire and just loaf. My relaxation is to fix the furnace in winter, and cut the grass in spring. My greatest anxiety
is to keep the gas bills within reason, and to hope to get on to the
Yale game next year-always next year. I feel very much like
Peter in "Beggars Gold," only there has never been a Chinaman
in my life, outside the laundry. My greatest hope for a change
centers in a kid brother, who will be Harvard, '26-the college
board willing-and who has an uncanny knack of getting into
hot water. Hope he keeps it up so that I can come to Cambridge
frequently to extricate him.
Member: The Civitan and Harvard Clubs, Dayton, Ohio.
I
Dvf ethods of Illustration
SPECIFICATIONS
OVER-ALL SIZE: 21 x 38 picas.
TYPE: 12 Point Franklin Old Style.
LEADING: 2 point.
all illustrations are mechanically produced, and

the actual cost of making any blocks or plates may
TITLE: 18 Point Ehc:.vir caps.
CHAPTER NUMBER: 12 Point Franklin Old Style
be taken in the following order: line process, halfca.ps.
tone process, colortype and other photo-mechanical
RUNNING HEAD: 14 Point Elzeviritalic lower caSe:
with swash caps.
gelatine methods, and, lastly, photogravure as the
FOLIO: 14 Point Ftanklin Old Style :figures.
INITIAL: 66 Point CasIon Initial" X-12S7; Second Color:.
most expensive. I t must be remembered, too, that
X-12S9.
the first two being relief processes, the blocks may
(6 Foint han!,,;" OU Style. 2 point leailed)
be incorporated with type matter in printing, but
the last two methods necessitate quite separate and
distinct printings from letterpress and are best
adapted for inserted plates in a volume.
When the printed book succeeded the written
and illuminated manuscripl
doubtedly printed from a sin,
had been engraved in reverse:
of the required lettering. AnI:
mainly 'of a devotional kinl
books predominating, it was
plement the letterpress mattei'
METHODS OF ILLUSTRATION
design. These were engrav.
planks of straight-grained pi
CHAPTER I
the lines were cut by means oJf
T now becomes necessary to devote
the direction of the grain of
some attention to what is very often
distinction to the later metho
where the blocks are cut upon
the most important feature where
Such a me:thod naturally
a modern book is concerned-the
scope for the engraver, but af
illustrations.
of early wood engraving be'
Within the last few years illustrated books have
mony to the wonderful power;
become more and more frequent, until at the present
designers. When the use of n:
time ~ery few books are published without some
kind of illustration, or attempt at least, at typo4
graphical decoration. The facility with which
illustrations can be produced is largely responsible
for this tendency; on the other' hand, the demand
for "pictures" in a book has undoubtedly stimulated the development of modern methods of
engraving until the variety of processes available
for the purpose is positively bewildering.
I n the selection of the mode of illustration, one
must be guided by whether the designs are original
CRITICAL COMMENT
or whether the pictures are mere reproductions of
THE Elzevir italic with the swash characters, offers
old subjects. If the former, the drawings can be
an opportunity for decorative treatment which
generally adapted to the requirements of the parharmonizes with the Franklin Old Style face.
ticular process to be employed, the precise method
Restraint should be exercised in using these swash
cha:racters, which lose their effectiveness if used too
being regulated by the total expense to be incurred;
freely.
whereas, in the case of reproductions, the choice
(trimmed).
would naturally be more limited. Nowadays nearly
(8 Foi., Franklin Dill Style. 21>0;'" I.adell)
3
'~~_''';'~iIi:t~a~-s;;'::'-''-''
55
ALQl4:ra;03
r
II
I
,
Z Xmer
'AIII
1P
FRANKLIN OLD STYLE WITH ITALICS AND SMALL CAPS

6 Point Franklin Old Style
Iialic and SHALL CApS

M'Ut:A Izeu oDcn written r'8Mr.ling tne .'';613';ljl 0/ lee,.,i", Linotype madulIes
in gooa. O,.d6r to obtain lar'l:. output) !Jut Utile "(IS 6ee" seud f',zardj"8 tlw de-
Much has been written rep.tdlug the :necessity of keepin, Linotype machines
in good order to obtain large output, but little has beeD. said regardiug the de..
::~~t!p~1:;P::::atti: ~~a~g~Olo~~Jiti~:'l'J~:ltcu~e
:e:a~~e~J~!t
1:f'jf,;t~i1r;;,!:::$/~: ~~/'::,r}:oto:n~d1:;~~~"a;~,$l/:s t~;e t:a;;,~;:,":"J/;;j

op.ralors do not "P~ enouc~ sUl-mion to tAe laws 0/ health. Fast alld aCCU1'(.zte
operators do not pay enougfi attention to the laws of health. Fast and accurate
work at 'the Linotype. keyboard is not simply a matteT' of knowing how to finger
the keys roperly, but also, to a certain extent, a question of good physical eondition. fie amount (If muscular effort required to operate a Linotype machine
is not very great, but it is an occupation ca.lling lor a cleaT brain and steady
aerves, and anythilll' which promotes these conduces to apeed and accuracy.
Good health is an asset to any LinotyPe operator, and the observance of a few
fflor1: at tJ,., Li1lot"pe Iu~boartl is not siNtply " matur of knowinll now t.o fincer
the
P"01Cf'1~,J "ut also, to a el1'tain 8xt8nt,. IJ question oj good 'Pt.)Jsical eonditio". Tile smo"n' aj muscular sffare r~quiT.d to 01eTat. II Linotyps ,,,aehin'
"",,,,3
IS NOT VERY GREAT~ llUT IT IS AN OCCUPATION CALLING FOR A CLEAR BRAIN AND
STBADY N1UtVBS, AND ANYTHING WinCH PROMO'l'ES THESE CONI:IUCES '1'0 SPEEl) ANI>
ACCURACY. GOOD ::a:EALTH IS AN ASSET 'to ANY LINOTYPE OPERATOR, AND 'UIE OBSBRV-
-.------.-.----- ---.. --.--.--...-.---... -.--------.--- -----.. ------ 1-------------------.

Much has been written reguding the necessity of keeping Linotype machines
in good order to obtalu large output, but little has been .aid regariling the
desirability of keeping the operator in good health. To secure the maximum output the operator must be kept in g-ood condition, as well as the machine. Most
operators do net pay enough attention to the l.ws of health. Fast and accurate
""rk at the Linotype keyboaTd i. not simply a matter of knowing how to finger
the keys properly, but also. to a certain extent, a question of good physical
I'
... -"- -.-"-
ilal;' and SW.LL CAps

Much has b" w,iU.n regarding the necessity of keepitlg Linot"p. machines
in good order to oblain large output, hut lim. has heen said regarding th.
desirabilit" of keePing til. operator in good h.alth. To setur. th_ ma~imum output In. op.,ator must b. k.pt in Good ,mdllion, as well as the ",achi"e. Mosl
oper.tors do not pa" eno"G" att.nlion to tlte laws of health. Fast a"d o,"",.ts
work .t the LinDt". Iu"board is not simp/" a ",att., of "nowing how to finger
condition. The amount of muscular cHort :required to operate a LiDotype ma..
THE KEYS PR.OfERLY3 nul' ALSO, TO A CERTAIN ~XTENT, A QUESTION' OF GOOD

'PHYSICAL CONDITION. THE AMOUNT OF MUSCULAR EFFORT REQUIRED TO
chine is not very great, but it is all occupation ca.lling for a clear brain and
OPERATE A LlNOTY.PE MACHINE IS NOT VERY GREATJ BUT IT IS AN OCCUPA..
8 Point Franklin Qld Style

Much has been -written regarding the necessity of keeping Linotype
regarding the desirability of keeping the operator in good health.
To secure the maximum output the operator must be kept in good
condition, as well as the machine. Most operators do not pay enough
attention to the laws of health. Fast and accurate work at the Linotype
keyboard is not simply a matter of knowing how to finger the keys
properly, bnt also, to a certain extent, a question of good physical
ItllZi6 and
0'
SMALL
CApS
Much has bun writtsn ..egarding ths nec8ssity

keeping Linoryp6
machines i" good order to c;btai1J. la,.ge out-put, In,t little has been said
Tsgarding the desirability 0/ keeping the operator in good healtk.
To secure the maximum outjJut the ope.ator must be kept in good
cDntlition, as w8ll os the mlJchi,:8. Most operators do not pay 81Z0Ug/:.
--~~~--.- ~--- -~- -- ------.--- ----.- - -- ---.---- -_.- ---.-.-.--.--- -,- ,--- -._- i
9 Poiut Franklin Old Style

operator must be kept in good condition, as well as the machine.
Most operators do not pay enough attention to the laws of
health. Fast and accurate work at the Linotype keyboard is
ATTENTION TO THE LAWS OF REALTH. FAST AND ACCURATE WORK AT

THE LINOTYPE IO!YBOARD IS NoT SIMPLY A MATTER OF KNOWING ROW
TO FINGER THE KEYS PROPERLY, BUT ALSO, TO A CERTAIN EXTENT, A
Italic and
SMALL
CAl'S
Much has been written regarding tit. necessity of keeping

Linotyp6 ma&hines in good order to obtain large output, but
little has been said 1"egarding the desirability of keeping the
ope1"ator in good health. To secU1"l3 the maximum output tlte
OPERATOR. MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE
TO THE LAWS OF HEALTH. FAST AND ACCURATE WORK AT THE
Itu,lic and

operator must be kept in good condition, as well as the machine. Most operators do not pay enough attention to the
SMALL CAPS
Much has been written ngarding the necessity of keeping

OPERATOR IN GOOD HEALTH. TO SECURE THE MAXIMUM OUTPUT THE OPERATOR MUST BE KEPT IN GOOD CONDITION, AS
WELL AS THE MACHINE. MOST OPERATORS DO NOT PAY ENOUGH
11 Point FraDl<1in Old Style
Italic and

maximum output the operator must be kept in good con-
SMALL CAPS
Much has been writtell regarding the necessity of

OF KEEPING THE OPERATOR IN GOOD HEALTH. TO SECURE
THE MAXIMUM OUTPUT THE OPERATOR MUST BE KEPT
12 Point FraDklin Old Style
Italic and SMALL

obtain large output, but little has been said regarding the desirability of keeping the operator in good
health., To secure the maximum output the opera-
CAPS

obtain large output, but little has been said regardING THE DESIRABILITY OF KEEPING THE OPERATOR
IN GOOD HEALTH. TO SECURE THE MAXIMUM OUT-
14 Point FraJIklin Old Style
Italic and

SKALL CAPS

GOOD ORDER TO OBTAIN LARGE OUTPUT, BUT
LITTLE HAS BEEN SAID REGARDING THE DE-
18 Point Fraulin Old Style
18 Pain' Franklin Otd StylI /I.lie

the necessity of keeping Linotype machines in good order to obtain large
output, but little has been said regard-
11
M uchhas been written regarding

the necessity of keeping Linotype machines in good order to obtain large
output, but little has been said re
mil
56
;"~I: ~<
;.
.',<.~:!,: "
I~ELATED
I)ECORATIONS
FOR ()LD STYLE FACES
On Pages Ji'ijty-sevcm to Sev(mty-two
(lrC s/Jo"IJm
,,'
"
CAS LON
ADAM
""'"
;
,
.'
"
'\.,'.
LOUIS XV
SERIES
of
.~,
;,',
MATRIX BORDERS
INITIALS - BORDERS
HEADINOS - FLORETS
ami TAILPIECES
I
.,i
.....,._.....
_---_ _-_ - ..._----........
........
i'
i(
.J'" :,':_~-
~,,~trl.t I ~ r\l~~ MtlU,1 (h.hldo, !II ~~ I'\"'~t ~"'"I
,'7. 41 "Iu,. w.,,~ III"", 10101110" %1279
(lJit,Ut\ulctt4 1 t/lifl'UlntMIt, X~I~"Q
lil'r.tnIC,\l'rnN~: III l'"i~1 (;'01"'"' (l/,l F,w IlaUe rA~1

"'iii tJ.ltJ~~ ''''H"t .l/ rl';~" iMli~' IU~"I' "fiJI. III. i!1 IHI~l14
-'~t'" ,~m.'.J .'oJtlt I:,.t,! I l 1'.rutJI AIIII,.'Jt' SliJII Nt;. ;/04
,.".1 ,I i"mt .11,",1". ~'/h/,
UI'I.
(Ji ltlft, (:"I.~" (JiJ "' ..ii', I Jlfilft.I .... I,J)
'f
."tl,
CASLON
BORDER, HEADPIECES
AND TAILPIECE
~:o:-""""'-~-1HE underlying thought which has inspired
decoration from its very beginning is m()re

.'<1I.-"'-Jlj"'-'w~, interesting even than the gorgeous pages
': which pass beyond our power of apprecia..
tion, and defy our com prehension. 1''\0 the
ancients, the rarest gems in all the world were the genls
of thought. The book was the tangihle and visible ex..
pression of man's intellect worthy of the noblest setting.
Its covers may be made of tablets of heaten gold, inlaid
with precious jewels, its words may be written in tninium
of rare brilliancy brought from India or Spain, or in By..
zantine ink made from pure Oriental gold, upon parch. .
ment, soft as velvet, made from the skins of still-born
kids, while upon the ample margins could be displayed
miniatures and decorations portraying the highest skill
of the greatest artists of the day.
(l{..dl.t, 24 Pol., C.,I Old I", ""/ 'f,,,,,l1 1'.",. t:",t..
au '''''' I ,.,.,./...J.J)
One Color.
Second Color
One cotor.
Second. Color
96 POINT INITIAL-A to Z
Metal Ba.se, X.. 1269t Unmounted, X-1270
Metal Bale, X.. 1271J Unmoun!ed, X1272
Meta' Base, X.. 126~ f Unmounted, X.. 1266
Meta.l Base, X-1Z67j. Unmounted, X.. U68
TAILPIECE, Wood lias., X-1277, Ucmounted, X-1278

COMPLETE PAGE PANEL, OutBid" 51Vz X 69 pi,,,, Morti .., 39 x !5~ pI"" Wood B.... Morus.d, X-US!
Unmounted) t1ntnortised, X.1282
On! Coler .
Second Color
Met3llllse, X.1261; 't1nmoQtlted, X.1262
Metal Bille, ~.. 12631 Unmotmtec!J X-1264
66 POINT INITIAL-A t. Z
On" Color . . . Metd Base, :X:~12S7~ Unmounted, XU58
Secone!. Color . MetAL :Bue, X.. 12S9 ~ Unmounted., X-1260
OnoCl)lar
Sec(llld Color
Metall3ale, X-l2Sh t1'nmouflted,X-IU4
Metal Bale., X-l2SS S Unmounted, X-12S6
Border Specifications (Facing Page)

:BORDERS: 12 Po;., No 1034, 102l, 1026, 1027 .n4 1038.
R.ULES: Matrix Slicics, 2 Point No. 401) 6 Point No. 4()1 (center), No. $C~ (!pccia.l
aUgnment) anaNo.UtO) 8PoictNo.'t36.
COMPLETl! PAGE PANEL: O.ts;d., 11~ x 69 plc .. , MOrl!'" 19 '" H~ p;" Wood :B.... Mortl d. JC,.1381
l1nmounted, Unmcltisled, X-1282
60
---~~--I'
1'1
I'
61
CASLON MATRIX BORDERS
.."
---======.~",:-~~--.~~=~------
***************
12 Point Border No. 1073
6 Point :Sorder No. 156
tolo"."''''. n ....
*tolo*"
+tto+.t XU. *t 6*Point
Border 110. 81
6 Point Border Nos. 52) Hand 54
~~~~~~
12 PoiDt nordet Noo. 1021 And 1026
~~~~~~
12 Point Dottier No. 1068
HH}::l~:lH3k:l~~~
12 Point Border Noo. 1061R nnd 10611.
~~
18 Point Sorder'No., 7IOR and 7S0L
.. ........
'm~
18 point nurderNo, 716
.~~
~n~~~~~"~
MHMMM
18 Point Bordtr Noo, 7S21 and 752L
~~~~~~
7SS1
18 l'olnt BorderN."
aDd 7SSL
18 point nord" Nn, 7017
_~_~IJI)
18l'o1n. nnrder No.
7~8
~~~~~~~n~i~~
18l'oln. norderNo. 751
***************
a~~~~~~~~1?l
18 Point Border ND. 754
18l'oin. SOldaNo. 7SS4
tel t=J t=J t=J t=JiI
_ _M _ _
24 POiD' Bordet No 816, 816l and 816~
~~~I1~
% Point Border Nos. 1204~, 1204 and. 1204*
~~
12 Point nord,r No. 1070
16 Poln. Border No. 1202
8 PoiDt Matrix SUde N 1171
16 Point Dordcr No 120S\<I, 1205 and 120S~
~'r; i5~j .. ~ .",.-
;';; 1ll' ~i.:.:
~J:',I.:./
::':
*.
.*
,.
.~.
','
~
,,~ ~
~I'
.l.
.','
','
~.
f,!'
",'
:~~
.~
"i'
*
~~,i'
','
:~,~
9.~'
I','
~~;
;~':
:,=
.!.
',"
""0
,
.'.
','
.!!,
"
18 r.lnl nor4., N 1101! and 750
12 I'olnl lIord .. No, 1071
g ~ lQ
101 101 lei
~ ~ ~
jgI
I'uI
I'uI
JioI
JioI
J:I J:,I
Ii'!
J:,I
lQ :Ie fl
1'&1
jJal
iQ
lI01
fO
;g
;g
,.. I'uI JioI

g
!foil JioI
,..
lQ
lOl 1.l
101
~ jJal
g g
~ ~ ,;JI
!01
g
fa
!Q lQ fa lQ ~ lQ
J:,I
lQ fa ;g g
lQ !C 10 !a :g
lQ !a !a J:I
A
SUGGESTION
jar
BOOK LABEL
~~
H: H
H-~ VARIATION -~
M
A
)(~
){~
M
U
~)(
of
ARRANGEMENT
ABOVE
~):(
M
M
.~
~~~~S~~i~~~~~~The
fallowing bord!'%s in combinatlon

were used to build up this bbel: 6
roint No. 47, 12 Feint No. 1(124, 18
Point Nos. 7mR, 7S0L, 7HR 7HL t
752R and 752L.
The panel. cnctoslna this page

.is made up of the following
LiDotype ma.terlal: Borders"
12 Pohn N05. 1024. 1027
anll 1028 (teYened.), 1025 1114
1026, 18 rom' Nos. 7Z1 ..4
72!. Mattix Slid.., 6
I'o;n' No 11& and 1467,
8 Point N.. 735.
To nake up the t.bovc
(lIn3."
ment, the followIng botders.
are requlrec1: 12 Poine Nos.

1069. l061R and. lC61L, 18
Point Nos. 7S1R. and 7Hl..
;1'::
;.;'.. ).">!
'I
Tbe
ADAM
SERIES
IINA!)[ N(iS.INI'TIALS
OUNAM I:'N'TS
r/I N /) 'f)ORD/iRS
;I
J".~.
l'"ut. .Jrdl'nr."H ~ (t"Il~ p.In~'
11Jllft!1f "IwC!t' if ,"/401 mul u ttwr/i,rd

'1",,.., til' .\'.J/fl~t 1ell,,, ,,,Jtft'll tUlmt,utlltJ
If"J,mr/n,J "1'/1, -IN /ti''''' .,rnrItNf"t in (Ilitt
,/,lIHtl iJ
.\ /111 ".
'lUJ .\',,1118 Ullm"lInr,J. T~,"t. I:'I:wi,
I, "flNJ .!l ,."mll
'dftdJh, JJ ItHJ 14 IltlItft ""lit:
ItI/Ht.1I
Juur H"',
.11;./
IIhl.OllFJ ,. 'U.'HUJt
IJtSJ
""n
",t'.' /'"'"
""d
{I,
rm",,"
..-"".1
d'r;:>-'
ADAM BORDER MATRICES AND RULE

24 POINT BORDER MATRICES
24 Point Border No. 8)0
24 Point Border No. 8>1 and 18 Point No. 756
~~~~~
24 Point BorderNa. 853
\d'~:H
r:'."'. jl ~ :r
).:.~.i.i!i
.: .' .
\ ~""I
f"
24 Point Border Nos. 857 aDd 862
u -,
24 Point Border No. 855
~~~~~
24 PoiDt Border No. 861
_,N.'~
aaa
Nos. 858 and 858Q
24 Point Border Nos. 856 aDd 856a
24 Point Border Nos. 85-4 ond 854a
............................ n .... n ................ u .................... i.i
5 Point MotTl. Slide No. 258
8 Point Matrix Slide No. 736

2 Point M.trix Slid. No. 402
T HIS effect of an entablature is secured by the

use of head and tail electrotyped designs connected by rules. Thus the depth may vary at
will. (See page 45.)
HEADPIECE: Wood Base. X-I449; Unmounted. X-1450.
TAILPIECE: Wood Base. X-1451; Unmounted. X-1452,
RULE: 2 Point Matrix Slide No. 401.
ii :i i~i~
.~ (ii'.:-l
n).~
\., l:l(""""
ADAM BORDER MATRICES IN COi\lBINATION
24 Point Border Nos. 851 An" ~18
R4 POINT INITIAl.
Mct.llJ"e, Morti d, )(-1411
UOInounle,l, Unm,"ti .. J, )(-1454
~T~n, bMJ" UdflCU'lllht P~i' 'kill ....!./, .." .11 H, lu!;~_,.(t iIr1IA':t'4!
1 lIt: tiP'''' I!dtt~lrl'fr' r..:~
"tlt.
,'(II"
.'41 ~~ul
~ I';",~"r AI,.f~"l'" .\"J" A~~ IP...
"'II'&'JlII UI'U:.tfJ. tlrF'~ti. d IPOlIIJIJ,f..,:,.... ,., ,11\r41 11~"'~:6'
ShJ, it~" ~'H
u.w: !i~7.
h' U./,..,J r.l~.
h!1.itf Ut N J "
_~~ ~~~d
N,tj."
";:#If.
~.,':~t::, ~::.; ~!~~:t ~;:f':!~'f~bJ ~~. Jt~h J::~A,l~:;:! .:;=~~:::

rldt, ll'e.,,' M"'lf;,; ,SitJ. N,~ -1\$': ll-.u ti.,.J ".~# ~~ tf
THE LOUIS XV SERIES

73orders, Initials, Ornaments
and Headings
TI-I13 Book Beautiful be beautiful
by virtue of its writing or printing
or illustration, it may also be beautiful, be even more beautiful, by the
union of all to the production of one
composite whole, the consummate Book Beautiful.
Here the idea to be communicated by the Book
comes first, as the thing of supreme importance.
Then comes in attendance upon it, striving for the
love of the idea to be itself beautiful, the written or
printed page, the decorated or decorative letters,
the pictures. set amid the text, and finally the
binding, holding the whole in its strong grip, and
for very love again itself becoming beautiful because in company with the idea.
-COBDEN-SANDERSON
spr;CIFICATIONS: 14 1'1I1.ll11r"';' Nt>, 1, J i'"inll,"drd;

ift"Jmll. J.I /,!u,t,t ihllu (:1'/)1 (HId Inulu (:llte III1J 2'
",msl fllttl(W (11ft" t Orford/u'n. 7.*l I'"inl J.'luij ,YV
1",lIt,I, '\"~J.!H. I.m,,( Xli C:mn.plltt flallt l'aHtl. X~/ZJ(j
d .I /'tlwl MlllrlX Sltdr N ... 101,
HEADBAND:
ORNAMENT: 9~ picas long

Meta! Base, X-I;;!
~~~~u~~~, tIm
'1'.:',
:,'
'i-
-f',
~l
"
1-',
i!(
\
"
"
I:'
I,
i;'
, 1~
It: i
I .~
, i:;" ,i 1iIi
,,; .:\>'-:.
~
"
; :i'
,>-rf~t
:: !il!
"'\"
"'I'
';"1
l;",1,iJ!
if,
:11
,
~
i!l
,Il
!!n
. jli
''It
ji:,ll :II;11
;i HtI
i;l"
till
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LOUIS XV SERIES
'ji
Matrix Borders
Appropriate for use with the Elzevir or French Old Style
il~
H
'J!
:11
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24 Point Border No. 814i
i;
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24 1'0lnl Bord.r No. 814i
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24 Puinl Dord.r No. 814,
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"
24 Pulnt Dord.rNa. 814
Z4 Point Burder Nu.1I14,
24 I'olnlllorder No, KI4b
---_._--,,,_._.----,---------------------Matrix Borders and Slides appropriate for use with the Louis XV Series
~~~~~~~~~~~~}:~.:',:S.;~7:::L~t:.: j.,~ "'II!'t
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12 1'111111 M."i. SI"I. Nu, 119)
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2 1'"lnl M.lri. Slid. Nt>, JOI
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6 I'uint Untdcor Nu. J;
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LOUIS XV SEH.IES
[Jv[ atrix
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73 order CombiJltlt iam
~14.
2oI1',,1n
MIIJ. 814 HI4, ~.,111\41
,hown In ,ombln,II""
~~
3i.;.~j\,'
~~"'~ i'1 t t J ~" l
24 Point
Nos. 814, 814d Rnd
814, ,hown tn
combination
24
No. 814 shown
in comilinatiCln
tfi~
241',,1 ..
N"" 81~J ~n4 MH h..","

In ,,,,nbin"I,,"
..
' ....
DECORATIVE INITIALS AND THEIR USES

T IS in the early manuscripts that use ofinitial
letters is found in its most elaborate form. The
maker of the book, whether it be the scribe or the
printer, has always felt the necessity of using
the opportunity offered at the beginning of the
volume, or chapter, to dress his page in such a
way as seems to him most fitting to its context.
After the manuscript days, however, the elaborate form of decorative initials did not reach its height until the impetus given to the
decorative printing by William Morris. In the Eighteenth Century
printers used box initials and pictorial designs engraved on copper,
then the Chiswick Press began to elaborate their books, but these
efforts were far overshadowed by the wonderfully decorated volumes
issued from the Kelmscott Press.
There is danger in using decoration in connection with typography.
Placed in the hands of a master artist like William Morris, the form
of the decoration combines perfectly with the design of the type, and
the fact that the type is overloaded with decoration is forgiven Morris
because of the sumptuous elegance of the printed page. A lesser artist,
however, needs to use great restraint in selecting his decQration. He
should question carefully whether or not the design is in keeping with
the type, and also whether the decoration should not be left out rather
than put in.
A common fault found in books using even plain large initials is
that the printer does not always consider the necessity of having his
initial exactly fit the space left by the lines of type.
(12 Point No.1, 9 floint leaded)
~!l.'w..~~~~.a.~~.:t:l:<~~~!!~t>~~'!lI$.~...,.,~~~:~~.w'.!lIiI:'1Qi!m;':I.Ilt.i,O<~~~~~
" __
.
___
__
..... _.. _._. __ ... _ _ ,....'. __ . , .... _" _"._ . _ _. _ .... ___ '....M.; .,_. _,_._ .
.. ...
.... '"' .. ff_''' ....
'.""' . '"'''''"'
.., _ , ....................
_ _._.
-"~.'
"~.''''''''''''_''''''''''.''
'''''''~.''''~
Page 42
'''.~'_''''''''."'-''-'-'''''''"'''~
~M
~., ,,~
THE COUNTRY PRINTER
~_
,_.~
'~',_,~''''"'''
,,~""
_.~.,,
SPECIFICATIONS
OYIilR-ALL SIZE: 18 x 82% piCAS.

TYPE: 10 Point No.1.
LEADING: 4 point.
TITLE: 10 Point Bodon! Book caps, interspaced.
RUNNING HEAD: S Point Badon! Book cape, inter
spaceo.
FOLIO: 10 Point No.1 caps and lower case.
INITIAL: 36 Point Cheltenham Initial, X-114'!.
DECORATION: Modern Headband, X-1223.
RULES: 2 Point ~!atrlx Slide No. 403, and 6 Point
Ma trb: Sllde No. 516.
clear water, and then the night before publication day it was turned and sprinkled. Now it
was prjnted dry, I felt as if it were time to class
Benjamin Franklin with the sun-myths.
VIII
PunLICATION day was always a time of great
(G Point No.1, 2 poillt l.ad.a)
excitement. We were busy all the morning getting the last editorials and the latest news in
type, and when the paper went to press in the
afternoon the entire force was drafted to the
work of helping the engine and the press through
their various disabilities and reluctances. Several hands were needed to rur, -I-"n ~~~ .. ~ ,n_n~
when it was in a willing frame;,
papers as they came from it; as;
called from their wonted work (
to the subscribers, for with the:'.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Page 41
ness of their sex, the young ladiO
ceased to do this as soon as the'
affair wore off. Still, the office w
rather a lively scene, for the pap'
THE COUNTRY PRINTER
ered at,the village houses, and e.
came and got his copy; the 'Villa:
Y earliest memories, or those which I
come about the hour we went to'
can make sure are not the sort of early
hearsay that we mistake for remembrance later in life, concern a country newspaper, or, rather, a country printing office. The
office was in my childish consciousness some
years before the' paper was. The compositors
rhythmically swaying befol'e their cases of type;
the pressman flinging himself back on the bar
that made the impression, with a swirl of his
long hair; the apprentice rolling the forms, and
the foreman bending over the imposing-stone,
were familial' to me when I could not grasp the
notion of any effect from their labors. In due
CRITIOAL COMMENT
time I came to know all about it, and to understand that these activities went to the making
INASMUCH as the modern face is large for given
body, it roIlY often be used to secure a more
of the Whig newspaper which my father' edited
open page than it 'Would be possible with other
to the confusion of the Locofocos, and in the
11 po:lnt faces. The use of the Bodon! face
in connection with the modern makes a harespecial interest of Henry Clay; I myself supmonious combination. The ruled treatment, bled
ported this leader so vigorously for the presiall', adds distinction.
dency in my seventh year that it was long before
The margins shown here are for 32x 42 paper
(trimmed).
(8 Po"'. No. l, e point 10adOO)
""--tq a
--
.....~.~ ........ "-~,-.....

~!
-.-..........-.. ...-.-."--.......
tz'IIIW)!&
RI "U"'!_
DU
-~~
II
,,.~~,--
.. ....
.....
__
_'_...... .. --
"'"--...,- ~ ,...., .. ~ ....... --..-.~,.~, ,.'~,.-.~, ....... ,'. ,,,....-._---.,..,"""'.-..-,.-..,,...........

. -"".'
...
..
*,~~~IlIIf111b~~IilIt;"19.~:errnrww_ r ~taU!UIIirII~~~~;'h
14
".,""
CONTENTS: Set in 14 Point Bodom Book

caps, 12 Point Bodom Book caps and
CONTENTS
small caps, and 8 Point Bodoni Book

small caps.
TITLE: Set in 8, 10,12 and 18 Point Bodoni

Book caps, and 10 Point Bodoni Book
caps and lower case italic; Decoration,
Modem Ornament, X-1226; Rules, 2
Point Matrix Slide No. 403 and 6 Point
Matrix Slide No. 516.
(10 Point BtJdoni BDQ~
i~lk,
,
:
PACE
CHAPTER
1.
THE BATTLEFIELD OF LIFE
:
:
.2 poine leaded)
II.
III.
THE RAGE FOR NEW LAWS
IV.
RELIGION
V.
VI.
,\TIT
RELIGION AND THE MASSES
12
22
vs. SCIENCE
27
THE GREAT MYSTERY
43
THE ORIGIN OF CoURAGE
57
'1'=..,. >;:T,RVIVAL OF RACES
67
BmLE IN THE NATIONAL

SCHOOLS
. .
DISEASE OF THINKING
83
111
THE COUN.TR Y
PRINTER' AN ESSA Y
by WILLIAM
DEAN BOWEL LS
I
I
ANY intelligent publisher will appreciate
HARPER
& BROTHERS PUBLISHERS
NEW YORK AND LONDON
a suggestion from his printer to modify

or adapt the copy originally supplied by
him for the title page to make it conform
to appropriate typographical treatment.
Too Jew words produce a barren appearance; too many make a confused page.
(JD Pain' Badoni lJeok italic, 21U.in' leaded)
THE PRINTED
r~OE
n\ l:)~ \1,1,
But ,ylWll it calllc to tlw arrml~t'IlIt'l1t tlf

these sallle chul'udt!l'l'I in comllination-,,itt II
word, to uCompof;ition "-the old printl'l'lo!, wit II
their devotion to pl'ccl'dtmt, Coulld thl'lI\fltll"('lI
on firlllt~l' ground. Oround 1111 Holid, 111 tltt't.
that tho prilltel' of today lllay fil't hill ft>(t upon
it with the eel'tainty of finding 1l !lure and
reliable foothold.
Long years hefore .Toluum (lIltNlh!'rg lwd
sct up tIl(! t.ypt's from whit'll WHH to ht! printl'!!
that most Inagnifil'~nt of uIl t::qwriulI'ntli. th~'
"Forty-two line HiLll'," tlw old ;\!ollbl had
arrived ~tt the trnn pl'indplNI
position. Tlwy !tad r(~alizt'd tit
of all dt!(~Ol'nti()Il ill lIattllrn, HO,
their hookfl W(!l'O to he NHi vind
they lllUHt ill'at of ullim elfectiv
And what waH tl'lW tlvu hlllHlre
just aH tru() today,
The latter (lay Printc'l"H pro
ever, Jl)Ol'O compli(ltL(!(1 thun th

mcdimval C()VyistH. Ht~ JUt" ind
his page dc(!()ratiV(! hy making
of pa.tterning, hut t.hili iH only
aim, for primarily he has tu III
bearing iUltlilltl th(~ injllIldion
'I, ; !.!.~u
-~,:
Tl !-~: It
1 t:,\I'I~"
!', "", ~,
I
" ""I
'l'1'1~~~}i.",,1~:" ~",bl~ ,i~ .. t.:!
,'~t.,\Pt'~':H
nit::'
_~~,,\~<~.~.:~If jUt: \~t

t"ItS.to
11 "d.ft!
'~1'~ ~u'i '"w"i"
'.~ S' lhl ;;.' l f("I<~"'l\ ~4J'. tAt'""!'"

~,.
n~ . -\.t~
":; l,"h.lo: .1i,;.t,?';

"il' \WIiHi .. t' W"::I':I ~l ..
J~J;t'\.t.
i'; 1'}I.'?jf ."il,.~
I.:
~'I'
1.1. I'MliIl,
.f.'-.!,;~, l>tl .../$If~j!
The Ilistol'v. of, tht'

Pri 11 ted Pag'p
t
n-:~n,:lItl\
Ulllllll'll{l 1114,
<:rnttlmmll i ...
if
jll
,l~11 TUII}~ "i
nl j",,,,,t 1~"'ff;IIU thill, "\I"-Y
ilf lwutt It n'II",'n,\111"
It "'1114 till< imml.- n<uOI,-", 1111"111 lit 1I... "'Id,.

prilllt'hi fhnt Ii. I llwlII III tl,ll .,~\, \lIt it " ""'
J'I\uvillh Ihlt-IiI,)-, , 1!"'.HIt! illltl ''''11 ,"",,,.!, 1 bt".
th., f"ltJItKb~ Hf llu~' \\ lou, lMf.. r,' t I.., 11<1 ",II h.lt
of ptinting. lllul 1111111., I" ...loll I.y \!o til III;;; H... m
It WII" tlw ("Ill' ut <111'1""111 !lrJli~ ( .." f,tl' frHl1i
eRITICAf, COMMENT
TIIIIJ modern face Illlving
11.
11101'0 l1xtl,ndml h,tt('r
tll11.11 tIle old styIa, ItlILY iJo UHI\(] tu H~\lrll IL Illig!!
containing It millimUill number ot worllft.

Printers tol1ay do not \ISO the mo(1orn tl\~n Ilil trooly
IlB it deserveR, for it is udtn1rablo ill 110111"11 !IUd
legi!Jl11 to rOlLd.
1'hc margins shown hern Itro fot' 30 11... x'l1 PAJIt'l'
(\lnl;rimmed) .
(8 PO!lIt No.1,. polflt lead.el)
-fi".Q$f!:j ""'.....
.. ~. !t.t:t". t ~""ifhhi'4'1_
tilt, bt'lltNl Imlli lim! 1.-,1 U,.-", t iUII"-rll th,

)l'gUJility fAr tlwir h"ttl 1.\' II; ~ h"h l"'l/.fl,,l wl .. p'
tltlil IIf till' "fIiM"'11 1/.II.j ,\111,(111,11' j.-B.'r" .,t ! h
MlIlIki~h ~.. tillt"'_ .\n.1 if WiPI rh" :t<'1I'", r""r
that iud"(~f'fl till'1U 1.... ,U.~,lIl;~, ii, "uJltr~~" th.if
f(llltl'! Itt tYl'" h.l" IIi' huitvdu:I 11"':-"111 t Ih
(UUlI.)' (ulIl-I'.u'tiulIlI M.f n hul, \\ .. n!" "wI to'filll
nation!ll I" \\'fait-" Uw fiu ... ~\jn ill': ""jkr-:, hf
rtlUfluKI'rltlbi
billl irululj:t''1t
1
lln~,
SPECIFICATIONS
i
!
I
I
i
i
!!
!
I
I
!.
I
I
1
I
l
OVERALL SIZE: 22 x 3u pleas.

TYPE: 12 Point No.1.
LEADING: 2 point.
TITLE: 14 Point Scotch cap .
RUNNING HEAD: 12 Point No. llt.lie call'l.
FOLIO: 12 Point No.1.
DECORATION: Border Matrices No.. 1060/.
1060<!, 1060/, 1060., 1060i.
STORY OF PRINTING
became better understood. These changes very

often afford the only satisfactory evidence of
the place and date of p;rinting, as well as of the
printer's name. We propose, therefore, as an
(8 POVnt No.1. S pO!1It leaded)
aid to chronological arrangement, to notice the
points of similarity between the earliest printed
books and manuscripts, especially with reference to the productions of Oolard Mansion and
William Oaxton, and then to notice the similarities, purely typographica
introduced by the printe;
1. There was a selectio
scribe naturally wrote h
on :fine vellum, carefully
evenness in tone and qual
idea the early printers s
before beginning toprint.
seen when two or three co:
STORY OF PRINTING
are comparecl together. O!
printed entirely on thick,!
on thin paper-one has n!
OHAPTER I
another is made up of wh;
OSTUME, that sure guide of the historian
calls "outsides." The tw:
and the antiquary, is perhaps nowhere
"Knyght of the Tome" p
more
discernible than in literature, not
Museum present a remar
merely
in
the
dress of language and expression,
plan of consistent selecti
but
also
in
the
visible exponents of that dress2. It was a common PI':
writing
and
printing.
Thus, a manuscript of a
when employing paper ~
printed book may, by the character of its writing
or printing alone, be ascribed to a determinate
. era. In. other words, a careful investigation of the
mode of construction will, in most cases, enable
us to determine the approximate age of any book,
from the early manuscript to the machine-printed
volume of the present day.
In tracing the early development of printing,
we are able to note those successive deviations
from the form of its parent, Oaligraphy, which
ORITICAL COMMENT
were necessitated by the peculiarities of the
WHEN the manuscript is of such a nature
new
art. Oommencing simply as a SUbstitute
that it 1s desirable to extend it into a
for
manuscript,
it was naturally a close imitagreater number ot pages the modern face
is 'extremely useftll. Compare this page,
tion thereof, and hence the early-day printers
for instance, with page 24 and note that
labored under many inconveniences, which were
it contains a fewer number of words,
althougll three picas more In width nnd
shaken off 'as the capabilities of the new art
two picas more In length. The modern

face, however, is so essentially plain that
it requires careful treatment when used
for anything except text-bool's or volumes
. of ut!11tn.rian purpose.
The margins shown here are for88x44 paper
(~llltrimllled) .
(8 POIM No.1, B jlolnt isatled.)

_ _ _ _ _ ~_"' _ _ ... '''~.,~'''._..~,...."........ M_,.._".._". ,_______i _ _._, ______ _
78
CONTENTS: Set in Scotch 12 point

caps, interspaced, 10 point caps and
small cap8, and 8 point koel small
caps; Decoration, 12 Point Border
Nos. 1060J,1060d, 10601, 1060e and
1060i.
TITLE: Set in Scotch 8, 10, 11, 12,
14- and 30 point caps, 10 point level
small caps, and 8 point caps and
lower case italic; Decoration,12 Point
Border Nos. 10604> 10fJOd, lOfJOf
and 1060e, and 4- Point Matriill Slide
No. 503, in combination.
(10 Point Scotch, roman. caps and italic caps
and lower caBe, ! pOint leaded)
CONTENTS
FAOE
I
II
III
IV
V
VI
SPELLING.
IS
33
ABBREVIATIONS
COMPOUND
W DIms
61
77
FIGURES AND NUMERALS
94
108
ITALIC.
CAPITAL LETTERS
128
145
157
171
182
198
209
230
241
294
327
345
447
V]
OAXTON EDITION
As
the Scotch face is neither purely

modern nor purely old style, it may
be used in display with either. This
title page has too much copy on it.
The two italic lines underneath the
author's name should be deleted and
placed as an advertising card on the
Verso of the bastard title. Compare
the "Conten fs" page with that on
page 75, and note the difference in
effect when points are placed after
the roman numerals.
I
!
I
(10 Point Scotch italic, ! point leaded)
79
NUMBER ONE WITH ITALICS AND SMALL GAPS
7 Point No. 1
l\.Iucll has been written regarding the necessity of keeping Lino~e

mnchines in good order to obtain large output, but little hag been saId
regarding the desirability of keeping the operator in good health. To
secure the maximum output the operator must be kept in good condition, as well as the machine. Most operators do not pay enough attention to the law. of health. Fast and accurate work at the Linotype
properly, but also, to a certain extent, a question of goOil physical condition. The amount of muscular effort required to operate a Linotype
machine is not very great, hut it is an occupation calling for a clear
Italic aDd SMALL CAPS

M'Ucn lias been written regarding the neoessity of keeping Linotype
machines in good order to obtain large output, but Uttle /ta. be.n said
regarding the desirability of keeping the operator in go od health. To
secure the ma",j1>l1tm output the operator must be kept in good cond-itio"" a8 1vell as the machine. Most operators do not pay enough attention to the laws of health. Fast and accurate work at the Linotype
lceybO(J,rd is lIOt 8imply a matter of knowing how to jinger tl18 lceys
PROPEBLY, 1l'UT ALSO TO A CERTAIN EXTENT, A QmSTION OF GOOD
PHYSICAL CONDITION. THE AMOUNT OF MUSCULAR EFFORT llEQUIRED
TO OPEIlA.TE A LlNOTn'E :MACHINE lS NOT VERY GREAT, !l'UT IT IS AN
Italic and SlIALL CAPS
Sl'oiDt No.1
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, hut little hIlS
good health. To secure the maximum output the operator must
be kept in good condition, as well as the machine. Most operators
do not pay enough attention to the laws of health. Fast and accurate work at the Linotype keyboard is not simply a matter of
lnlOwing how to finger the keys properly, but also, to a certain extent, a question of good physical condition. The amount of mus-
Muoh has been ~vritten regarding the necessity of keeping Linotype maohine8 in good order to obtain large output, but little has
bee1~ said regarding the desirability of keeping tl,e operator in
good health_ To seOUre the ma:cimum output the operator must
be kept in good oondition, a8 well as the maohine. Most operators
do not pay enougl. attention to the law8 Of health. Fast and acCUllATE WORK AT THE LINOTYPE KEYBOARD IS NOT SIMPLY A MATTER OF KNOWING ROW TO FINGER THE KEYS PROPERLY, !lUT ALSO, TO
A CEBTAIN EXTENT, A QUESTION OF GOOD PIIYSIOAL CONDITION. THE
9 Point No. 1

Linotype machines in. good order to obtain large output,
but little has been said regarding the desirability of keeping the operator in good health. To secure the maximum
output the operator must be kept in good condition, as well
as the machine. Most operators do not pay enough atten.tion to the laws of health. Fast and accurate work at the
Linotype keyboard is not simply a matter of knowing how
!taUe and SMALL CAPS
Mtwh has been written regarding the necessity of keeping

Linotype machines in good ol"der to obtain large mttput,
b-ttt little has been said regarding the desirability of keeping the operator in good health. To secure the mawimum
01ttpUt the operator must be kept in good condition, as well
AS THE MACHINE- MOST OPERATORS PO NOT PAY ENOUGH ATTENTION TO THE LAWS OF HEALTH. FAST AND ACCURATE WORK AT
THE LINOTYPE KEYBOARD IS NOT SIMPLY A MATTER OF KNOWING
10 Point No.1
Much has been written. regarding the necessity of keeping Linotype machines in. good order to obtain large output, but little has been. said regarding the desirability of
keeping the operator in good health. To secure the maximum output the operator must be kept in good condition, as well as the machine. Most operators do not pay
enough attention to the laws of health. Fast and accu11 Point No.1

desirability of keeping the operator in good health_
To secure the maximum. output the operator must be
operators do not pay enough attention to the laws of
12 Point No.1
Much has been written regarding the necessity of keeping Linotype machines in good
order to obtain large output, but little has been
said regarding the desirability of keeping the
operator in good health. To secure the maximum output the operator mu,st be kept in good
ItaUe and SMALL CAPS
Mt~ch
has been w1"itten l-egarding the necessity of keeping Linotype machines in good order to obtain large out
put, but little has been said regarding the desitability of
keeping the operator in good health. To semire the maxiMUM OUTPUT THE OPERATOR MUST BE KEPT IN GOOP CONDITION, AS WELL AS THE MACHINE. ~lOST OPERATORS DO NOT
PAY ENOUGH ATTENTION TO THE LAWS OF HEALTH. FAST
Muoh has been written regarding the neoessity of

keeping Linotype rnaohines in good order to obtain
large output, bt~t little has been said regarding the
TO SECURE THE MA.."CIMUM OUTPUT THE OPERATOR
MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE
MACHINE. MOST OPERATORS DO NOT PAY ENOUGH ATItalicand SMALL CAPS
Muoh has been written regarding the neces"

sity of keeping Linotype machines in good
order to obtain large outlJutJ b1.~t little has been
said regarding the desirability of 'keeping the
OPERATOR IN GOOD HEALTH. TO SECURE THE MAXIMUM OUTPUT THE OPERATOR MUST BE KEPT IN
LINOTYPE TYPOGRAPHY
I' '\."'\..:1"
;f.I"')l>"li
,
......;
" , ,
...,
F.',
,;,jl HY is one type better for a particular

'Y"''l' b 00k th an ,anoth?
fl!
er T 0 answer t h'IS we
r~ir-:l
must consIder that the duty of typogit.~li raphy is to convey to our power of
imagination the particular thought
,'11-:---"'1\'J.~~
which the author wishes to communil cate. It should not influence that
v- thought in any way. The type~ then,
should express in its line the nature of the thought it conveys. and the more beautiful the type, provided its beauty:
docs not aUract attention away from the thought to the
vehicle. the more fitting the selection.
When we come to the matter of decoration the same
judgment is required. Unless the thought which the author
wishes to convey is made more beautiful and more effective by adding decorations to the type, the decoration
should be omitted. Nothing is more inartistic than decoration, placed in a hook merely for the sake of decoration,
with no idea of making it a part of the vehicle of the
thought to be expressed, If the decoration attracts attention to itself away from the thought of the author, then the
production itself is not a book, but an objet d'art. This is a
jllst criticism of the Kelmscott volumes~ where the beauty
of the Burne-Jones illustrations and the peculiar individuality of the Morris types attract attention wholly away
from the text; and it is a fair statement that if one wishes to
read the "Canterbury Tales" he would surely turn to some
edition other than the Kelmscott Chaucer.
The modern custom of illustrating volumes of fiction
usually results in inartistic combinations. The ideal method
would be for the author to be able to illustrate his own
story, for only in that way would it be possible for the
fff/
"'.i
..".4
S:\ur.r.
NUMBER SIXTEEN WITH ITAI.ICS ANI)
C\l'S
!!!!._!e!
.. Wl!!"......"".""
. ..,....
-""-"""'''"'''''''''''..""...,.,~-.~,-----~------.......----..----~.--.....~...-~~-.. ~ --'-"~'---"-"'~'~ ., . ". """"".. <~ -~
6 Point No. 16
Much has been written regarding the n~cc lly 0flt~flhln"~.lrl't~~\'~

mllchines in good order to obtnin large output, lIut I c ~'h O~t~ 1'0
regarding the d~sirallilitY of keeping til. oper!'ttobr k".J!?"i'.. d~~d CQnsecnrc the maJnmum output tbe operator DIns
ft
...
dillon as well as We mllchb,e. Most opCl'ntors do 1I0t pay ClIClU...
attention to tllo laws of h~alth. I'a.t and acr.urale work lit Iht LlnlliYP"
ke board is not simply a maltcr of knowln!! bow to nnger tM ..~:I'a
pr~pCl'l~, but also Lo a certain extellt, a question of good physlclIl COlidillon The anlou;'t of nru~culal' errod required to op~r"lO n Lllll~ly~e
machine is not very grcnt. hut It Is an Qccupatlon call1nll rar n clear "rUIn
and steady nerves, aud anything whlcli pronlotcs Ih~se conduce"l 0
speed and l\ccuracy. Good health Is on uset to any Lillotype operll 01',
c...
'._ _
~_L
____
_ _ _ _ _ __ ._,
__ . __ _ _ _ _ _
~_.
_ _ _ _ _ ,. - -
-.~
_.-._,-'.-- ..
7 Point No. 16
Much !lna been written regarding the nccossl ty of lteellltll(

Linotype machines ill good order to ohtnln larg~ output. but
little l,as been said regarding lhe desirability IIf keeping th~
operator in good hcalth. To SeCure the maximum output the
9perator must be Itept in good condition. all well aa the mllchll\o.
Most operators do not pay enough attention In the laws oC hellith.
Fnst and accurate warlt at the Linotype keybuard Is not slmJlly
a matter of knowing how t{) finger the keys pruper[y, but QI~("
to Il certain extcnt, II question of good physical co!ld!l!on, Tho
Illllount of musculnr effort required to operata a LIlIUlYll0 lUll........
..
--... _-~--
--~.--
8 Poil}t No.1G
Much has been written regarding the necessity of kN',ling Linotype machincs in good order to (lbtnln iarg{\ out
put but little has been said rllgarding the desirability !It
keeping the operator in good health. To secure the maximum output tlle operator must be kept in !loud cnnditlnn,
us well as the machine. Most opcrnl<lrs del not PIlY t!UII\lgh
uttentioll to the laws clf health. Fast lind tlCtmrlltc work lit
the Linotype keyboard is not slmEIY Il matter of knowing
how to finger the keys properly, ut ulso, til a certllil1 IlX-
oPoint No. lG
Much hus ileen written rel$nrding the nece5~ity of
keeping Linotype machines 1ll good order to ohluin
large output, but liUle has been said regarding the de....
sirability of keeping the operator in good health, To
secure the maximum output the operator must he kCI)t
in good condition, as well as the machine. Most operutors do not pay enough attention to the IIlWII of heulth.
Fast and o.ceurate work at the LinotYl)C keyboard is
~Uf6h hiJ~
w"Ch'n r;'~,1t',I';::t1 rh .. UII'I'~l1ifY
Itt .. ,.
",.'H'dll,'UU. ",'
li.W'fldlttl l.cnt4'ft~
h"."h.
t.
,It. . . ' ...
. . ""''''
"'"iQ
t:.u:.
",;11. .....1:; ..,\U

.'1111"', Iu,.
11,ill<I'1 U<J'1f,1i1l1l It.~ I.",null!) "1 IIt"pill/l
I {nntl/pl" lIut~/IIII~~ III U......I ",.I.., t .. ,.t./dlll /II"/'J" ""/1'111, bllt
li'lll' hUll btrll ",1 '''lIlIr,I...", III ...' ....,""/1111
"1111/ IIIf
I."""
'.1 "....
Qlltru/tlr In Jlrn ..1 ,. .... #110. I .. ...... '" 'h~ " ..tl/lllilm ""tpul lit'
I,ptrnl,jf mud b( I.rpl,11 11 ..../ .... ","",,", ,,. ... ~II.,. Ih .. IllIte-hin,.
,I.. 1.,,( "'Ill ~"""1111 "II~ll/j,," I .. U" I,m" "f h*,,,lth.
<llId 11l'l'llrd(r w"r/.; '11 II,, IW"'II/'r ,,<ut'.m(,' I~ "u .',"pl/l
M;u.' ul'"'/'''''
r'a"
A M\rn:"
.1.w.o.1'(1 '"
tUI!
"ttU\\t~U: l.iI\\: hi
C~"1Mr.,.~ IUftr.Jf:t ..... 1J(
.".01"''-
un;
~t:,." t'~tlt~tlt.t.
MeT
''.!In'':''1
TIIII.\WUI,IH IIIf WI "';'1,\1\
~n,,"a
tit, hfHin ... tU1th:.\t. ,.u"'tt1'tttN.

1It.Vl ... ~~. 1"1' !OI~"'I$; ,\ 1."mfYl'"
1I~1I< 11.1>1 S"_II. 1'.Mo

rnl,'f.iiUIJ FlU' IIr"rnll,/ III krr",
illll J,itltltllllt' tllfl<'!lIllI'J 11/ V"'''( ",../1"1' I .. "M./III felfliI' /lilt
.Illt/-ll /a,lf ""I'll /j'riUNI
t,."" .
pili. bllt lmll" hll.'

I/d ''',Jllt'./ltlil ttu ,lr'/rflMIltIl tIf
kt'('pillli IAr 1I,"'('llur ill I~/I...I /al'j/ttll. T,~ ,11"1"1"1" IIII' "llIZi
mlllll fUltP1I1 1/11' "I'rr"'"r I/ilul ,." /. 1'1,1 /II 11 ....,1 "multlilm,
tI. IN'it I/~ Ihl' I/ltld1lll,', .U,,~t ",,,,r.,f,n II.. ""' IIIlU I'tlfJllllh
A1"n!NrluN tII 1 It I: 1. \\\' ,,~. tU:\',IH . v'r Uil' AI;I:IIM1'''
WUIII<: ,\\' nu: 1.I~htnl: hi 11".\1111 1". " ... r "1\tI't.y.\ :I4.\I1'lill
0 .. kl'lUWINIi III1W U. "'~liUI tllf: I".~' "1111.,.:",.\.11\:'( Moll!!
11,,1/, .....t
MUt'1l IIII'
t"'f'1I
INiUo, "'rl'l(iiitll)
5l"~.... 1:.~.
til .. mTruUu of
kl~('pifltJ I.itwllll'" rrllll'llllln III a""" "rd,', ttl /ltitaill

loru" riutput. bitt lilll.. 1111.' fort" illwl rryt",litll1 Ihr ticsiralfilily III k,rpi,III thl" tiP"""'" HI ymlli Ilrulth, Til
lIteur/, til,. ItItlrittltltll lIutplIlll,r "I'/"f"/ur 1IIIIIIt 1>" ""I!pt
IN (l,(Wtl (:UNtlll'lnS, ,,!II WtJ,f, Mi nn ~C\I:UI~It;, tiW,,1'
ul'fm.\1nllll tlU Snr' ",\Y I:"WI'''U ,\t'U:'II !"!IIN reI 'tin: I.AWI!
eWln:.\l.TU, I'.\!lt .I."U .u.I,tcn\u: Wtlkl< .\frUI-: 1.INurVl't:

""I/1f .....1 S04UI. I:..,l
Much ho.s heen written regarding the nccclIRity of

keeping the Lino type machines in good order to (lb
-~
/1.",,
..ltl S>I ~U. t:4I'$
tlf
m;cf/um'.! tIC 41tln-;t tlr.Ji'J' Iftl ul"l!I.the I<ntJd' HiJ~11UI tu~ ItUI.' h~,~ IH"fl. tld
rh,.
A~n!'t!1-fI lite ~~Pt'I'~b.,. In lI~Ult
Til
'''r .... r.. 'II~
um 0,u11ul.' fll~ oJnur"'~.lt tHaHI
'''Pi ft'j flQuq l'On.
dlUnn. ~ ",'tit ....1 IAff' "'~."'U'U \IntI & t'!"~.h,u $11., Utlt t~uu "U'Iu,A
a.""lIlJtJn in th~ 'dWiC HII't..aUh fi,tll <H"~' ~h ,;:.t,.~t~
tal 111m' t.tla'.'M".
.krutlt1unl u rUlI _Ilmr1u u UH'H~r ~'f "'fH'U'H~U t~"~.,, lu [111(1"" U.. IC'fIj
p'ru/'t'rly. t.,t ~hu. t,~ lit O"Mh.1 nflfHt, ~I I<lUt1H,"~ tIl vnt.~'l.1 phutft'td ran ..
r/Utml. 'flit al,,,A.wl pf ,fU,u-Hhtl' ~f1j.rf .'''1u~t:'''1 l~1 'P"f~li~ 4U 1.11U.'ttpc4
MAt:.t.tCf'lr. 4:0) !lItlf \Mt,"r H"~,U. iU f It n '''' ,t) ~ t. *'.h~~"f\ ,\f-t.,,..-q. lI,*, A
l~,.tIAII IIIlAU; "", ... "lteo--.tl , " . "... tt,.. \~t' .~ '\ t"lt~\I'~ ... U~:" ",UWUfti.lllo
QI""ll"r~ 1'U ,....~ 4~" I\~,n.: .... '""~ UUlJ.f.l "~~t Ul ., ,,/IIi. -\~.'Ultt 'N 4WY
""arLUtllI
10 Point No. 10
.1
- , ... ', ... _ , . . - - . " " " ' . . , , ' -..
tain large output,but little has bc<.m said rcgurding the desirability of keeping the operate)r in good
health. To secure the maximum output the operator must be kept in good condition, UII wl'll ttl! t1H~
machine. Most operators do not pay enough att('[t-
Mudl 111111 !wr/l wrilt"f/ f't'IIJ'1rtJitlUIlIt' fH'('f'JI.lty (If

"'''t'/Jill!! tilt' l.iuu/IIP" mtt"'''tli'tl itl Utltlflllr,d"r III obt";/1 !tlrOt' IIllIJlIl1. 1",1 l,tlt" IImt
m,d rt'lItlrd
illlllhl' lirxirtlbilily
/I,.,.."
41/ A'upillf) lilt" tlp"r"I",' ill gmltl
Ut:AI:ru, 'i'U ~!;Inn: 'l'IU~ :\1\\1:\11 M Iwn'\'I' 'I lifo; tlf'l~II'"

1'flR :-.t1Sl' 1\1.: kUrt 1:-1: ell>!)!t (U~IIIt1"N. ,.\!'i wn.!. AlII Tllf.
M.\I:UINf., !!fill." I !WI:II,\tllfl'i 1"1 :SUt' 1'.\Y ,:SlIl"IiU ... t'
121'olnt No. 10
',,,lIv A".I.!>wul.
Much has been written regarding neccssi ty

of keeping Linotype machines in good ordel'
to obtain large output, butlittlehasbecIlsnid
regarding the desirability of keeping opcrntors in good health. To secure the maximum
output the operators must be kept in good
C:4~'
MU('/t 11Ilt'lI/t'I'U wrilit'u ft'f/Ilftlitl{/ W'Cf'HSilU

kt'('pinU l.itwIUZIt' Wtlt'ilitu,'i in flwul ott/t'r
/0 (Jb!Cl!" Jrtrut' nll.lUlt.. l~tlllilfll" lut~ b('t'll~mitl
rl'gt:mJltltl'lrl' tlt-8lmlH/tlli ul kt't'pwt/ (JJura.-
(J/
'foltS IN (jHPU lm~U,'1 H. 10 Sl.t:UU', 1m; ~("Xl

fl.nrM <HJ'l'I't'T ,HI: UN:'l.\'ruUS .. It'~l!II; Kfwr IN
14 PoJnt No. 16
Much has been w~ittcn regarding the n~ccs~ity of kt'eping I .inntypt' nUl('hiU(,~.in
gO?~. order to ?btam large outP.ut, hut hlUe hus 1>(,'('(1 !oUlid I'('#{m"(iing till' dl'Slr~
abIlIty of keepmg the operator In good health. Tu secure t11t Uluximllm output
the operator must be kept in lJood condition. as well U~ the machirw. ~tos.t OPCI'!Itors do not pay enough attention to the laws of hculth, Fust nud H{(.~urutt work
tl<lll~ .....t SWUI, CA'I
Much Jzas been wr. ltfen regarding the neces.~ily (Jf kef' r}lllfll~ilw lUlU' marhiIles ill
goqe! order to l?btam large outppll but little Itas bt'Nl said rt:'mtrdilll/ lilt' dr1liirabzlztg of keepzng tile operator III good heallh. 1'0 S('Cllrt.' tlu' /lUIl'iuUIIN alll(wt
wm.t.
THE OPERATOR MUST BE KEPT IN GOOI) CONDITION, AS

AS TIm MAC1UNf':. MOST
OPERATORS DO NOT PAY ENOUGH ATTENTION TO TIm LAWS m~ ul~.u:ru. FAST ANH ACCt1R
~t~----------~------------------~----------------------------------~~
E ARE now so unaccustomed to beauty th at we are apt to

look upon it as a luxury, and to regard with suspicion
those who talk of art; and indeed, I begin by admitting
that much that passes by the name is sheer waste and
foolishness. But the art with which we are concerned is nothing
more than an intelligent mastery in work done; it is the element of
quality in workmanship.
W. R. LETHABY
ROM THE great universal storehouse every artist after

his kind quarries out his material. Years of work and
experiment teach him its properties, and give him facility in dealing with it, until he finally forms from it the
speech and language which seems to him best fitted to embody and
convey to the world what he has in his eye and mind.
WALTER CRANE
LABOR, through all its forms, from the sharpening of a stake to the construction of a city or an epic,
is one immense illustration of the perfect compensation
of the universe. Everywhere and always this law is subThe absolute balance of Give and Take, the doctrine that
everything has its price; AND, IF THAT PRICE IS NOT PAID,
NOT THAT THING BUT SOMETHING ELSE IS OBTAINED,
and that it is impossible to get anything without its price; this doctrine is not less sublime in the columns of a ledger than in the
budgets of states, in the laws of light and darkness, in all the action
and reaction of nature.
RALPH WALDO EMERSON
srECIFICA'l'IONS: 11 Paint No. 21 tvitl! italic (Ina small ""ps, 2 "oi"t

11~lldecl_: 11"iti(Jl~ 48 Point t'uslou_ /:larics No .. 125iJ; Der.:oloatioJl_ D Point
Matd", Slide No. J,ut. 6 Po;"t MatN.v /!lndo No. ii16. II PO;1It MaiN'"
Slide No U71,10 Paillt RD"aey No. 201'4 m.d ~4 Point RordcT No ..
851, 8iia, 855 01ld 81i7: 2';' POil,t Bortler NUl;. Sa,! and 8i9 1verC tt.,cd to
",al,e
liP
tile free
OTlIUtttetits . "
body of p"yc.
83
NUMBER TWENTY-<lNE WITH
---------' ----.
---.---~------....
ITA.W~ .\~~_S~t.;\t,t:. C',~,~
-.------~.-.. " ~ ..~--.
...
" IS ..... "llht.... C'..,.
"U~~;:-\ ":411- !"~It"'~ W~I.".i!;li,." .. c:J.-~'f;~i }'\-t .A.1~.t'~,nJf,l~ ,,~ ,),.tct$q.~I.J I"h\-*~'}'" H'l4'it;. . . .
ill
~~;:::;2~~,~;~~:; ~::::;;~ '~E;:;,:;:~,:;i~:."",:~',:::,:'~;' :~;::::~:i~:~:~i~:.!ir:;

fN'~ c,~~t!\ ,.U:'e'.i)H1 -f ~ ~~..: ..... AJ: ."
'tlV! *"'Sh.~,.J u "'~'f "~'''.}'':~ ~t ~..tUh'"
1; .,.,,, 1t",.~ ,,~.
.... ,' .. ,,~, Ih. tmll"
"''''~f'''
'It'l'
f
}\:';"'1 '"~ ./j.,I1,';f,'" !h,
l:t'iI8~
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~) " ' / ) ' . "
"~,lbh,.tf~
"'Ili9_~
"" _ ... ~'~f# ':.'!~"'J ,.tt-'~'~ ... rO\t ~ .'
, I ",. ") t;: '-".-,! I',A, ;,tlt" M 1.A~f ~'W"~ .fa!4l~ "HI "
u :~,~ "'<::':I$~r~,~ ";!:~Vl.,J 1!,'"'4
.~.fr,H<~ _.,.' ~ "~"~' { /
... \t,f <J~If~'~~ wtHt.\
f"t.>"!#l,~f:o",* ,rtll'~2J n,~.h,.~) It' tt'::','{ ,)I'~~ j,
,,, .. ,~,
~. 'f-',.i
M~" I1Jt.t$f ,~~_.
"!I"'b~~t", ~~p<o!f'f:"Jj",j/J . . ,)H ~ f~'" ~'."i.f'J',t",.: . , .~
,m",, ..H~ i.tU-VC ~ 1#J14 iINd ...
fJ\:,J
:.:.:.',
~.' d
"',,;u~~~~~n.t4t1
f'
,\.t~,.~ Y\1.f .~:~;rr, w .. ~-:'l~Ht
I!J'~ "'..-M'l\!tNllo .... .f-'~'J

~~"":PJq.
7 Paint No, II
Much hae been written rcg61'<ling the no\:<,,,,,ity of \I""llInll I.Ul"ln'"

mnehines in good order to obtu.in lu.rjlo llulput. but hLtI.. In.,, 1M""
said l'egarding the d"Hirability 01 krt!IUnl{ till' "l,,,ratur 1II11'.~lIw.h"
To secure tho UlalClmum output tho 01""'1\101' must t... k"I,t III _, ... 1
condition as well as the machine. lI1".l "ll<'rlltuI'II dll Jlllt I'.)' """"Ill!
attention'to the laws of health. Fut and 81:<'ur",I,' wllrk "I tll'- I.ln,.,
type koyboard is not simply a m!.ttlr uf knuwlIIl! ""W, t" IIIIl{rl' II...
keys properly, bllt al~o, ttl '" corttllll ~xtl'nt. '" tl,m'MUulI III JIUI"I"hy," .. 1
condition, The amount (If 1II118C\11IIr dflll'! rt"llIm'll til. "11t'rill<' Il 1.11110
type mncbinc in not WI'';! great. btll it iM u.n ''''''Up_UOII <, ..11111" 1,,1' ..
clear brnin nnd steady nerves, ami IIn)'III1I1I{. whlt'l. ,'rum"t~. th.,..
conduces to speed and
tlCmlrUt,y.
1111 IUIlI.' 1 t.. ~11r. 1,111\"

t..UlIUIII"''''n.... '" r" .... 11
UIlu<llll'n.lth ,-
type operator and tho ObN(~rVlmc,!
Ilf II
f,w
aid in muintaining it. Mud, haw uc~n wl'itLI!II 1'~II.. l'tlaIlK til" II...""
,nil
'.-~,J~ . g.'
1<' '2~q
'Ill' _""IIMIIW
m;'rt:~\,
!;$elt.n~ 1Ii~
nt U~:a.1"'~.
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MhfI
1U Ut:VII
wtu.."
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If" H .~I<t 'lo~ffJ"'e~')M r~} filii! 1..4",", ..
,11b. ...~ n:",(,I,"L~~
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t-!c-ql'
t.!HO\;.$ -I!t';~'f~ IlI.;<1J 01, .:.'1. ~~.",J \ t } .. ~1<,,~;fjJt M";"'~,'l\. p""H'nl'fhlj 'ttffq
UI~.Jf.l"*A "U "t'''UI ,,,""If,! .... 1 ~ 1 i;J,\ t
~.r.:~H'l Uti urn
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u",ut,,': .... ~:r;~lr.I1i. "''''JJ.t f:'liJII: t~'-l:l.&,;{j S 'j .. t..l: ~.;J' <\ IttJ.',N 'i';,,,, Uu:'i. flij:X_
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A~h IJ.'~'o, J"'1"~,!,!~~J' fc'r!'~p~r {-.,.. :} !;~.,.-: II", ,nH~'J lI'! ',("o:'j~~A~ l"UUn
111'1'' 1!\iI4.iI.~"~.,, V~ 'J1'~It~ j""'~'" ~.' ,,,,;",J I,','~
:,,- \~'.,!,p,.~~, }.",t l~~fl. .... /u'if
'I~iln 1t:J~,l '.\I'-tfI'\4~t\'J tA-r: .~:}'.1"\,:jO.,~d!.t A,'. i., !/'.t~r;:
Iup0,l..j!ur Ul r/ulill
/ll(;tfllh, "1'., tJ(~ ...J",, eA." ff~.~1 ."~.. I~ v.~.: ~ .. :.,t ~.:".v.' q;t,r ~~,.r.... '~H~.~f
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IMtU' ",u..I~:r':i'i\ .t.~e~'"\-~hH~ l~1 ~~,:" ;:,~,,"l ,,' ,.>-'.t,,~:a,. Jl""~~~ ~t'\"ll.t'l,.... ~.l., ItUl't
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f;"CK.t' IA1f. ~,.q'lf .'r"tf'",'r~';.r .t"'''~ ,.~:: ~ -. ,~,~ .. , I ,at,~,H~ 0\". !,~Il".'~l~~. /rJU~f!6t;. pI
1/1"t4 ;,A~~\,~-""Jl"-'.~J!~I.;'~.t1/l~t1 1'1',.," ".~"~~~I... ''',~ '1.)f 'I~'.:,,::!....~'\'ur '.,tI".,.,~ tOl'UDPe41t1
,a-. ","" U~''''1U''II1 :W1" ~Hdll V~ :f"llI~ H,~H '.~l!,,,t .. flW')t U' r$t AN ta"t1fr"r1~t~ t'.,u......t.~ til \- t:ji..Itl,iJl,1. 1o}.':I,IIiC.~,' \. ~1 f,J, ,~~'{tl,,~. ~ltl"~/ll"'1 "~'&:I ANY""I~!!~ ,,*I.~I,." ".~~.W,'~"I~ ;::U,/IJ;''1ltl ~ ~).'!~\ ,,;a',iIl 1'1.1 Ol.jt ...u ,,:If'JI A~:~~'~I.W'YII
I~ I,,~'" ~,,~'1 ,~h''''''1
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-,.fin', rt..] .,I',s..."" O"~ '''~''~'''''fj .. r A.~"I''''rJ /.illlI<o
""1,'/""'" \II 'J" .",:/."d !,,' H~,,!.W' .t. ",;~ ""tl.",~.b /I'UI~h~
bu'" '*'11.4 '~,J ;r./m!l tAo/! ,1~.Hr.'I!".l\'.:; ,,' ~.a;)I#'i) fi,ii 1J'I'flrottdf fit
/j".<J,II, ..,,'uh /'-,' fH.jr~ 11,,, ""~t\,,,,"""1 ,.",tp'. ~ 0,,, "p<.",fl'lf lit,,"
I... k~l't IIIII"."'. ..',.,/,t",,,. '~f \I~':i . ., !I,,~ m,." i: '...... ~ .\1..11 ,.pUl/tllfM
flip<'
Jd 'h.tl ,.t':fY K'n\'i"~h ,qH~H!~\.!'~ e.) ,:h,>(' .; :,'","" Ji~t ;~~.~UIII Jo'd..41 nnJ. nt.lfl
"1O~<I"" ~"r4: !lie
1'\""(')B"~ ,:<:.1" ,,,,,j q "H( ~'''\t''}J .i 11\1l11~llll
141)""tn'lii4 IJ1",U' l:il fil~'i('r fi~1t' ,~,<I:J f ;.Jt' ,S ..... I'\:.J. 11.!~' ,~l.t'i.~. t",J u rlltl'l"ilt
l;~n:!-Jr. AI ~tt~n;-l!':1 h~~ 1~1".""* tu,~# \i.; ~~~u:,:-:t~.,'t a'n~ .4UI,tJHf'
CI, H'~~T' .,u D l'~t<;~l' t-UI:I'd\ Ual,\:1" tch .. ,s;uq, lOll ..\ r .c"j~ll'ti r_l M Iwnl~1
fI,,,
I~ ~.ft,t
\&:).1.1 ,.t..lt.,t. ItH ",' III I.a Alh
u' ~ a r~J'aU~f.
~l\'.l.':hf ....
1~ ~"" "tf'; nw.w,,,t~_
.ll!Id; J."I~
,,,'d, tl""'U,,, ,,';;.If,4,'h) lh", Il"rn tlly ,.,' kllcpm'I,I".,,, ,1
'>1"",1 ,Jr,ie"r ,,, pt'/,jU! l!l.r~1I uul

t~'J'.'~'R"1'" thll' .1" Hf.I/.,htlJ ~I
k""I,uoJl tbl( "I"'<I"',r If) \/,,,1,1 1... ,;:11, 1',.> l~J"I''' lilY! '7utl1
11l!lffl mlt,."I! Ii,,,, ,'j ....r,lf. m,,,t I,, ~"It m l/.i<",1 K'<"loJ.tll}/l,
fl.il II'dl ' j . [1;.' m'I,I".,.I., .\1,.>1' ',p.,.',ll,.t. ,I,. tI"'f
J'/lAllIgh
otltmll<:m ttl H,., !rj ~ ,., t.K,41ti. f,j'~ '!",,/,j','>&!'dt., !I',fl'/'; at
Ifli;J 1.IIW1fl,U'
i,ul. but liItl.' h'M f"'J'"
III
.,MI.t
J,.
,,,.1)
'nu~ usun"J! kblHI>' .HU' .~ !!'mr 1I1,I!'l. ..\ l&Hl'U:lI (IV

K:S-ullU:o..; n .. w
.'4SqJ;l.I Tin, ",n', $'I\"Z'~:;!I,~. tll't ,\IJll..l,
n, A t'.l:Jfl.\H'
t.,
e;:ill n." t. '"
"-It ':"iI"~( u&' fjU'!. 1'10 'l1,\I.
11 Point No. 21
Much has been written regarding the necellt!ity tlf

l~rge,o.utput, but ~ttle has been said regarding thecle~
Sll'ablhty of ke,epmg the operator in good health, 'fo
~ecure the m~x!IDum output the operator must he kept
m good condItIOn, as well as the machine. MOISt oper~
ators do not pay enough attention to the laWI! (tf
health .. Fast an~ accurate work at the Linotype keyboard IS not sunply a matter of knowing how to
ilNPll"fI~'"
A....-M
"'U~ftt
*ot)f&fh~u.n., tU ~:".U iH. fA ..., m,~,'/qjh"

It,,.,.{ ,"pn .~~1'tf .J<\.~ 11J.u~ ,~t~ f!1I:QII"h
.. Uc.,.hvt't I~, bi~r. 'i.hl. H! A... ~;"JH~ ,- u!: '. PI,ot ~ '.', tJ.1 '1j~:t &4:'<'4""
14~ I.I"~'
'!liP" ;'Jf'y;,!~~t,-.! ...... ,~ "~A,~t-.l',: l.t "\~~~!I," <! -i"~"'.'J.~'~J h.1'M.' '~. 14I$1;f~F lit.
&:f"". I'" dP'l." ty. ~,.,.e' ... J 1,1. {,' ,,~ , '4"rt,H", r,.' jl ~~-flj"f_ 4; '4~? ~'HHJ ~u.,ul .'-iffK'..!
10 PoiDt No. 21
Much has been written regarding the necl.llll1ity of kctll'ling Linotype machines in good order to obtnin large tlutput, but little has been said regarding tho dt~l!irahility tlf
keeping the operator in good hcnlth. To secure the tnluci.
mum output '~he opera.tor must be kept in good comlition,
as well as the m!l.()hine. Most operatoI't! do not plly enough
attention to the laws of health, It'lI.a~ and uccuru!.e 'Work at
the Linotype keyboard is not simply a mutter of knowiuK
how to finger the keys properly, but nisc), ttl a (~I:rt.llin extoot, a question of good physical condition. 'rho umount of
)0)1
'd~,~,..
~ltlS)
I~ .[,h.' -/IoH4 Att\u'('4ft
9 Point No. 21
Muoh has been written regarding the llfltlOOllity of kCH'l,iIlK lJUtt.

type machines in good ordur to clbtll.in hLrKIt Cllllilllt, bill httl~I"I'1
boon said tcgarding the desirability of kae)ling tbtl "1K'rntor in
good hC!llth, To SGcure the maximum ouLput tim 0lltfiltur nlllBt.
bekept in good condition, as wellilti the nmrhillll. MCIIIll.Ill!'fll\l.Im
do not pay enough lJ.ttention to the Inws IIf hOlilth. Faul. 1U1111I'"
curate work at the Linotype k(lybOlml is n(lt IlirnlJly 1\ nllStwr tlf
knowing how to finger the keys I;1foIJCrly, hut I1ll111. to 11 r.l'tllIlII
extent\ a question of goou phYSIcal conditiOIl. 1'blt It.UICIunt erl
museu ar effort required to oporuto a Linotype! ltUIChinll ill nut
very great, but it is an occupation ca.lling fur 1\ !:lent brain anti
fJ,~
~1l
)lUt'f1l Al>j;' "r#,,"4 .... uUl'~ "-I( 1~11 J~IfIs' ,~,*, /ltd.r Hd!J ", A)~''''''Ht}$1 !j.,.ul"l'"
t.-""'il~'At.t:. tq ~IJPr4 f>' fi.r ~.j, .-,tE~"'''' .t.f 'f-t. ,!"",~pl$f. A~! hU84 ""~ A.t),.
!fQJ:q "r~!J,.t4.~iI '~f(. 114~ H"<I3~th"~ uf &,\",...c JHf~t1' H~ i'i&'il.'ItJ}U.. ~.t tit ~~1I4.-4 A*ttI.A,
8 POhL~ No. 21
Much has been written rogllr<iing tho nCC11llllitr ur ktll'l'ulll I.in"

type mo.ohincs in good orclor tel Clb~nin Ill.r((1! (IIttplle. 11111, huh Ii,,,,
been said regarding the dCNirability elr kct'l'inl( tIm IISM'lllar 111111.",1
health, To securo the IDfLlCinmlll U\ltp\l~ tlw ()IU,rlllllr I1lUllt lw J;.'I,t
in good condition, 11.8 well as tho lUuchinc). MUllt I'[ll!rlltlllll Ii" 11,,1,
pay enough attention to tho hl.WM of health.I'lIst Ilna 1It:<.'Ilrlt" wurk
atthe Linotype keyboard j~ nut Hilllply II. rnlltl.t~r 11 klllll\'UIJI! huw , ..
finger the keys properly, but altio, to 1\ certain extent, a 111II"tlllll tit
good physica.l condiUoll. The amount of IflllRClIlAr ~lTl.lfL ""'\1111'1'<1 til
operll.tc 1\ Linotype machine i~ n<Jt VClry gfCJllt. but i~ UlIIII aer.I\...
tl011 oalling for !.I clollr bl'ain autl ijtcl~dy flllrvMl, AIIII IIn)'lllllllt
whioh promotes thcso conuuccti to npcCJu IIlul au:eurIlCY, ti..,,,1
~-""~~''',,:l,
~~ltlt-\rh.
tL.,.;,."
!ill'!-
,h'l,t -t~l'U~".~~
fn./,I.jim'l Ow m'r~"ult,!f ",j

kn'plII'J I"uwfll/ll.' 1Jj,j,-i:lfln In 11"",1 ,.rd./' to ohtUll&
hug" ()lItlmt, f,lIi I.!Hi.: i'll'!i (!>"'" ,,'1\" fqjtjr,lw!l 11,, ~~.
Itlfllbd,ly'"'1 k.",/JwlfJ 1#;.' ,,;,,ri.tf,,~ If! '!j,md I,,,,jith. 7"
lIl't"l,rr tlj,: I1l'1IJHlHHn ,kl/l.!pul lb ";"'r"e"r m!!..IIt llt,k;::l't
lIi gtwJ nmfhh"'~, d$ lfdl .-; 0(,' m"..ld!;fl'. ,l/o:ll vpt,r-
.1IrA,.!. An,'i lwn'l
I''','
!i'I"\Udl
ATuftl lJI:j Hn'f

"~!l\:I'U .\ru::oc; n,,:,<;' '11ItIU: 1,.\W~O"
nUI.TIl.
Attth '\~I.TII\U: W!li!Di. .\f 'fU$.t t..I~m't"rlJ!
kkYIlU.\JIU If! :'oi1t t+t.!>tN,l;.\ ;o..I ..\&'n:$1 UP' ~SuW,~U HOW
""ok1
MODERN TYPES
E CUTTING OF CASLON
fonts marked an advance in type
designing, but this style, poorly
handled, resulted in weak and in'_~iI!!'Il adequate examples which lasted
,"~1 well into the Nineteenth Century.
~~~ ~~~ A general improvement is noticeable, however, with the introduction of the faces of
modern type which were made fashionable by Didot
in France, and Bodoni in Italy, who may be credited
with introducing the modern school of typography.
These two men, although of different nationality, collaborated in the designing of their principal
type faces, taking as a basis that books are made to
,read, and that their design should make books more
'readable than any which had preceded them. The
popularity of the modern face was such that for a
time the Caslon and Baskerville faces were entirely
discarded, and, in fact, many of the type founders,
considering that the old-style faces had gone entirely
out of favor, destroyed their matrices, only to find it
necessary again to cut them when the revival of the
old-style faces occurred, about 1814, through the
combination of William Pickering as publisher and
the Whittinghams as printers. '
" ..f ....
(18 Point Seorch,! point leadetl; HeadJ.nv!4 Point Scota.. COpI)
40
TASTE AND XNO'WLJ:!lClIl:

n\'M\' \1.1. ~IH:
I
I
I', it
,.". ...
This sta.tement defeats itadE. Every rll\~~, frllm

r \ ".~ atl t~u\~nt ..... ,~~!dl"
''''; \1.1,\(. .e'. . .inl
the lowest to tho highest, hns ad(1ptoti ('('rtAi II
rt n,"~ 41' 1',~iHl j'wuMI h ~.,".R. l"t~U;H'."""
greatly typical tastes in all creative lin~!I, I r tho!
'U;;~~:~~:;~.!.tl'; ,fa U h~thl '~'~t!dl ~tr.4U""
f'ut t~.. U r'~llnt ~,.'I~ i, f!!~m'''Il.
majority wore born bclpltlslIly with poor tllah:, It
ISU" U . , ..'1 .~t.11N! ... ~,t~ h,
would not bavo been possible for the rat'c8 tu tllkt!
!Oit'''"IV.1t. II.' ""'IU" til tTl!. l'U11'l1 ....
,~ t~,'fr",~ -it..:Hld\. 1'): ,~.Hn~ '.II1""~"'1
pleasure in the creations of thoRO indiv!ciulIIN with
good taste tllat have made thmll nllUonlll.
This makes reasonable the Inferllnt:e thll.t ,\Iud
taste is not a mysterious gift, but IH .(\lIIcthill~
thllt falls within the educatlonlll realm. 'I'hl'l'r nt'
esses for learning it mlly differ Er<lnl tlll~ prut't"lt~
for learning th~ tnultiplic'lItion tllbh!, hut thllt
the human intellec't i9 rca~onllbly Hdrron~l'luu~.
grasping tIle difference betwclm gtl
art is /l. reasonable fl~9umptlon.
It cannot be dcniuu, of COUrati, t
individuals have II superior faculty
cise of whllt we cull gtlod tAMil'. It.
tory, however, to account for it Al~'
explanation that It is something til
Environment, the direction tllkr.rr
or pursuits, tlrc a quite SUflitlhmt exi
tnllny of these perfectly sltnple Co
A aOUIII'ilf... f II... ""1> ",,.,,hv .. ,,~!,I "'".
the conscious knowleuge or the Ind
fill~ 1~I ... r.~""1I "f ~,,,,.1 h.l~ .... ~!. ."mdl.jug
with so sure !I touch that it aeetnH /I
j;{ bdS.I.... ililm't4~j"'l. "1'I>.. y .",....1,. II "'lid. I ..
th~ 1i~llt
ut /I
t"i'~ jilt!, $l""III~,II., ,'nh!'1
nil Ie 1111.... lit l'ifd.IiI,~ .".,1 ~ I'~'f'"
J... h,
1", .. 1 r
<I
......... ,
11,*,,",.,1 .f.!"".t ! . I~ " Boa ,,11 .. 11 lil'r 11~"f

d.lltl'ltlr .. l ~ *".~"n .'l"I. I"" I..."!,,,.,.I ""
"111' I'''f
thllt
,,1"1" II", ".'r
"_I.I~I."tl<>fI I.t.~. ~ .... ~ ..
1",lrlil. '1'11" IIIln,1 in.~*h':h. "-7
fr.:
h . n I"~"""
,110 ...... '.1<11 ..1
""i""'" in "n lL.d, ..,u.a'n

w",,1 C.... , .... Ib, ... "If" " h ....h l".'~!
.fll'U .. 1111
I'h~
1I1i1,"t.tIWI>IIt
~ ..
th"... ,.. ..,....
M~i.U..
I", .. uf
i~
"u"'.
1',.111"""\ h
n"llt.! ~\Ji'ih 1111.1 ,di~M ...
"tit It Wf:lllnqll II,.. '''il>l,unlllll"."",y d .........""

CRITICAL COMMENT
NOTE the effectiveness of liberal leading In CIlIIIblnll.tion with the 10 Point Rcotch 'lice. In III!
size does the characteristic Scclteh fl\~e Mhnw til
better advantage tllan In the 10 point wh~n glVfll
un opportunity, but this Is a ilze und fUlle whld.
need opening up, showing to much bett~r IIdvlII1.
tage when thus treated than when &a lid or wUh
1 point leading.
The margins shewn here Ilre :for SOli x 41 pAper
(unblmmed).
(8 Point Scotch, !'Om! leaded)
-.,....,,"' ...., ... ""0;"
l~r.I:lfI!i '"''
1... ,.\ ""1I1l It"" h,.... !!,
,.v
WIl ullnt /I""qll .,,~ .lid'lI. _I II .... !
h!)rn .... Uh fOlhu' r...h .... ,
U h
,;"",,,,1
'u\;",
t" ... ",. ,u,-
.Itt.t..",,,i,h- ~!" .. t 't.r
n.,I 't~"~I'" 100.illlI",I". h \011111 ..,,,\

1'1"" ... t I.... !~ h ,.,,~ , .., .f!"I. .. ~. '"
lW'h''''' .,1,,,1 ,..,. ,."",Il. ~,. u'>I.1 i,,,,\.!,.l,:~ h.b.-
flllljllrilr "' t!-,,,

t le; 1I1l11
II" ..
b~il hd~.
:111'
ILLUSTRATIONS: Set in Scotch 193

point caps, 8 point caps, small caps and
lower case, and italic caps and lower case.
ILLUSTRATIONS
TITLE: Set in Scotch 8 point small caps,

and 6, 8, 10 and 12 point caps.
ON THE ROCK OF QUEBJ:C. Frontispiece.

"Far away, through the.e fore.ts and acros. the.e .ata1'act.,l beUove with you there Ii.. a little Kingdom
of Content, where you and I wi!! one day r8ign."
[p.86]
(10 Point Scotch, roman caps and italic caps

and lower case, !8 point leaded)
ANNE INTERRUPTS THE CONFERENCE. Facing page 66.

"The hood of her cape had fallen back, permitting the
wealth of chestnut hair, in its di.arrangod beauty,
to form a frame to the fair face beneath."
THE
FETE AT VERSAILLES.
Facing page 166.
"The King and tho Queen led the a,.emb!age down the
broad 'Walk to the edge of the grand canal."
........................ -.;................................................................;
!:Nn
MHE. DE MAINTENON. Facing page 186.
I
jhe popes 'Your BoU.,..,.,' and Kings 'Your
lsty! You Madam, shOUld b8 called 'Yo"r
lEllY OF THE MISSISSIPPI. Facing page 268.

lot Louu the Great, 1 do MW take PQ8868YIU g,.eat rifler of the MissisBippi.
TASTE AND KNOWLEDGE

AN ATTEMPT TO APPLY THE
PRINCIPLES OF ART TO THE
PRACTICE OF TYPOGRAPHY
[ix]
llY
SAMUEL F. JOHNSON
SOMETIMES the "Illustrations" page

calls for both title and quotation from
text. The above arrangement is suggested. The "Contents" exhibit on page
89 shows a similar treatment to use in
combination.
(10 Point ScotcT. italic, ~ point leaded)
THE PRINTERS PUBLISHING COMPANY

:BOSTOlf
CHICAGO
NEW YOllX
87
WHEN GEORGE WASHINGTON MADE NEWS

,~It:,'n'h',.\
of modern times may well pine for the good

old days when nobody in Washington kn!!w
what the Nation wanted until sometime after
the Nation had comfortably forgotten it.
Washington, considered as the nerve center of the country (the word "nerve" ooing
used without unworthy, slangy implication aN
to appropriations, pork ba.rrels and other
national utilities), certainly managt,<l to gtlt
along wonderfully for 1\ long time without any
particular news from the country that it wall
governing.
It managed to get along quite well with a
mail sel'vice that would arouse fretful rtmark.
from some of the Filipino communities wllidl
Washington is ruling now with aids to communication that enable Luzon to speak to the
capital more swiftly than Philadelphia could
then. It did not pine for information.
Long after New York, Philadelphill. anti
Boston had become so journalistic that their
inhabitants were quite unable to devour their
breakfasts without simultaneously devouring
news, Washington still managt'tl to eat it.
meals in unruffled ignorance.
[4]
L............ .
(1\....1\,,\1.1.
I: \
I'"",.".
1'I"!'d
)11>;,...
'1'\'1'" \I
Ifb.
\.tt,\ll/St;, !\>,.II.I.
" t.~lI1.l "t~hl)\I ,,, .. ,. rutn"'llU \t,~ tI. 'hlr,~:4t~....I~

t'II.\I'tl':t\ I'ut." I , ..Inl 11".\.... , II,.,~ '''H''''''AI''''
111''1'1'''111 IU;.\I. '! 1','10.1 II.~"'''I !I.. ,~ r"'"~1\ "~I".
Tfn.~,
,"1..,0",",,,'.
'11'\llf~t -s.-.f'I*'h tunl-1IC'i P.1tMr"Jl, r'f"';;.~'jj,'I.t.
.'(tl,t(J"
ISn't"". UI',,\,,'I,...I""I
laSII I! 1'm1ll1....I,,"III.v .. ~h S".,
1M'"
St'~II"1I
u.'
\\,"'III~ fil
I.~~I,
t! ! I I' vII'!
"",I
11'.
GREAT
NEW$PAPEH CENTEHS
", ...;j~.
Il'm:"1
t:tHllt:t
".\"lIl~.r.tn"
))t.\I'.:
~I.''''
HI': t,'",tl",r IIf hi. ('Ullnt.fY tN'I' 'H~t 'It.\.. tu t.arn all "'uHlt it ""t .'f<<tU~~t tilll<'
,wry mnrllill,l( t.y tlwr"'!Y llt'lI"l,iIlK 1\ !"-W~
(11t{>I'r t..hillli hi~ 1.hd... Th,r,. ""\~ fm U1un,il1$t
IIn'>I~ if! \", fI<lt.iIIMtufl th.. n t .. r"lIIiwl hilll lit
hi.. tl", rf'lIhlt dtlt i....
l'rrhupll
n"t..I1iIl,,.-a .. ,r,. III til" \\'hihIIflll/,,'
rfj\'i<<<1 I.illl ftUllwt 1{I1"1I q.n'\ h",,~.
"1\"1'
lO I/. I':
',ill
(r.. ~I"'J\I'f1 "S'I,r""I<ltitlll thAt

t11l't'r ill linn... trntli III tlli' 1l.1"K" whi.ll lil<lIrf(t'<I
",,,,liIA.. l .itt,
CRITICAL COMMENT
THE alze of the 11 Point Scotch lace I. amnII

as compared with other faces caat upon thco
Brune body, which frequently makes It dealrable to use lor an open pllge. There Is a
peeullar distinction in a page with wide leading provided the balance Is kept ha.rmonlou.,
Interapaclng the letters in the 'lUnnlng head,
and slightly !ncrC8J\lng the blank between the
runnmg head and the lIrat line ot text, be.lp
to keep the color llght and the general appearance of the page effective.
Note the cfl'ectlvc combInation of the Boclonl
Book eap~,
The ml10rgins shown here I10re fOT 00* x 811 pAp!!r
(untrImmed)
(8
poine Soote", , ,o/lle lecdccl)
II
th.t iKflnr.lUlI" i" Min.
filA", '"
UmJ!)lliJll'dly
WI .. t .. HUll'" t'r.'_~
fR~t "',,11M .,IJ.\'.., twO''' ,IiU..~t ... l t.... U .. r it tll.-!".h,Ht 1....11 fiU I/ltlrniJlIoC n"-'I''''i",'r~ t .. rrilll,h,f"
iflg ib N)\lr~t". It .~. ttl I.. UU"', " ",",'11"11',.
Inud.. rfl l~tthwrf1il'fI"" l", I.., AM", tu (.1 th. ('min'
tr,)"11 ,ml"" IH !lIUUfI .II'. "fir ;:"h mIl II! 1..,.1, hut
wht'JI UII' pulll' j,
lUI" t:..'II'~ P d f!lUlIC"
.,mptumll ttll6t ttlll& .li_lffu"j", .. !r.... i.a.nt
'.'''fri. ''
( II
CONTENTS
PAOE
CON'rENTS: Sd ill Scotch 19 point cap', 10 POi11t

cap' and Imall caps and italic capa and lower
cast', arid 8 point caJls and am all caps.
TITLE: SI't in (1, 8, jO ancl !3,~ Point IlOlloni caps.
xi
FOREWORD
CIIAPTlJ:R
The Birth of a MYlitical City
II
The IIero Becomes an Explorer
CUAPTER III
The IIero Contenb IIimself with Ilalf a
CXUPTER
(10 1'''{1I1 NI'<ltrh "mlllll """ anti LtllUC caps

amd l"wt.r e<l't, ~ ;poInt IcC/ded)
ao
Loaf
CHAPTER
IV
An Attempt Is Made to Mix Oil and Water

CHAPTER
CUAPTER
60
VI
The Explorer Finds not That for Which lIe

Seek,
Cl'IAP'l'lIlR
'1
'I) 'Ii' AT
" , \ , _J
N'EWSI)API~Jl
(:Ji~N T'EltS
82
VII
Tlle IIero Meet8 a Great King

CUAPTBn
42
The IIeroine Disco'tJer8 an lilly
16
93
VIII
The Sieur dl! la Salle Find, a Ilare Gem in a

Fal.e Setting.
120
CnAPTBR
IX
The Power Behind the Xllrone .

128
CXU,PTlCR X
The Great King Accepts the Judg1llent of
the Church
l4.lS
BY
BDWARt> lUWUGIITON
AlJ'1'IIOII
<I.' "TIlII: C!<l.LL or '1't1l1 Nt:WHI'Al'tll"
[ xxix
THE earlill,t 'Volumet lacked the title page becaul

'Vellum and linen paper were held
80
hiOIl that tl
c;r:penlc of an extra leaf wa. con8idercd an
NEW YORK

PUBLISHERS
711
necel8ary luxury.
In theae boolel, that 'Which took the place of the tit
was at the end, the colophon u8uall!J including ti
name of tlU' printer.

(10 Po!ni 8colcll italio,' vo!>!! /'ll,d,d)
srt:('wIC <l.l'W)(S
AN APPRECIATION
bounds, and that when they did break loose

it was sometimes beyond the combined power
of all the city authorities to restrain them. The
Evil May Day, as it was called, in 1517, when
the apprentices rose up against the foreigners,
especially the French, and, notwithstanding the
efforts of theLordMayor and Aldermen, ravaged
the City, burning houses and killing many persons, is recorded by the old chroniclers. The
day was one long remembered by the masters
with fear, and by the apprentices with pridealthough twelve of the latter ignominiously
perished by the hands of the City's hangman
after the suppression of the riot by vigorous
enforcement of the law by the
The master's duties to his i
to feed him, clothe him and teac:
truly his art and craft. Failing!
of these duties, the apprentice
plaint and proof shown before:
Aldermen, have his indentures c:
turned over to another master.:
side, the apprentice made oath:
master well and truly, to keep ali
to use no traffic on his own acco:
all lawful commands. The Lond;
those days were very exclusive :
Fi
OVERALL SIZR: 18 X U~l loI~M.

TYI'~:: II I'olnt N'\.t.h,
I.l'!A[)[NCl: 'pulot.
TI1[.1'.: U r ..lnt IkId....1 nllnAII ~"poi, hltr
1.
CIIAl'nm 'TrrLl':, 10 1'"lut Ik.IIII1II1.. ,k
HUl"11 t'Up;4( Int,,r~tuu..t\tl.
ItllN)(IN(1 111'.1\11: \U 1',,1111 1l..,I,,,,II1,.'k ",,,,.II.,W~.
p,,,..
,'"''0;'''
Int~rNplI"cd,
FOl.lt): 11 r"lut S.~.lch nlmall. tm... ~.t .. l.

Rt1l,~"~: 2 j'nl"t Mlltrlx !-Olhl" Nt>. ~"4.
INITI.-\I,: n I'ulnt N"k/., l\'13"~; 1>"""1111 ('ulu"
l('I#ga,
DR(~()ll"'Tlmlll: N"trh
NUMBER til' WUlLtlS

(If
11"",11101111. 11:
I#~~,
'w I'ttt.l. ",\liE:
Pn/1I1 :qlll.". t P"i'" ,
,,1"'1
IU.
c:
CAXTON
AN APPRECIATION
[18 ]
tdlM UII, ill hill prultlj{Uc
CRITICAL COMMENT
l'HESE sample pages show effective combination
of Dodoni small caps together with the Scotch
face. This use of small caps was originated by
Aldus. and is particularly useful in long running
heads. and especlally decorative when included
between rules.
The margins shown here lire for 80% x 41 paper
(untrimmed).
to "Chllrill. the Great," that,

pr(!viouilly tc) hi. IlI'Pl't'JltiC"'"
ship. he ha<llll!Vn to IIc-hcwl. hut
wh(!thcl' in Kcnt Ill' l.nmiun h.,
dOCII not lIay. HCl cmly thll.llk.
his parents for their kind fClrl'lIight if! giving
him a good education, by whil~h Iw Willi ('flll.hh'l:l
in after years to elLrIl IIll honNlt living. Nt! nUlI'r
particulars of his early hi~t,(Jry hdng knuwn, WI'
will pass at once to the year HtIH, Ilnd imKgirw
him, fresh from the Wl!lIlli. alr('lldy inl'ltllll,'(1 in
the household of Alderma.n I.nrgt, and duly invested with all the right. and lriyile~", of &
London apprenticc.
When we rcmcrnher how ma.ny ot thl!~' Ap(I~n
tices were youllg men aoout rOI1r-and-twtnty
years of age, we elm r~'ltdily tK,lil'v,! thnt vl'ry
strict rules were rcquir!!<l to kt"~ll them within
( 1'1 ]
(8 Point Scotch, , point leaded)
SO
,--
...
. .. -
,n.s,.,"tIlIG!'lE.llilMiillll_
1)0
.~ - - -
.~
~
FOREWORD: Set in Scotch, heading 1~

point caps, body 11 point; Leading. ~
point; Rule, 2 Point Matrim Slide No.
4-03 j Scotch Headband, X-139B.
TITLE: Set in 18 Point Bodoni Boole caps,

and 8 point small caps, 11 point roman
and italic caps, 12 point caps of Scotch;
Rule, 2 Point Matri:c Slide No. 403;
Decoration, 18 Point Border Matrices
Nos. 724-4> 724%, 724- left, 724 right, in
combination; Scotch Ornament, X-1398.
Ii
(10 Point Scotch roman caps and italic caps

and lower CQ.36, S point leaded)
CAXTON
AN
APPRECIATION
FOREWORD
rpHIS little volume has been prepared for
.1 all those who have followed the Road of
Printing with an interest which suggests investigation. In it is shown the art followed by the
great printers who produced volumes entitling
them to be considered for all time as masters of
..... :J:h,,'.!!!,!.t,... ~h~ endeavor has been to show the
~-as produced the greatest effect
~r as a whole, and the obligations
~ Owes to men like Caxton, Aldus,
1antin, not only for their success
jers, but 8,lso for their constant
lt any inJIuence which stood be!e and the printing press.
I
I
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By THOMAS P. ARNOLD
A'D'THoa OF "GREAT NBWSPAPER OENTBB8~"
''TASTE AND ElfOWLBDGZ." AND "STORY 01" PBllifTING"
[vii]
I
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I'
THE use of the Linotype bo"der matrices
secures a decorated title without the e:cpense of a design. The number of combinations which can be effected is almost
limitlesB. See page 109.
(10 Point Scotc" italio, ! poi..t leaded)
NEW YORK THE PRINTERS
I,
!'II:
I
I'
I!
If.
!~
PUBLISHING COMPANY, INC.
11
tL.
11
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\'
r ...
1."',..,
CWJ1W7
91
..
.__ ._.... __...__ ...-i
-----....
r--'-----------
-.--~-.--- .....
-'........
---.~.'--- ...:
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PRINTING TYPES
SPECIFICATIONS
OVER-ALL SIZE: 18" 81 pica

Books of devotion and playing cards
TYPE: IS Poillt Scotch.
were the oddly assorted staples on which
LEADING: a poillt.
TITLE: 18 Poillt Bodolll Book roman capa.
these early Fifteenth-Centmy printers exRUNNING lIEAD: 8 PO/lit Scotch roman capa,
Inter.paced.
ercised their skill, their customers seemFOLIO: 8 Point Scotch.
INITIAL: 18 Point Scotch.
ing to have been confined entirely to the
DECORATION: S40 Poillt Adam Border No. 851.
NUMBER OF WORDS TO FULL PAGE: IGO.
poorer, or at least the middle, classes. The
(6 Point Scotcll floint leaded)
nobility and superior clergy evidently held
in contempt these economical substitutes
for the beautifully written and richly
illuminated manuscripts which were the
treasmed possessions of those wealthy
enough to indulge in their purchase.
,
At first these pioneers of wood-cutting
.. " ... ..... ,............... , .... ,......... .... " .... .. ", ......... ....
confined themselves to the p r"'"'''''''''''''''' " , , ' , , , .
rude pictures, "prents" Cha
them, mainly of a religious I
But as these began to find th
the possession of the commo!
THE
necessity of some explanato i
HISTORY OF TYPES
came so obvious that the For 1
as he was termed, was comp i,
plement his pictmes, at first 1
lines, but subsequently with
of reading matter.
.
PRINTING was not entirely dependent
,
"
"
.,
'.,
I
!
CRITICAL
upon the invention of movable types,

though so necessary were they to the full
development of the printing art that we
are wont to consider the one as absolutely
necessary to the other.
But there were printers before there
were types. Indeed, so well recognized
was the trade that it is fairly constantly
referred to in the town-registers and
other official records of the Fourteenth and
Fifteenth Centmies. As early as 1428 we
:find Wilhelm Kegeler of N ordlingen referred to as abrief-triicker or printer of
documents, while a decade before, namely
in 1417, there was a Jan de Priiltere (or
John the Printer) working in the city of,
Antwerp.
COMMENT
THERE is no type better adapted for a small

page with a liberal leading than the 12 Point
Scotch. It permits running out a slight manuscript w.to a book of respectable size without
obvious padding. Compare the effect of the 8
point Caps in the running head with that of the
7 Point Bodoni Book caps shown on page 88, The
use of a decorative piece on the first page relieves
the monotony. The dlsplay line of Bodonl Book
adds to the effect.
The margins shown here are for 80~" 4.1 paper
(untrimmed).
(8 Poi...t Scotch. B point leaded)
ii
_,-...._""~_J. . __ __
92
-----..------.-...-.. .-... --'--"---..----_----'1

!
I
8cotch,l~ point roman
caps, interspaced, and 8 point caps and
smalZ caps.
CONTENTS: Set in
TITLE: Set in Bodoni Book, 10 point small

caps, and 8,10, 1:8, 14 and 18 point caps;
Decoration, ~4 Point Adam Border No. 852.
CONTENTS
(lO Point Scotch, ro"",,, caps and ifalic capo

and lower case, , pO(1It leaded)
PAGE
THE RETDBl'r OF ... N OLDTIKE GmST
II
THEL.UfDTK...TW.... VEayFAROFF
,
.................
c . . . . . . . . . . . . . . . . . ,
, , . . . . . . . . . . . , . " , . . . . . . . . . . . ., "
.11
. . . 21
III
... ~~~_<>.:trll~':"'~J?~~:":~TURE
. . . 81
[
IV
lG"'Tl!:
~
...
41
THE
I!
HISTORY OF TYPES
AND
OTHER ESSAYS
BY
JOHN F. FRENCH
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VARIETY in the front matter sholtld not

be secured at the expense of consistency.
Note the 8uggested arrangement of a short
Contents, to preserve a dignified page.

BOSTON
LONDON
NEW YORK
The Bodoni title page is in perfect harmony

with the Scotch face.
(lO Poi1lt Scatch italic"
point leaaea)
__.._.._.._....._.__.._...__""_......_. ._..._",_...................___________.d.........''''__...._
___
P-r--~_"_"."_."_~ ""_"'_""''''''.!!'.!!'.!!'~!;~~~~''_''~''_''''''''''_'''''''._''_''_'''_''_''
......_itl_r,_.~
~
SCOTCH WITH ITALICS AND SMALL CAPS
~ Point Scotch
Much has been written regarding the necessity of keeping Linotype rna..
chines in good order to obtain large output. but little has been. saId re-garding the desirability of keeping the operator in good health. To secure
::th~a~i:tiFne~Ua!\ ~p~:t~~t~~ ~~~:; ;~g~h :=Jg::~irh'~ ~W:~~

bealth. Fa.<rt and 8U!:urate work at the Linotype keyboard is not simply
!it:::
0: ~~~ ~~Jgll~~~~r =i~~~~~~ b~O~:' ~ ~~!fa~
e1fort required to operate Linotype machine is not very great, but it is an
&
0.
occupa.tion calling for a clear brain and steady nerves, and anything wbich
promotes these conduces to speed and accuracy. Good health is an asset to
------------_._-----_._
...
8 Point Scotch
". ..
Uqli.
ur
,m" S .. , ... c...
Much ha, b66n "lIty1tttn r'9I1rdlft!! t"~ ~ ltil!l

1.;.~pi~!J fA .....'
typo '>lachin in good ord., ttl .. />ta;" IMPO ""/1''''. 1> .., t'~II_ IHu
b.en aald ~.9ardlng 1"_ tlnlyah/illy "I "'o,>ltl9 tlo_ ('1'-''''111'''' !I",..I
health_ To 10C1lrO t"~ 1IIa....IIIII"" "ut I'ut III .. "1''''111<1' " ...., b
in good condition, (1# w~1I ao
",arlll,.". /UtI.' tll r"'vr~ ,I" fI",e
pay ~nough alt,nall" ttl Ih.llrw. /If 11'''1111. f.'II.1 ",.,1 "r .......' ..,,,,4
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large ontput, but little has
pay enough attention to the laws of health, Fast and accurate work
at the Linotype keyboard is not simply a matter of knowing how to
finger the keys properly, but also, to a certain extent, a question of
.t.,.,
I".
AT TUE J.IN(lTY'l'It Xtt'YB<h\.b III t(UT \!Iucrt,V A. M~"tT u~ "N'uW'r!tt~

IIOW TO rINGeR TIU: KKY'1I1... urr..t...... tfT At',",,"1 Ttl A 4-f!.r~l~ #1t'l'jI~l'..
lIul.,
10 Point Scotch

little has been said regarding the deSirability of keeping the
machine. Most operators do not pay enough attention to
the laws of health. Fast and accurate work at the Linotype
IIn.l~~""
t'lI1"~
Much haa brrn 'R.'riUrn Tt'Yllrtiiny II... 11('",..-11./1 IIf /((,II'l'i"9

Linotype machint'l in gtUul ("tirY til IlI,tl.i,. ['Ir!!t" "ulp"I. fill'
little haa bet'n laid Tt'y/mlill(l Iht' tI",iy/,"ilit./I IIf ku!';,,!!'/;"
operator ill good llroWI. I'll ,/,eIlT/, tI,I' 111l1.ti",lIm olll!'~t
the opI'ratIJr mud bll k .. pl ill [I/wd "IIII/IiI;ll". /III f,tll
fI,"
tI.
MACltlNIIIl, MOS'!.' Q,'y.ItA.'rOIiM nil No'r I'A" r.Nelt'UII A"tT.:N"I'I"~

TO THE I.AWS Oi' UIl:ALTIt. 'A~'!.' 01.10111 1\1'("'1101.1'1: WHit\( .11."1" TUI:
11"'A~
11 Point Sootth
.".1 SW.i.J ~ t'..,t.
f,cm 'ClInttlllA rl'UtirdiflU the 'nt"fl'uil!1 of J.:rr/j

ing Linotypc 'mllcl1i1lt" in /c)(I11 clrlJa tl) aMtsiultlr!lt"I.mJ,
put, but little Ittll bt'CI& "liel rl'{Jlm/ill!! t ht' t/",irtlbilil /1 fit
keeping thc opertstor ill (lcltJll "t'tlltll, '/'" ,(curt' 1I,i' md,ri
Jluch
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has been said regarding the desirability of
keeping the operator in good health. To secure the maximum output the operator must be kept in good condition, as well a8 the machine. Most operators do not pay
lWII
MUM ou'rltrT TIUt. OI'Jo:II ....Tml MIIII"t' III: 1<1':1'1' IN (1111111 "UN
lllTION, 1.9 WEI,I. All TI[F. MM:JtIlH:, MUll'!' (I"VoIl,,'I'(I Ito
IInllll.ml S ...... , ....
11 Point Sootch
Much has been written r('!/(mlinu tlw rU'('t'uitll

of kCCl)ing LinotllPc '1T1at'l~inC'B in {!(JOt! ON{t'f to
obtain large mtilJltf, lmt httl(1 111411 IIt't'n Rttul rt'ga1'ding the dClliraiJilitl1 oll.'{'t'pinU tIlt' CI pantof
Much lias been written regarding the necessity

obtain large ou~put, but little has been said re~arding the desirability of keeping the operator
In good health. To secure the maximum output
the operator must be kept in good condition, as
IN Goon lUW.'l'II. 'l'U SJ-:(!trltJl, '1'111': l.\I.\X1Mt~ ...t mf1'

PUT TIU: Ol'.to:ItA'l'OR MUll'!' lU'. KIW'r J:of (I<HlIl (:mol11,,11, 11",1
14 Point Scotch
1;",.,. f...
Much has been written rcgarfiillJ.[ tilt!

necessity of keeping Linotll]Jc machillt'S
in good order to obtain La.rge output, hut

in good order to obtain large output, but
little has been said regarding the desira-
LITTLE lIAS BEEN SAUl IUWAIWIN<; '['UR IH':
18 Point Scotch
IV
I~PIHI Nt'~J'.Ih./ftdU
Much has been written rl~ganl~

ing the necessity of ke!.ping
Linotype machines in good order
Much has been written regardingthe necessity of keeping Linotype machines in good order to
.4 Point Scoteh

80 Point Scotch
Much has been written regarding the necessity of keeping Linotype machines in
L--.
94
THE IDEAL BOOK IS A COMPOSITE THING

MADE UP OF MANY PARTS
I T may be made beautiful by the beauty of each of its partsits literary content, its material or materials, its writing or printing, its illumination or illustration,itshinding and decorationof each of its parts in subordination to the whole which collectively they constitute: or it may be made beautiful by the supreme beauty of one o~ more of its parts, all the other parts subordinating or even effacing themselves for the sake of this one
or more, and each in tum being capable of playing this supreme
part, and each in its own p~culiar and characteristic way. On
the other hand, each contributory craft may usurp the functions
of the rest and of the whole, and, growing beautiful beyond all
bounds, ruin for its own the common cause.
The whole duty of typography is to communicate to the
imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole
duty of beautiful typography is not to substitute for the beauty
or interest of the thing thought not intended to be conveyed by
the symbol, a beauty or interest of its own.
-COBDEN SANDERSON
SPECIFICATIONS: Heading, 18 Poine Bodon' CtlFJ Tes,. 1B PDUr.f Bolon;' Book. 4 poi""
leaded; Decoration. Bodo,." HetJdpiece. 'x.1l5S: Dcuh, 10 Poim Mtlt.ri2: SUde No. 990;
Border, combination of 36 Poin.t Bodoni Border N(J&. 1206&. 1207h, lJOBb. 12($b. lZlOb,
12l1b, I212b. 12l3b. 1214b, 1215b and 1216b, wi.th. ,ule cad /1'om 8 Po . . M".,.is Slid$
No. 73S and 6 Pomt MaCri'; Slide No. 741 on. eif1&.er $iJe.
- _....1
......... _.. , ... ".."................ .. -- ..-_1
;
GIAMBATTISTA BODONI
GIAMBA.TTISTA. BODON!
eagerly welcomed the new BodoDi

faces and those which were cut after
the new mode.
BodoDi was fond of decoration, but
he kept this fondness in restraint. Hi.
headbands and borders were composed
in graceful geometrical fOl1ll8 and fill"
ished with malhematical accuracy.
He cut with his own hands the
pooches for many of his types. His
eare for his books was not limited to
the typography and decoration. He
also selected the paper with the greatest care. The impression of the type
alter printing was carefully removed
by a procea of his own which was presumably similar to our modem process
of "dry pressing."
It was the weakness of the sharp
hair-line and the fiat, unbracketed serif
that made the BodoDi typ e lose favor
with printers. It was foood that the
fine, weak lines did not stand the wear
of the cylinder prea After many
years the popularity of the BodoDi
somewhat waned and it remained for
America to revive the iuterest in the
long.forl!otten Bodoui types.
fied in his Manuale TipoBTafi,co which

WaS begun by him but completed by
his widow in 1818. It was issued by
the Parma Press in the form of two
quarto volumes and contained 279
pages of specimens which are good
evidence of his skill Dnd industry.
Among theae specimens are alphabets
of about thirty foreign languages. He
is most celebrated for the peculiar
style of his lettero, which were based
on a new system of type design and
were ent with elearness and delicacy.
All of his contemporsry type.found.
ers were influenced by Bodoni's work.
There was some intercourse between
him and the Didols of Paris which is
manifest in the subsequent work of the
latter. The British public, which was
becoming tired of the old.style leiter
which had been used for SO many generalioDB, was ready for a novelty, and
[10]
[9]
GIAMBATTISTA BODONI died in

1813. His life work is best .exempli.
,
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CRITICAL COMMENT
No 8 point type is
SPECIFICATIONS
OVER ALL SIZE, 12 x 28 pic
TYPE. 8 Point Badonl.
LEADING: 2 poln~
readable and al the same time 80

effective in typographic display ~ the Bodoni. By its use,
copy may he condensed to the minimum space without
maning the value of the printed matter by making Ihe
page unpleasant to the eye. The rules used with Bodoni
should be of the same weigbt as the line of the type design.
The margins shown here are for 24'1.. x 28 paper (trimmed).
80
TITLE I 8 Point Badonl roman cap.
RUNNING 1lIlAD, 6 Point Dodonl r ..... oap>.

FOLlO: 8 Point Badoni, bracketod.
DECOllATION. 18 Point Dodonl Bordor No. 7M.

RULES: Matrlx SlIdel, 2 Pohu No. 401 alld (i PoInt No.14!.
INITIAL: 18 Potat Bodonf. abovel.

NUMBER OF WORDS TO FULL PAGE. 179.
(8 Pow Bo4oni B.ok, 2 p.i", k<okd)
(6 Poto, Bodcmi Book. 2 pGird It4dcd)
II
;-
96
--;;;:
!!!-
........................................................................................................ " ................................................................. , ............................................................. , ..................:
i
BOOKS BY DOrT. CAnDOCCI
GIAMBATTISTA
. THE Bodtlni M~al oj Honor
BODONI
Carolus IV. Res Catholicus

Funeral Oration 0/ Ferdinando I
A Master Printer 0/ Parma
Essay on the Bodoni Ornaments
A List of Bodoni Publications
MASTER PRINTER
OF PARMA
BY
GUIDO CARDUCCI
NEW YORK
PRINTERS PUBLISIDNG CO.
PUBLISHERS
- - - - ---- ....- - - - - . - - -
..
_------
----
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THE front matter of the volume ofJers the

best possible opportunity for taking the
typography away from the commonplace.
By the same token, it presents the most
obvious pitfall for those printers who do
not reali~e its dangers or recogni~e its
importance.
ADVERTISING CARD: Set in Bodoni 6

point caps, 8 point lower case italic with
roman caps, 3 point leaded; Initial, 18
Point Bodom; Decoration, 36 Point
Bodoni Border No. 1222; Ru.les, 2 Point
Slide No. 742.
(1(1 Point Badoni Book .2 point leaded)
TITLE: Set in 6, 8, 14 and 24 Point Bodoni

caps; Decoration, 36 Point Bodoni Border N 0.1210; Rules, 2 Point Matrix Slide
No. 401 and 6 Point Matrix Slide No.
742.
(10 PQin' Badoni Book. 2 po in' lutled)
......,..........'" ..
97
-~-.~.
,. '''i.:
0"
~'~-'''''-
~.-.r;.-
. . '::::;;;-.-.'....
~.j(i-
..:::':OW-d .. . . ..
~
------------_.----_. _---.,-".,._ ......- =-.-=

.. =-=~~
= ======--=-=-':;;;;..'
---------,--'---
... " ...... ,......... " .. " ..........................................................................
ABOUT NEW TYPE FACES

who dominated the Georgian era with his unequalled poetic satire, once
wrote an "Essay on Man" in which, among other wise things, he said: "Vice
is a monster of so frightful mien as to be hated needs but to be seen; yet
seen too oft, familiar with her face, we first endure, then pity, then embrace."
In these familiar lines is to he found a rational explanation of the apparently
causeless popularity of some eccentric type faces.
When first shown to us the inherent viciousness of these so called "distinc
tive" faces gives a shock of disagreeable surprise; later on, maybe owing to
their tentative use by "the other fellows," they become familiar; finally, this
familiarity, breeding not contempt but toleration, tempts us to embrace
the very vice that at first repelled. Of course, the novel and strange are not
necessarily vicious, and it needs no poetic quotation to determine this.
Rather may the point be made clear by an everyday and commonpl~ce simile.
Those of us who have left ebullient youth behind us can remember when,
in the early days of the bicycle, the large pneumatic tire was introduced.
As to the superior efficiency of the new tire when compared with the old
there could be no question, but so strange and .unusual was its appearance
that the average bicyclist swore by the Gods of the Wheel that nothing could
induce him to ride so grotesque a contrivance. Yet, in a very short time it was
the old. fashioned narrow solid tire that looked peculiar and out of place.
These, then, are the questions that every printer should ask himself when
he feels inclined to treat himself to a new type face. Is its only claim to
consideration to be found in its novelty and unusualness, or is it designed
with such attention to approved principle that it contains within itself the
elements. of lasting popularity? Let us see how the printers of Pte past
approached this problem.
Now it is altogether a mistake for us to attribute to these men of the
Fifteenth Century an artistic sensibility so unerring as to be almost superhuman. It is quite true that they had the knack of producing pages which
are everything the printed page should be, but when we come to analyze
these, we find that much of their obviou~ beauty is due to the very artistic
limitations which restrained the printer just as others of a different nature
affected the workers in mosaic and stained glass.
During the latter part of the Fifteenth and well into the Sixteenth Century
every printer was his own type-founder. Not that this meant that there was
a multiplicity of type faces. On the contrary, this is what happened: when
Nicholas Jenson designed a type that was deemed entirely satisfactory,
-.<if 4 lBo-
SPECIFICATIONS
OVER-ALL SIZE: 26 x 43 pi, ...
FOLIO: 10 Point Bodoni Dook roman with 10 Point Bodoni

Bracket. NOI. 241L and 241R.
TYPE: 10 Point Bodon! Book. ! point leade4.

RUNNING lIEAD: 12 Point Bodoni Book italic capl,
NUMllER OF WORDS TO FULL PAGE: 468.
(6 PO~llt BorIont Book .2 ptlin.1 le4ded)
--,----'
..---'----~-'--....----,---,......... ,~~...-...-~-~ . -~.--.......-..
98
IE
[Act. I.
THE TRAGEDY OF MACBETH
SCENE II - A CAMP NEAR FORRES
Cap. Rowe.
Popo. Theob.
SPECIFICA.TIONS
OVER.ALL SIZE: 24 ~ 38 pi....

Alarum within. Enter DUNCAN, MALTYPE; 10 Point Badont.
COLM, DONALBAIN, LENNOX,
LEADING, 2 point.
TITLEs 14 Point Radoni capl, ia.tenpaced.
with Attendants, meeting a bleeding
RUNNINC HEAD: 10 Point Bodoni cap
Sergeant.
FOOT NOTES ~ 8 Point Bodoni.
SIDE NOTES: Ci Point Bodoni.
DUN. What bloody man is that? He
FIGURES (inferior) : 6 Point No. 2, one-letter.
FOLIO: 8 Point Boclcw1. bracketed.
can report,
RULES: Matrix Slidell 2 Paia.t No. 403 aDd 6 Polnt
As seemeth by his plight, of the revolt
No. 516.
The newest state.
.
(6 Poilu Bodoni Book, 2 poinJ lnuled)
Ktly. Rowe +
MAL. This is the sergeant
( - J DhDI.) Cap_
Who like a good and hardy soldier
fought
'Gainst my captivity. Hail, brave
friend!
5
Say broil
to the king the knowledge;" .........
of the
...... ... ;e::Xtc;y~...................-........................................ .
As thou didst leave it.

SER. Doubtful it stood;
THE
SCENE II (stage direction) a bleeding Sergeant] Th!
ing Captains, and through the scene head his sj
Cap., an abbreviation of "captain." In line 3 tbi
"the sergeant," and the Cambridge editors have
out to that rank. According to Bolinshed, 4 s~
by King Duncan to arrest the rebels noticed in tbi
by them. The dramatist adapted the episode wl
chronicler's details.
i
1 Whaz bloody man ~ that?] The language in thiB BJ
crude as to make it unlikely that Shakespeare wai
probably an interpolation by some pedestrian perl
a The newe't Btate] The latest condition of allairs. :
the sergeant] This is the "bleeding captain" of t!
direction. See note, supra.
!
6 the broil] the battle. Cf. Othello.!, iii, 81: "feats 0 1
MACBETH
SCENE I
Rowe -h
TheoL.
Thunder and lightning.

Witches.
Enter. three
FIRST WITCH. When shall we three

meet again
In thunder, lightning, or in rain?
SECOND WITCH. When the hurlyburly's done,
When the hattle's lost and won.
mIRn WITCH. That will be ere the
set of SUD.
5
FIRST WITCH. Where the place?
SECOND WITCH. Upon the heath.
THIRD WITCH. There to meet with
Macbeth.
FIRST WITCH. I come, Graymalkin.
ALL. Paddock calls: - anon!
10
Fair is foul, and foul is fair,
Hover through the fog and filthy air.
[Exeunt.
Fl.
CRITICAL COMMENT
Tms example of intricate composition is a demon
"arb.
Joh...
Cap.
Raa.Cap. J ....
BDWfI,Pape,
Theob. i.
Hsn.i.
Cap.
Pope+. Cap.
Pope +. The.b.
Warb. Johns.
Rowe.
RDwe+.l\-Ial.
12 When .hall ill rai..?] The punctuation is Banmer's. The Folios

duplicate the mark of interrogation, putting it at the end of each line.
a hurlyburZy] turmoil or din (of hattle) ; an onomatopreie word.
9-10 Graymalki.. _. Paddock] Graymalkin is a popular expression for grey
cat, "malkin" being a colloquial diminutive of Mary; "paddock" is a
common word for "toad." The spirits who were attendant on witches
were usually reckoned to aSSUDle fonus of cats or toads.
11 Fair is Joul lair] The witches thus confess to a completely inverted
moral sense.
[31
-_....,,-
OF
A DESERT PLACE
[ 61
(8 Pain' B()dQra~ Book, 2 point lefJdedj
TRAGEDY
ACT FIRST -
al
stration of what can be done by the Linotype

machine. The arrangement of the page dates
from the Sixteenth Century. and may be successfully adopted in volumes containing heavy
notes and variorum references.
The Bodoni face, because of its strength and character and by r~ason of the weight of its italic, is
especially adapted to volumes of this nature.
The margins shown here are for 30% x 41 paper
(untrimmed)
........-1
-_.
rna
99
_ _ _ _.._. ".. __.w.__.____..._. __ ___ ........... _.................. ____ ___________.,_.____

;
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The Artist Printer's Year-Book
SPECIFICATIONS
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OVERALL SIZE: 21
SECOND
as
pl
TYPE: 12 Point Badon!.

LEADING: 2 po!n,.
Color is something well worthy of our careful

study, Its effects are marvelous. and nothing reveals the culture of the individual and the country
more than this. Anon.
CHAPTEn TITLE: 14 Pohu BodoZli rODlIlD. cap,. inte%.paced.

HEADINGS: 12 PoInt Bodonl italic caps.
RUNNING HEAD: 12 Point Bodoni
romlln
cap. and !taUe
lower caSI!.
FOLIO: 12 Point Bocltnti fiC1lre, bracketed.

RULES: 2 Point Matrix. Slides No. 403 and 5 Point No. 251.
DECORATION: Bodoni He&dpieee, X.1l55.
INITIAL: 18 Point Badon!. above.
NUMSER OF WORDS TO FULL PAGE: 234.
I
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THIRD
(6 Point Bo4arti Baak,.2 poinzluddd)
Weare now so unaccustomed to beauty that we

are apt to look upon it as a luxury, and to regard
with suspicion those who talk of art; and, indeed,
I began by admitting that much that passes by the
name is sheer waste and foolishness. But the art
with which we are concerned is notl!" ..
an intelligent mastery in work done;
ment of quality in workmanship. W;
FOURTH
From the great universal storehou

after his kind quarries out his mate;
of work and experiment teach him:
and give him facility in dealing wi~
language which finally forms from it:
and language which seems to him b~
and convey to the world what he hasl
what he has in his mind.
'
-WalteTCr~
I
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[4]
]I
FIRST
ART does not flourish in hidden places, nor under

. ,.............. !
CRITICAL COMMENT
GIFT books and books of seasonal importance receive

much 01 their value from their typographical appear
ance. No type has more distinction for use in such
volumes than the Bodoni face.
These pages show careful consideration of tbe value of
the decoration IIIld the lIlTangement of the type in relation to the margins.
Note the use of roman caps with italic lower case in the
ruuning head.
The margin. shown here Bre for 30.! x41 paper (un
trimmed).
restraint; nor is it in ignorance of what talent and

genius are accomplishing throughout the world. All
whom we have named or might name, who have
achieved great distinction, who have reflected honor
on their country. and whose work has beautified
some of the waste places of our populons cities, have
made the treasures of the world their own. There
is not one, whose achievements have been notable,
who has not sought his inspiration at the fountain
of the ancient masters, and who has not often
refreshed his spirit by communion with his fellowworkers throughout the world. It has been said
that "there is no art so divine as that of quickening
other minds," and he who, by example or precept,
is able to inspire and quicken others, makes the
world his debtor. Anon.
[3]
(8 Point Bo4M; Book, J poi,,, haJed)
------.----...--..
100
---~
...- ".~
THE ARTIST PRINTER'S
HALF TITLE: Set in 14 Point Bodoni

caps; Decoration, 54 Point Badoni
Ornament, X-1476.
YEARBOOK
TITLE: Set in 8, 14 and 24 Point Bodon;,

caps; Decoration, Bodoni Ornament,
X-1156; 8 Point Bodoni Dasl, No.
991.
flo Pol."" Bm;lo"Bi BDOk~ 2 ptJinl readed)
THE
ARTIST PRINTER"S
YEAR-BOOK
COMPILED BY
JAMES M. CHASE
1'HE Bodoni face,
by the simplicity of
its line, is peculiarly rulapted for dignified display in title pages, headings,
etc. It is to the modern series what the
Caslon is to the old style. It should
be combined with the old-style faces
only with the greatest care.
PUBLISHED BY THE PRINTERS

PUBLISHING COMPANY, NEW YORK
TORONTO AND LONDON
(10 Point Bodo.,d Book, .2 ,oim lellded)
en
101
OW'MW
r----
-----------------,----------T-
I,
i,
I
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GIAMBATTISTA B ODONI
SPECIFICATIONS
The italic, broad and graceful; its long body

strokes maintain unvarying parallelism. Especially remarkable is the beautiful proportion maintained in the series of roman capitals.
It is worth while to consider the principles
regulating his typography: "The beauty of letters
consists in their regularity, in their clearness, and
in their conformity to the taste of the race, nation,
and age in which the work was nrst written, and
finally in the grace of the characters, independent
of time .. Types should be suitably arranged
for pages in straight regular lines, not Ie:"
in proportion to their height too far a'
with equal spaces between words and Ii
The more classic the book the more ap:
it is that the text should carry out the spi
lying the subject matter in the physical I;
the printed page, with the typo
experiments kept in harmony with the in:
thoughts of those great minds which '
duced the hooks themselves as imperish~:
[4]
I
j
GIAMBATTISTA BODONI
1740-1813
HE Duke of Panna, in 1789, offered to
Bodoni the use of a part of his palace for a

printing.house. There was established that press
from which came so many beautiful examples of
the printer's art.
The roman types of old-style form in use in his
day were especially distasteful to Bodoni, for
they still retained some of their Gothic angu
larities; all were of thick face, and spme were
OVER.ALL SIZE, 19 x 33.a pic

TYPE; 12 PoiDt Bocloni Book.
LEADING; 5 point.
TITLE: 14 Point Bodoni italic caps, intonpaeed.
SECONDARY TITLE: 12 Point Bodoni roman 6gures.
RUNNL.'\fG HEAD: 8 Point Bodoni raman cap!'l9 interspaccd.
FOLIO; 10 Point Badont Book roman figures, bracketed.
RULES: 5 Point Matrix Slide No. 506 above running head. 2 POint
Matrix SHde No. 4(10 below.
INITIAL: 36 Point Bodoni.
NUMBER OF WORDS TO FULL PAGE, 175.
CRITICAL COMMENT
TijE Bodoni Book lends itself particularly well to ruled

treatment. It i. a type which will stand wide leading
hetter thaD one of lighter line, and is therefore espe
cially adapt.ble to books which require extension.
A slight MS. may be run out into a volume of re
spectable length without the appear8Ilce of padding.
The margins shown are for 30~ x 41 paper (trimmed).
(8 Pain, Badon; Book, 2 paint leaded)
so compressed that their distinctness was lost.

Bodoni set about to restpre the old manuscript
form of White Letter, aiming at nicer proportions
and a round, lighter, and more delicate letter.
His roman type has longer ascenders and de
scenders, ~at serifs, sharp hair-lines and thick
body strokes. His ideas of beauty and form were
based on mechanical rules and geometrical design.
[3]
102
-------_.._.
!
ADVERTISING CARD: Set in 6 and 8

Point Bodoni caps; Rules, 5 Point
Matrix Slide No. 506 and 2 Point
BOOKS BY
TITLE: Set in 8, 10, 12, 14,24 and 30
WILLIAM MORRIS
Point Bodoni caps; Rules, 5 Point

Matrix Slide No. 506 and 2 Point
LIFE AND DEATH OF JASON

THE EARTHLY PARADISE
LOVE IS ENOUCH
(10 Point Bodoni Book. 2 poin' leaded)
HOPIlS AND FEARS FOR ART

DEFENSE OF GffiNBVERE
LONGMANS, GREEN & CO
.......... ,.....................i.." ....................................................
THE TYPOGRAPHY OF
GIAMBATTISTA
BODONI
AND ITS INFLUENCE UPON
THE CIVIC LIFE OF PARMA
BY
GEORGE HENRY STEVENS
RULES are dangerous unless used with

care and understanding, yet when
properly employed may contribute
much to the typographical effect. The
weight of the rule should be considered in its relation to the type and
to the color scheme. Each example
in this section shows a different rule
treatment.
NEW YORK

PUBLISHERS
(10 Pomt Btldoni.. BQok. 2 poin~ leaded)
-----.. .........
103
OUNC GENIUS
WALKED OUT BY THE MOUNTAINS AND

STREAMS,
ENTRANCED BY THE POWER OF rus OWN PLEAS
ANT DREAMS,
.
TILL THE SILENT, THE WAYWARD, THE WANDER
lNGTHING
FOUND A PLUME THAT HAD FALLEN FROM A
PASSING BIRD'S WING;
EXULTING AND PROUD, IlKE A BOY ATms PLAY,
HE BORE THE NEW PRIZE TO rus DWELLING
AWAY;
HE GAZED FOR A WHILE ON ITS BEAUTIES, AND
THEN
HE CUTIT,ANDSHAPED IT,AND CA~ED IT A PEN.
But its magical use he discovered not yet,

Till he dipped its bright lips in a fountain of jet;
And, oh! what a glorious thing it became!
For it spoke to the world in a language of flame;
While its master wrote on, like a heing inspired,
Till the hearts of the millions were melted or fired:
It came as a hoon and a blessing to men,The peaceful, the pure, the victorious Pen.
Young Genius went forth on his rambles once more,
The vast, sunless caverns of earth to explore;
He searched the rude rock, and with rapture he found
A substance unknown, which he hrought from the ground;
He fused it with fire, and rejoiced at the change,
As he moulded the ore into characters strange,
Till his thoughts and his efforts were crowned with success,
For an engine nprose, and he called it the Press.
12
SPECIFICATIONS
OVER.ALL SIZE, 27 " 41 pica..
roLlO: 14 PoID. BodoDi Toml...
TYPE: 14 Poin1 Bodoai, lOUd.
INITIAL: Made .peeiat for this pale.
FIRST LINE,SiPou.tBodool_cap..
NUMBER OF LINES TO FULL PAGE.S
(6 poiAt Bodoni .I.ok. 1 ,olAr l.adfl!tl)
'I
i
r-
"i
1---I:::~::""7"::=:=;::'::':;=='::.::,::.:,.:::::::,.:.~:::::::::::.::.:,::::;::=::-_=-==,i-----.:
r
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II
Franklin, Printer of Philadelphia."

It has been well said that Franklin
wns the very genius of common
sense and his career as a printer
seems to bear this out.
Thus, political innovator though
he was to become, as a printer he
bittt~rly opposed himself to typographic novdties. He lamented the
disuse of italics and of capital letters for nouns and even decried the
lltlW fashion of suhstituting a short
s for a long J at the b(}ginning or
in the mi(ldle of a word.
That he was a firm heliever in
Lhe dictum that "Type Was Made
to Read," is shown in the introduction to his edition of Cicero's "Cato
MnjClf, or his Disc()urse on Old
agtl," the first classic to be printed
in America.
[4]
I
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CRITICAl.
C:OMM~~NT
IT [S tba Amllll bOllk which mAke. the aroatcat demanll upnn

,
,
!
the inlll,,"uity or thl! Jlrinlar, to spin out a allllht manu

leri/lt tn the propnrtionl of book lind yet keep from llIlV.
InlC the "padclina" tuo ahvlnu ..
Nil batter typo thlm the 14 l)nln! IIndonl Ilook could be uBeli
fllr Ihll purJHlla, AI the wclllht of It. lin~. and tha heauty
of 111 delian maka the wille leading II dacoratlvc feature.
Tllo Ir.lImant .Ulllllllfitlld h~rc. of leavinl! (1fT the tUnnirl1
head and uslllR tlla IIlain yat very c1l1corative inltlalleltet,
alTera an oppclrtunity of pn,duelna ullok quite O\lt of
the ordinary.
Tile marlin hllwn here ara for x 38 paper (trimmed).
3.,
,. I'.lo,II""""i R."If. Z p.io, ,d.d)
SPECIFICATIONS
OvER.ALL SIZE, 18 34 ph, ...
TYPE, 14 Po! Dod! nook.
LEADING, S po!n
TITLE; 14 Poln, ant! 10 I'olnl llod".1 c,p"
FOLIO: 14 Point Dollonl nook 6gurcl, brAckoted.
RULES, 2 PoInt M."I. SUd. No. 404.
INITIAL I M,d, .p.ol,) lnr Ih!. pOKe.
NUMBER OF WORDS 'ro YUI,I. PAGE, 125.
(6 Point Do,/onl Dook.
a polnl/ d,d)
---_ _.
...
BEN FRANK.LIN
AS A
TYPE FOUNDER
." r T SHOULD BE a gratification
to all American printers to recall that Franklin, one of the
greatest and most typical of
Americans, was also a printer.
It is true that only in his earlier
years did he actively pursue
that occupation; hut toward the
close of his life, loaded down
with h()nors by foreign potentates and acclaimed by his own
countrymen as one of the first
men of his generation, he de
I~~... scribed himself as "Benjamin
---_._- "':':::::"-:---:::::=::::=-"':=:'::'::==:::::::::::::'-:::====::---1--
[3J
BODONI BOOK WITH ITALIC AND SMALL CAPS

--- - - .. _,- .-.-.
ti Poiut BodDDJ Book
Much has been wrltteD regarding the Deceslily of keeping Linolype mo.chtiislI ia good
order 10 ohtahl large outpu.t, hut liUle baa beeD laid nlardlui tho desirability gf kee.,.
lnl the operator bI. good heaHh. To HeUl'EI the maximum output the operator ml.llt he
kept tn lOod condition, at well as the mach!ue. MOlt op=rs.tora do not pay ellOUih
atteDtioD to tbe la.WI of health. F t and aocurate work at the LiAotype keyboard 11
Dot elmply matter of knowiug how to liDget the keys properly, bllt allo to a cetto.iJl
extant, a question of good pby~ical cOlIdttion. The AI2l0unt of mUBcula.r effort required
to operate a Linotype maobine i. Dot very rrent, but it is an Occ!1pltion cnllini for a
clear bnia aDd. .tead), urve.! bO anytltiag which promote. these conduces to speed
aDd accuracy. Good h~Blth il aD ulet to any Linotype operator, a.nd the cbaervl!.Dce at
8 few e,ommoD.lenIC rule. wi.l1 aid in maintainIng it. Much hu been written relll:dil1g
Much. hal been written. r~ltJrdin.1 the necell!',. c/ ke8ping Linoype mllcMn&r in 100d
ord.r to obrGin large ou.tpu.t, but U.uu h.as been $rJid re~rdtng elis cJelir"bilit.y 0/ hep~
inr the operator in lood hellIch, TCJ secure the 1fI,Qzjmu.m olupue lh. opertUor mlUt be
kept ill go()d condition, a, wIll ill the macaiM. Mo.' opertJtOTl do Mil pay eMup
"ttentj,(>], to thE lews aJ kulth. FlUe on.a accu.rate wor. at Me Linotype ke)'bOGl'a u
n.o~ d1l1plr " mtuter 0/ Hnowing hOlf) to finger tht: ker' properly. but olso, to tJ certain
e:c:ten~, fJ qu.udon. 0/ pod physical ~o~djtion.. The amogllot oj mruculor eOort requ.ired
10 operote a Linotyp. machi", il no," 'Pt!lT,. greae. but it. i.f an. ocaupttt!QI'S calUA, lor a
I
:
Cl.'t4Jl IUlN J..N1l ITEADY NUVES. ANO ,.u(YTJ:UHG WEICB PR.OHM'ES THEIE COl'flltrClI 1'0 nEED
AND A,c:.Q"c7U.c:.Y. CODD l!'EAura III J.N .Alllft TO ANY LnfO'n"E OPEBA'1'O". AND 'I'D oBJERV.A.NCS
OJ' .A. FEW COMlllOHSlND Jl:tJt!S "ILL AID IN HAtMTAININO l'1'. MUCK au BIIN 'WJIlnlM
. ...
..
l~al:i.c aDd SHALt. CAPS
-- -.----.---.-----1--. -_ ------
1 Point Bedoni Book
__.-------.__._-_._-.--_ .__._---
Much has be ... writte" regarding the neee..ity of koping Linotype mackin
i" ,Dod order to obtain l.rlJl' output, but littlt has been saU regarding the d.
.irabiU'r of keepin.g 'he operat.r in good health. To ,ecure 'he ma:nllWm out
put the operall!r must be kept in good co"dilion, as well as 'he """,hill.. Mo"
operaeors do not pay .nough .t'ention to the law. of Malth. Fa,t ."d .ccurate
work at the Linotype keyboard;" not ,i",plr a matter of knowi,,8. how to finger
the keys properly. but also, to a certain. eX&'!t, a question of ,o~d phy$ical cf!ndition-. The am.oan.t oj muscular efJort reqrnrea to operate a, Lr.notype machuws
Much h.. been written regarding the neceasily of keeping Linotype machine.
in good order to obtain large output, but little hal been said regarding th. de
sirability of keeping the operator in good health. To ,ecure the maximum out
put the operator must be kept in good condition, a. well as the maobine. Mo.t
operators do not pay enough attention to the laws of health. Fa.t and accurate
work at the LInotype keyboard is not simply. "",Iter 01 knowing how to finger
the keys _prDperly, but also, to a (lertain extent, a question of lood physical condition. The amount of muscular efiDrt requjred to operate a Linotype machine
is not very great, hut it is an occupation calHng fol' a olear brain and steady
ncne!. awl anything which promotes these conduces to spee~ and accuracy.
IS !oiOT VEny CR'EAT, BUT IT IS AN OCCUPATION CALLING FOR A CLEAR BBAIN A.ND
StEADY m:RVES~ AND ANYTHING WHICK PROMOTES TRESE CONDUCES TO SPUD AND
l~tJlic
81'01.. Bedow Book
and S'UtL C.&.PS
Much has been written regarding the necessity 0/ keeping Linotyps

regardin8 the desirability of keeping the operator in good health. To
$ecure the maximum output the operator must be kept in sood con.dition, as well as the machine. Most operatlJrs do not pay enoush
attention to the laws oj health. Fast and accurate work at the Linotype

secure the maximum output the operator must be kept in good con
dition, as well as the machine. Most operators do not pay enough
attention to the laws of health. Fast and accurate work at the Linotype
keyboard is Dot simply a matter oi knowing how to finger the keys
properly, hut also, to a certain extent, a question of good physical
condition. The amount of muscular effort required to operate a Lino
type machine is not very great, but it is an occupation calling for a
PROPERLY, BUT ALSO, TO A CERTAIN EXTENT, A QUESTION OF GOOD

PHYSICAL CONDITION. THE AMOUNT OF MUSCut.An EFFORT REQUIRED TO
OPERATE A LINOTYPE MACHINE IS NOT VERY GREAT, BUT rr IS AN OCCUPA
1",'ie and
10 Point Dcdom Sook
SMALL CAPS

little lias been said regarding the desirability of keeping the
operator in good health. To secure the maximum. output the

operatormustbekeptin good condition, as well as the machine.
Most oJlerators do not pay enough attention to the laws of
health. Fast and accurate work at the Linotype keyboard is not
OPERATOR MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE

TO THE LAWS OF HEALTH. FAST AND ACCURATE WORK AT THE
ItaUe aDd SHAU. c..."
12 Point B(ldoni Beok

large output, but little has been said regarding the de
sirability of keeping the operator in good health. To
in good condition as well as the machine. Most opera

SECURE THE MAXIMUM OUTPUT THE OPERATOR MUST
BE KEPT IN GOOD CONDITION, AS WELL AS THE MA
1ttUic aDd SX.u.L CAJta
14 PDlpt BodDn! Book

obtain large output, but little has been said reo
garding the desirability of keeping the operator
in good health. To secure the maximum output

obtain large output, but little has been said re
GARDING THE DESIRABILITY OF KEEPING THE
OPERATOR IN GOOD HEALTH. TO SECURE THE
18 Point Bodoni Book
Much has been written regarding the necessity of keeping Linotype :r.nachines in
good order to obtain large output, but little has been said regarding the desirability of
keeping the operator in good health. To secure the maximum output the operator
in good condition, as well as the machine. Fast and accurate work at the
must be kept
-, ...
,.,
.',
24 Point Bodon! Book

regardin.g1:h~ _~_~sira~i~~z?L~~~~p~g.!~~_?pe~a!!!E_.~n. g?_~~_~~~~~~__~?
.
The following sizes of this series are in process of manufacture: 30 Point Bodoni Book
18, 24 and 30 Point Bodoni Book Italic
106
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.. ......,.....
~
. . .--.. . -..--"-.,-----.. .
--"-'~--~--
..
~,
-- -- -----. -.,-...._......_------
.. ----- .. . - ...... ..
. -"7'-----------------..,.,.
...
BODONI WITH ITALICS AND SMALL CAPS
--."--~6 Polnl D I
-~--.-
-.~
-------..,..~-
Mllth b h~'n w,lthn FtIUcUnl tb. nClte .. lt)' ot keClpln. J~ll1aL),1'Ie mAChlno. In lood
ttrLllf \0 "bUlu la,.a eqCput.. but Utllo ha. b~I'!'1 ."Id ralu.rdlnllho dOllrabllily of kaeplill
tho llui ... lor In ...CHI b".hb. '1'0 lIOagro tho aln.hnu,a o'lLpilL the O".,... tor InUit be kept
(" lIoad .:ondILIQu. I'll w('~t AI Lb,o mAt'hlntl. MOlt orHIrata ... do not pa)' OIlOuc1& aUOIILlaD
to Iho 1MwI oC hf.It1a~ .... t IUl~ .<'Cur.U. work at tbe l,lnoLypa kt':yboard il not IIlmp.)' ..
hlllUllf or kuowin. haw 10 fiftll"" lht'l ka,.1 PTolullrI,., lJut .bo, to a earL.in "x.l~U. quoI"
HUll ur eClad r.hrd!""l t4mdhlQft. 'I'btl Itmount or nUlMculu "trun I't'qultad to oper.tII
I.Ii1o'Ylu~ m.e line hi not \liU',. t".t, hut It III all a('flup.II"" cAliln. (., .. C"lof!"" brain and
Itcutdy ""'''0'. and AH)'lblnl whlrh llromu14l. th" ., catu!uao. '0 .pam .nd A'uraC)". CCMKl
h~"ltb hi In _",,,ttl) .ny ','not),pa 0lurlllor. 1Ii",1 lb. oburvaneo of (ow comman......
Tultl' will .hl
m.il1~llinl". It. Murh h .. lilt"" wrltton lOpfdl... lho na~e..k7' of
'n
ltalit: and S\lULL CAP.
7 I'olnt DodQal
~Iurh lau~ b~an written r!,Rardhl6 tho Me.ulty of keeping Llnotypo
~fue~
'"a, bee.. wrWen T"Iardin, lb.. ,,"cesally of keeping Linotyp. mao

c/..""" .ngood ord... to obllrin lIIrs. output, but liltl.1",. been said ,..,gll1'di"l1
the d ...irobiluy 0/ keepillll the operator in good b.lth. To securo 'he m"";'
mao
rluntR In go",1 orcl to ohlllln lilrga Ollll,ul. hut IIul. h .. /Joan .aid rORardlDS
th. ti lr.billly or bop IUK th. op ... tor In ~oocl boaItil. To ....uro tho moxl
Inurn outl,UI Ih. op.rolor mUlt h. 10.0,'1 in lood .,.uditlon... woU lho rna
ml&", outpue the operator mus' be kept in. 800d cotldition, 65 well as the ma..
el.;lIo. MQ$t oporato.. do not pay enough attenu." to the law. oj Ilth. Faot
tpld aCllUrato work at tho Linotype leeyboard is not sip!y a mailer o/leno...
.nl! how 10 ,.ngeT tlae key. properly, but also, t. a cerlain extent, a question oJ
rhi"a. Mu.1 0l,orilln.. do lIot {1"Y allou~b aUaull."I. tholaw8 of h ..ltb. ra.t
0,"1 .<rucot~ wurk at lit" l.inOI)'l'H k.ybalr,1 I. nol lim"ly matler o( kn.w
illll",w 10 fill_or lit. k.r"l,roporlr. but .1,., 10 " rerlaln tanl,. quoolioD of
~"".t l,hy.h'QI .0ntlltl.II. '1 h~ Amounl or IIIl1lrular .lIorl roquiredlo ope .. lo II
!.IIIDtyt'. m.rhin~ I. ""I vary MraAl, bUI il I. a .. o\lpatlon CllllinR (or a .I""r
brain.u,lotoAuy b<lrv... AndllnylbhlK whl.1t Ilfoou.I tI,.. o condu to op.od
c.oon PIIYSICAL COl'fDl'I'loN. 'rUE AMOUNT 011' MUSClJLAU EFFORT llEQUmED TO

OPERATE A LINonra M'ACIUNK JS 11m vaRY GREAT, BUT IT IS A.N OCCUPATlOl'f
CALLINC ron A. CLEAR DllAlN A.NlJ 8TEADY' NBllVES, A.ND ANYTHING WHICH PRO-
llalia and SIII.lUo
8 Itulnt I1utluul
CUI
l\1.uch has been wriuen regarding the necessity of keeping Linotype

machines in good order to oblain large oulput, but liule has been said
regarding tile desirability of keeping the operator in good healtT.. To
secure mfl l/tCl!timunl output the operar.or must be 1,ept in gooa condition, lUI well as tile mac1&ine. Mod operalors do not pay enough at.
tention 10 tToe ~ o/T.caWI. Fast and accurate worT, at die Linotype
Murh h hew writt(ln rcgarlling tha nceM.ity or keeping Linot)'/.o

nlGdllrl~H in lIootl ord~r to oblAin luge OUI(lut, hut liule haHlJllcn said
r~surdln"lhc d~Mirahilit" or kael'illK th ... ol,.ratuf In good h0811b. To
~crurtl the maXlillurn uut\,ut Iba 0l.oralor mud! be kl\(I1 in goud con
dltiun, OM W.,lIlti tlla UlIII' linll. MI ' opIlrlllllra do lIot III" cllouSh at
t~lItioll to Ihn hlWd oC 11.,01111. l"n.IIIIICIIlI~~UrQto work at the Linotype
koyito"rcl iM not .lml,l), II nultlnr or kllowinp: how to fillger Ihe keys
llroI.orly, I.ut .l~(" til 1\ ('lin. in extent, a Ilue_tion of Kood l.h"sical
('onuition. 'l'hl'l amount of mUficulur effort r"quirOll to 0llarate 1\ Lino
KBYIIOAIID IS NOT SIMl'l.Y A lIlATrElt OF KNOWING HOW TO FINCER THE

K.EYS PROPltIlLY, DUT ALSO, TO A CJ;:RTAIN EXTENT, A QUESTION OF GOOD
PlIYSICAL CONDITION. TIfE AMOUNT OF MUSCULAR EFFORT IIEQUIlmD
lrfJUc RDd SUAU. CAP.
10 1'.lnl II.dolil
Much has been written regarding the necessity of keep

ing Linotype machines in good order to obtain large output, but little has been said regarding the desirability of
/,ocpin& the operator in good health. To secure the maxi-
Mlldl hUll hc~~n written l'(!gurclitl(l; the llccceaity of keep

ing Linotypo nllu~hit1C1ft ill p;ond o1'cll1f to obtain large out
lIUt, hut little hllll hCl(lJ\ "uit! rop;artling til" desirability of
kl~(jlling tho 0lll'rlltt,r in good h!l8lth. To secure the maxilllum (Iutput t 10 OIH,l'at(lf nlU~t bo kept in good comlition,
II~ wdl ,ulthe nUlchitlo. Moftt oJlorators do riot pay enough
attcntion to tho laws of h(mlth. Faet and llccurate work
MUM OUTPUT TIlE OPERATOR MUST BE KEPT IN GOOD CONDITION, AS 'WELL AS TUE MAcmNE. MOST OPERATORS DO NOT
PAY ENOUGH ATTJ!NTION TO THE LAWS OF HEALTH. FAST
lUll Dd 5....... CAP.
12 ".10,1 n.d.fil

Much bus been written regarding the necessity of

keeping Lhu)type machines in g(lod order to obtain
large output, hut little bUH heen said regarding the
dcairllhility ()f kt!cping the operator in good health.
To 8(!CUre dIe maximum output the operator must be
ktll't in good c(lI1(lition, as well a8 the machine. Most
TO SECURE THE MAXIMUM OUTPUT THE OPERATOR

MUST BE KEPT IN GOOD CONDITION, AS WELL AS THE
Italic aDd SMALL~'
1. r.lul D.d 1
Much has been written regarding the necessity of keeping Linotype machines in good or..
der to obtain large output, but little has been
MU<lh has heen written regarding the necessity of keeping Linotype machines in good or..
det to ohtain large output, hut little has been
operator in good health. To secure the maxi..
SAID RECARDING THE DESmABILITY OF KEEPING

TIlE OPERATOR IN GOOD HEALTH. TO SECURE
24 Polnl Bod.n1
18 ".Io( nod 1
Much has heen written regarding the necessity of keeping Linotype machines in

the necessity of keeping Linotype
machines in good order to obtain
large output, but little has heen said
ao P.I.Illocl.~1
Much has been written regarding the neceSSIty of
UP."'IO,d 1
Much has been written regarding the ne

TM 18,24 and 30 poiTtt$izes of this series, in italic, are in. process of TfI,(IJIJJfacture
101
---.
BODONI BOLD WITH ITALICS
,. _... - - _.... ______
==~_o.o
___ .
. _no_:e::
!!E
.. __
= _._. _. . ._.._._.
, 11<:
6 Pobt Bodolll Bold
Much h". been. tcrfu." r.gard,,,. ,ke "811."U,- .0/ k.ep~n. L'notYPG maeA.hlll'
fn good o,.d.,. 'D obtam largd .ouzput, bUf. JUde hal b ", .ald NgfJrding ,A. da_
III ~::; ~:::;e:Qn ob:~~t;ia~:e-;~~~~~hbu~ell~:r!tt!l.:::~.tf!::~~.:::~:~

dr.bUlty of keeplDI' the operator in good health. To
the maximum output the operatol" buut hili! kept in Bood
well
the m.elaine. Ma.t
operatorl do Dot pa,. eDOUBh aueo&f.oD to the law. ot health. Faa' aad aceunte
work as the LinOl7Pe ke:rboard it Dat .impl.,. a matter of knowing how to fiDler
co:nditlo~ &J
~~:~~!'~;!r:t~:!::':nb.
IIII!CU~C
at
Aoalth. FSI' Glnd GC(lprate
:;.:r~.~~ ~~o:!~:;'1::tk:l.~~:Gf~a",.:t;'::::n:. ~:!:trtn1c:l';!':!i ;h~'::Gr:::
the keYI pc-oper.,', but: aliO. tCli a eert.lIl extent, a qtl.OIitiOh. of good ph,.ucal co.udidolLr. 'l'he amOunt: of lDu.cular efrort required to operate a LinOIn. machine
II :not ve~ gleat, hut it ;1 an occupation call1ila tOl" .a eieal' braiD 1IDd. Itcady
ILen"u, aDd
wldllh promotes theae condollil. to .pcad and accuraey.
healtb Is an allllt to any LiDot7pe operator, aad the obaervaDce of a few
Good
0::;:':: ;:o~4:'n~~~~!: :'.oJ0'::it;: ::: :::::.~.m;::;
oJJera&or:ll do nDt pa,. 8IWJuP CI'.ten,'''n. .toO .the laID
ditlon. Tla. amoOun' of nuueular e'MI required 10 operG'e G Lfnotype machfne

II no. ftry gr8Gl:, bu. U lJ an. occupation lIalling fDr (I ektGr brain Gnd .'.od,.
".,.11.1, lind snyddng ",/dela promOZG' d.G co"duce. to 'peed and GCCuraey.
Cood heal.h II an a'H'
ony Llnotyp.e oparG,or, Gnd 'M .ob..rVllnce .oj G ItIN
aDJ'thing
'.0
8 Point Bodolll Bold
It.alie

operator in good health. To secure the maximmn output the operator must be kept in good condition, as well a. the maehine.
Most operators do not pay enough auention to the laws of
health. Fast and accurate work at the Linotype keyboard is not
simply a matter of knowing how to finger the keys properly,
hut also, to a certain extent, a question of good physical condi.
1opol;-Bod;.;tBcdd-------------~------------ --
.j
'-1-
Much hoB been ..ritten regarding the neee.dty of keeping

Linotype machine. in good order to obtain large output, but
little has been ,aid regarding the desirability of keeping the
operator in good health. To .ecure the maximum output the operator must be kept in good condttlon, a ..ell as the machine.
MNt operator. do not pay enough attention to the law. of
health. Fad and accurate .. ork at the Linotype keyboard i8 nol
,imply a matter of knowing how to finger the key. properly,
but aUo, to a eertain ex'ent, a que.tion of good phy.ical condi"all.
Much has been written regarding 'he necessity of

To secure the maximum output the operator must be
operators do not pay enough attention to the laws of

To secure the maximum output the operator must be
kept in good condition. as well as the machine. Most
operators do not pay enough Bttention to the laws of
12 Point Bodoni Bold
ltalitl
Much has heen written regarding the necessity of keeping Linotype machines in good order
to ohtain large output, hut little has heen said
regarding the desirability of keeping the operator in good health. To secure the maximum
ontput the operator must he kept in good con-
Much has been written regarding the necessity 01 keeping Linotype machines in good order
regarding the desirability 01 keeping the operator in good health. To secure the maximum
output the operator must be kept in good con-
Bodon! Bold
keeping the operator in good health. To

necessity 01 keeping Linotype machines in
has been said regarding the desirability oj
keeping the operator in good health. To
14 Point
Itollis
18 Point BodoD! Bold
ltalLt:
Much has been written regarding the necessity of keeping Linotype machines in good order to
obtain large output, but little has
Much has been written regarding the necessity of keeping the

Linotype machines in good order
to obtain large output, but little has
24 Pomt Bodom Bold
Italic
Much has been written

Much has been written in
regarding the necessity of
regard to the necessity of
~~~r~~ ~~i~_~_type~~~h~~~___l._.__~~epi_~~__~~~~_~~pe'!'~?~nes
80 Pomt BDdoDi Bold

:II Point BodDD!. Bold.
The 30 point size of this series, in. italic, is in process of manufacture
-------------------.---.---..------.----.---------.------______"_______. __._. . _. ._"., ... -................ __._..1

108
RELATED
DECORATIONS
FOR
MODERN
FACES
BODONI
MODERN
AND
SCOTCH
BORDERS, BEADINGS
ORNAMENTS
INITIALS
109
LINOTYPE BODONI ORNA1\U;NTS

From exclusive designs, specially created for the Mcrgenthnlcr I.ill<ltYlI o Cmtl(llllly t(l ('nhuncu
the heauty of pages Bet in faccs whose weight of thick aIld thin lin~rI IIl1l'ruxirnnte thnt of llu<i()ni
ORNAMENT I 2'4 lnoh .. 10D, by 1% lnoh., d p

Woad. BIIIIO, X1157
UIlUl.OuntoJ, x'1322
SPECIFICATIONS
BOImr.n SI'.:ctrll'-ATIO!'!!!
1'060109
TYPE, 14, 18, 24 and 36 Point Dod anI romall

capJ; Decoration, free ornament, 8pcciol
Badon; Series X1156; Rul. 8 Poillt
MalTl" SUd. No. 736; Dordcr, 'n Point
Dodoni Series N.s.1063 and 1063'>4 i" combination; 36 Point NOJ.1208b,1209b,12IOb,
1211b, 1212b, 1213b, 12Ub, 121Sb, 1216b,
1217 and 1218,
,i."
1'"." IIh"", lit
THt: /w,j., ,"d."i~1t

""I/~
,I." II~J fA. "I'1""llff
/. """'1""".1 ..I J<, (""., i/",I... I
lI~ttlf#' .v~.1. lJ:drJ~. l..til:-!t. J,..~?.a;;h. 1-.J'o-l1"

/:tl/ll., nUL. 1;'1::'. 11111., IJHh, W;;h
IIIIfI IU"L I" .,,,... lji~@II,,,,, flo. # ..
11
e..., /, ..'" IJ 1'.111' M.uth ;SliJ. 1\'''' ;.111.
"'../ ,A., hili., ("/~'" I"IM .. I""'" 4 1',.'"1
MfiI,i.SIIJ. /f.... SI1b.
,<, ,..
BODONI BORDERS
~~<>.-.,
..<--.. ~"--~.~- ...........--......-"",,...... - .-.,..
. -
n . . . _ _. _.
_ .... ___ ~._._._ __ . _
_._ . ___
_no __~
1'1... 1220
No. 1220b
_ _ _ HHH
1'1 12196
No.lal'
N ltl'
*~~~-~
No. 1211
No. 1211~
_ _M
~iJ~iJiJiJ
No. Uld
No. 12166
ttt
BODONI BORDERS
===-==.
.....
(CONTINUED)
.. -.
=-.-~"""':'.-.--~
--~-=.-~-.-.-
. -- ... _._-
..
?~;l?~tl?~2~i"2~~~2
~ft"l~~~~ft~l(;~~lt~
No.1211b
~3~~~~e~e
No. 1210b
~i~i~i~~~
No.120Sb
No. 120Bb
112
BODONI BORDERS
-.---....-.-.. ---.-.--... --
(CONTINUED)
..,.,... ...,....,.."......
-.---'----,--~- ..."..,..-..".-...,..~.,......,,...,..""""'=".,..".
~~~~~~~~~~
12l'olnc NOl. 1003 ond 1063'4
nuLJo:s AND DASHES AVAILABLE FOR USE WITH BODONI
APPltoPHIATIo: I.1NOTYPE
o PoInt Matrix !::llltln No. 735
.... _II IiI...... ' II _ ~ I I """ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
61'olnt Mutrlx Snd" No.

_
....... ,.....I,......I_tl _ _ _
(I " .. hi I
41_1_1~_'_~I~~
__
................. y
,~
2~
.......................................... ... ...
41'01., Motrlx Slid. No. 1769
""ullC !'ill-ttl Nu. t:I:tfl/,
i'i."."."j .iil"."' ....... Ii., .-.-~ i .........-. ai i
4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
4 (*utnl M.. uh: 'sIMn Nn. 1:ltl2
,.
,-,
,,,
,.-.-",-~.-
+++++++++++++++++++++++++++
o l'olut M.!llrb Slldo No. 1423
- -..~~.....~,~ .~
"'~,.
,. '
---~.~~--10 I'uln' Molt" Slid. No. 988
....... ....-----
-.~--
----~
~
U I'"htl lh,crl~ !ilhh~ Nu. W9
10 Point M&tri1 SlIde No. 1)90
...
....
',,-(1)_'"
m
-----.~
U l'uh.t Mlllrh: Slid A No. 091
8 l/olut Mattix S11do No.
BonONI BRACKETS
121)olht
1(1 ruin):
-'"o!!'lf
No.2"'/.
-.. ~ }!Je-.-
f.ft-'
No. :r4IR
No. 11l65L
No. I0d5R
'I'm: IlIIf,ltr ",r,mlnd/tlil Ihb Illld thu / In/l paltc U ludll liP oj a combinatl." 0' M
PoW
D.donl lJ.rd~,. and IWO ()~/.rtl llulu. The burd.r runnln, acro,. Il,e palle U clm'pDd 0/
.'6 1'./", No 1211 nnd 1219 a/lemmod. The uprl/lh,
composed 0/ a combina,ID"
~I;1Ii PnlMlltmltr Nil . 120Gb, J:lllb anti 1219". TI,. O/J./Cr rule i. ca.1 Jrom 8 Pol", Malr/x
Slide Nu. 7.1~ ana thc In".r from 1$ Poinl Maerlz Slid. No. SOB.
'lfl,,, .,.
! 1. \
.\."
EXAMPLES OF 18 AND 36 POINT BODONI MATRIX BORDERS SHOWN

IN VARIOUS COMBINATIONS
_ _ _ _ _ _ _ . _ _ _ _ _ _ _ _ _ . _______
~_._
. __ . _.L'.... '
_. __
EXAMPLES OF 18 AND 36 POINT BODONI MATRIX BORDERS SHOWN

IN VARIOUS COMBINATIONS
J.'
'. 1 ~
1
~
1Ui
~,'-'
..
HEADBAND: 32 :pIcas long by 8 plCBS d~p

Wood Base, Mortised, X-1221; Metal Bose, Mortised, X-1465 i Unmoun~ Unmortlsed, X-1460
HEADBAND: 18 pic long by 3 picas deep

Wood nose. X-1223; Unmounted. X-14B8
HEADBAND: 22 pica. long by 8\\ pl deep

'Wood BIISe. Mortl.9cd. X-1224; M.tal B l[ortised, :1:-1460
Unmouuted, Unmortiaed, 3;-1470
HEADBAND: 22 pica. long by 8". pi.... d.ep

Wo()d Bl1se, MortIsed, ~-1485; Metal Base, Mortised. X-l48iJ
UnmQunted. UDmortise~. X-1487
138 POINT INITIAl.

Mctal. Ease, Mortised. X-l225
Unmounted, Unmortlsed, X-1471
OOMPLETE PAGE PANFlL: Outald 51 x 60 pi.... : Mortise, 40 x 57 piCIUI

Wood Bllse. Mortised, X-1227; UDDlounted, Unmort18eci. X-1473
1 ! l'
~,
BORDER MATRICES AND MATRIX SLIDES

APPROPRIATE FOR USE WITH THE MODERN SERIES
--------_.__.__.,,-_.,.-.... ...,.
'
121'olnt lIorcler No. 1000',4
lB.B.
12I'olnt DOl'cler No. 1000'\10
" "ulnt ~hllrl' Slid .. N',,'AO
....
-.......
... ., .
12 Point norder No.IOOOl!
~
12 l'olnt Dorder No. lOGO'
-~12
l)oin~
llarder No.1 OOOi
12 Point llarder No, lOG'
19 Point Dorder Nos. 1000/ nncll OGOI
llIPolnt Border
o.nd 1000i
No.olOOO e, lOUOl
U Point llnTrler
No IOGOd"IQGOf
100011lnel IUGaj
HEADBAND, 21 x 7 picas
Wood Base, X-1894; Unmounted, X-Ia9S
SCOTCH
.BORDERS, INITIALS
ORNAMENTS
ORNAMENT, 11 x 5 picas
Wood Base, X-I398; Unmounted, X-1099
HEADBAND, 18 X 6 picas
Wood Base, X-1392; Unmounted, X-l3U
COMPLETE PAGE PANEL: Outside, 51% x 69 picas; MortiSe, 40:.: 68 picas

Wood Base. Mortised, X-1400; Unmounted, Unmortised, X-UOI
SCOTCII
IN IT IALS
III l'UlN't' INlfl"',
Atilt
0'10 Coillr, "'''1"1114....

Oil. (!"lur, WI~KI """"
X U-_
XU')
Q.,Q (:"II'r, tlIUIllIIIIII ..I. :.: IU4

~llli (,M"" 101.141114'." X,'"
s..concl C"II,p, W'WIIIIlIllU', X 1.. 4
S'<Inl! ClIltlr. 1I1,IliI>Uhl.. I, )t. \10'
..'..AI'
t"\'T'~
:s:~
llitl
,~
,~
raj
~.;a
~'II.1l
~ l"a"iiIC
"'"
~J,
~~
,.a,;
~
OUe Color, Metal Base, X-l3SS; Unmounted, X-1SS9
Second Color, Metal Base, X-ISBO; Unmounted, X-U9l
ORNAMENT
5>< 6* pleas
Wood Base, x-au
Unmounted, X-U02
ORNAMENT, 7% l< 5* picas

Metal Base, Mortis.d, X-laU~
Unmounted, Unmortlsed, X-1891
ORNAMENT
5,", x 7 picas
Wood Base, X-14S0
Unmonnted, X-HOD
COMPLETE PAGE PANEL: Outside, 51% x 69 picas; Mortise, 40" 53 picas

Wood Bas., Mortised, X-l400; Unmounted, Unmortlsed, X-UOI
MATRIX SLIDES AND BORDERS

APPROPRIATE FOR USE WITH SCOTCH
IPIUIIIIUlilIlIIIIIlPUIllIUIIIIJIIIIIUlIIJUIUlllllllllllllllllllllUllllhIlUlUIlIlUlltlUlII,1111111111111
2- POint Matrix Slide No. 401
...-.--..-......... ..-.-....-.-...................-........
~
4 Point Matrix Slide No.uoa
.......
2 Point Matrix Slid. No. 405
'Point Matrix Slide No. 1708
4 Point Matrix SUde No. 508
o Point Matrix Sllde No. 516

8 Pol1lt Matrix Sllde No. 1371

====CliiiMLLLW=="'LiUUWWWiLiWUitml
12 Point Matrix Slide No. $88
111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111
12 Point Matrix Sllde No. 1678

~~,~~~y~~~~~~~~~~~~~~~~~~~~~~~
4'$ Point Matrix Sllde No. 1509

11.'IfIH1_213111[ll~"~~~
II
.j!!
GPoint Matrix Slide No. 1520
rJl1=I!.I5l:I~!!!!=5:ii!E!::ai~:!lr:;]~~~iii:t.~:m~ij;!iii~i~iU!!ii!i:lui::1i!:;li!;;!!!
6 POint Matrix
Slide No. 1616
!~!I!1!!l!I!!J!l!~!m.I!I!l!!l!I!!I!1!~!I!1!~!l!I!!oo!!l!l
12 Point Border No.1060A
liIiliiJiIiililiililililiiIiTiiliJjiliTiililiiliTiiTiJiiTiIiiTiTiiTiTiilil
12l'olnt MatrIx Slide No. 1518
12 Poi"t Border No. 1060i
~
12 Point Border No. 106'
12 Poi"t Border
~~~~~
No.
18 POlnt Border
--..........
1IIIIml_I.~plolinlt'Bord'elrNO"-
No. 1060;
765
12 Point
Border No. 1060'$
':G.E decoratie panlll used on this fHloe fDa. bum tIP with tile following Linotype material: Beginning at the O'Ulside, a double Ozto,d rule ca.t /T<Ym 1J Point Matri", Slide
No. '1.8 toa8 ".ed, follO'Wed 011 sluo ClUt Irom 6 Point Matriz Slide No. M8. The ....,t
Q,
unit is 18 Foint BOTd.. No. 711.L wilA Oornerpi..... NOB. 7!h~ and 7f47S. The two
inn.r rules are Call from two 8 Point Matria: Slides, No 1871 am! 786, respectivell/.
The IMPORTANCE of the TITLE PAGE

title page of a book,
like the face of a person,
~~~~I is what we see first and
remember best. It is the
.,\\>JiJ/,'. .t....'l'J1
door. to the house, and

e::~2~~~~ ought to be in keeping
with the nature of the subject matter, and
typographically in harmony with the physical format of the volume. A delicate title,
composed in type of light line and serifs,
would be as out of place in a rous~ng story
of the western plains as it is in keeping with
a dainty volume of Drake's HCulprit"Fay.tt
By the same token, decoration on a title
page should never be employed simply to
decorate. If the subject matter does not suggest embellishment, or if the text pages of
the volume do not carry out the scheme .of
decoration suggested by that used on the
(18 Point Ber;zedictiTJe. , POfnt leaded)
l!l'I:',:III':~
".I,.
UV'~Jl ..
exigencies. Tbere wu only one 10Urct from wbich

to lake examples oftbi, perfected R.om.n t,pt--IO
wit. the works of ,be IROIt Veneli~n princers of
~t~~t:
,,,,,t.
l'l~~:~~~~,!J:~~ ~ ~'~~~ltlo\J t~kltnpt" .. r41t. l"IIl.t. Wood
tbe Piftttnth Century. of which NichollS Jenson

produc.d lb. compluCit and JIlQlt llom"n CbU1Ctm from .-+70 to 1.76. This type I Itudied
with JIluch cu ;eninl it pbotOlrapbed to a bil
sc~le. and drawin; it aVe, many times before I began duillning my OWIl lettu; .0 [b~t tbollgh I
think I mastered the enenct of it. I did not copy
it servilel,."
This wu Morris' Golden type. We can Hf in
it tb. trace. of the JeDlon inllu.nce. but he depamd from his model putiCllluly in Ihe up ilnd
down stroke. 3nd ill the anlll~ of thl Ittif!. rohbing it of it. cbief It~li~n cbuacteriSlict. ~nd tn.tking it tend tollhu rowud Ibe Gothic.
Tb. Troy type hef, of wbich the Cbaucer i.
simply a smaller .iZf, w~, rho fin,! "nrr" ... " "f
desire for a tn.diz,,~1 Jcuer.
tnethods already described. a
which tb. nrst two decades 0
duced, enl~rllinK them by p
uining in hi. awn dllisn tb
cb~r~cteriltiCl, In .pite of M
NltMl'ltl\
uri
\\"HlHHhl I !.Ill.
(' f,It"i' ~flf.'1'H'. "'~,.\.
WILLIAM MORRIS
THe POET PRINrmt Ot' OIQ..ANf,)
The nJlllt fI( on. priM., """Ih ftol JUt! "*111'
Inently in lhe Nln,",nlb Cmllll,(, Ttw 11",,",
of WilliAm Monl, 1Ip1n1 ,"Unl,"t,. t,...,.upb,
boll bun (ftmtndelili. UiJI {tat .",tlili... wu ro
produce .II p",f"!
u did ,'''' old m~lt'f'
priaff", .lnd h 111141,10(>"'. In Clfdotr 1'I.t.... mphoh
boo"'
tbi (0
pl~(f
him.,,, In dw ftliohc ~ rtw \ ..m~ f!4\'
dilion", ". Mt cm u_ t<w. tot dM t-to. wb.. tt

lb. old,imt p.nrona fdt ltd if w.n hit ..."'.......1
to rutor 11M ",n.wlle .. "Iklte" b,. bU'1fI1l ...U .bot
dtlAih mprfY",d b;o oar .
Morri.J .\C onc Me ioIOOIU to clle tit.
_hirt!
thoald lit 1ft ""PIIIII
bU tlAllibrd. .ht ..
ducriprioa of bi-s lilll' Bd "Off.4 lit $1",... ,
"Br inltillCf r.ubu du.. Itr ~_t
lo., ic
.If"
'It. . w.
,. .
oyer." bt uY" '" bfI,ln br .pfli.1I "'TWU "f...r

of Rom~n typr. lu.d twit wble I .tIU'" w...
CRITICAL COMMENT
SMALL gife books frequently demand unuanal treatment, and tbe Benedictine fllce,
particularly in small .izu. olFlrI IIIallY
possibilities. The pages shown here lire a
luggestion along thil line. The rolio iI
placed one line lower down than vlaal
simply to produce an elFect.
The margins shown bere are for 28 J.1 x 4'"
paper (untrimmed).
(I Polor Bmtdirtl &GA. Z P.I.,I..rlN)
I'h'/I/\
'\,), \OJ ~~ ll.n,n..

'IYI'r.' ,........ II............
t.tA.t~.Nt~~ : r"'loli.
"'11't.t: '1& f.u.t 1J ~~~I\f t\#ft''''t4"h''. 1')"",\,\ "P"
'U'NNfNd tl~:,~P '~#ltd f\..."J.dllill
hll.h." II", ..." t1fllt*"IIil~_
THE POET PllINTER. OF ENGLAND
_dh."
Ifterr.pan hI fOflll: M"flf. widiom

fit.
("'(cllen: IOlId, w',hollc Itt. rtmk''''''1l
tI ,
IIIDa of tilt Iill', .bkb " dtl ''WIIU.tt h.t, fit ,iM
ordililry lIIode,. typt. ;&11" wltlC" 11.- K .......
C11lt to ftldl ...11 IIOC (Otl,HttId ~.f"'I,. '" ..U
.... rer typt II... aroWA to lit O.~1lI11 (0 _mlt..al
.ft"
I'M."
:
l\l~,
P'<t.",,' I~N)
HALF TITLE: Set in 1 Z Point Benedictine

cap.; Decoration, Benedictine Complete
Page Panel. Wood Base. Morti.ed.X-1364
and Z4 Point Border No. 825.
WILLIAM MORRIS

Benedictine caps; Decoration, Benedictine
Complete Pag, Panel, Wood Base. Mortised, X-13M and Z4 Point Border
No. 824.
(8 Poinr Btn,dicrine BeoA, Z poi"r l.aded)
WILLIAM MORRIS : POET~

PRINTER OF ENGLAND : AN
APPRECIATION OF HIS ART
AND WORK: BY WILLIS SHAW
CRITICAL COMMENT
lSSUED IN THIS WISE BY THE

IN THE CITY OF NEW YORK. N. Y.
THE so-called "Morris treatment" requires

a blocked title. Morris himself used no
leads in his type pages. and concenttated
his masses of block on his title pages. The
pre.ent verdict is against this practice.
(s Point Benecij,rine Book_ 2 point Iraa.d)
125
r-:-:'''7-.;..::-~:",.;,~~l?~.lf:''Il..i.:a:~~'::~..:,:::-.:~;:.:::.:.~.=:,~. ~:
t~"":"'t.:::\.I~.:, ... :~"l,..I')~"I,'O!'';:.. ~\i:":~~;'~'''~';:~u..;.\~:?~\I',.~~ ;.,:.,,::~,.~~.\.l;I."""":";"':-'~f'ltl!.:';'l~""":t.l:.~.~"':I:"l:..I.('!).,:,,~~~~;:~~~~.~~:'\"~~~~~~"'.s'l~~~J~~~
~1
::~ i
;~; !
THE FAMOUS MAZIUUN BIBLE
'!
existence has only been known since

about 1750, when a copy was found in
the Mazarin Library in Paris, whence
comes its name. Since then about forty
copies, in various states of perfection.
have been discovered, of which twelve
are printed upon vellum.
When one considers the obstacles that
the printer must have encountered with
the art of printing itself but a few years
old, he will then realize what a marvelous achievement the book really is. Even
after his first experiments with movable
types, the printer, whether it be Guten
berg or Schoeffer, must have spent years
of most painstaking experience to secure
the even printing, the glos&y blackness
of the ink, the excellent alignment of the
type, and such general excellence in man ufacture that his work has never been
surpassed. Oth~r printers may have
equalled it, but to have accomplished
this, even with the aid of mechanical improvements which have come since. is an
j:
'I
'[2]
I.'.
I,:.'
J:.
~
!
!
\1
I:~;;,.,;;:I
!;.'F:;ir~1 :I~
. l:
i
1
1';
'j'
SPECIFICATIONS
OVERALL SIZE (I id. horder): 15 z 21 pic
TYPE: lapoint Bcnlldictiu Book.
LEADING: 2.peu.t.
TITLE: 10 Peint Benedictine romaa caps.
CHAPTER TInE: 8 Poiot BcnedktiDt reman cape.
RUNNING HEAD: 8 Poin. BeD,di"i., ltali, "'p',

FOLIO: 10 Point BeJJcdictina Book fi,lm. bracketed.
INITIAL, 1B Point Benedictine Book.
RULES: 2 Foint M."i. Slid, No. ~O~.oc! 4 Polo.
Matti>: Slid. No. 505.
BORDER: 2~ Foin. No 824 .Dd 825.
NUMBER OF WORDS TO F1JLL PAGE: 15.6.
(6 Point Brlutiicrin, Book_ Z point leaded)
llf~5g~,C=-Jlli~~
THE FAMOUS
MAZARIN BIBLE
I
THE HISTORY OF THE BOOK
WHETHER or not the famous Mazatin Bible was actually the first printed
book can never be definitely decided, but
it was, without doubt. the first important work for the production of which
ample funds were available. and as an
example of printing it has certainly never
been surpassed.
This volume was printed in the office
established by Gutenberg, at Mayence. It
could not have been begun before August.
1450, which was the date when Guten~
berg entered into partnership with Fust
and Schoeffer; and the Paris copy bears
the rubricator's date of August 15,1456,
so it must have been produced between
these dates. In many ways this magnificent volume is the most remarkable
production of the printing press, yet its
[1]
CRITICAL COMMENT
THE
lighter line of the Benedictine Book ofers attractive

possibilities for little books combined with decorative
treatment. Care should be taken to select borders or other
decorations of the same weight of line as tbe type itself.
The measure of the type inside the border should be such
as to leave one pica space 011 each of the four sides.
Th. margins shown here are for 28 x 38 paper (trimmed).
(8
P~jl1r
Bcnedic,/n,Boo1c. 2 point I,aeled)
Iii
!
~;
~!
~\
~'
~} !
3i
'.
~m;;,=';';;'-:;~l"i--;-_;
. . . . . . . . . .. -~~"". . .~-_~,,~l,,., ........... '... ~.'. . ~.~". ~.,. . ~,.,.-....,~ ... ~-". . ~.
~tell.:r"'AmNtTI'.III'MI!fl'M.II'/iIO:==1Il!I
*
126
-"'
.at ,
The Ideal very love again itself becoming beautiful because in

Book
company with the idea.
JDis is the supreme Book Beautiful or Ideal Book. a
dream. a symbol of the infinitely beautiful in which all
things of beauty rest and into which all things of beauty
do ultimately merge.
.
The Book Beautiful. then. should be conceived of as
a whole. and the self-assertion of any Art beyond the
limits imposed by the conditions of its creation should
be looked upon as an Act of Treason. The proper duty
of each Art within such limits is to co-operate with all
the other arts. similarly employed. in the production of
. .. ........ .... ... ................. .... .
something wbich is distinc:
ness. symmetry, harmony,;
strain, of the Book Beaut!
principle with the wholene~
beauty without stress or s~
WHICH IS CONSTITt
. AND THE WORLD, '1
MARVELOUS WHOLE
STRIFE OF COMPETIl
HOLDS ITS OWN. ANi
OF LIFE WRITES, upe
PAGES OF THE DAYS, 1
THE CENTURIES, ANl.
FINITUDES OF TIME ~
RHYTHMICALLY ONV;
DEVELOPMENT OF 11
THE TRUE ARCHETY
BEAUTIFUL OR SUBL~
II.
I
I
I1
I
!
!
FOLro: 12 Point Bcncdic.tinr Bock.
NUMBER OF WOROS TO FULL PAGE: 300.

(6 Point
Benedj~tine
Book. Z point leaded)
tion of the mode in which the pictorial illustration may III ustra tion
be produced and transferred to the page, by wood-cut
by steel or copper engraving, or by process. But this
seems to me to be an entirely subordinate though important question. The main question is the aspect which
the illustration shall be made to take in order to fit it
into and amid a page of Typography. And I submit
that its aspect must be essentially formal and of the
same texture, so to speak, as the letterpress. It should
have a set frame or margin to itself, demarcating it distinctly from the text, and the shape and character of the
frame, if decorative, should have relation to the page as
well as to the illustrative content; and the illustrative
content itself should be formal and kept under so as
literally to illustrate, and not to dim by over brilliancy
the rest of the subject matter left to be communicated
to the imagination by the letterpress alone.
THE BOOK BEAUTIFUL AS A WHOLE

FINALLy, if the Book Beautiful may be bea\ltified by
SPECIFICATIONS
OVERALL SIZE: 24:x 37 picas plus side heads.
TYPE: 12 Point Benedictine Book.
LEADING: 2 pci. t.
SlDE HEADS: 12 Point BenedictiD! Book.
CRITICAL COMMENT
THE Benedictine Book is a beautiful type for
special volumes made for those who appreciate
the part which type plays in conveying the
thought from the author to the reader.
These pages are given a Doves Press treatment.
and the copy is. appropriately. by Cobden
Sanderson himself. Note the decorative value
of the full cap lines.
virtue of its writing or printing or illustration. it may

also be beautiful, be even more beautiful, by the union
of all to the production of one composite :whole. the
consummate Book Beautiful. Here the idea to be communicated by the book comes first, as the thing of
supreme importance. Then comes in attendance upon
it, striving for the love of the idea to be itself beautiful,
the written or printed page, the decorated or decorative
letters. the pictures. set amid the text, and finally the
binding, balding the whole in its strong grip and for
(8 Point Bllnfdictine Book, Z point lwlt/ltd)
127
7"'~~~~~'=""-'::'~~'''"'~''::~~::''':"~'1 ~-----.--:-~-..--~~~-~. ~~
C
f.
Ii:
I:
I!
.i
!
24
The Quest of
France lost its claim' to preeminence in the

art of printing when Robert Stephens was
forced to flee to Geneva, where he and his
son Henry carried on a printing business un~
til his death in 1559, and that of his son
a few years later. During this time Henry
Stephens produced his HThesaurus/ t the
only important work of that period.
The quest of the Ideal Book, therefore.
passed out of France, and was taken up by
another Knight Adventurous in the person
of Christophe Plantin, in Belgium. He had
settled near Antwerp in 1549 as a book~
binder, but six years later he began printing.
The early books from his press showed ac~
curacy and excellence of workmanship, but
it was his great undertaking of the Biblia
Polyglotta which won him his place among
the great master-printers.
In 1566 the preaching of Luther had at~
tracted the attention of the Christian world
more particularly than ever to the Bible.
The Protestants considered it the single basis
of their faith. and upon their familiarity
with it depended their present and future
welfare. It was natural, therefore, that they
should attach the greatest importance to the
possession of the most authentic edition of
the original text. Among the Catholics the
effect of this movement was equally felt.
the Ideal Book
able to add individuality to the format of the

volume, The suggestion shown above, with
the dominating running head and tho small
margins, is out of the ordinary,
The margins shown here are for 31 :x: 35 paper
(trimmed), which may be cut down from
the stock size of 32 x H.
(8 Point B'rl~dictirle Book. Z point llad.d)
The counter~reform, born in the Church of 1

Rome., after t~e ~eJ?aration of the dissenting
;
sect, did not hmlt Itself to a moral purificarion, but undertook with great seriousness a
profound study of the Bible.
What more glorious task, then. could a
printer take upon himself than to provide
correct texts, to translate'them with a scmpulous exactitude. and to produce with the
greatest perfection the single volume upon .
which was based the welfare of men and of
empires?
This was the inspiration which came to
. Christophe Plantin. and which took form in
the Biblia Polyglotta. On the left~hand page
should appear the original Hebrew text, and
on the same page should be a rendering into
the Vulgate. On the right~hand page the
Greek version would be printed, and beside
it a Latin translation. And at the foot of
each page should be a Chaldean paraphrase.
Plantin at once opened negotiations with
Philip II of Spain, and was finally successful in securing his promise to subsidize the
undertaking-a promise which, unfortunate1y, was never fully kept. It is probable
that the king was influenced toward a favorable decision by the struggle which occurred
between Frankfort, Heidelberg, and even
Paris for the honor of having the great work
CRITICAL COMMENT
I N using an unusual type it is som.times desir.
25 I
SPECIFICATIONS
OVER.ALL SIZE: 19 x l7~ pic ...
TYPE: 12 Point Be.lledietinc.
LEADING: 2 po;",.
RUNNING HEAD: 18 PoiDt B.Dedi,ti
NUMBER OF WORDS TO FULL PAGE; 210.
(6 PoirlF Bf:nedir:tin, Book. 2 point leaded)
The QUEST OF THE
The" QUES~ OF THE
IDEAL
00
IDEAL
BOOK
From the Scrap Book of

CHRISTOPHER PLANTIN
Found AMONG THE PAPERS OF

THE LATE CHRISTOPHER PLANTIN
11
Published fot: THE PLANTIN CLUB by
THE PRINTERS PUBLISHING CO ... N. Y,
CRITICAL COMMENT
LINOTYPE Benedictine and Benedictine Book
used for hand-lettered dect on the headings of
these pages and photographed to exact scale
required.
The boldness of the large type possesses a decorative quality. and is in keeping with tbe novelty
of treatment of text pages.
(8 Point .B,n,d;,rin. Bgok. 2 PQir:J.t l~ded)
HE printers ofItaly held their sup~

remacy for nearly fifty years. Then
in the Sixteenth Century this preeminence passed to France. in the person
of Robert Stephens (or Estienne). To understand the direction given to the press in
France at this period, we must bear in mind
that two principal influences operated upon
it simultaneously, but not in the same way.
These two intluences were identical with
those which gave Italy her earlier preemi~
nenee which had passed from her to France
SPECIFICATIONS
TITLE PAGE: Benedictine 12 point caps and
small C4p8 and italic: Heading is an enlargement
of 14 Point Benedictine and 36 Point Benedictine Book.
FIRST PAGE: Benedictine 1Z point cap$ and
lower case and caps and small caps, 2 point
leaded; Decoration. Benedictine Ornament on
.wood Base.X1362.
(8 Point Benedictiru Boak~ Z point leaded)
BENEDICTINE FACE
begging him to try to find him a printer Has skillful as Plato de

Benedictis/ t of whose regrettable death. he says. he has just heard.
By discriminating students of "Incunabula" de Benedictis is
regarded as one of the most admirable printers of his generation
-chiefly by reason of the perfection of his pages when they are
considered as examples of careful composition.
It has not. however. been hitherto suggested. but it is un~
doubtedly the case. that no little of the attractive appearance of
de Benedictist book pages is due to the type face he employed.
At first glance it suggests the Roman face of Nicholas Jenson on
which. like a majority of Fifteenth Century Italian types. it was
obviously based. But when we come to analyze it carefully we
find that de Benedictis made certain subtle changes in proportion
and detail,. the clear intent of which was to aid in the produc~
tion of an effective patterning when the letters were brought into
combination.
It is. therefore. quite obvious that among the approved type
faces of the earlier printers. no more admirable basic foundation
than this type of Plato de Benedictis could be found for the new
face which has been so aptly termed the Benedictine.
In adapting it to the uses of the printer of today it was not
deemed necessary to make any very vital changes. It will be
found that the proportions not only of stems and hair lines of the
letters. but more especially of the Hascenders" and ~~descenders.'t
have been strictly adhered to. and that the original curves and
outlines have been preserved with practically no alteration. In
this way the relation of the printed surface to the white space of
the page has been retained.
Soine minor modifications. it is true. have been made. such
as the more even bracketing of the serifs for example. but these
are all in the direction of bringing the letters into a stricter accord
with those forms with which. by long custom, our eyes have
become accustomed. These in no way detract from the beauty of
the original design. but rather perfect what the old~time printer
CRITICAL COMMENT
PURE classic design cbaraeterizes the Benedictine. Drawn for the Linotype Company by
Mr. Joseph Eliot Hill. under the direction
of Mr. E. E. Bartlett. from the types of
PlatodeBenedictis.itpreservesthefeclingof
the inscriptions which beantify the Roman
architecture of classic and Renaissance periods. While every so-called Roman type face
is descended from this source. much of the

classic quality has been lost in modillc. tions
and mechanical renderings.
The caps of the Benedictine have thefull squarish character of inscribed letter forms. The
lower case gets its essential feature. from the
mediaeval use of the quill pen in writing
manuscript books.
(8 Point Btrudicritlt BooA. Z point leaded)
___ .<.....
_~w
~A>_~_~_~_
T7'Y"I
. ___ . _____ . _. . . . __
~
~_
- ..........
~_~_
~"'-~~.,
~"ln
C'IlII_i!lS'
131)
~>
_ . , ...
,_.""_,,.~_
....
"~"~>-"""~,
l"~""'Uilaall"
.V~,
, __ """.
'_~'~~~""~_'
."_......
,~
" __
~."
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_.
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_ ,-..,.,
llirAt~~~)"!Iii,~.f,l11~
THE BENEDICTINE FACE

AFTER PLATO DE BENEDICTIS
OF BOLOGNA
COMPARATIVELY little is recorded concerning the life or

career of Plato de Benedictis. despite the fact that he is one of the
most highly considered of the Italian printers of the latter part
of the Fifteenth Century. We know that his name was Francesco
di Benedetti. that he was a member of a prominent family. and
that the name of Plato de Benedictis was assumed by him. at a
late period ofms career. in accordance with a fashion then preva..
lent among scholars. We know. too. that he was a citizen of
Bologna. where. towards the end of his life. he attained distinc..
tion not only as a bookseller but as a master-printer.
His typographic activities cover a period of some eight years.
namely. those between 1487 and 1495; and that his output even
for those leisurely times was distinctly limited may be deduced
from the fact that the alert Hain. ~n his " Repertorium/' catalogues only thirty-three of his works. That he was highly esteemed by all of his contemporaries is evidenced by a eulogistic
reference made to him by the classical scholar. Matteo Bosso
d' Asti. in a letter which is still in existence. DtAsti writes from
Verona. under date of August 26. 1497. to a friend in Bologna
SPECIFICATrONS
OVERALL SIZE: 32xS-+U picas.
TYPE: 14 Poi)1t Benedictine.
LEADING; 3 point.
TITLE: . 14 Point Benedictine small caps.
CHAPTER TITLE: 12 and 18 Point
Benedictine roman caps.
RUNNING HEAD: H Point Benedictine
roman caps.
FOLIO: 1-+ Point Benedictine roman figures.

DECORATION: Benedictine Headpiece.
X.1376.
INITIAL: H Point Benedictine. above.
RULES: 2 Point Matrix Slide No. -+01 and
6 Point Matrix Slide No. 516.
NUMBER OF WORDS TO FULL PAGE:
430.
(8 Poi", Bcnlllli.,; Bool. 2 point lead,tI)
. 131
CHAPTER 1. A MODERN MASTER PRINTER

~...... OBDEN-SANDERSON'S
LIFE IS AS ILLUMI ..
NATING AS HIS WORK, AND EACH EXPLAINS
THE OTHER. FROM THE TIME WHEN HE
~III!!JII FIRST BEGAN TO THINK SERIOUSLY HE
applied himself to discover a ca11ing which should gi ve
him the best opportunity to express to the world the
message which he felt to be contained within himself.
He tried engineering, he was a student of theology,
he investigated Carlyle and German philosophy, he
studied medicine, he was admitted to the bar, and later
became a manual laborer. In this last occupation he
came nearer to the end of his quest than in any other.
After these many false starts he at last discovered in the
Book Ideal a sympathetic and effective medium for
the conveyance of his message. The interesting point is
that he continued his efforts until he reached his goal.
With this approach, each volume which issued from
the Doves Press could not fail to be more than a book.
Those who possess these precious examples of the
printer's art cannot help feeling, consciously or un ..
consciously, the personality of the man who put into
them the best there was in him. They cease to stand
as paper, type or binding. To the text which Cobden ..
Sanderson selected, the master hand added an original
something which gave to the Doves Press editions a
uniqueness and originality which no other modern
volumes possess. Cobden-Sanderson was not a printer
nor a binder, but a translator into terms of book ..
making. Taking the words of great writers, he fitted to
BENEDICTINE BOOK WITH ITALICS AND SMALL CAPS

Ita(ic and SMALL CAPS
6 Point BeMdictine Book

Much
been writtl!n regarding: thl! ntcessity of keeping LinotY.Pt! machines in good
order to obtain large output, but little has been said regarding the desirability of keep ..
tng the open tor in good health. To secure the maximum output the operator must be
has
OtdAfr":: ::~at:Tar::i!~e:;,~:!!::n/~r:~eh~~cb:;"hJ.r:dA:.e;:~!in;i~~~g~~r:aa:n;~:o}n ~~
oprrator
matter
operator
be
ing tbe
in good h~ltb. To ,,,art the mu:imum outpu.t tb.
mult
kept ;12 good r:OI2dition. at well til the machine. Most operators do 110t pay enougb
artmtion to the 111W8 of bealth. Fast and accurate work lit the Li1tOtl/pe kel/bOllrd i.
::ie~tji~ng~th:i~~~o~I h~a~~~l Fas~!nda:~:;~te ~O::k o::r:~~riJ~:t;;! t:~b:::iB~
not simply il
of knowing how to fingtr the keys properly. but at.o. to a certain
effort reqUired
extent. a question of good physical condition. The amount of
NOT SIMPLY A MATTER OF KNOWING HOW TO FINGER THE KEYS PROPERLY. BUT
ALSO. TO A CERTAIN EXTENT. A QUESTION OF GOOD PIIYSICAL CONDITION. TilE
muscular
- I--
7 Point Benedictine Beok
Much has been written regarding the: necessity of keeping Linotype machines in good order to obtain large output. but little has been said regarding
the desirability of keeping the operator in. good health. To seCRre. the
maximum output the operator must be kept in good condition. as well as the
:machine. Most operators do not pay enough attention to the laws of bealth.
Fast and accurate work at the: Linotype keyboard is not simply a mattet of
Itlllie and SMALL CAPS
Much has b~'Jl written regarding the m!cessity of keeping Linotype ma

chines in good order to obtain large output bu.t little bas been said regarding
the desi.rability of keeping the operator in good bealth. To seCure tbe
maximum output tbe operator must be k~pt in good condition .. as well as rhe
4
MACHINE. MOST OPERATORS DO NOT PAY ENOUGH AnENfION TO THE

LAWS OF HEALTH. FAST AND ACCURATE WORK AT THE l-INOTYPE KEY
8 Point Benedictine Book

machines in good order to obtain large output. but little has been
said regarding the desirability of keeping the operator in good health.
To secore the maximum output the operator must be kept in good
condition as well as the machine. Most operators do not pay enough

machine. in good order to obtain large output. but litele has been
said regarding the desirability of keeping the operator in good health.
TO SECURE THE MAXIMUM OUTPUT THE OPERATOR MUST BE
KEPT IN GOOD CONDITION. AS WELL AS THE MACHINE. MOST

operator must be kept in good condition. as well as the machine.

output. but little has been said regarding the desirability
11 Point Bmedictine Bock

large output. but little has been said regarding the
12 PoLat Benedittine Book

obtain large output. but little has been said regarding the desirability of keeping the operator

good order to obtain large output. but little
Much hm been written regarding the necessity of keeping

Linotype machines in good order to obtain large output. but
i
j
I
I
I
OPERATOR IN GOOD HEALTH. TO SECURE THE MAXIMUM

OUTPUT THE OPERATOR MUST BE KEPT IN GOOD CONDITION,

OF KEEPING THE OPERATOR IN GOOD HEALTH. TO
SECURE THE MAXIMUM OUTPUT THE OPERATOR MUST

large ou.tpu.t, but little has been said regarding the
l,IlI;, 2nd SMALL CAPS

of keeping Linotype machine8 in good order to
obtain large output, but little has been said reGARDING THE DESIRABILITY OF KEEPING THE
Itali~ and SMALL CAPS

I
I.
GOOD ORDER TO OBTAIN LARGE OUTPUT,
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has been said regarding
24 Point BtnedictiDE: BOQk
Much has been written regarding the necessi ty of keeping

.3 0
Point Benedic:tine Boek

.3 6 Point Benedictine Book

The J 8, Z4 and J 0 point silles of this 6Ories. in ita/ic. are in process of manufa~ture
BENEDICITNE WITH ITALICS AND SMALL CAPS

1,.li< .nd SMIILL CAl'S
11.,(11 h., "rl" ll.,ill'"I~iUJ;ng rh, I1wsruirv f~'
'.irul'flP. ~llIth~n.. In ,oael
orll., '0 obI "
output. h"' 1~1I1_ htlJ "~'n a!J.J. '~tI"''',n., rh, .,"ab,,,,V 01
i",
oPl... ,en in ,0011 hi"'''. 1@ UCU'III rh~ m....umum nu,pul
CJPf,.r mu,r
Ia,p, i" ,004 cD"tli'iOft~ II "",ll .~ riff ,"",him, Up., ap."tum. ~n IJOI ,..V .,,<JUU"
.",ntia" 10
II"" 01 h,.I,II. fe., ",,,.t ~i.'(Ut..r. kWA. . , ,h, l,ttltJ'"P' ""hMl'Il It
, Point Btnedic:dnc
Much bill bl!l!ft written rl!ROIrdinr the :tu:cusity c! kecpin~ Lino(7pe ml~!nel in p,ood
order to obtain lUKe output. but little bils been laid fe8:1rdlns tbe deslc.1bdlcy of keepiflS' chI!! operator in sood bulch. To secure: the m:LXhnu.m output the operatOf mUSt be
kept in good condition. ill well
tbe ma.chine. Most opetatorl .do not psy CtlOUiI,b
att(:ntioa to the law. of bealth. Past and accurUe work :It the Linotype keyboard~.
not ,imply :I matter of knowina: how to fingcr the kefs propnly. but also. to :I. CIU!"lft
e:r:tcnt. :a question of good pbyslc::.l lI!otldition. The amounl' of lIuuc:ub,r eft'oct rllqul1'cd
,II.
:I,
It.,."i,.,
t.".
'h,
ti,.
""p_b.
NOT 'IMPLY A MIlTTllR ur I(HtlWIH'; III'W '" I'IN<;I'M Till< lCl'Y5 "A<WI'RI.T. IIUT
l~M.lI.II'IIUltjU. nlNllITII.IN. THB
ALSO. TO A CERTIIIN uxnNr. A QUI'.>1'ltlN <>I'
7 Point Benedictint
""ill."
".1"
~ S14A1.L CAPS
Much htU b""

tillatdinll Ih. 1I.....i'li til Itpinll LinolUp. mi.
rhin" in good ord.. 10 oblain
b." lilll. hiU h " ill trgardin,
Ih. d..irabilirl/ of Itpillll tIM opor",o, in flood hlrh. To
tho
maximam oUlPU' tIM up""'''' mu.r ". bpI in g""" ""mli/icm. " willI lIS
MAC;HINt!. MOST OPllRATORS DO NOT PAY "NOUI;II Anl!NTION TO TIll!
Much has been written re:gacding the necessity of keeping Linotype l!'-:a. .
chines in good order to obtain large OUtpUt, but htde has been. said reg3rdlng
the desirability of keeping the opentor in good healtb.. To ucure tht
maximum output the operatot must be kept in good condition. as well as tbe
machine. MDst operators do not pay enough atttntion to the bows of be...lcb.
Fa5[ and accurate: work at the Linotype keyboard is not simply a matter of
''''1/. '''''p'''.
0".,..
t'"
LAWS 01' Hl!ALTH. I'MT AND At:c.:URATU W,'RK. Af Till! L1NOTYPI! ItEY.
(,./i d SMALL CAPI
8 Point Benedictine
Much 1Hl. bn writ/III r.galding th. n,efllitll 01 h~tping Linotllpe

mm:hintl in good. Olel.. to ol/tllin latg. uutput, but litll. ha, hun
aaid (.garding the d.Utabilicl/ o/.Hping rh. "puator in good hglrh.
Much has be.n written regarding tbe neressity of keeping Linotype

marhines in good order to obtain large output, but little bas b.en
said regarding the desirability of keeping tbe operator in good health.
To secure the maximnm output the operator must be kept in good
condition, as well as the machine. Most operators do not pay enough
TO SBCURD THB MII.XIMUM <1un'u r <nlE l)l'1mAH1R MUST BB

KEPT IN GOOD CONDITION. AS Wl'U. AS TIIM MII.CIIINII. MOST
'Id; ..d SMA~L CAP'
9 PDint Benedictine
Much htu b,en writClln regarding Ih, rJfc/luitV of keeping

LinotllP' mach inti in good ord,/.' to clbtain largo output, but
Iittl, hal been raid r.garding th. de.icabilirv of k4tping rh,

littlc has bcen said regarding the desirability of keeping the
operator in good health. To secure tbe maximum outpUt the
operator must be kept in good condition. as well as tbe machine.
OPERATOR. IN GOOD I mAt. TH. TO SECURfl 1'I1n MAXIMUM

OUTPUT THE ON,RATOR. MUST lUI Km"r IN GOOD CONOITrON.
11,,11 d SMALL CAl'S
10 Point Beacdiccint
Much hal been written r.yarding thl necellitll of

keeping LinotllP' machine. in good ord.r to obtain 1ar9'
output. but little htU M,n .aid ngarding the d.,irabilitl/

OP KEBPING THB OPBRATOR IN GOOD HlALTH. "0

SBCURE THB MAXIMUM OUTPUT THE OPERA TOR MUST
IltIlid 'WALL CArs
11 I?oint Denedictia.
Much ha. been writt.n t'9arding the nece"it!! of

keeping Linotype machinll m good order to obtain
large output, but little ha, been .aid ttgarding the

large output, but little has been said regarding tbe
DESIRABILITY Of K1!IlP1NG THE OPERATOR IN GOOD

tl.Ii, And SMALL CAPI
12 Point Il,n,dl"in.

obtain large output. but little has been said regarding the desirability of keeping the operator
.-+ Point BencdicI;inc
Much hu been written regarding the neceuity

of keeping Linotype machine, in good order to
obtain large output, but little hal been .aid re-

M ucb bas been written regarding the

GARDING THE DESIRABILITY OP KEUPING THB

/'111" .04 SIoCAl.L CAPI
GOOD ORDER TO OSTAIN LARGE OUTPUTt
18 Point Benedicti.ne:
Much has been written regarding the necessity of keeping Linotype rna . .
chines in good order to obtain large output, but little has been said regarding
Z4 P()int Benedictine

30 Point Bcn.dictine

3' Point Bln.dictine
Much has been written regarding the n

The 18, 24 anti 30 point
,iz" 01 tbia ..,1", in illlle, /1ft in JII'O"" 01 manaf.'llr.
'l'i.'U,*::l1I'~\jI.'"~"llI";i):'~__ ~~1~~~~~~\";'/j~:wa_ _~''''-~~~_ _.$~U.!I __~';'';__~:~.iJtM'Nl\liill"'~'<J::f/Irt"'*VjI!;~(~-';~~'ll./l~
Lh
RT does not flourish

in hidden places nor
under restraint, nor in
ignorance of what
talent and genius are
accomplishing the
world throughout. All whom we have
named or might name, who have achieved
great distinction, who have reflected honor
on their country, and whose work has
beautified some of the waste places of our
populous cities, have made the treasures of
the world their own. There is not one,
whose achievements have been notable,
who has not sought his inspiration at the
fountain of the ancient masters, and who
has not often refreshed his spirit by com..
munion with fellow -workers throughout
the world.-ANoN.
I - -_ _ _ _ _......i
(24 Point Chertolll.am, 4 pO/lIt I.aded)
that I dedicate no inconsiderable portion of

my time to other people's thoughts. I dream
away my life in other's speculations. I love
to lose myself in other men's minds. When I
am not walking, I am reading; I cannot sit
and think. Books think for me.
I have no repugnances. Shaftesbury is not
too genteel for me, nor Jonathan Wild too
low. I can read anything which I call a boo~.
There are things in that shape which I cannot
allow for such.
In this catalogue of books n>hich are no
bool(s-biblia a biblia-I reckon <Aurt Calendars, Directories, Pocket Books, Draught
CRITICAL COMMENT
GIFT.BOOKS light ...ay., or .hort lloriel may
be extended by u.ing th. expedient of docoration
above and below the lext on each page. Be careful that th. weight of the rule corre.pond. to tho
weight of the line in the decoration.
Th. margins shown arc for 27 x 33 paper (trimmed).
(8 Point Chert ll~m. Z point r.a.ad)
DETACHED THOUGHTS
ON BOOKS AND
READING
To mlndlhe Ildo of book I, lu .nl.".I. 0.0'.
It with Ih. rort.:ltd pr4:tt.illt:t Cit lIuuJthldr mantA
bratn. Now I Ihtnk a n n or ~".lllr 0.,1 br..u.
Inlll m.y bo much Imu 11 with lb. n",ur.1 tiP"'"I'
of hi. own.-u,d /o'''I'pltlllr"n.
A:
ingenious acquaintance of my own

was much atruck with thia hrj~ht
sally of hill Lord.hip, tltilt he hill left
otE reading altogether. to the areal improvement of hia originality, At the huzard of
lo.ing lome credit on this head. J must con feu
.0
SI'RCU'I(':ATIONli
OYI!RAt.I. lIl1.fllln.ll1dln* flit ) 1 1ft

TVI'I!: IlIl'ul.I Ct..h"nho",.
~::I2
plQlII,
Ll!AIJI/lO I I polo,.
TITUI: til PHln. Chth ha", ........ n upo,ln hllt.

dl.",ond rUfffUIlltlft.
QUOTATION, 111'..1.1 <":t... I., "oIAlI..
RULlIlI: 21'olnl MlIlrI.lillda No. 0400.
INITIAL: 42 "olnl C to
n'f.~~~ml,~: Ch.II ho", Omo"", ..., XIUII
"".!.
NUMBSR Of WORM TO f'Ul!, !'A(;II! Ill,

(111'~1.'
elA/c, J p.'nl tu.s.rI)
,--._ _.__ _._._ ,

2
i
..
..
. -..-._. . .
-._-_ .._.. --- .._.-
... ....... _---..
."-
"'
.. -........ _....._...-....._- ... _- ---.. -....
-.-~
.1
THE FATHER OF THE TYPE-FOUNDERS
SPECIFICATIONS
OVERALL SIZE: 22~ x 33 pic ; te.tme.SUT,
17 x29 picas.
TYPE: to Point Cheltenham.
LEADING: 4 paint.
CHAPTER TITLE: 10 Point Cheltonham roman caps.
RUNNING HEAD: 10 Point CheUe.bam small caps.
SIDE NOTES: 10 Point Cheltenham Ualic caps and
'"f~~"'~:::~:"~:~:;fyin-:-~=~"'~~=" ~~:-'~;"-:~'
i highly
ornamental initials and surrounding them
I with elaborate borders designed by art~ts of welli known reputation.
j
!
: Geoffre:y
lower case.
Soon, however, they fell into the pitfall awaiting the printers of all time.-the tendency to
:.;
over-ornament at the expense of legibility,-and
then it was that Tory called a halt. and in his
!i,
book "Champfleury," published in 1529. made a
I
j
plea in favor of the use of more legible types.
,Claude
'
It was to Tory's pupil. Claude Garamond. Ii.
1Garamorul) however. that the credit of improving French typog- .
raphy chiefly belongs. He put:'"
,........ ,......." ..... ,.
ITory
FOLIO: 10 PolntCholtonham.
RULES: 2 Point Matrix Slid. No. 403.
INITIAL: 20 Point Cheltenham.
(6 Point Clale, 2 point leaded)
'Ii
many of the reforms suggested:

especial must be commended fo;
efforts to bring into more gener'
form of letter. Already it was'.
scholars that the genius of their.
the use of letters based on a cl.
Garamond had comparatively \,
dueing his brother printers to ac;
His font of Roman was closely:
celebrated letters of Nicholas J
discreetly following the Aldine'
proved by the capital letters bei:
CRITICAL COMMENT
THE .,.treme rule treatment i, ,hown in the", paa...
H .... allain lb. leading i, of ,upr.me importanet:, as
a moro ,olid page would produce a heavy effoct.
de.lroyinl the balance.
The 10 point type i. ".ed to secure a grealer number of
words to the page than would be possible wilh a
larser body withoul reducing the leadins.
The two-line inilial above instead of below al the besinnina of the chapter prevenlll a break in the .first paralP'aph which would injure the unity.
Th. marginhown are for 'O!12 x 'II paper (\IIltrimmed).
I'
THE FATHER OF THE

TYPE-FOUNDERS
To
three Swiss printers. Cranz, Gering, and First

Friburger, must he accorded the honor of setting Printing
. Press
up the !irst printing press on French soil, and from in France
their shop, in the precincts of the Sorbonne at Paris.
was issued the first book printed in France.
Their types were variations of the Gothic faces
used by the German pioneers of the art. but even
when the Frenchmen had come into their own and
were excelling the Italians in the art of making
attractive books, they continued to cling to these
"black letters...
It must be remembered that well on into the Earl))
T))pemiddle of the Sixteenth Century the printer was also casting
a type-founder. He cast his own type from his
own matrices, the punches for which were cut to
his special order and under his close supervision.
So the early French printers, men like Kerner,
and Vostre, and. ablest of them all. Geoffrey Tory,
while they still preferred the Gothic types. had them
cast in forms which coincided with their own ideas
, ........ - ... ... " .... .
- ....:,
",
(8 Poi.1 Ch.lt.nh"m. a pol.t lelld.d)
~~ . ---~.~...,- ..ia.~iiiiiI--~=;;e,_;~~~.;H;:~~~~;~~~~~;;~~~~~;;~.~~.,;.;;.~.:,~:~~:;;~;;;~\;.;"~";:r~;;~~;i:
;.37
IN THE OFFICE WITH ONE MACHINE
HE'LL set up a menu, a book, or a bill.

In the office with one machine;
There's nothing that baffles his technical skill
In the office with one machine.
He uses each second of moments that fly,
His lingers are quicker by far than the eye.
And he's just about banished the nuisance of "pi"
SPECIFICATIONS
OVER ALL SIZE: 22 x 35 pi
TYPE: 12 Point Cheltenbam.
LEADING: 2 point.
CHAPTER TITLE: 14 Point Cheltenham.
RUNNING HEAD: 12 Point Cheltenham small caps.
POLIO: 8 Point Cbeltenham figures, bracketed.
RULES: 6 Point Matrix Slide No. 516, and 2 Point
Matrix Slid. No. 403.
INITIALS: a6 and 24 Point Cheltenham.
DECORATION: 18 Point Border Matrie.. Nos. 783,
784 and 775.
NUMBER OF LINES TO FULL PAGE: 26.
(6 Point Crassic" Z point leaded)
THE small countrY paper is set in a day

In the office with one machine,
Which is faster, by far, than the old-fashioned way,
And the Linotype man tells who goes and who tarries,
Who dances or dines. and who courts and who marries.
He sets up the births and the obituariE .....
THERE'S many a bully big office hal.
From the office with one machine. ,
All based on the profit the Linotype'!
So the Linotype man, as his finger til.
And the long bar comes down with its:
Knows well that the Linotype's earni.
In the office with one machine!
I
:1
IN THE OFFICE WITH

ONE MACHINE
[ 18]
HE Linotype man is a versatile chap

In the office with one machine ;
He' 5 ready for any old job that's on tap
What once needed labor of three men or four
In the leisurely hanclsetting era of yore
He does as the easiest kind of a chore
HE'LL setup a menu, a book, or a bill.

In the office with one machine;
There's nothing that baffles his technical skill
He uses each second of moments that fly,
His fingers are quicker by far than the eye,
And he's just about banished the nuisance of "pi"
CRITICAL COMMENT
IN .etting poetry it is often de.irabl. to .elect a face with

more decoration in il. line than mighl be de.ir.d in a
prose volume. Th. Cheltenham face i, particularly well
adapted for books of v.rse.
The expedient of placing the initial letten outside the line.
. give, an individuality to the page.
Th. Oxford rule treatment balanc.s the irregularity
cau.ed by the varying length of the line. of vene.
The marginhown are for 30llz x 41 paper (trimmed).
(8 Point Cheltenham, Z point leaded)
[ 17)
____
~~,=_'~
';'.-;:.;i.~;'_-----;';--
138
----.-.-".-.~
tt=rn
hi
..
Ii.
,.--.~-
......
~~~
.. --.-- ...... ...

~
_~~~~~:cIi'JII.\t.~r-w.1
SPECIFICATIONS
THE FABLE OF DAME PROFIT
White Trousers of the Small Boy. With a Skill equaled

only by the Old-Time Wood-E~ravers, and with a Celerity
inspired by a Guilty Conscience, the Small Boy carved his
Initial in the Seat of the Nice New Chair. Then, because
in the Soul of the Small Boy was the Love of Beauty. be
bruised some of the Luscious Red Cranberries which he had
plucked, and with their Kindly Assistance he made the First
Illuminated Initial
of his Handiwor
New Chair wan
gaze enraptured
Small Boy. instin
takes Precedence
First Illuminated
the Nice Chair. :
But the Monk
sight than upon h
tion between the'
Nice New Chair
hand of the Smal
which became cl
Boy face down:
there. imprinted;
discovered the I'
At that Mome'
of a Great Idea.:
CRITICAL COMMENT
WHENEVER a Iype of diltinct individuality. as Cheltenham, i. u.ed.
there should b. a definite re ..on for
its selection. If, however, the manuscript is of unusual nature, in juve-
nile. and in unique publications. tID.

face may be safely employed. It
should not be forgotten, however,
that o"elteoham i. distinctly a job
face, and that it was designed pri.
marily for commercial purposes.
The margins shown here are for 33 x 48
paper (untrimmed).
(8 Point Ch.ct."ham,
apoint l.ad.d)
OVER-ALL SIZE: 23 x 34 pic

TYPE: 12 Point Cheltenham.
LEADING: 2 point.
Tln.E: 18 Point Benedictine roman caps.
CHAPTER NUMBER: 12 Point Cheltenham
roman caps.
RUNNING HEAD: 12 Point Cheltenh"",

jtalic caps.
FOLIO: 12 Point Cheltenham roman figure.

INITiAL: 78 Point Cheltenham Initial, X-1I45
DECORATION: Cheltenham Ornament, X-I1~
NUMBER OF WORDS TO FULL PAGE: 28
(6 Point ClassiC, 2 point leaded)
THE INSTRUCTIVE FABLE OF
DAME PROFIT
CHAPTER I
NCE UPON A TIME in the Days be.fore the Past a Small Boy was charging
through the Fields like a Young Fawn.
He was Clad in White Raiment. but the
Reason for his Joy was that he had in the
L..;;;;====;;;;;;;..,I Pocket of his White Trousers a Fine New
Knife. As the Small Boy charged merrily through the Fields.
he plucked some of the LUsCious Red Cranberries which hung
down from the Swaying High Trees. some of which he ate
and some of which he stored away for Future Reference.
Of a sudden. the Small Boy found himself before an
Ancient MonasterY_ One of the Monks. in the Exercise of
his daily Toil, had fabricated a Nice New Chair out of Soft
White W o~d. and he had placed it outside the MonasterY
to dry. The Soft White Wood of the Nice New Chairformed
an Affinity for the Fine New Knife in the Pocket of the
--,or ..-........-.----...". ,'.'
. . . ,-.. . . .". ,", '" ,. ,....". . _.....- - ...". . . . . .". ". -''''........""'.". . --
~-)i:.';)O~~.....~~p.:~~~!;t~A~~\l'~'>I1I:b.~~~1<'!f;tl:~m~~~~m,"".~~~lli:Ii~'J:l;~~~Wft'1i.~
., .
, " . ""A._ .".~ . _ . _ ..... ___ , . _ ., ... _~., ,., ~_." ... , . ~" " .... ,,~ ............." .... ,_ ."' ... ~ ....~.,._ ,_~., .. __ " _~._ .. _~._. ,
~.-,"",""",.,."
"''''~
.w. -_.-._-
The Story of Printing Types
SPECIFICATIONS
OVERALL SIZB: 19 x aa pic .
TYPE: 14 Point Cheltenbam.
LEADING: 2 point
TITLE: l' Paint Cbeltenbam italic caps and. lower case.
RUNNING HEAD: 14 PoinlCbello.bam il.liccapolnd
Jower case.
FOLIO: 8 Point Cheltenham, bracketed.
RULES: a Point Matrl~ Slid. No. 406.
INITIAL: Specially mad. for tbis pag .
NUMBBR OF WORDS TO FULL PAG!!: 148.
plains between the rivers Tigris and

Euphrates.
But though this library consisted
of many thousand volumes, carefully
(8 Point Ct."ic, Z point loaded)
numbered and arranged-as its cata~
log, which still exists, bears witnessin no other respect did it resemble the
library of today. Its books differed
from all other ancient manuscripts in
that they were not written in the strict
sense of the word, but Ii
or impressed. The leav:
of papyrus, as were those:
tians, nor of vellum, as t[
Romans, nor of paper, ill
own time; for each boo~:
a series of tablets of bakr:
tiles, or tiles, as Pliny t;
The Story of Printing Types
The cuneiform or wed~i
acters of the Accadian :
T IS to the compositor's case in
was that used, almost 01:
[28 ]
the first instance, rather than to
the printing press itself, that we
owe the world-wide dissemination of
knowledge during the last five cen~
turies. It was the discovery of the
best method of using movable types,
not their invention, nor even that of the
printing press, that gave us our present
printer's art.
To find, indeed, the first book
printed with movable types we have
to travel backwards some four thou~
CRITICAL COMMENT
sand years to Agane, a suburb of the
CAREFUL and inlellipnt us. of rul.. in comhinalion
city
of Sippara, where was installed
with type forml ODe of the simpl..t and mo.t attractive
melhod. of dec<lration. If rul are used .... iD !h....
the Library of Sargon, King of the
P"lI". the book mu.t be kept COnsist.Dt by LaviDS til.
Chaldeans, those forerunners of the Asrul. Irhment carried OIIt OD the titl. P"lI. and in
the preliminary pagel .. w.lI.
syrians as inhabitants of the fertile
Th. marsin..Lown are for 30l/zx 41 paper (Wltrimm.d).
[27 ]
(81'01111 Ch,lflnham, a point l/lQdld)
140
8 Point Cheltenham
Much htu been Dri!lt!n T.gal'ding !h. ""cUli!) of ~.eping Lino!)pe

machi".. in good ord.r !o oblain large ou!pu!. bul liUl. h ... been .aid r.gard.
ing Ih. desirability 01 ~ping th. opualDr in good h.alth. To "CIIT. Ihe
maximum ou!pul 11.. opera"', mu.1 b. ~.p! in g d condilion. as ,..11 ...
!h. machin Mo.1 o~a"'r. do no! pay enough all.nlion '" !Ir. laD. of
Much has been written regarding the neceity of keeping Linotype

machine. in good order to obtain large output. but litde has been .aid reBara
inS the desirability of keeping the operator in good health. To .ecur. the
muimum output the operator mu.t be kepi in good condition, as well a.
the machine. Mo.t operators do not pay enougb attention to the laws of
health. Fast and accurate work at the Linotype keyboard i. not simply a
mailer of knowing how to linger the key. properly, bnt al.o. to a certain
THE AMOUNT OF MUSCULAR EFFORT REQUIRED TO OPERATE A LINOTYP.&

MACHINE IS NOT VERY GREAT. BUT rr IS AN OCCUPATtON CALLING FOR A
9 Point Cheltenham
Mach has been written regarding th. necessity of /reeping Lino!ype

machines in good order 10 obtain large output. ballitlle has beelt said
regarding Ihe de&irabilitJl of /reeping lite operalor in good heoillt. To
secure the maximum oalpul the op.ralor must be ~ept in good con-

secure the maximum output the operator must be kept in good condition. as well as the machine. Most operators do not pay enough
attention to the laws of health. Fast and accurate work at the key-
HOW TO FINGER THE KE:YS PROPERLY. BUT ALSO. TO A CERTAIN

EXTENT, A QUESTION OF GOOD PHYSICAL CONDITION. THE AMOUNT
10 Point Cheltenham
Much 1uu been nn-iLlen regarding the ne~itlJ 0/ keeping

LinotlJpe machines in good order to obtain large output, but little
has been said regarding the desirability 0/ keeping the operator
in good health. To secure the maximum output the operator mw!

Unotype machines in good order to obtain large output, but little
has been said regarding the desirability of keeping the operator
in good health. To secure the maximum output the operator must
be kept in good condition, as well as the machine. Most operators
do not pay enough attention to the laws of health. Fast and
OF HEALTH. FAST AND ACCURATE WORK AT THE KEYBOARD

IS NOT SIMPLY A MATTER OF KNOWING HOW TO FINGER THE
Italic ud SMALL CAPS
11 Point Cheltenham
Much h{l$ been written regarding the necessitJl of ~eeping

LinotJlpe machines in good order to obtain large output, but
little h{l$ been said regarding the desirability of ~eeping the

the operator must be kept in good condition, Ill! well as the
MOST OPERATORS DO NOT PAY ENOUCH ATTENTION TO
12 Point Ch.Ith.m
Itali. and SMALL CAPS

.... -- ... -.....-..-..

TO SECURE THE MAXIMUM OUTPUT THE OPERATOR
~.-.-----~
regarding the desirability of keeping the operator
_............
Italic ond SMALL CAPS
14 Point Chett h&DI
Much has been wriiten regarding the neces~

sity of keeping Linotype machines in good order
HAS BEEN SAID REGARDING THE DESIRABILllY
... - .. ,- - - ... -.- ...... --..... - - . -"--'!

~
20 Poi'nt CbeltenbD.m

24 Point Cheltenbam
Much has been written re. .

garding the necessity of keeping
80 Point Cheltenham

ao Point Ch.lt.nluun Italic
Much has been UJritten regarding

the necessity of keeping Linotype machines in good order to obtain large out24 Point Ch.ltenluun Italic
Much has been written re. .

garding the necessity of keep ..
30 Point Chell.nham Italic
Much has been tiJritten

36 Point Cheltenham
CHELTENHAM BOLD WITH ITALICS

6 Point Cheltenham Bold
Much has been written regarding the nece.5ity of keepiDI' Linotype
machines in good order to obtain la.rge outpu~ but little hu beeD aaid
regarding' the desirability of keeping the operator in Bood health. To
secl1re the maximum output the operator must be kept in good cODditiDDJ
::e'l:!~ftt~aTtt~h~:;t ~:dta~~=::::r!'!k !~\C:Ylli:~~ k~b~;d ~:
not simply a matter of knowing how to finger the keys properly, but also,
to a certain extent, a question of good physical conditio .... The amount of
muscular effort required to operate a Linotype machine i8 bot very great,
hut it is an oc::cupation calling for a dear liram and st~dy nerves, and
Much has been written regarding the nece.sity of keepiq

Linotype machine. ;n good order to obtain large output. but
operator in good health. To .eeure the maximum output the oper
ator mUlt be kept in good eonditioD, as well as the machine.
Moat opel"aton do not pay enough attention to the laws of
health. Fast and aeeurate work at the Linotype keyboard ia
10 Point Cheltenham Bolel

of keeping Linotype maehines in good order to
obtain large output, but little bas been said regard.
ing the desirability of keeping the operator in good
health. To secure the maximum output the operator
muat be kept in good condition, as well as the
12 Pol"t Cbeltenham Bolel
Much has been written regarding the neceasity of keeping Linotype machines in good
said regarding the deairability of keeping the
operator in good health. To secure the maxi.
14 Point Cbeltenham Solei

in good order to obtain large output,
but little has been said regarding the
desirability of keeping the operator in
Much has been written regarding the necessity of keeping linotype machines in good order to
24 Point Cheltenham Bolel

30 Point Cbeltenham Bold
Much has been written regarding the neces-
Italic:
Mach Jr..lt b.en. wriUen regarding the neellssity 01 keeping Linotype
machines in Kood Grder to obtain large output, but little has bt!en aaitl
Tflgrding the desirability 01 k ping the oper4tClJ' in good health. To
aeearc the mmamum output the operll.tor mast be kept in good condition,
'" well. G$ the machine. Most operators do not pay enough attention to
the ltaDs 01 h.tJth. Fast and IIICCUTate work lilt the Linotype keyboard is
not &imply G maffer 01 knowing how to finger the keys properly, bpt 4lso,
to entain eJCfentl a quution of good physical condition. The amount 01
1IRUIf!Ul,.,. elfort requirerl to opeTlI.te G Linotype machine is not f)er), gt'eat,
but it ia an ~",pllltiDn caUing fOT Q' clear brain and ateady ,nerves, Gnd
Italic
Mur:A htu been written regarding tAe neeeity of keeping

Linotype machine. in good order to obtain large output, but
Yttle htU been .aid regarding the de.irability of keeping the
operator in good Aealth. To ."cure the maximum output the operator ......t be kept in good condition, tu well a. the machin ...
MoB. operatora do not pay "nough attention to the law. of
healJ:h. Ftuf and accurate work on th" Linotype keyboard i.
Italic.

01 keeping Linotype machines in good order to
obtain large output, but little has been said regard.
ing the desirability 01 keeping the operator in good
health. To secure the maximum output the operator
must be kept in good condition, as well as the
Italic
Much hD.s been written regarding the neces

sity 01 keeping Linotype machines in good
said regarding the desirability 01 keeping the
operator in good health. To secure the maxi
'I',
Ita/Ie

necessity 01 keeping Linotype machines
in good order to obtain large outputl
but little has been said regarding the
desirability 01 keeping the operator in
18 Point Cheltenham Bold Itali.
Much has been written re..

garding the necessity 01 keeping Linotype machines in good
.'
'.
il
;.'1"
;t
i". I'.'.
i~
l~
24l'ai"t Cheltenham Bold Italic

30 Point Cheltenham Bold Itali.
Much has been said

regarding the neces-

the necessity of keeping Linotype
!
J
I'
j.
li'
ORNAMENTATION
IDEA OF ornamenting
books in one way or another
is as old as hooks themselves;
nevertheless, it is generally true
that the earliest writing is the
plainest and freest from accessorydecoration.The lines along
which development took place
~~~~~~~~ are natural and simple. First,
certain letters (usually the first letter of a new sentence,
hut sometimes the first letter of the line which followed
the beginning of a sentence) were made simply larger
than the rest, and perhaps colored. Next, the ends and
corners of such letters were exaggerated, and ran over
into the margin, until in course of time the whole margins were filled with offshoots from one or more large
letters. At last the margin was formally separated from
the letters, and received a wholly independent design.
Ornamentation is dangerous from an artistic standpoint unless used with restraint and intelligence. The
pdnter should always ask himself why he is putting the
decoration in, rather than why he is leaving it out. If
he cannot give himself an entirely satisfactory answer
THE PRINTING PRESS
by a downward pressure. This, without a

doubt, was printed in or before the year 1445,
a decade, at least, before the printing of the
42-line Bible.
There can, therefore, be no question that
Gutenberg and his contemporaries found a
press ready to thclr hands. Exactly what the
mechanism of these first presses may have
been we are unable to determine with absolute
accuracy, but it probably differed but slightly
from that shown in the first picture of a printing press which we possess, namely, that in a
4'Dance of Death" published at Lyons in :J499.
Until quite recently the first H!ustratiotl of a
press was generally accepted to be that shown
in the printer's device of Jodocus Badius Asce:nsius of Paris in a book: dated t507. The
Lyons wood-eut it will be seen, deadyantedates this by eight years.
In any case the presses shown in these rude
prints are practically identical. Incleed, the
twenty-seven individual illustrations of printing presses pUblished during the Sixteenth
Century show them to be of precisely similar
mechanislllt and differing only in the size of
the platens.
They consisted of beavy wooden frames
with massive cross--beams and the uprights
~ ~---;r:;-
DDLY ENOUGH THE
/~." ~\\:~'~
~$~l~
= \ ~ FORE THE ~
I
;/ !J
nON OF THE MOVABLE 'I'YPES WHICH

'.
'.. WERE TO 1VlAK.E IT
,
ONE OF THE MOST
~~~~ .
EFFICIENT HAND~. --'-.--."-~-'-"MAIDENS OF CIVUlZAnON. THE EA:RLlEST PRINTING
WAS FROM WOODEN BLOCKS AND
i
WAS EFFECTED BY LAYING A SHEET
OF DAMPENED PAPER UPON THE

INKED BLOCK AND THEN RUBBING
THE BACK OF IT AS EVENLY AS
MIGHT BE WITH A BONE OR IVORY
BURNISHER. SOME OF THESE BLOCK
PRINTERS, HOWEVER., MUST HAVE
SOUGHT FOR A READIER WAY OF
REDUPLICATING THEIR IMPRESSIONS, FOR OTTLEY, IN HIS "INVENnON OF PRlNTlNG," SAYS THAT HE
WAS IN POSSESSION OF A WOOD
ENGRAVING PRINTED IN BLACK. on.
COLOR ON BOTH SIDES OFnm PAPER.
:to
5>
CRITICAL COMMENT
THE Jenson face 11 now rarely \.Iaed for bookwor/c,

principally because it requires .pec:lal Itu tmcnt 111
order to produce a plullag effect. For .lXIall book.
and limited edltlonl, bowever, It f. a fau which
book-1oven aomlre. The examples here are fatended to sbow the decorative effect of having the
first page in the book aet up entirely la api alld
then run off Into the lower cale In succeedlnr
pages. If there are leveral chapuu In the book,
this same treatment may be elv"l to the fltat
page of each chapter.
The margins lhown ate for 27 x 32Y,-. paper (trimmed),
(. PO/l1t '.d60a. 2110/11Cl./ld.d)
SPECJFICATIONS
OVERALL SIZE: 17 x I4j.SpI ....
TYPIi:I 10 Polnt].n .....
LEADING: Solid.
TITLE: 14 Point] Galon rolllan cap..
FOLIO: 10 Point Jonloll rom....
INITIAL: g6 PolatJO!UJolI, x.u.n.
NUMBER Oll' WORDS TO FULL PAOE. If!.
(I PoiDC Al1tiqu, No. J,2 PO/DI/ dld)
1 i+
_ _8_4
.. ,..... "... "
Qj
.. ,................................... "................ ,... ,......... ,..... ",., ......... ,.. ,......."., .......................................!
,
!
NICHOLAS JENSON-PRINTER
T IS a matter of
natural wonder
that in the four
hundred and fifty
years which have
elapsed .since the
so-called "invenl~iiii~~;~~~1 tionff of printing no
"'1,,,. . . -l1li1 books have been
~~~~~~~l!I issued to surpassand almost none to equal-those made by
the early German and Italian printers.
Modern facilities have increased a thousandfold, yet the masterpieces of Gutenberg, Aldus, and Jenson still occupy their
proud positions as the representative examples of printing as an art.
It is true that the sentimental love of
books. such as that felt by Lorenzo de
Medici and the Duke of Urbino, is now
confined to a limited few, and largely to
those whose resources do not permit them
to gratify their appreciation. It is true that
the possession of a library does not today
give to its owner the prestige which the
SPECIFICATIONS
CIU:rICAL COMMENT
OVER-ALL SIZE: 29 x 45 pleas.

TYPE: 12 Point Jenson.
LEADING: ~ point.
TITLE: 12 Paint Jensa.. oaps.
FOLIO: 12 Point Jonson roma" filllre, b.-ek.ted
and .entereol. at top of paco.
INITIAL: 125 Point Jenson, X-140Z.
BORDER: Complete PaSe Panel, Jenson S.ri , X-1433.
THE Jen.on face should only b. ".ed in books which

are out of the ordinary. It was modeled by William
Morris to combine. the merits of Jensotl. and. Jacque.
Le Rou~e, but It lacks the purity of line of It.
model. The chan(ies introduce.d make it a more
Hjobby" face, It has ita distinct place, however,
and when use.d with appropriate decoration pro ..
duces an effective result.
The margins .!tawn. are for 33 ,,44 paper (untrimmed).
(6 Point Antiqu. No. J, Z pointJ.ad.d)
,Dw..:::;~--rif;'i~i..B..~M~~ 'iBWn. -iiaiiii_i._it~_

....IM._;r.r..7._Iii''''''iigJ..;..ii_~~~'iiJ_~___...._;~:___-,,:~~
...
145
r ,- .
,1
!
,I
,i
I
j
SPIi:CIFICATIONS
the worthy Jenson in his form of imprint upon the

"De V eritate CatholicaeFidei~ which reads asfoIJenson
lows: 44Moreover, this new edition was furnished
us to printin Venice by Nicholas Jenson of France,
a true Catholic, kind toward all, beneHcient, generous, truthful and steadfast. In the beauty, dignity
and accuracy of his printing let me (with the induIgenceofall) name him the first in the whole world t
first likewise in his marvellous speed. He exists in
this. our time as a special gift from Heaven to men.
June thirteenth. in the y
FarewelL"
Nicholas
The example of cud

including the Venetian W
drinking-glass. the funn
the full diamond. mark a
groping of the early p
should gratify the desire
chaser for some illustrat
sulted in the creation of t
afforded an excellent op
the printer's mark, whic'
by the publisher's device
OVER-ALL SIZE: 21 x 3aplc.a.

TYPS: 12 Point Jenoon.
LEADINO: 3I,,,lnt.
TITLS: IZan.l 14 !'oint '.nn<l" roma" CRpl.
SII~~'~~::'~S: 13 ""int J.n.<I" CIPO .nd
SIDS: liRA OS: 4 I,io... willi S palnl~ botwoen.

FOLIO: I~ Paine Jon,,,,, ranlMn,
INITIAL: 18 I'!llnt I1~II.,lIctlnc.lIbuvo.
Xli-CORATION: 12 P"int llQr,l.. No. 505.
nEADPIRCIt: JOM"" Serlo!!, XHn.
TAILPIECE: Jon."n Sori .., X14J9.
NUMB.:R OF WOROS TO PULL PAOli:l 210.
(' 1'.illl Alltiqu. No. I, ~ ,..,lnl/ rI,lI)
PRINTERS OF VENICE
NICHOLAS JENSON
THE earliest volumes lacked the title-page, be

cause vellum and linen paper were held so high
that the expense of an extra tea was consickred
CRITICAL COMlYJmIn'
'l'im use of side hea.ds In l'tace of l'unniDg

heads is effective in outofthe-ordlnllry
volumes, such as the publications of book
clubs and books privately printed.
For such as these, the Jenson face may be
tilled even though its lines ate too ornate
for the Bo-called "trade VOlUUlCS."
The margins shown here are for 33x44 paper
(untrimmed).
(8 Poinf ,'"'0",2 poi;IItt",,,)
an unnecessary luxury. In these old boola, that

which took the place. of the title was at the end,
the colophon or crowning-piece heing in evickn<:e,
indicating the name of the illuminator, if not always that of the printer. At. Willi the case with
the MS. book, the volume began with the phrase,
IIHere beginneth ............. Later came piraUcal reprints, which resulted in making the criticAl
reader ins!:st upon having each volume stAmped
with the printees name or mark, as a. guarantee
of reliable work. Here we see the modem tendency to return to one of theoldtimtlbndaras,.iU
disecltninating buyers of toclay insist upon the imprint of a responsible printer upon the importAnt
works which they add to their libraries.. Modem
printers, however, would hard! y venture to imitate
The
JENSON SERIES
;~~~
~::h;ii~~~~:~:~=~~~::i:~'0sity;~~~ni:::~:-::i:-::g~::<::'::~e~
keeping Linotype machines in goo" order to obtain a
of keeping Linotype machines in good order
large output, but little has been said regar"ing the

to obtain {arO'e out""t, but little has been said
desirability of keeping the operator in goo" health. To
..
"'secure the maximum output the operator must be kept
regarding the desirability of keeping the oper~
hi. good condition, as well as the machine. Most operaator in good health. To secure the maximum
tors do not pay enough attention to the laws of heatth.
output the operator must be kept in good c:ondi~
Fast and accurate work at the Llnotype keyboarcl is
tion, as wel1 as the machine. Most operators do
not simply a matter of knowing how to finger the keys
properly, but also, to a certain extent, a question of
not pay enough attention to the laws of health.
goocl physical condition. The amount of muscular
Fast and accurate work at the Linotype key~
effort required to operate a Linotype machine is not
board is not simply a matter of knowing how to
very great, but it is an occupation calling for a clear
finO'er the keys properl"l1, but also, to a certain
brain ancl steady nerves, and anything which p r o m o t e s "
1
th.s. conduces to speed and acCUracy. Good health is aft
extent, a question of good physical condition.
asset to any Linotype operator, an" the observance of
The amount of muscular effort required to opera few common-sense rules will ai" in maintaining It.
keeping Linotype machines in good order to obtain a
Mueh has been written regarding the necessity of keeping Linotype machines in good order
12 Point] ....on (Scotch with)
order to obtain large output~ but little has been said regard1ng the desirability of keeping the operator in good health. To secure the maximum output the operator must be
kept in good condition. as well as the machine. Most operators do not pay enough
attention to the laws of health., Fast and accurate work at the Linotype keyboard is
not simply a matter of knowing how to finger the keys properly. but also. to a certain
extent~ a question of good physical condition. The amount of muscular effort required to
operate a Linotype machine is not very great~ but it is an occupation calling for a clear
brain and steady nerves~ and anything which promotes these conduces to speed and
accuracy. Good health is an asset to any Linotype operator~ and the observance of a
order to obtain large output, but little has been said regarding the desirability of keeping the operator in good health. To secure the maximum output the operator must be
'.'
';'.MM _.
~_
. _ . _.' ' ._.. , ........, ........... .
14 PointJ." .... (OIdStyie No.1 with)
Much has been written regarding the necessity of keeping Linotype machines in good order to obtain large output~ but little has been said regarding
the desirability of keeping the operator in good health. To secure the maximum output the operator must be kept in good condition~ as well as the
machine. Most operators do not pay enough attention to the laws of health.
Fast and accurate work at the Linotype keyboard is not simply a matter of
knowing how to finger the keys properly~ but also~ to a certain extent~ a question of good physical condition. The amount of muscular effort required to
operate a Linotype machine is not very great~ but it is an occupation calling
for a clear brain and steady nerves~ and anything which promotes these conMuch has been written regarding the necessity of keeping Linotype machines in good order to obtain large output, but little has been said regarding
the desirability of keeping the operator in good health. To secure the maxi-
ANTIQUE
NUMBER ONE WIT~!!!,-r.:!C~_.
.. :.Ik.:._. ::..-__ .... _.:_ . _:,,! ....
... -_. ..
6 P'
A t'
._~
_!,?,!;::o;.'_"'I'_~":::!~~-.-~,
Oint n 1!lue O.
.
. th Linot e
Much has been written regard~ng the necessity of k~eptnghas e betn !a~d
machi~e in good,ord:e'f to obta1l:l lar:e output, ~ut h~t~calth. To secureregarding the desIrabilIty of keeplng t e oPk'ator: 1n
d"tiQU as well
the ma"imum output the operator must be cpt In goo ~on 1 h~ laws of
as the machine. Most operators do
IE.Y enoug~ a~e~~~t'ist~;t simply a
hea1th. Fast aU.d accurate work at t e luotype ey b~t also to a certain
matter of kno":'lng how to fing~r the ke.y~ propedy, unt of ~uscular effort
extex:t, a questIon of go.cd phYSIcal c.ond~t1on. The amo
but it is an occu~
req~llred to .operate a Lmotype !"achme IS not very gre:~d an thin which
patlon calhng for a clear btaul
steady neG'es Ci health an gasset to
promotes these conduces to spee an accuracy. 00
rules
a~r L~nl').type ?pe~a~nr. ,and the observance o~ a fe;n ~~3l~0r:h~e~~~essity
~l ~ea;:i~~ T.~~~~;~n~n!~~hi~~crn h;~o~e~~d::l~~e~b;:jn laT~e output, but
gOd
nht
ang
Is

Linotype machines in good order to obtain large outP.ut, but
little has been said regarding the desirability of keepmg the
operator in good health. To secure maximum output the 0l?e r
ator must be kept in good condition, as well as the machme.
health. Fast and accurate work at the Linotype keyboard
is not simply a matter of knowing how to finger the keys
properly, but also, to a certain extent, a question of goo~ phys
ical condition. The amount of muscular effort reqUIred to

large output, but little has been said regarding the desirability of keeping the operator in good health. To
in good condition, as well as the machine. Most op
erators do not pay enough attention to the laws of
health. Fast and accurate work at the Linotype key
board is not simply a matter of knowing how to finger
the keys properly, but also, to a certain extent, a ques
12 Point Antique No.1

operator in good health. To secure maximum output the oper.
ator must be kept in good condition, as well as the machine.
health. Fast and accurate work at the Linotype keyboard
is not simply a matter of knowing how to finger the keys
properly, but also, to a certain extent, a question of good pbys.
ical condition. The amount of muscular elIort required to

large output, but little lIas been said regarding the de
in good condition, as well as the machine. Most op
erators do not pay enough attention to the laws of
health. Fast and accurate work at the Linotype keyboard is not simply a matter of knowing how to finger
the keys properly, but also, to a certain extent, a ques
Italic
operator in good health. To secure maximum
output the operator must be kept in good condition, as well as the machine. Most operators
do not pay enough attention to the laws of
14 Point AlItique No.1
slid
Jtalic
10 Point Anti.que No.1
-"""'!
Italic
Much ha!; been written regardillg the necessity oJ keeping the Linoty
machil1e in good order to obtaill large output, but little has been
regardinq the desirability of keeping the opetator. in good health. To seCUre
the maxImum output the operator must be kept 112 good condition as welJ
as the machine. Most operators do not pay enough attention to th; laws of
health. Fast and aCClJrate work at the Linotype keyboa.rd is not simply a
matter 01 knowing how to finger the keys properly, but also, to a certain
extent. a question 01 Kood physical condition. The amount of muscular effort
required ta operate a Linotype machine is not very great, but it is an occu~
patJ'on calling lor a clear brain and steady nerves, and allY thing which
promotes these conduces to speed and accuracy. Good health js all asset to
any Linotype operator and the observance of a few common...sense rules
will aid in maintaining it. Much has been written regarding the necessity
of keeping Linotype machines in good order to tlbtain large output. but
ltllie
8 Foint Antique No.1
II
..........,.._........_
_
. .....
operator in good health. To secure maximum
output the operator must be kept in good condition, as well as the machine. Most operators
do not pay enough attention to the laws of
.................................. .,............ \.
lullic

little has been said regarding.the desirability of keeping the operator in good
health. To secure the maximum output
IS Point AlIti,!". No.1

type machines in good order to
obtain large output, but little has

little has been said regarding the desirability of keeping the operator in good
health. To secure the maximum output
Italic

type machines in good order to
obtain large output, but little has.
24 Point Antique No.1

Imi
~
fiG
f~
fCll
tel
HI
1M
~
:1
.7
eg
1M
~
1M
~
1M
W
~
IF WE WERE TO GLANCE IN UPON A WORKDAY IN THE

SCRIPTORIUM, OR THE GENERAL OFFICE OF A MONASTERY,
WE SHOULD FIND IT FITTED UP WITH FORMS OR DESKS
ARRANGED IN METHODICAL ORDER TO ACCOMMODATE A
LARGE NUMBER OF SCRIBES.
The size of the edition in those days depended solely upon the number of copyists employed upon the work, and these were limited to the
number of desks which the scriptorium could accommodate. With the
scribes once seated, their writing materials were placed before them, and a
reader familiar with the subject matter of the volume which was to be
transcribed recited from the copy before him, while the writers carefully
transcribed upon their sheets of parchment as they listened to the spoken
word. In selecting the copyists from the monastic community an effort was
made to secure those writers whose personal characteristics guaranteed
the greatest perfection and accuracy; yet with the bad light, poor ventilation, and other handicaps, the possibility for having errors creep in was
always present. To prevent this, before turning the sheets over to the
armarium to be bound up, each manuscript volume was read, revised, and
re-read, so as to reduce to a minimum the possibility of having an imperfect
text perpetuate throughout the ages errors which unintentionally crept in.
It was the abbot of the monastery upon whom rested the management
of the scriptoria. It was he who decided upon the hours for labor, during
which the scribes were obliged to work with tireless energy, "not leaving to
go awandering in idleness," but centering their efforts wholly upon the
transcription of what was read to them to be written upon the parchment
sheets before them. No one was allowed to enter the room except the
abbot, or the prior, the sub-prior, and the armarium. The last-named was
in charge of all implements and the materials which were required by
the copyists; he secured the parchment and manufactured the ink, and was
responsible to see that the greatest care was used in preventingextravagancies to creep in by wastefulness or damaged materials.
Another class of copyists were the secular scribes. Their work was
no less important, yet it was naturally less in quantity, and, because'it lacked
the careful supervision which was given to the work of the monastic scribes,
their texts are far inferior as far as accuracy is conc,emed. These secular
SPECIPICATIONS; 1+ Point Anti'j.uc No, 1, solid: Deco.atloD. Benedictine Headband. X-1314; 18 Point
~~~d:al~~d ~1~o!!:~:~rl,:~~id~ N'~~~:a~Mer
151 with
lS7l4: 2 Point Matrix Slid.
No,
Cornerpi... No,
e1.
flCI
tel
~
f~
?ii
=,'
~
~,
~,
w
M
~
tit!
~
tit!
~
tIC!
~
~
It.
t~1
i"'Il
ttli
&!
t4
M
?ii,
~
IJ_~~IW~I~W~IW~I~1~~~I~~I~~I~~~I~~~i~~i~~~i~W~f~~i~m~i~~~Jm~I~~~i~~~I~~I
srr':CIPICA'X'IONIl
,i
OVli:RAl.t. SI7.1t (In.iil. bo.d.r!: 10,,", xaeK

1'1(4',
TVI'':: 10 .... IMII.III.SU. 1'1. I.
1.I!lAtlItlO:
21".,.11.
1'11'1,101: 10 P"iM 111\11,,110 Na, I rOIll.n cajla.
stones and another for making mirrors, so

that when he returned to his birthplace in
1446: he had gained a reputation a,s an ingenious inventor, and found no difficulty
in borrowing funds to aid him in perfecting his new scheme for casting movable
types. It was not until 1454 or thereabouts
that he was satisfied with his progress,
and used his new types to print that folio
Bible at which the world still wonderll.
Thenceforward his F~~ ft6ft"" :~ .Ioft ...1 ....
many inventors. H
appliances were sei
and though he foun
printed no more bo
died on February 2,
and almost friendle
But if the credit
genuity displayed i
such a book by a pr
Gutenberg's own, 0
was largely indebte
the medi~val scribe
improved the gothi
proportions were ab
[
1'1".
(''''''111101. r, 1',,1. Jon_ 81r1..,
.'01,10: 101'",1\1 Allliq ...

1IIIIIr... brackete(,
INITIIlt.: "1',,11\1 Ju"",,, IlIili~I, l('I41I.
IHHII1~\II.
rilllllI"."I, X 14JS: 1,11.111114 pal', l(.14H.

NtlMlIIUI OV WORn. "0 PULL PIIOX, lOG.
(' "~11f( 1\."l1'l<I N", I. i
ft
I
passed."
III
Thill would be wellnigh Incumprclllm.

sible were It not that Johll&nn (iuttn!J.tJrK
wall a man or talent next-duor tQ ~t:f\illN,
and lived in an aile when the 4rt n cillliiC'
raphy had been brought almollt to the piech
of perfection.
,1
,I
Gutenberg
II
!,
II
I
I
1
j
I
!,
i
, I.
Wlli
btJrn In
Mairu~,
..bout
1410, of noble puentll, WillS ullcd thence.!

when on.ly ten year. of aGc, and, until h4.1
wall nearly forty. lupparted himHI by
putting Into operation all manner (If ptan.
for improvement of mechanical devltctlll.
He Invented one mAchine for polishing
CRITICAL COMMENT
THE Old Style AntiQ.ue lends iteelf admirably
to combination with border The type Is 80
extremely readable that even the smaller
sizes may be used. The weight of It. line,
owing to the absence of contrasting sedf.,
gives it lin attractive evenness of color.
In this page the running head is omitted, BO
that the decoration of the border fortl31 a
part of the page.
The margins shown here arc for 33 x 44 paper
(untrimmed).
(8 Point Alltiqu. No.
J.' PO/lit lead.d)
( lSI
lHJnI IHfl,")
SPECIPICA'rIONS
OVER-ALL SIZE (in.lde border): 20" 33 pica
TYPE: 11 Point Antique No.1.
LEADING: 3 poillt.
TI'I'LE: 12 Poillt Antique No.1 raman caps,
RUNNING HEAD: 11 Point Antique No.1
romancapa.
POLIO: 8 Poil1t Antiqne No. 1 roman SKure
INI'I'IAL: 48 Point Caslon (halld).
DECORATION: 18 Point Border Nos. 75ZL and
752R; Rule 8 Poil1t Matrix Slide No. 735 and
2 PoInt Matr!>, Slide No. ~02.
THE STORY OF PRINTING TYPES
paper, arranged in bundles of neatly folded

quires, and, last of all, the simple printing press
with which they were to bring their work to its
conclusion.
They carried all this probably, in some rude
form of cart, either painfully propelled by them(Ii Polnt Antique Na. J, 2 point lead. d)
selves or drawn by a horse or mule. This is how
Conrad Sweynheym and Arnold Pannartz, the
first printers to reach Italy, must have arrived
at the Monastery of Subiaco, near Rome, some
time in the year 1464.
.
The monastery was a rich one, an
to increase its revenues. An agreeni
quickly made with this pair of wan4
ers, and the first Italian printing pre
up by them at Subiaco. At first the
worked with the types they had on ~
THE STORY OF PRINTING TYPES
urally of the Gothic characters used i
many. But the Italians were accus~
manuscripts written in the so-calleq
Minuscules, whose capitals were iml
the lapidary letters used by the Rom
their monuments and mortuary tab!
EYOND the Alps lies Italy," must have
So the adaptive Germans set to ~
been a pressing thought in the minds of
the dies for the first fount of Romari
many German craftsmen of the Fifteenth
was ever cast. The capitals, as mig~
Century. "We," they must have reflected, "have
74
the creative brains and the skill of hand; the great
nobles and churchmen of Italy have the love of
beauty and the wherewithal to pay for it. Surely,
if to Italy we can win our way, our fortunes are
made."
And so, on foot, they took their toilsome way
across the mountains, and, in many instances,
their dreams came true. Especially so was this
the case with the printers. It was in Germany
that printing was invented, and within a decade
CRITICAL COMMENT
of its invention the lowland plains were QverTHE Old Style Antique type is so extended as to be
run with wandering printers from Mainz and
impracticable for large books, but when properly
Strasburg and other German cities.
considered in its relation to the subject matter of
the text and in combination with appropriate borThese pilgrims of literature carried their
ders, exceedingly decorative effects may be secured.
printing
offices with them in the most literal
This page, compared with the 10 point (sec page
sense of the word. They carried their founts
150), shows a wider lead and the use of running
head, making a more open page. The color scheme is
of type, which they themselves had cast, their
consistently carried out, as the border is light. Great

care should always be used to make the weight of
the type page and of the line in the border corre
spond.
Note the omission of quotation marks before large
initial.
The margins shown here are for 30Y. x 40 paper (untrimmed) .
73
. (8 Paint Aqtiqui No, J,2 poi.t l.ad.d)
, ".--0,---." ',,,._. .
..
~.
"
"
't,~il.'.,,1,t_II".~ P(U'1i~ dln.I!IIZ)/l."~~~/III'!'"~~~::tsI'~MA!I,!,:;I)';'Iif'<l~'~',III,~'w'l'I,,~'~~'.. I""~_,*,~..JI\.1:.,~~"."'::'i..x ..~~~'.),ItM'I!-.:oI,ItkIo:~:~flI,".ll''':::'I,",:f.i!'~'~~I.!iIICIi!'I~~I'''~'''~1'J'4I'iJ."i,,;.t.,~'t."r',,~''l';~'''')..:oj',~lI~{~N5lW.. ~Ii':~.':''''''KI''''W~t!I-~'':'\:rl'\'~-,rst
1"!
...)
if-' . . ----.-.-----.--.-------.. - .-. . . . . . . . . - . - . -.- . . - . . . -.-.. .-.--.. .
_~~~~~~~~~~~~~~~~~~~~~~~~_ _~~~~~~y,~~~~
I
I
1
but only kisacd

The fingers of t11ill lUlnd
wherewith 1 write;
more clean and whit(',
Slow to world.grtttint:;ll.
{
'k Wh,(l
'.1.. 1't II "()l1, I'II! t"
qUIC
,
When the angels speak. A ring of amethyst
I could not wear here, plainer to my sight.

Than that first kiss. The second l)aslled in ht~ight
The first, and sought the forehead, and half milillt\d.
Half falling on the hair. 0 beyond need!
That was the chrism of love, which love'li own crown,
With sanctifying sweetness, did precede.
The third upon my lips was folded down
1
f
In perfect, purple state; since when, indeed.

I have been proud and said, "My love, my own."
-I
,
,~
.j
I
I
I
CRITICAL COMMENT
Trns pale is printed opposite the Morria pale

ill orde.- to ahow how the same idel may be
sp..elled in 811 o..llina! way. AI the horde..
is Iighte.. in Weillht, the BodoDi face i. l1lore
hll1'llloruouI,
The marpns shown here are tor 81 x 50 piper

(IUltrimmed)
I
I
L__. . . :__ . __.____. . .__.____. . . ._
(8 PolIN
.II.......,. , p."" '""'"')
!!marlC:."O"';
OVI.AU. lIn! II..... ......,.. 1' :It. ~
1'\'''''111'- .......... ,
IJtAOrNG, " poW.
TlTI.I rutArlIKO ,n ...
~"'...
a..I..., _ " ,.
mrrIAI., IU , ............ 'I4 .... I...! 1.......1,
X.U:II, 1_""
)11 r_ ~.
DIlIID)!II:, ~I ,. P............, .........
1'1... 1..... I.... ~_. 131l111>, uu.. nt.
LJI~. Uta """ m ....
"W, 4...... "oI,lIli1i4. "_......... '.1
...1fIII .... II 'H.
a....."...
(.,.., ......... ',....."....,'
r.' ,. . . ".. .......................................... . . . ..... ,....................."............................................ ,. . . . . . . .. . . .
IRST time he kissed me, he but

only kissed
The fingers of this hand
wherewith I write;
And ever since, it grew more
clean and white,
Slow to world-greetings,
quick with its ttOh, list,"
When the angels speak.
A ring of amethyst
I could not wear here, plainer to my sight,
Than that first kiss. The second passed in height
The first, and sought the forehead, and half missed,
Half falling on the hair. 0 beyond need t
That was the chrism of love, which love's
crown,
With sanctifying sweetness, did precede.
The third upon my lips was folded down
In perfect, purple state; since when, indeed,
I have been proud and said, t'My love, my own."
SPECIFICATIONS
CRITICAL COMMENT
OVER ALL SIZE: 23~" 25 pie

TYPE: 12 Point Antique No. I.
LEADING: 1 point.
TITLE HEADING: 12 Point Antique No.1
THIS treatm~nt is copied from the style

made popular by William Morris. The
Antique type has weight enough to
balance the solid border, and makes an
attractive if not an original page.
The margins shown here are for 31 x 50
paper (untrimmed).
roman caps.
'
INITIAL: 126 Point Jenson Initial. X1402.

B~!~~~~d~~:,L~:I~:f.' Panol, J.nlon
S.ri,
(6 Point Antique No. t, 2 poiatJeaded)
(I Point Antiqu. No. J. 2 point l.ad.d)
153
1!'!.!::::::"."~'~~!"'~~~~~~~~~~'~:'!!~;,~~~:~'''r:':!':~''''~~.~!.'.~!::::
'
I
J
The Master Printer
:l
SPECIFICATIONS

TYPE: 12 Point Alltiquo No.1,
LEADING: 5 point.
TITLE: 14 Point llen.di.tin. rOmall caps.
CHAPTER TITLE: 12 Poillt Alltique No. I
roman caps.
RUNNING HEAD: 14 Poillt BOllodletllle italic
caps and lower case.
FOLIO: 12 Poillt Antiquo No. I, bracketed.
INITIAL: ;6 Point JOIISOII Illitial. X-1441.
We will now ask the reader to imagine

fourteen years passed since Caxton first
began working at his new art. It is not
difficult to picture the wooden building in
the almonry occupied by his sedate but
(6 Poillt Alltiquo No. J. 2 poim loadod)
busy workmen. We can look in at yonder
window, and see the venerable masterprinter himself "sittying in his studye
where lay many and dyuerse paunflettis
and bookys." The great towers of Westminster Abbey cast their shadows acrosS
."
the room, for he is an early
already at work upon his ~
the new French romance, C
dos." The "faire and ornate
author give him "grete pIa,
THE MASTER PRINTER
labors, almost without inter
the low sun, blazing from u
windows, warns him of the ti
CHAPTER IX
Again, we watch him pass vi:
eye through the rooms whev
1iIi~~~~[1jJHE question of the exact
are at work; we see the moy
spot whereon England
[4]
established her first
I
.'
,i
I
i
,I
!
,j
l
.J
,
~
1
I!
I
j.
"""."."
I,
CRITICAL COll4MENT
OLD Style Antique could be used far more frequently than at present in producing volumes
where slight manuscripts need to be extended
to attain the dignity of books.
One of the chief difficulties in an Old Style Antique book is that of combining other satisfactory types in dressing up the page. The
Benedictine face, shown in chapter head and
running head of these pages, makes an admirable combination. The small number of words
contained upon the page makes this a useful
suggestion when the manuscript is short.
The margins Bhown here are for 30~ x 41 paper
(untrimmed).
printing press has already been discussed.

The well-known advertisement of Caxton, which states that
pies of Salisbury use were on sale at the
"Red-pale," in the almonry, at Westminster, not only indicates the position of his
house, but also the sign by which it was
known. The precise appearance of the almonry in the Fifteenth Century must be
to some extent imaginary, but we know
that alms-houses were there, and probably two or three structures besides that
occupied by Caxton.
[3 ]
(8 Poiaf AatiquI No. J. 2 point I d.d)
1H
ILLUSTRATIONS PAGE: Set in 6, 8 2nd

10 Point Antique No.1; Rules, S Point
Slide No. 736.
TITLE PAGE: Set in 8, 10 and 18 Point
Antique No. J.. caps; Rules, S Point
Slide No. 736; Decoration, 36 Point
Bodoni Border Nos. 1217 and 1218.
(8 Point Antique No.1, 2 /loint 1 d.d)
ILLUSTRATIONS
PAGE
Colophon of the Psalter of 1457 . . . . . .
II
Introduction to Bible of 42 lines. Gutenberg

Catholicon of 1460. Malnz. Gutenberg .
Zenophon, l5H. Bartholomew Trot. .
De Veritate, etc., Venice, 1480. Jenson.

A Supplement, Venice, I483. Renner. .
8
9
. Poggio~ A,.1l.t~.~~?, 1487. Matthew Goes .

: etc., Venice, 1480. Jenson.
10
ipos, Venice, 1471. Jenson.
II
: Litlo, Venice,
12
1472.
Renl1er
dua, 14711. Valdezocchio .
IS
THE MASTER
PRINTER
BY
BERT FRANCIS BLAKE
NEW YORK
CRITICAL COMMENT
KEEP the weight of line in the front matter
in proportion to the weight of the text line.
Antique demands heavy treatment.
PUBLISHERS
(8 Point Antiquo No.1, 2 point 1d)
..... -_" _ _ " ....., .. .,.~o
"' . ". ".,."",
.".",., .", ....,,,....,.. ,.. ,.,,._.. _ .. _,,._ ........
,~,
.."."."-.... _,., .. ""~.,, .. " .... ~.,
,,-.' ""'"""" "."""'"
,..
.'
...
~~~~li~i~~~...,l~\i'J,.I~,;~;W~~,'Mt.\t\~~2itT,,"~':;o1\t.:;.;,I,.I;I~~\I:~..:)J~.,.,~;,.}"..::,l',~~~~,;,~~ ..,J:.;{,r,i,$j,'!..t~"f;,.'.f,.r...I,'~~ ... ,;';',')l'.!!"/,~~)~~~';"'J.:~. >;.\;:.~',,,;)'1~~;,I;:;:.:,;:;.~~;,..-;~:'!;'r,-III"jjj,1".:t,~~rn.\-:;.~~
PRINTING FROM WOOD BLOCKS
I
.,1
i
SPECIFICATIONS
OVERALL SIZE: 22" 3S picas.
TYPE: 12 Point Antique No.1.

eventually "improved on their instruction."
LEADING: S point.
TITLE: 14 and 36 Point Benedicti"e rOlDan caps.
And so, early in the Fifteenth Century the
RUNNING HEAD: 14 Point Be"edictine roman
capo.
Coreans were making movable types. of copper
FOLIO: 12 Point Benedlctl"e roma" ligures,
bracketed.
and printing books from them.
NUMBER OF WORDS TO PULL PAGE: 200.
(6 Poilu .llDtJqu. No.1, 2 po/IJt I d.d)
But there was another neighboring nation
which, like the Coreans, looked for initial inspiration in all its arts to the Chinese, but
which displayed even more ingenuity in bringing them to technical perfection. About the
year 770 A. D. the Japaner" ...........................
toku in pursuance of a sol:
be printed a million copie
Buddhist Scriptures on a:
eighteen inches long by t i
Wound up into tiny rolls:
were inserted into mini a:
made of wood which wer;
among the Buddhist tem'
throughout the Empire.
FROM WOOD BLOCKS IN
This printing, however:
THE ORIENT
in the strict sense of the;
block-a woodcut, as we'

Two centuries later we fr
Though the Chinese invented gunpowder, it
language includes a word;
was we of the Occident who turned it to its ful"printed-book," so that p
lest murderous advantage by the subsequent invention of arms of precision. In like manner
though the Chinese may have invented movable
typ~s, they failed to build up with them a printed
literature as we did, when, centuries later, we
duplicated their invention.
As early as the middle of the Eleventh Century of our era the Chinese printed from movable types made of pottery, while the British
Museum possesses a copy of a Corean work
evidently printed from movable types and
bearing the equivalent of the date 1337 A. D.
CRITICAL COMMENT
Doubtless the Coreans borrowed the concepTHE Old Style Antique face is one which
tion of movable types from the Chinese, but,
could be used much more successfully
as was the habit of this hermit-people, they
in book work than at present. It has a
PRINTING
,
1
. j
!i
!
l
I
I
;
;
, j....
!
I,
I
I
i
beauty quite distinct from any of the

other heavy.faced types, particularly be.
cause it preserves its simplicity of line.
In these pages, the Benedictine caps are
shown in combination with the Antique.
The margins shown here are for 3S x 44
paper (untrimmed).
[45] .
(8 Point AntiQUI No.1. 2 point I.ad.d)
II
I.j _
.__ _
H6
CONTENTS PAGE: Set in 8, 10, and

12 Point Benedictine.
CONTENTS

Benedictine caps.
(10 Point Benedictine, 2 point lead.d)
Early Chinese Inventions
3
II
Movable Types. . . .
. . . . . . . . . 19
III
The Coceans and Their Habits
. . . . . . . . 33
:v
tunities. . . . . . . 57
PRINTING FROM WOOD BLOCKS

A TRACT ON THE INFLUENCE OF
THE CHINESE ON THE COREANS
IN THE ORIENT
are ~ontrlbut.d by
the photographers
: Colony, Jerusalem
'S,
CRITICAL COMMENT
NEW YORK
THE PRINTERS PUBLISHING COMPANY
THE Benedicclne cap. are barmonious wb.

oombined with Antique and are decorati\
without being ornate.
(8 Poi,,! Benedicti"e, 2 point l a.d)
~~$."~~~~~~''I.'.!tIOfl,~,...'.mt;~1J',~~'~''~~;Il~~~:'..(f~~'*''''''''''''l.1.i<'~si~~~~...~~~~~:wI~Dlit'X!~,""""""-"'WI4'<VJ.~"''''.i;~:-r$.'1!'W'''---'Nii:","
:'~'l
.. ~\'!:!tI.::'}:r.;;"'W'.I~",j.'~
THE FIRST ENGLISH BOOK

WILLIAM CAXTON, MERCER
of London, we owe the first book
prin ted in the English language, and
therefore by the printers of America,
equally with those of England, should
his name be held in high esteem.
There is an appealing touch of human nature in the story of this stolid
5~~~!!:}i~~ English merchant, who in his fiftieth
year turned aside from his prosperous undertakings to devote
himself to learning and practising the new-born art of printing.
Caxton was living at Bruges, so well thought of by his
compatriots that he had been elected "Governor of the
English Nation in the Low Countries," when, to please
his patroness the Duchess of Burgundy, he set himself to
translate the "Recuyell of the Histories of Troye." The
work finished, he found so many friends desiring copies
that the labor of writing them would have been too wearisome. Accordingly he made up his mind to learn the new
art of printing in order, as he says, "that every man might
have his copy at once."
There was living in 13ruges at this time one Colard
Mansion, a manuscript writer who had, it is uncertain
exactly how, learned the art and mystery of casting types
and of printing from them. To him, as the only printer in
Bruges, Caxton came to learn how, quickly and economically, he might reduplicate his copies of the "Recuyell."
It must have taken the worthy pair at least six months
to complete their work, so that, as Caxton finished his
translation at the end of the year 1471, it was probably late
in 1472 that the first book printed in the English language
[3]
SPECIFICATIONS
OVERALL SIZE: 32 x 55Y, picas.
HEADPIECE: Benedictine Serie., X.137S.
TYPE: U Point Antique No. I, 1 point le.ded.
INITIAL: 132 Point Benedictine Initial, X135!;
CHAPTER TITLE: 14 Point Antique No.1 roman cap..
Second Color, X.13H.
FOLIO: 14 Point Antique No.1 lilll'" bracketed.
(6 Point Antiquo No.1. 2 pO/Dt 1 d.d)
BENEDICTINE
CHELTENHAM
AND JENSON
DECORATIVE
MATERIAL
Electrotyped Borders
and Initials
Border Matrices
and Matrix Slides
Shown in Series
TYP~APlIY'
SPECIFlCATIONS: 14 Point B,nec/ir:rin, Ctlp, ond Tower ctlse ami 18 and 24 point
caps. Decoration. Complflr. PaOli Panel. B'nC!dir:tjne Ser;t,: Wood Ba4l Marrjllt!.
X.1364; Un.mounted. Unmorriaed, X-1J65. Ornam'rlt, 24 Paint Bordar No. B27.
BENEDICTINE
O.QIColcr
One Colot'
One Color

Second Color
Meed B... , XI350
Second Color
Weed Bast, X-13S1
Second Color
Unmounted, XIJ5Z
OneColclI:
One Color
Metal Bm, XI356

Unrnounttd, X-13S 1
Metal Ban. X~1353

Wood Ilase, X-DH
, UmnCHlnted', X .. 1355
Second Color
Second Color
---_.-.._._--
, Metal Ba .. , XDSB
Unmo\1Qud, X .. 1359
COMPr...ETE PAGE PANEL: O.taid" 5 I ~ X 69 pi"" Mottlse, 30 z 43 pi, ... Wood Ba.., Mortised, X.IH7,
Unmounttd_ Unmortistd. X .. l'f48 . .Also made size smOlUer, Qlltdde, 30 x <f.O llicas; Mortise. 17", x 2S picas,
Wood Bllse, Mortised. X .. 1364: Unmotlnted. Unmortised, X1365
HEADBANDS AND TAILPIECE FOR BENEDICTINE
HEADBAND: 32"
HEADBAND: 32
THE hotdlt' lut'rounding rhl's page is compon"
10~ pi....
Wood B.... X1378: Unmounted, X-1379
lO}1 pica Wood BUI:. Mortised.. X-1376: Unmounted. Unmortiscd. X-1377
~,
2-1
Point Border No. 824 with rutes "cut from 6 Point

Malrig Slide Nc. 516 and 10 POint Matrix Slid. No.
1654 on either side.
TAILPIECE: 17~ X 9 joS pica'

Wood Base. X~1360
Unmounted. X13 61
MATRIX BORDERS-BENEDICTINE
,f
9"V*YY'YiYi,4Yiyit"i,iY.,ii'WxtmW&a:. i ,I,M, Pif*',,-YD

6I'o;ntN. 157 and 15714
~~N-~~.
'I Nat!i"",
::"~4
...
12Po;n,No IOH .. d
10H~
h1IUiUIfJ1\11rJJ1tlTl1l1lffi\1ItJ1l11fJilllTJi\llTfi\lIfIi\lITI1l1III1\lIf/i\1lTli)UltlI1lllt/l\ll
E~~V~,,~~
15"<1I"N",IJ"'"
12 Point Nos. 1055 and 105614
Itllf!!!!!!!lll!!l
18 Poiot No. 12 0
--
18 Point No. 723}S
18 Point No. 724L
18 Point No. 7HA
THB cI.c:oratio;
hord,r lurrotJrlding tht. pag. ,.
of thl following LinolVP' mtl.rfcu.h
~m[Jo'fd
B,umning
al
rh, otJ.t.id,
WI nalll
4 Paint
Mat,ix Slid. No. j 16 follolll'. bU 6 Poi.t

Matri" Slidr No. 18 J51., thtn a ~ombiI'HI:II'Ctn
01 18 Poinr BOfdor No 119 .nd 120 ",i,/)
Cornlrpi,cI Nrh 119W-. Rut. calt !ram ,
Point Marri~ Slid. No~ J06 lorm. lh. n.~t
on"
uni foirow,. bV 6 Po;nt Do.d" No. 157

Corntrpi,r:. No. 15734. An Oxlord rut. ""
(tom j Poinr Matrix Slid. No. '06 iI.i.h ..
fh, patt.rn. Th. eut~off ,,,I,, thtough body 01
pogo ... ftom 6 Point MattiM Slid. No. I U,.
11\1I1'1I.t't:
P.
II fi o ."
'l;i{~il' "." '),',1
1l.1a#+"'~"1. 31,
Ae...t4~.u.1t
t,, I
ft~~ rilli'
. . . . "",. 'iiI
l~U, '''~f
~~~ I\~f, ~.1 a~
U ....~o;.,
BENEDICTINE BORDERS AND PATTERNS

~
' .. 3 J#"!!:!!S,,'TF':rrn'
2 ... Point Border Nos. 82"1 and 821d in c:osnbinatioll
24 Point BOrd.tr Nos. 82.6 and 827 ill c;ombil13tion
ORNAMENT: 16" 8 pica.

Wood B.... X1HZ
Unmounted. X.\363
2..,. POint Border Nos. 82.8 and 828 d In combination
FIVE uni" Wl!re employed I"n buildt'ng uJ! rhe .nt:lolir2g border on Ibt, pag,.
The outer unit Wdl cast frorn 6 Poinr Matrix Slid~ No. 516, followed bv 5
POi72f MQrri~ Slide No. 18Z2. The ~ut i. composed of 24 Point Border No..
828 and '21d Glrtrnaud. Th. nlxt CUlit i.r 11'Om 6 POI'nt }.llJtrl:: Slid" No.
1~ ~'1 f:J~~~~~,lfo/ rtaD~~~_!:t~fes8:~d~h~bJ:-:;' t~/;!;!. Motri:c SUdr No
ILl
.-
156 POINT INITIAL
Meed Base. Mortised. X~1368

UnmountEd. Unmorrisl!d. X1369
TAILPIECE; 17 x 8 ~ picas
Wood a8c. X.1372
Unmounted, X1373
THE CHELTENHAM SERIES of DECORATIONS

BORDERS. INITIALS. HEADINGS and OHNAl\lF.Nl'S
For Either On~ or Two Color Prinlinf(
36
On~C:nlo
,sC'.cund CCllor ,
Tlnllllock
78 ('OINT INITIAL
ATO Z
Ona Colar
Metnl 13~ . X1145
Unmountod. )(1289
Second Color
Motnl Baa X. 1290
Ullmount.d. X 1291
Tint Illocle
Melal Dnoa. X.1292
Unmounted. X 1293
f'OINf INITIAL II TO I.
M.tftlll ..... XoIIH;U"m .... n... I.:-': t~U
Mll'lt'" 1)" ..,. X U8-Il;, tJnrt\ounlll.,.!'tI, t
M.t.l Uu XllIl1: Um.... uM"'I. ~-Il.111
.1""
711 ,'j,IN r
,'IIN-'''\! 'H
Ufifl l'. "'fl~I'

M.~4t P~"'4. '.lit l t" ~
t!f-w-.~'I4M""~. '\ .'5.4
,'fl." ... ,..",t t oJ.,....,..
M... ~. l""'_. " 11"~~

"ll"''''l. ~,Il''''
l'h'W ~H~j".
.. ~'tfft,. . .
156 1'0lNT INITIAt--A TO Z

M~t.1 B... W....d II.... Unm"'.... ...J
X
X -11'/\
X Il91
X U~II
On. Coin. . X1146

S ontlt:ol0' )(.1296
TintBIQ.k . XoIZ99
U".
x,lJon
M'l'ih.t 1!'r4~'<1lI. '\ ' ) ' \
\.~fltdt~ ..'1 .....'- ~ lJ!~
X,IIU'
ORNAMENT-2Y1 Incha. lang b" 78 I"'olnto rle.p

ORaCoJo W""d13 ..... X1146: Unrn<Juntod.XoIl02
TlntBlock WoodS .... X.13V3: Unmount.d.X1304
ORNAMENT -HI. Inch long by ,. pulnl .t"""

On. Color W""I[II..... x.lnn: Unm...."'...I. X-UIII
Soeonel Calor. W<>vd Ua X13091 Unmoll"C...s, X, II 10
COMPt.ETE PACE PANF.L, O"t.l<I .. 'I " 69 pi.... ' ..... rII .... ,It " H 1'1(4'
Ono Color, Woocl S ..... MortlMd, XIUI; UA.........Ied, U........ U...... )1.,1111
LINOTYPE
CHELTENHAM INITIALS
From exclusive designs, 5pecially created to enhance
the beauty of pages 5et in faces Wh05e weight of
thick and thin lines approximates that of Cheltenham
CHELTENHAM BORDER MATRICES
-----.
'
'
.'
.'."&si"
i'
",1,1..
18 P,,\nrl.loldn No.
no
~.
',;y, . ~. ;
V,f"i~~ t..~"
-i't
~,'fl
*-,'
" ""':tt" ~. ~
'4 'tit
~
If!;,#
'II f ~ ; ,.~ : "" <41

,,;f;jtJ '1:( '4"~ %... -W 1J:wi4
,
4/'
RULES AND SIMPLE BORDER SLIDES

APPROPRIATE WITH CHELTE:NIIl\M
.....
dW/
1 ...
filii' 1. . .
III' . , . ,
_lid _
nat
iii!'
... i , , , , i , , t .... lilt .. , I.t '6'''' ... t ......................... tot .. .

"_'M..u"'~No.Ilt
ex I *1""'11'11 i
I I I i i i Ii
~Iii"'ilj j i ' 'lii.XIII.I CI' Q'I"Zla
.I_II_II_II_II_II_a_Q_a_O_II_II_II:_II:_II_Q_D_Q_II_II_II_C'~_II_II_CI_~~II_Il_~~""~II_Q_II_~~
CHELTENHAM BORDERS COMBINED
Tm: /ollolJ>ing LinotliP' decoraliue malerial

",a. u.sed in building up the panel .urrounding thi. pag.: 18 Point Border No . 772.
770114 and 771R. 6 Poinl Matrix Slid.. No
252.516.742 andI33Ba.
18 Point Border No 770, 77014. 776\4 and

776]12. in combination. ",er. poed in ma~ing
lip th. free ornament .ho",n oppo.ite. 5]12
Poinl Matrix Slid. D ..h No. 994 i. g d
in bodJl of page.
INITIALS AND BORDER FOR JENSON
U". r.'~t.M
ltfil-WtttS..,
1'1. f"'I~'" 1~ltJ.\1 .. " '" t

1.1.'.111.... 1\ I"" 1.\"" ....... X 14'~.
"'...111.... )1\411. ......., ....... Il. Itl:
III" Mlflf.,'
W..... ...., X14,'.
\'~_., ..t.Il-I.1'>
l'.",~~~ ~. \\:., ...
#,.
\,._.... 1\.1."
1 'i , ....
n'MI'II.n: "M.r I'I.N,:\. fI _ . 'B , .. ,;.... M........

\1,'"", " .... MM."",- X.un. t;_.~,.oJ. "'_ .... 1.,
I ' . ; . " .. " .....
,. . . . .
INITIALS AND BORDER FOR JENSON

Meta] Basc, X-1402: Wood Ba.se. X-1403: Unmounted. X-l-fOf
Metal Base. X-l.of05: Weod Base. X .. 1406; Unmounted. X-1407
SPECIAL INITIAL
A 0111y---3 sizes
Metal
Wood
Un..
Base
BaBe
mOllntl!d
96 Point X-1117
X-1118
126 Point X-1HZ X-H2l X-1423
156 Point X-IHS X-1127 X-I1Z~
On.
Coler
Stcond
Color
Metal
Base
96 Point X-HU
Wood
Base
Unmounted
X-H20
126 Point X-1425 X-H21 X-1126

IS6Point X-!431 X-lHO X.IHZ
Onl!:Co]or
Second Color
96 POINT INITlAL-A to Z
Metal BaH. X-140ft: UntncIJnted. X-"'42
.
Metal Basc. X-I443; UnJnounted. X .. l ... 4 ....
s~rcmC:A'T'IONS
rv~l!:
Ill'oint JenlOn.
I (':AIHSl': 21,.1 point.
1Tt't.l;; l-+ l'tlinc Juuon cap&.
INITIA.L:
Qti
P. ,inc J,,",nn
:\''; .. 1: IIt(""~1 (uhu', X.'i"'"
BORDER FOR JENSON PAGE

decorations which have been designed to go with the Jenson face, and
which are shown in this section, are
based upon the same principles as the
type itself. Nicholas Jenson, of
Venice, departed from the practice of
the first type-designers slavishly to
copy their written examples, and was the first to reclaim designing of type from the imperfections and
accidents of hand-lettering. With this example before
him, the designer of these border designs, initial letters,
headpieces and tailpieces, struck an equally original
note in producing decoration which is distinctive in
itself but which has been designed with a careful consideration of its appropriateness for use in connection
with the type itself.'Too many volumes in which type
and decoration are combined faU to accomplish their
purpose because whUe both type and decoration are
beautiful in themselves, they are not beautiful in
('l1~iI'LETll
I'At,1l PANll!.
t hmut ) of !'l x 4,2 ~~ S'tUS.

M~lrt\.t. 2"~; J; J.b !"~ PICot!1.
\\'t~~\1~\:~~'1 ~~I~~IUrJ. rillln .. lllind
\\\~:~cf.\.l;"c:l~~\~~ifCd. Idc"bud
t!rlftttHtnt(ld. {.Inmurtllllld..
h"n,l i'.llll!. X.I ..... ~ ..
Ul'tn\\lUfihal. U"m\Hci.~d,
hotlhl
~U.'Ii"
have been
las Jenson
has struck
face, and
d WaJI the
to su the
the-future
ypography
copythe1r
designing
ectlon, arc
re man to
nter of the
Ihieh 13 all
:m of them
n by itself.
claim designing of type from the imperfections ane!
accidents of hand-lettering. The dea1gner of the border
designs, and initial letters, has struck an equally origi..
nal note in producing decoration which is dbtinctlve
X~
t -.!J ft.
rilbt..
I,h..
CRITICAL COlVIMENT
THERE is great danger of an over-use

of red in decoration. In employing these
heavy designs, it is usually more effective to light up the solid by a touch of
color in the center, as shown herewith.
Restraint is the hand-maiden of artistic
printing.
(8 Point Jenson, 2 point ICDded)
CATALO G U E
OF DECORATIONS
AND INITIALS
which can be secured
to combine with Jenson
type in artistic books
:;
"1
f:1
TAILPISCB
Wood n.... X1439
Unmou.ted. X.I H 0
CRITICAL COlYlMENT
Do
ii'
not overtook the vatue

of white paper, partlcu!ar!y
:In connection with heavyface type alld heavy decoratioll, when laying out
front matter. The text pagel,
being BaUd, shoulcl have
about one nonpareil margin
of blank between the decoration ancl the type, but the
dtle page may be macle
mote effective if a larger
amount of blank surrounds
the type insicle the border.
The title shown herewith
illustrates the idea.
Mergenthaler Linotype Company

Brooklyn, Ilil'ew York
(8 Potf'lt J,In,on, Z poinr loadod)
COMPLETE PAGB PANEL
-4,
Ouulde. 29 x
pici... : Mortise, 20y,; X 31 pic;l'~
WQOd But. Mottiscd, risht..hand P:l84!. X"I"''}).
W<lod Basct. Morthu~d, left"hand p:age. X .. l-49;.
Unmounted, Unmorcilcd, riKbt-band pOiSe:, X,,1 .. 3 ...
Unmounted, Unmo.rdatd. lefChand p;asc.
Xl496~
Al.o mad. aiII Imrtll,,.

Ou,dd 26 ~ .O~ pi"" Morti... 18~ x 28 pi ....
WQ()d nate. Mortised, tight-band palc. X .. l415.
Wood n.... Mortb.d.leEcband paBc, Xl~99.
Unmounted. Unmoniaed. tiKht.h2lDdp~lr. XlU6.
Unmounted. UnmCluilcd, left"hand paSt. X .. 15 00.
(d Point B,n.dicrin .Boolt, 2 point ',,,did)
Appropriate
MATRIX. BORDERS AND SLIDES

for use with the Jenson Series
........................... --......................
MATR1X SLIDES
MATRIX BORDERS
~
(; Point Nos, 1 9 and 19~

(Abo m .. tlc in Matrix Slide form)
~~
6 Point No" 21. 22 And 23
I I II I I I I 1 I I I I I I I I I I 1 I I 1 I I I I I II I I I II I
6 Poln.No. H
6 Poine No. Illl
6 Poiet 101... Ill'
6l'.iat 101... 1111
(Allo m:ldc In M"'trix Stich form)
.:..:..:..:..:..:*:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:..:-:.-:.......:..:+
_,_0_1_11 , _II_I
it
6 Poln' No. 17
(Abo mAde in Mattix SJide torm)
6 I .... No. II
\I. _ 1_0
It
...
0-
It.
~~~~~~-C)
6 Poiot No.5 8
, 1'01 1'1... II
++'1' I JoIo 1 I I 1+++++ I I I I I t I I lIt I I I I I I I I H

6 Poin' No. 67
'AI mod. in MAtrix Slid. f.,m)
_~(~().-.<o
6 1'0101 101". I \
........***.*****
......******.....
6 Poln. N 138
.,,/1
P,
I I''''A' N. II"n
(AI.o ~.I.IIIofA .. M.II,.'..... ,
~~:j:tt:j:=~t~mmm
IZ I'lll No. 505
U'ctlo,N",11U
~~~~~~~~~~~~~-.,.t
121.'010' No 50G .nd 508
11 ,
61'.... N... 1411
(ArlO ..d_ ioll""I.. Molt , ..... )
++++++++++++++++++++++
IZ I.'olne No. 51 0
~!~tt!~t!~tttttt~tt+tt+ttttttttt
61'"'R.N,,.14J4
(A.....101. 10 1Ia,4" M..... r~'.l
11111111111111111111111111111 1111111111111111111111111111111111111111111
I2 Point No. 528
61'",.. 1'1... I~III

(AIIO ...d. I. lIa.d" M,,,," ,..... )
.nd 528~
++t..:..:..:..:..:......:..:............
11 Po! .. M..,!x Slid, No. IHS
THE combmation of bordcri and matrix .11011 in the IIotdet eJalrn __

rounding this page Is nu.de up of the fol1owlnr Linotype materIAl, ~2
Point Border Nos. 528 and 528 1/", <1 Point Matrb: SUd, No. 50S .411 6
Point Matrix stlefes NOI. 5~ 6 and ~333.
._----------_._---
.........-.. _. __
MODELS FOR FOREIGN LANGUAGE

PAGES AND SCHOOL BOOKS
HE SELECTION of type for school-book pages and
the arrangement of this type upon the page, while
subject to the laws of good taste which dominate book
composition, have, in addition, certain unwritten laws
of their own which must always be respected. In the
ordinary volume it is a cardinal principle that books are made to
read, and, in the selection of types, legibility must be consideredin school books the type must not only be that which can be read, but
that which can be read easily. The standard Linotype faces shown
in this section measure absolutely up to this unwritten law.
The importance of introducing artistic layout in the ordinary
vol ume is emphasized in the school book. The mind of the child
may be compared to an undeveloped photographic plate, sensitive
to every impression. School books are a part of his every-day life,
and he looks upon them unconsciously as his mentors. If a page is
badly composed, a child, knowing no better, accepts this as standard
and receives an impression which it will be difficult to efface.
The fallacy has long existed that, while the Linotype machine has
proved itself adapted to the composition of ordinary volumes, it cannot be used as successfully upon intricate and technical composition.
This section is intended as a demonstration to prove the elasticity
and versatility of the Linotype, and speaks louder than any argument which could be advanced in discussion.
Sl'l':CIFICATIONS: Tho aoeoraHV6 ;aNel slIYrOll1ldill1: i/Ut pal:' was

hl/ill tiP 'With Ih~ foll"willil /,;7Iolyp. ",a/.rial: ']'/,. first aNd fililt mut.
eomist of a <OInbinaU01. 0/ 12 P"int Dorder Nos. 106034. 1060y,J.
1060d allit 106111; tho seeo",/' muJ /0/1,1" at. ali". and are east /r.m 6
Poillt Mat,ix Slid. No. IJSla; til. emler
S""WS 18 Point Border
Nos. 716 a>uJ 756 allefl'al.d. a"d th_ IlDir-li1,. rIde fill;S/U"lf th_ dcsil:"
is Z I'oh,t Matrix Slid. No. 4~1. Th. illitial il tlJad. "P of sJ"l:s .a.t
1"0'" 5 /'oillt Malr;" Slid_ No. 506. 6 Poh.t Mtltri" Slid_ No. 1351 a
tlnd 6 1'0;"/ Border No . lIB tlnd 11834. Th. bod" 0/ pall' Was .el in
14 I'aint Frallkli" Old .W"l., witl. liltli. "",ilmall cops. ",it" h.ad;lIi/ ill
18 I'oint ",."hU" Old St"J_ ron"", taps
""it
._._ . . __._.._... ___ ._.___ .. __._____ .. _... _____._.__ ... __._______...._. _____.----__._.. _- - - - - -.. -.... -- ..----__ ._.... __ ._._..._. ____ . I
STYLE PAGES
FOR ENGLISH PRIMER
TWO LITTLE RUNAWAYS
PA(~E: Set in variuus sizes

of caps am! smalk:lps of the Franklin
Old Sty!eSerics with title in 24 Point
Bodoni caps.
TITLE
They said they did not have

anything good to eat.
So they led a sad life and were
cross all day long.
I t was quite a treat when they
went to sleep. That was the only
time there was peace with them.
keep hind
kind
TEXT l'AC;E: Sl!.t in 18 Point Frank.

lin Olt! Style with running head in
8 Point l{otl1an ~aps. Thl~ sub-head is
S{!t in 14 Point Ilut\uni Bold caps and
lower t':l~t~ italic with rolllan fi{.,>"uc,
(10 PaIH' (JId Slylr No.1. J toi.'I,a.,d)
so bad
sad
2. Snappy and Spit!

a Sad Life
Snappy and Spitfit

young. They did nc
other. They did not
to each other. They d
how to be good. No
had told them.
Snappy and Spitf
find good in anythin~
not like the house th
TWO
LITTLE RUNAWAYS
A STORY :FOR
FIRST OR SECOND YEAR CLASSES

AflAl''I'Y.fl ANI)
Rv.VI~:r.n
nv
MELVIN lUX. U. R,
nlNelPAL OF PURl,lCJ Ht:H()(II. NO, (Ill, ASTIIIIA, II~W \'0111( f'11'Y
ANII
WALTER t . HERVF,Y. I'll. Il.

MIMlln OF TlIIt BOAIW OF IXM.UNIIIS, ZIJ,I'AII1'Mt.Nr
01' ItIlUCio1'IClN, NICW ,'(jill( C:ITY, "tllI~I~IU.V
X'USlllltNT OF 'I'KAt:lIl11. t:u\.I.I'.I;1I
e()oAUTItUfU~ ", "Ttl"
"10ft"". MAtIW 1l'411...~.tf Irc.
CRITICAL COMMENT
THn: title page of a school-book usually

contains more matter than a tradebook title,
Care must be taken to preserve the comparative value of the various lines in
determining the relative sizes of type.
The Franklin Old Style is exceedingly
effective in producing pages which
are legible without loss of beauty.
LONGMANS, GREEN & CO.

55 FIFTH AVENUE, NEW YORK
PRioIILI& AVIINU& .ANII 251'" KTkKKT, Clllt'A(lO
(10 Point 014 St~lt No.1, 2 point I.ad.d)
{Reset ill Llnotypll Typography. CO"rl118Y
114
LM,",MI.
Grllon &: Co.]
Written Work
Write the following names, using initial8 in place

of the given names:
STYLE PAGES
FOR ELEMENTARY LANGUAGE
SPECIFICATIONS
William Dean Howells

John Greenleaf Whittier
Henry Wadsworth Longfellow James Russell Lowell
James Whitcomb Riley
Edgar Allen Poe
Write your own name, using an initial in place of

each word but the last of your name. Write the
name of each member of your family, using initials
in place of given names.
TYPE: 11 and 12 Point Scotch and

10 Point Antique No.1.
LEADING: 2point.
SUBJECT DIVISIONS: 11 Point Antique No.1.
SUBHEADS: 6 Point Scotch small caps.
FOLIO: 10 Point Scotch.
(6
Po;,,~
Olel Style No.1, 2 pointl.aded)
A person's given name is often called his Christian name. Initials are often used in place of
Christian names.
38. Abbreviations
Some words are often written in sh i

When part of a word is written to sm]:
whole word~ we say the word is a:bbrevif.
The months are abbreviated in this w(
January
February
Ma.rch
April
May
June
Jan.
Feb.
Mar.
Apr.
May
June
July
August
September
October
November
December
43
white blossoms and its dark green leaves, it must have

been beautiful.
Three times each year, the leaves of the tea plant a.re
gathered into baskets hung from the necks of the pickers.
After the leaves have been partly dried in the sun, they
a.re heated over beds of charcoal. They are then spread
out on a table, and rolled over and over in the hands until
they become the shriveled little twists which we call tea.
36. Composition
Write two paragraphs about some fruit-bearing

plant or tree which you know about. Let your
:first paragraph describe the plant, its leaves, and
its blossoms. Let your second describe the fruit,
tell how it is gathered, and in how many ways it is
used.
37. Initial Letters
The initial letter of any word is its first letter.

The initials of these names are as follows:
INMAL
CRITICAL COMMENT
THE Scotch face, because of its simplicity
of line and legibility, is peculiarly adapted
to use in school books. The combination of
Antique No. 1 with the Scotch is effective,
but to secure definite emphasis to subiect
divisions a larger size of Antique must be
used than with old style owing to the
weight of the text type.
(8 Point Old Style No.1, 2 point leadeel)
Frank Romer
Ida Bryson
Mary Jane Conner
F.R.
I.B.
M.J.C.
Learn:
An initial is the first letter of a word used in place of
the word.
An initial is always written as a capital letter.
The period is used after an initial.
An initial letter is not often used to take the

place of a person's last name, but it is often used
in place of the given name. Thus:
'Ill
[Reset in Linotype Typography. Courtesy Longmans, Green & Co.
17S
Sixth Grade
125, 126
sad'dler
seam'stress
auc tion eer'
huck'ster
hawk'er
ma gi'cian
sur'geon
phy si'cian
rna chin'ist
re por'ter
mes'sen ger
in spect'or
What does each of these people do? Copy, changing each word
to the plural form.
127, 128
der'rick
plat'form
par ti'tion
bal'co ny
stair'case
ma'son ry
joist
foun da'tion
fres'co
dredge
tim'ber
hoist
STYLE PAGES FOR SPELLER

SPECIFICATIONS
TITLE PAGE; Set in 7, 8, 12 and 14 Point
Old Style No.1 roman caps, 6 and 8 point
smalJ caps and 8 point italic caps. Title in
30 Point Benedictine Book.
TEXT PAGE: Set in 10 and 12 Point Old
Style No. 1 and 8 Point Antique No. 1
figures.
(8 Point Old Style No.1. 2 point leaded)
Explain these terms used in connection with building. Write

the plural form of each word underlined.
129
drug'gist
pre scrip'tion
pes'tIe
phys'ic
rern'e dy
phos'phate
arnrno'ni a
sur'ger y
Use these words in sentences to show their mea:

130
cougar
crocodile
hyena
vulture
reindeer
reptile
magpie
viper
hideous
greedy
ferocious
furious
Use the words in list B to form phrases with tho;'
NEW-WORLD
SPELLER
GRADES THREE TO EIGHT
[221 ]
BY
JULIA HELEN WOHLFARTH

FoRMERLY PRINCIPAL OF HORACE MANN ELEMENTARY SCHOOLTEACHERS COLLEGE, coLUMBIA UNIVERSITY
AND
LILLIAN EMILY ROGERS

TEACHER IN HORACE MANN ELEMENTARY SCHOOLTEACHERS COUEGE. COLUMBIA UNIVERSITY
ILLUSTRATED
CRITICAL COMMENT
OLD STYLE No.1 may safely be selected
for both the title and text pages of school
books. Care, however, must be used in the
selection of sizes. The title opposite shows
a well-balanced page set in various sizes of
caps and small caps, offset by the 30 Point
Benedictine Book heading. The text page
illustrates the proper contrast between list
of words and instructions.
(8 Point Old
St~l.
No.2, 2 poont I,aa.a)
YONKERS-ON-HUDSON, NEW YORK
WORLD BOOK COMPANY
[Reset in. Linotype Typography. Cou,rtesy World Book Compan.y]
176
They made blocks of snow and built Eskimo

houses. They rode on sleds over the hard snow.
Some of the boys played that they were Eskimo
~ogs, and they ran over the snow, barking and
pulling the sleds. The girls had great fun riding
on the sleds. After recess, they read
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FOR INTERMEDIATE READER
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SUBJECT DIVISION: 14 Point Old Style No.1
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FOLIO: 14 Point Old Style No. 1 figures.
ABOUT THE ESKIMOS
,~ :
:~
;i
1,
.I
:.1 :
'~
".
1 :
~.
~I'
I,
(6 Poinl Old Slyi. No.1, 2 poi'lltleaded)
The Eskimos live in the far North. The

ground there freezes very hard, and it is covered
with deep snow nearly all the year round. It is
so cold there, that all the people dress in fur most
of the time.
No trees grow there. So the people
winter homes of hard blocks of sn(
the short summer lasts, they live in t<:
After a while, the fox came back. He took up
tents are made of skins.
his bag and saw that the bumblebee was gone.
An Eskimo's winter home isa qu
"Where is my bumblebee? " he said.
round house. It has no windows.
"Oh, I just untied the bag," said the woman,
" and the bumblebee flew out. The rooster
three rooms in it. The first is a
covered way leading to the other i"(
caught it and ate it up."
"Very well, then, I must have the rooster,"
95
said the fox.
So he caught the rooster. He put him into his
bag and traveled on.
The fox soon came to another house and went
ip. He said to the woman of the honse,
"May I leave my bag here, while I go to
Squintum's to get a pumpkin pie?"
"Yes, you may," said the woman.
"Then be careful not to open the bag," said
CRITICAL COMMENT
the fox.
IN school books, the type must not only be
that which can be read, but that which can .
be read easily. Old Style No. 1 combines
every element which school book requirements demand.
(8 Po;,,1 Old Slyl,N 1, 2 pomll d.d)
care
careful
thank
thankful
bumble
tumble
stumble
rumble
help
helpful
thought
thoughtful
travel
traveled
traveler
traveling
51
i.
!IJ.I
i~J :
~'
~:
'I' ;
[Reset in Linotype Typography. Courtesy D. C. Heath & Co.

.
:.":,.;;_....,, ,-~-.,.,;..... ,.......""'~,-.;.~~,;-"""",:~.........,;..,.,"".."'..,""'..,..:;.,~,~
STYLE PAGES
FOR GENERAL HISTORY
48
PARTY ORGANIZATIONS AND ACTIVITIES

SPECIFICATIONS
subsistence, stationery, the writing and printing and

distribution of letters, circulars, and posters, and telephone and telegraph services. The early corrupt-practices acts in this country proved unavailing because of
the lack of pUblicity attending the contributions and expenditures of parties. The Act of Congress to which
we have already referred requires not only publicity of
contributions but publicity of expenditure. Even this,
it is to be feared, will not entirely prevent the corrupt
use of money in elections, there having been devised as
yet no method by which candidates or campaign committees can be obliged to render an h,!;mest renort. Tf"
voter is bribed, the transaction i
one between the candidate or '
hand, and the voter on the oth(
say anything about it. For the
tion in elections we must depe
standard of morality of the COl
TYPE: 8 and 10 Point Old Style No.1.

LEADING: 2 point.
CHAPTER NUMBER: 10 Point Old Style No.1
roman caps.
SUBJECT DIVISIONS: 8 Point Antique No.1
roman caps.
SIDE HEADS: 8 Point Antique No.1 caps and
lower case,
RUNNING HEAD: 8 Point Old Style No.1
italic caps.
FOLIO: 8 Foint Old Style No.1 ligures.
(6P.,,,,, Old Slyle No.1, 2 pomtlcaded)
SUGGESTIONS FOR FU,

This chapter covers several subj'
with regard to which a vast deal ha;
ences are arranged under the severa'
Party Machinery: The most avail
in RAy, pp. 172-191. FORD, H. J., .
American Politics, pp. 294-333, is re:
erence should also be made to WOOl'
t;es and Party Problems, 193-204; ..
Parties and Elections, pp. 169-211.
MACY, JESSE, Party Organization (,
valuable.
,
The Machine: BRYCE, chs.lx-lxvi'
GOI\SICI, M., Democracy and the Part
RAy, P.O., Introduction to Political
itics, pp. 333-367, will also be found
Cily the Hope of Democracy, MUNR
CRITICAL COMMENT
NOTE particularly the effectiveness of Old
Style No.1 and Antique No.1 in combination. The divisions required to keep the author's plan clearly before the pupil are
made clear without Wldue emphasis which
would mar the typographical appearance of
the page.
(8 Point Old
SI~le
CHAPTER III
FORMATION OF THE UNION
During the colonial period there were only scattered

efforts to bring together the settlements of the Atlantic
seaboard in any form of common government. The
great stretches of wilderness which separated the colonies from one another made strongly against the spirit
of union. Local patriotism was much in evidence, and
their common dependence on Great Britain was an obstacle to the recognition of general interests. Furthermore, the mother country regarded with jealousy the
idea of a colonial federation which might unduly arouse
the spirits of her always unruly children. Over against
these influences must be set the common nationality
of the colonists and their common dangers from the
French and the Indians.
This danger was the occasion for the formation of
the first and most effective of the intercolonial unions,
the New England Conferdation. Its members were the
colonies of Massachusetts, Plymouth, Connecticut, at:d
New Haven. The legislature of each colony elected
two commissioners to its governing body. They met
annually at the capital of each colony in rotation, except that it was Boston's turn every other year. The
concurrence of six of the eight commissioners was
necessary to any action. The principal business of the
Confederation was defense against the Indians, but
the commissioners were given power likewise "to frame
and establish agreements and orders in general cases of
a civil nature, wherein aU the plantations are interested
The New
England
Confederation
3S
No.1, Z po;,,' leaded)
[Reset in Linntype Trpography. COUTtesy World Book Company]
L. ..... .
Forces for
and against
union
- - ,,--.. ----...
:
,---~.---
..- ..- ..
[78
~~~
------ - ----
STYLE PAGES
GERMAN GOVERNMENT AND POLITICS
Consular
service
FOR GENERAL HISTORY
existing under the rules of international law:

ambassadors (at present 9), ministers (17), minister residents and charges d'affaires.
The commercial representation of the Empire
abroad, i. e., the consular service, is completely in
the hands of the Empire. All the consuls are
Imperial civil service officers appointed by the
Kaiser after the consulation of the Bundesrat
(R. V., Article 56). There are consules electi or
honorary consuls and consuls missi or professional
consuls. Of the latter category there exists three
classes: consuls-general, consuls, and vice-consuls.
The consuls may appoint special consular agents as
their assistants. These consuls are also the judicial
officers in a number of cases of non-contentious
.
jurisdiction.1
By special treaties of extra territoriality consuls
may act as judges in civil and cri!
(for example in China and Persia).
i
Appeals from their jurisdiction
Reichsgericht.
SELECTED BIBLIOGRAPHY:
YEARBOOKS:
Schiemann, Th. "Deutschland und die gr'
Since 1900.
.
Annual Register. Since 1758.
"La vie politique dans les deux.mondes.":
ROSE, F. H. "The Development of the Europ'
1870-1900," Vol.. I, Chapter VI; and Vol:
ONKEN, H. The German Empire. In "Camb:
History," Vol. XII, Chapter VI.
1 Cf. pp. 194 ff.
SPECIFICATIONS
TYPE: 8 and 10 Point Origin.1 Old Style.
LEADING: 2 point.
TITLli:: 21 Point C.slon Old Face caps and
lower case roman.
CHAPTER NUMBER: 10 Point Orill'in.l Old Style
roman caps.
CHAPTER TITLE: 10 Point Oriiinal Old Style

small caps,
RUNNING HEAD: 9 Point Caston Old ])',c.

roman caps.
SIDE HEADS: 6 Pomt Titl. No.1 caps .nd
lower casco
FOLIO: 10 Point Origin.l Old Style figures,
bI"acketed.
Government and Politics of

the German Empire
CHAPTER I
THE
it.. .
CRITICAL COMMENT
THE Original Old Style face possesses
characteristics all its own. It is not as
Jeglole as the Old Style or the Scotch,
but may be used on volumes intended for
adult readers. These pages show how
effective this face may be made when
care is exercised in the layout.
(8
P.in~
Ole! Style N 1, 2 poin/leaded)
PHYSICAL
GERMAN
BASIS
OF
THE
EMPIRE
HE German Empire lies between the

55th and the 48th degree of north latitude. It therefore is a country of medium temperature. It is somewhat colder than its
latitude would indicate, since it is closed by the
Alps against the mild winds of the South and
open to the cold northern and eastern regions of
Europe. The Atlantic Ocean makes the weather
of the Northwest milder, while the general altitude
and the Alp wall make the South colder, with
the result that the average yearly temperature as a
whole is higher in northern Germany.
The four seasons are distinctly different from
each other, thus giving the people a refreshing
and very desirable change. Germany as a whole
is a damp country. All seasons bring humidity,
especially the spring and the late summer, the
southern mountainous territory receiving a heavier
precipitation than the northern plain. On the
other hand the North has steadier winds than the
Territory
and
climate
[1]
[Reset in Linotrpe Typography. Courtesy World Book Company]
c. The sodium sulfide is then heated with calcium carbonate,

when the following reaction takes place:
Na2S CaCO a- CaS

Na2 CO S
2. Solvay process. This newer process, and the only one used
in the United States, consists in passing carbon dioxide and
ammonia into a saturated solution of sodium chloride:
a. NHs
CO2
NaCI H 2 0 ~ NaHCO s NH4 CI
The sodium hydrogen carbonate is then filtered off and heated:
STYLE PAGES
FOR CHEMISTRY
307
CHEMISTRY AND ITS USES
SPECIFICATIONS
TYPE: 8, 9 and 10 Point No. 21 withjtalic and
small caps.
SIDE HEADS; 9 and 10 Point Antique No.1

roman and 10 Point Antique No.1 italic.
SUBHEAD: 6 Point Antique No.1 roman caps.
RUNNING HEAD; 9 Point No. 21 roman caps.
FOLIO: 10 Point No. 21 figures.
MATHEMATICAL SIGNS; 8 and 10 Point No.1
special characters.
INFERIOR FIGURES: 8 and 10 Point No.1
special characters.
(6 Po;,,' Old StyieNo.l, 2 po;ntleaded)
b.
2 NaHC03~ Na2 CO a H 2 0
CO2
The ammonium chloride formed in equation a is utilized in once
more preparing ammonia.
When sodium carbonate is crystallizl
large crystals of the formula Na2 00 a
as washing soda or sal soda. Its soluti
basic reaction and is used for laundry p
THE CHLORINE FAMILY
of the fact that it is used in the mam
209
and many chemical reagents will indica.steam (p. 71). These relations may be represented graphically
industries. It is one of the few soluble CI
in the following way, the squares representing equal volumes:
Historical. In former times sodium car};
ing seaweeds and extracting the carbonate
~+~~I HCli+1 HCII
account the salt was called 80da ash, a DE
During the French Revolution this supply'
of the French government Leblano (Fig. 11
paring the carbonate directly from salt. A
which bears his name and which was used e1
It has been replaced to a large extent by the.
devised by the Belgian chemist Solvay (Fig.
By-products. The substances obtained
from the main product, are called the by.
many processes depends upon the value of
Thus hydrochlorio aoid, a by-product in the
able enough to make the process pay. even
can be made more cheaply in other ways.
Hydrolysis of salts. In connectic'

(p. 154.) we learned that when an acid I
~ ~+.[J~IH2ol+IH2ol
In the early part of the past century the distinguished French
chemist Gay-Lussac (Fig. 26) studied the volume relations of
many combining gases and concluded that similar relations
always hold. His observations are summed up in the following
generalization, known as the law of volumes: When two aa.~e8
combine chemically there is always a simple ratio between the
volumes that combine and also between the volume of either one
of them and that of the product, provided it is a gas. By a
simple ratio is meant, of course, the ratio of integer numbers; as,
1:2or2:3.
EXERCISES
1. Give the name and the nationality of the disooverer of eaoh of the
halogens.
2. Contrast the properties of the halOgeDS.
3. Contrast the chemical conduct of the halogens.
4. (a) Give the names and formulas of the compounds that each of the
halogens forms with hydrogen. (b) To what class of compounds do they
belong?
CRITICAL COMMENT
THE composition of text-book and other
copy requiring a miscellaneous assortment
of signs and special figures is as straightmatter for the Linotype.
In the specimens shown on tlds and the facing
page, the mathematical signs, inferior figures and other special characters were cut
to run in the Auxiliary Magazine of a
Model 14.
5. What eleme.nts are liquids at ordinary temperature?

6. Consult the dictionary for the significo.nce of the names of each of
the halogens.
7. (0) How do you account for the fact that the pure liquid hydrogen
fluoride is a nonconductor of electricity? (b) How did Moissan render it
a conductor?
8. In what other connection has the name of Moissan been mentioned?
9. Why cannot fluorine be prepared by electrolyzing hydrofluoric acid?
10. Why do we write the formula for hydrogen fluoride as H2F2 while
that for hydrogen chloride is written HCI?
11. (a) What gaB has been studied that resembles the vapor of bromine
in color? (b) How could you distinguish between the two?
12. Wby do solutions of hydrogen bromide and hydrogen iodide color
on standing, while hydrogen fluorlde and hydrogen chloride do not?
(8 Point Old St,l. No.1, 2 po;"tleaded)
[Reset in Linotype Typography. Courtesy Ginn & Company J
.,
180
EFFICIENCY
147
STYLE PAGES FOR PHYSICS
6. Why is sand often placed on a track in starting a heavy train?

6. In what way is friction an advantage in lifting buildings with a
jackscrew? In what way is it a disadvantage?
7. A smooth block is lOX8XS in. Compare the distances which it will
slide when given a certain initial velocity on smooth ice if resting first, on
a 10 X 8 face; second, on a 10 X 3 face; third, on an 8 X 3 bee.
S. What is the coefficient of friotion of brass on brass if a force of 25 lb.
is required to maintain uniform motion in a brass blook weighing 200 lb.
when it slides horizontally on a brass bed?
9. The coeffioent of friction between a block and a table is .S. Who.t
force will be required to keep a 500-gram block in uniform motion!
SPECIFICATIONS
TYPE: 8 and 10 Point No. 21 with italic and small
caps.
LEADING: lIpoint.
SUBHEADS: 8 and 10 Point Clarendon No.1.
RUNNING HEAD: 9 Point No. 21 caps:
CAPTION; 7 and 8 Point No.2!,
FOLIO: 10 Point No. 21 figures.
EFFICIENCY
176. Definition of efficiency. Since it is only in an ideal

machine that there is no friction, in all ae
d'one by the acting force always exceed,
work done against friction, the amount I
stored up. We have seen that the forme
145
FRICTION
sense that it can never be regained. Sin
represents work which can be regained, i:
173. Coeffioient of friction. It is found that if P represents
In most machines an effort is made to h:
the force parallel to a plane which is necessary to maintain
large a fraction of the total work expend,:
uniform motion in a body which is pressed against the plane
of the useful work to the total work doni
with
a force P', then, for small
called the EFFICIENCY of the machine.
.
Useful work acee!
velocities, the ratio ;, depends
EffiClency
Total wark ex:;'
only on the nature of the surfaces ~
Thus, if in the system of pulleys shOWD in Fil
in contact, and not at all on the FIG. 158. The ratio of F to F' is
a weight of 50 g. at E in order to pull up slow~'
area or on the velocity of the
the coefficient of friction
at R, the work done by the 60 g. while E is i
motion. The ratio ;, is called the coefficient of friction for the
50 X 1 g. em. The useful work accomplished in;
1:
ij
II
cm. Hence the effioiency is equal to
240 X
lr!
50XT i
177. Effioienoies of some simple maol!

the friction is generally so small as to I
efficiency of such machines is approxini
c::!~=lF===~=='
==:::::l
given materials. Thus (Fig. 158), if P is 300 g. and P' is 800 g.,
the coefficient of friction is ill = .375. The coefficient of iron
on iron is about .2; of oak on oak, about .4.
174. l!.olUng friction. The chief cause of sliding friction is the interlocking of minute projections. When a round solid rolls over a. smooth
surface, the frictional resistance is generally much less than when it slides;
for example, the coefficient of friction of cast-iron wheels rolling on iron
rails may be as low as .002, that is, ~ of the sliding friction of iron on
(2)
(1)
FI<l. 159. Friction in bearinge

(1) Common bearing; (2) ban bearing
CRITICAL COMMENT
LINOTYPE Modem No. 21 is an ideal face
for text book work as the specimens 011
this page will demonstrate. The Clarendon
No. 1 for subheads gives just enough
emphasis for distinction.
In order to compose such pages to advantage,
a Linotype with Auxiliary Magazine, which
will accommodate the mathematical signs
and other special characters, should be used.
iron. This means that a pull of 1 pound will keep a 500-pound co.r in
motion. Sliding friction is not, however, entirely dispensed with in ordino.ry wheels, for although the rim of the wheel rolls on the track, the axle
slides continuously at some point c (Fig. 159, (1 upon the surface of the
journal. Journals are frequently lined with brass or Babbitt metal, since
this still further lowers the coefficient.
The great advanto.ge of the ball bearing (Fig. 159, (2 is that the
sliding friction in the hub is almost completely replo.ced by rolling friotion.
The manner in which bo.n bearings are used in a bicycle pedal is illustrated
in Fig. 160. The free-wheel ratchet is shown in Fig. 161. The po.wls a and b
[Rese' in. Linotype Typography. Courtesy- Ginn & Company]
lOO
nEVIEW~
Addition and Subtraction
!'iTYU: PAGES
Ftm AHITHMETIC
Sight Drills
:':I'rt I."t' "'rIIINS
l~~!:~'H ~~;:~ olH.t II l"'lul Nu~ I wit" ilnllc Inel
For dally drills D. ChD.l't similar tu th(l following WilY btl Ill't"I4\~',I:
II
A.
a.
~~_ 'U~
G7
~~
25
c.
.~_~~_~_~~)_.
"
d.
!)
18
e.
8
7
b.
f,
g.
:IH
:17
4~
27
:~i
4(1
17
24
:111
14
!W
11)
2R
. (I.i T'iti.
/ ,i
,~.I ,~ _:
M .1 ... (t':,:,l. .rr,., ...... .
!'iii
G:!
(1:\
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1'",.,
1;' 'SSI!lJI; 111<.\11 M

N." 1,,,,Il10
l t ll.lu an t~"H. N~_, I ,,,tn''',,,
r. ...' /,; 1.\1,1 V,
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.-...
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4
16
12
(j
:12
4a
_--_
aa
22
-, .
11,.
47
)\I'IIH',' r '1'1 I'll:";, "II'"i"' "ill~ No,.
11
.... "
!!ri
2:~
1, .Add to each of tlw

A.
lJ
50
60
41
:12
1)1
42
........
__
iii
...
101
40
..... '.
4!l
nUII1!Jt.'I'H
14
To tho order, "Alia 50 by lIrl(lH," HIW'~1l111!

ly: tl2, 03. 7l'i, l,tC.; tia, (lli, 711, t.[c. 'I'u till
Umlll:l," the r(.pllcH !lr(~: 111, Ii(), n:.!, ('It'.; flO. I
2. Subtract eudl of tho ullmlH'1

99
91
95
SH
nn
92
97
90
04
8R
1.
A III/whit", tlU'II!!'! 11111 )'I,IiI!1 t,\'t of wirl' in fl:1
rultllltl'tI. Wlwt bol till' 111111'111

11111 lll'millt'tillli lWI' nlillutl
livlt't~d III 7:1 U!iIl\l!C'll'!
lUirtllt,,:' Whllt III
114'!'
\Ii llt'll
H,WU f"I'1 lU'I' <I(!-
.l ml, lO'Hl n. "hll'" tliI' tit"' *llItith'lIt .1""" tanl'. tt.

H:I -)Mimi" tt. 1IJ.:lm 'I VI'!' 11.11' tI~bt Ihlllli .. ,\ '''' .f'","
tll!lllf" lit Ih .. f1r!lt lUlrllll1 to )1/l,11I fl.
n
.
7:1
I,rlll Ilid, 111111 u. 'i'llotH'IIt
tlUllt, un'r l'lwb lit IIII'
:HII
""lIl1lillll1l: 11I:1I""~ lit IIU'
Tho order here Is: "'rake trom 90 !IY 1111

columns."
17
\>I- rilillg II d
tllll'r "tll'lI II IliIrtllll 'lh
.tIhld"lId,
illl'lici II~M" IIlIl nollhllfl

thll dhillur.
1'.!wl'
Hl4 QImtk,.t
)( R:l [)j I~ilwr
I&dlllll)(
:m.!
""r tu lh. IIrnd

ud lit th., 'jlhltlNI!
by til" III ~ l~u,'. Ttl,
hUln 'l\'11I1'llIlIt tlU'
dh flle'lIIl it cb,' ,,"urk
1'1:12
Xli:!!.!
I
No
CRITICAL COMMENT
better selection thlln the Lillotype Mod-
e:n. No. 1 series eQuId be made for pali'~S

slIllllar to those shown here. The figurcB particularly are well ac1nptcd to this cluss 0 r
wor~ as they arc filII nll(\ sturdy, wel1\lrOIlortlO!I(~d and eusy to read. l'ro{lcr disl)lay
is gh'Cll th~ titles by' the use of Linotype
Title No. 1.
The Lino-tabler System with emu-nllcl
llrouch was used to complete the tabulated
llortion 0 f the upper pngc,
(8 PD/,lI Old S~l. No. t. 2 pain' Icod,d)
'r,.!!! till' ""'lIIlt hy
11 /{ f!l11CI.in.
I~
l1l1'
1'i'l1I1I11I
l'ltrt,'t,
!-Inill DjlJifkml
l:m Qlwtif'nt
~
1a I Jit';lIur
:mll
tllII
1HUU
, 11 /It'l7lain.
1U IIII IJ i /'ill,.'1I1
2. I Hvit1c' :
un
Ct..
7,fltifl 'f-:.m
c,
b.
7.au8+:m
(I. fI,tI/O : ;;
i,nun:
t'. :!.OtlCl :19

i,mlU:.. 28
i;;
~~~~'~~-~~~~~~~~~7~n~:~~~~~~_~~ ..~7.~
....~,....!_...:...~
39B
UNDETERMINED OOEFFICIENTS
Equating the coefficients of like powers of

A = 1; 2 AB = 1, BO
2 AO = 0, 2 AD
X,
we have
+ 2 BO =
+
:.B=l;
:. O=-~;
0 + 2 ED + 2 AE = 0;
0,
STYLE PAGES FOR

ALGEBRA AND TRIGONOMETRY
:.D=n;
:.E=....:.Th;
--y 1 + x=l
thus
a;
a;.
a;a
+2"- 8+16
Sl'ltCIFICATIONS
5x 4
-128 + ...
TYl'E: 8 and 10 Point DcVinnc with italic a.nd

small caps.
HEADINGS: 10 Point Antique No.1.

SPECIAL FIGURES: 8 Point Antique No.1.
RUNNING HEAD: 8 Poil,! DeVinne.cops.
FOLIO: 8 Point neVinne figure .
MATHEMATICAL SIGNS: 8 nnd 10 l'oint No. 1
ond 24 l'oint Root Sign.
NOTE. 'rho m'I'lI.nHioll <U~n lHI reauily effocted by the tI~1l of tho
Binomial'l'hoorom [Art. 411l].
EXAMPLES XLII.
c.
(61'.1", Old Slyia No.1, 2 poIKII dad)
Expnnu tho following oxpressions to four torms:

1.
V .I-QI
2.
Va=;)
3.
V /I2-Ql2
5.
(l+QI)S
6.
(1
+ a: + Ql2)i
259. To find the square of a binomial surd

Suppose
tlwn all ill Ax,t. 2GB,
x+v=a.
2 y'my ,,,.. Vb
(x - 2/)' '''~ (w + y)2 - 4 x
,. . ~, a" - Ii . . IrOl
Sinc~
'. a: _. 11
,~-,.
Combining thil:l with (1),
a; """
.. y
+ ''1 aU -
+y
W(J
b
, Ilnd y
V a" - /)
fillu
a - y' a" -
.,~." - - - - -
.Ja-l-y(a2 -b)
=.-=
.fa
+ ~-
ElI' HEll-lOAr. THIO ONOMFJTRY
The planes of the angles DUD' aud (JOG' interseot ill the
line OP, perpendicular to tho horillontul plfllle (Wentworth '8
Gaomciry, GG6)
Prom OILS a centl'o deAm'il)e It sphero, !Lull lot its surface
cut the euges of the trihouraluuglo O-DOP in :Al, N, anu P.
In the sphclriC!ll triangle MNI', AiN == h, MP - 90 0 - ~~,
NP = 90 0 - n !lJ'O known; and P = x is required.
By [47], p.161,
cosia;=
~'S""i""n-;(fuHO:;7:0;-+"""'~'h----;.a;-m----;-~n-);-S~h-:l("'!JAOO;:;-_-*"h'"--;-~m---;l'""'/I,)
sin (90 0 -?It) sin (!J0 0
Putting $ (h
[RC8ct in Linotype TYPo(lraphy.
lSI
+ 'In + n) =
?~)
s, W(,l ohtain
Jsin I.UO -I- (8 - h) J sin(lJOo - s)

COl:! 'In (losn
Courtesy Macmillan Co.]
COSla1....,~
.... V COS (8 -
h)
COS 8 SIlC
m sec n
SNOTWN I.XV
CRITICAL COMMENT
THESE pagcs nre Linotype Ill'oduct throughout, including the hori1.ol1tnl rules, and were
tnnde up without the necessity of cutting II.
single ,hlg.
The matter is cCltnp()sed in the fol1()wing manner anel mlLkcs use 0 f the "overhanging"
principle. TiLking the first problem 011 page
181 as an cxam\llc: the first linc cemsiats of a
horiz()!ltal hair-line rule which is made up
of the reg1.111(t 10 point em dashes of the font
ill usc elLst em a (j ]loint Shlg. The next unit
consists of (he large root sign with val'imts
charactcr~, signs alld figures of 10 point cast
Clverlmnging on a 7 !loint slug, followed by
IUlclth(!f linc of 10 point !tlso cast overhangillg 011 0. 7 llClint slug, upon face (If which
apace wo.a o.l1owcd for the overhanghl&, root
Sigll. The fourth ant! completing tl11it of 10
point can he cast either uprm its own body or
overhanging same as the two previous slugs.
PROBLEM
To fina. -tho a,'i8tu'llco betwoen tIna t)iaeas 071 tho oart7~'8 .!twfn.eo
('I'oOOll'iJ.od as H'pllorioul), givo?1 tho latitltde of the places mill tho
dif/'e'l'c?loo ot tllo;'r !onoitudc,9.
FIG. lOS
FIG. 104
(8 Poill' Old S,:;I, No.1, ! fo,,,'leadld)
[llc.M in. Linvty pe Typography. Courtesy Ginn & Compan,.
~~~~~W~'(Uj~~~'~;~"W"~Iilo~~~~,;:t~~~~~~~~.~'~:loI...tfi_~!~~III1"'I\'~.m~"v."..'~.t.fj!f,A1,>))'IIf.l~],~~/,,;:w.~~"1-
; :';3
68
ANABASIS II. 4. 27-28 and 5, 1-5
'EnefJ{}e" b' 8:r10eeV{}r;00.v (hu tij~ M'I]Olltr; otai1'lwuf; 21

Be'l)p.ovr; ~ :rIo.eo.o6.l'l'o.r; 1/?I6.xOVt<l sir; Tdr; fla/?1.IIuxw\OI;
Xwp,o.r; Ifjr; !Geov xal {3aoIUwr; f./.rJte6r;. t(lvt(%~ 'l'jQ(lllpeeV1'Jr; Kvecp bte/'l'B,l,w" blaen6.oal loir; "EU7J(H~' bltt5 eB~pe nl.t}" dybean6ow".
B"Yjy be oitO~ no~b,> xal
ne6{3aUJ, xal (i).A.a xe11llala. evteiJl?ev 6' Blto/?eu{hloav lla
OTaUI"0Vr;; Be~fwvr;; dnaea~ :rIa(]aoal'rar;; elxOOL to" T1i'erJta :rIOTap.()lI tl' delaTe(!~ lXO)ltBr;;. BY 01; T(il n{!WUIJ
ota'l9pl{J neea" TOV notcr.flOv n6,l,tr; I1JXB!tO Il81'tUI] xal
10 evclal/lwv Qvo/la Kawal, 8~ ~r;; oE {3&e~a6}ol 6oil'QI' btl
0xscUalr; {)I(p#eet?lal. aeTOV., TVeOvr;, olvov.
'l'\'.'t:, rc 1~.luu t lhl ~hl .. N,1. i'~ " l'umt t.ml(: Nu

.~: ~Hl~:',~',#t,r(!;~~t: ,~:;!!r~.,t~ I; .-'Ul1t t;f~~k Nu:
l'I'IIIII',\ll: ~
",',n' n",tllll"" :1/'", I.
I,"ua: u f,'~: ~I I'lluit ,r\GUlll"" N'~I. ;I.

lH~NNlNt; Ut,:" .. ~ .,UIII liM ~ht~. ~u. ,.,
1,'tll,tll' II I' .. "" toM ~I,I. N". 7
(t~ 1\'11'41' ~~u,
"J''''''
'1;:)1:'" oV"I. J .' "~t'I' ,....."J)
Clearohus has a personal interview with Tiasaphernc.
V. Msta mUTa agmwOV)ltat enl ni" Zaltlhav :nma- 1

TO sileor; tsnaeO))! lIJ.M)ew)I. "cr.) t.vt(lMa ~1~l:tVClV
"(W,
15
~/le{](lr; Tee!r;' el' 08 t(~!hGH" unolplal pev ~OII)" tl'rm:(}d

~Qo~e?l o~,. Iti' K).I:ciUXIII II
OS oVCJsllia epatvslo BllIPOV),~.
avyysvllo{}cr.1 tit'; 'l.'loaa(pea"SI ~al 8~ m~)" Ol""llllO

la, {m01plo.t;; :rI(}IY 8; aihwli nO).8/(OV ,
811Sp,1jJe Twa eeOV)lta Bu aVl'l'e,'en'l9al (Ill
M eTol"wr; Bxe).svev 1;"811"
"Let
20
US
dispel, if possible, tll11 ,rowing
'ElIeto~ 01; ovvYjJ.'I9ov, ).BrBI
0 K).6aelO~
ca Tlooacpe6}v1'J, olcla !-tel' ~/liv lJexovr; )Ie,
oe';IM oeoo/le,'a, p,r} d~I~~(}BW dU'l)).Otl~
"0" OS 08 TS oew eb. :no~s/llovr; ~11{i,t;; ~al
61181 68 o"omil
taiita avuqJv).anop.soOa.
25 OljlS 08 aloileoi1'al 1Ie1ec1)f./.t.YO" ~1'i1r;; "axl

18 OClqJW. oroa 8tl f;p.ei. re oMs S1Iwoou/J
Oey, ~oo~~ /lOI sir;; )'01'01)1:' 001 iV,:~8iv, limd
A~B,l,olf.leV d)'J.~).alY t~V
dmo,lcU'.
"Ill I'll
.7/jiiolll
Page 93, I 1!. IJ, 'IIt~u& wrr"'II"hlh til J~IM'r... #J, In 7.~.
14. dVrlOWlll1ftl'l: IirratiUl\h (vii, I~~ Il'II~kt:l till' wllllir IlIlmh"f nf right,
In" men (,,4)(1/401) In tht arlllimll'h' uf Xtr~1'I!\ J.MI,I'lI(1, IIn,1 lit I'lllinmlr1
th~ number uf tllmll"fnllflwt:N (vii IHI'l I iI~ tV.II ~rr3lrr rhlill Illti. 'nll'!ll'
numoon Are, (If cuunw, Im"l~n!ll'ly r~1I1l1!'r4Irll. ,rr t:rlllr, 1.'11111', :411. ...
IS. MIlt tlllf, IImllllll (I~ writ U ill MM"lhlllll, ntvrrill~ , ... lin' ... I"nrjr~ lit
Su.lami.s (480 b,C' I, ILllt! "' l'I~llI(" illI,j M~'I'~lr H~\I ~ I' . "" Ih~ lIo:IllIf
dny),-17, Pml c\Qilv, 141' IfIII.V " .. W UI7; 1I.IW,)I.HMIllill"": 1I1111/1olI,
(Cl, 9161 II, 721'1) ... JO, (1).).&lIIi,;: firm;,,;. IUlfltlnivllh.. t; .. dt, .. J\, 111/<"
"I'm)'!: len. of MllUrcr.; _I!;! II(,t.. t,/1 I' I, I
t U. 21. In', II;Y /'Ii, , U\w~\,. i.,. . I RIll" 'UI bII,,, .."dlillt )il'" 'Iud
ynu diJtrarllllctm ()lllNr "",,,111,,1,,",1.1, tl",' ,til, .111..'.,/01. #"~V/lIV: tkl!
l'~rslallllln Xnxl'!l'~ Army.
PIIB'e 04,1 U. I. 1I11),~l 1~lufll!~ ,,, Ih~ Iw" '"llIll4If III 1; ,'/. II
bftlow,-"l, 11I.11"'I!IVa~: ~~r lH I. U
116. 5. l'il4rt(,K1V tlf, hi: illilir, 1I(1I',1l1V 6. ,I" ...,It/Itll UII/II),
slronger lball Ille mnro (Oll1l1l11n ;"1.< 7, IItl IIi. f)U""~11
1111 lite
Idea of II/wwilllt Imlllwd In lI,i,.",. '.1;"" '~,lll r.vu.: l"Irlif. 111 1I11,",I'IlIIIIII
(0, iS7JI l[, 910J.,'II. lItiCtllllrll i'I'Il'i,. /tI .. MJt' :V/II;, fllllJr!. (...,LVI we:
mlgbt have had ~J..il ~'~ijlti, III ",,*r!;i"I/~.; 114:., IInll I
17. 9, 1Il'IIIt tl, "", IUI'~"j! It.. 1.14li. U !lH I 111111 J!I>U "" /111
wom lUI ~hkl. 1/'111, II/(, (n, 14l:\ j n. 'UIII.1t! lot 1\,\1'1111: thl! !.IiIrbarlwllrqop~ (If Cyril!! ,,"IJ, h,lvllv; rrlrf'l h, '''~ Itr'~I"""'.: runnl/lll
to tbem for refllj(G hlll.lkd (X ..,.. mt"4n., (hill Ihr ,~I\lI!,*", we"" Ih.
flr,II'' ' '
CRITICAL COMMENT
THE most famo\ls Greek types in the history of typography arc tho so-called ROYIII
Greeks cut for Robert Stephens carly ill
the Sixteenth Century. These were based
upon the involved currcnt writing hand of
the period, 'beautiful but so complicated
that their usc WIIS slow and expensive. The
Linotype Greek is based upon later modifications which produced a face easier to
read and less expensive to use, but still
possessing' ltltlch of the beauty in the:
design.
(81'0;,,1 Old Slyll No, 1.2/10;'" I,ad,d)
Hreater CIlWllfdl,-14.
'l'llttlllli'l'OIl, ((:
1~1l/; U. 011) .1, 11111 llllilr. dIM:.
((l, lSIIJ) ,
18. 17, tvthlJ,Lrt!hlU I 1.lu.,.I,1III II ~jI f h.-I! Ilr~((1kd 1111./111:11 ul t"w"

TIf.-ot j.4i 'l1ttl\ Wt!;: till: IIrtkkl h.f~ 11ll1.1i... Ihl HIt nllmhf-r '" /I>
fll.mUtu onel "'0 III 1;:n,II.", )',,'" 1M ,1w1l.,411r! 1111"," ({,"ClI)\l!rl. ,'hL,
'!'gllment 'ltIIi.n~t (&vlI.lr)" Illr.~ 1I01t111 (J11t~r III'11UlllfnU In IIII/. ~'I11".. h. Is II
pIece of hUillor, inlcncltd
ttllllfllL""
tbl' dWlfill'l"",11
Inti)'.
18. 21. lM/my, If", ur (OlUllilr. Alltr .. ~/I ""+oa ...."'01,.... . -:~. II'lh."
11.1'1:1;, 1111 uur !trl.-lb, Ullli.,ljuOIl. $htl411li1 ,. ,,17. I!iId~ I ..,..i~.,. wllllily
takes th~ g~'I\lllvei titre Ih~ 1l(\:Ul\II*vr.
:Pl.,. 9G,1 S to. I. tl bclull;!I III !It;lh f,U~. fa, /10'.. . 'I"pJI"~"
IUld !?I aa. , '.lChf'",-"dXIt~ W, 10411, U. 71il1"'''I1I 1I1&(/~~fll
Bummed up In ""i'~. (..1),-,1, ~Y "yilll~t"l. tvill 1,,, f1W IlIid,: In 11Ib!.
leI\IIe ;oyoaillal tun lilt. dallYI
IItJIIlIlIlllllc."... 5. lIvt~ wllh p;trti(,
CO. 1589 1 H. 9111).-06; ... l!v!\C/tt; rur f Itt, ....,Pi,; 4y" ."u/lilv",;:
lUI1.aUtllIL~V, 1,',1111)1 Ift/tll Wltll", WI! "'flY !'lIltlli" (1111 I lie w~y J 1111" IIrdn
t" a;:~ IU ,uide,.-C, f\v II 4J.&l.L\itli\llil(ll. 1/11t,,, .,'",111#1111.1' II/MU
or
.. "--- . --.-----,--
... - -_. __.__ ..-_._-_.... ,_. ___ ............... __ ....... _
.,_._.A ... _.... __ ._,__ V_______...
. .___ .... ___ . _.
.!._O":"''',,;...4'~~;~. .iIr.~et~~;~~.,,r.~,3'''.~.~.~t..'''-''\):t.,.':mL.~:::i..~=,i.'i:;J,;i_w..-'~,iIl\"'~",~i'?:.,:'~'"ut;... ",:':'~U~!"..aIt.~,g;GZ'J,.~A~;f'~~{;.E-~~~~~~~~~~~~:$:l~':Q>.z;~".ar:~jJJ::::\"'_~~'mo~.('~~~~'r,II:5~-i

'.'~'-
E-VERBS
_.,,~
~.~_......
65
SECOND CONJUGATION: E-VERBS

MONE'REI,
Pres. Stem, mone,
to ailvise
Perf. Stem, monn-,
STYLE PAGES FOR LATIN
Sup. Stem, monIt-.
SPECIFICATIONS
PA.SSIVE VOICE
[The Personal Endings are the same as those of the First Con
jugation.]
TYPE, 8, 9 and 10 Point No.1 with Italic and

small caps, and 8 Point Antique No.1.
HEADING: 8 Point Antique No.1 cap
SUBHEAD: 6 Point Antique No.1 caps.
RUNNING HEAD: 9 Point No. 1 ca~
FOLIO: 9 Point No. lfi"ures.
PRESENT
(6Po;nt Olrl Styl,No.2. 2 point/d.d)
TEiNSES FORMED FROM: PRESENT STEM: MONE-
FOBKATION
EXAMPLE
Sing. 1. Pres. St.+or

II
2.
+ris
u
3.
+tur
mone-or
mone-ris
mone-tur
mone-mur
mone-mini
mone-ntur
Plur.I.
2.
3.
"
II
"
+mur
+mini
+ntur
ENGLISH
I am (bein/l) aa-vised.
Thou an-t aatJiBed.

He is ad1Jlsed.
We are ad1Jised.
You are ad-vised.
They are advised.
IMPERFECT
mone-bar
mone-baris
mone-batur
+bamur mone-bamur
+bamini mone-bamini
+bantur mone-bantur
Sing: I. Pres. St.+bar

2.
" +baris
3.
" +batur
Plnr.l.
23.
....
"
I tOa8 bein/l :
ThOu'IOast ~
He was bein
We were blli
You were be.
TheyW6r6"b.
monll-bar
mone-beds
mone-bitur
+bimur mone-bimur
+bimini mane-bimini
+buntur mone-buntur
Plur.I.
2.
3.
"
"u
I shall be ad
That! wilt bE
Hewil! bea.
WcsnaZZbe"
You '10m be ~:
Theywmbe
[Each of the above Tenses has another form for the
I'
son Singular, viz. : Pres. monij-re, Imperf. monii-bare, ,

belc.]
CRITICAL COMMENT
THE selection of Linotype Modern No.1 is
well made for school book pages such as
shown on this page.
The upper page, showing a mixture in the
same line of roman, italic, and bold face,
should be composed on a Linotype having
Multiple Distributor. See pages 186, 188,
189 and 190.
The tabula ted matter may be set with either
the Linotabler System and Cross-rule
Broach or be composed in columns wiili
type-high rules between.
(8 Point Olel
S~JlI.
No.2, 2 ~o;nt leaded)
69
VOCABULARY
Doce-o, I teach (2), Per/eot Stem, dlScii-,

Supine Stem, dllct.
vis,.
Vide-<i, I see (2),
..
Vid-,
"
Move-<i, I move (2),
m~-.
mlit.
Omnis (A.djective like tN' tis ), all.
FUTURE SIMPLE
Sing. I. Pres. St.+bor

2.
" +berb
3.
" +bitur
E-VERBS
EXERCISE XXVI
1.
2.
3.
4.
5.
6.
7_
8.
9.
10.
11.
12.
Rex et regina ab omnibus militibus vis-I sunt.

Filius tuus et soror mea iL magistro bono doeti erunt.
Fliimina magna et muri alti regem impedi-ent.
Murus et porta oppidI nostr! sunt aItr.
Romron urbem nostram et ROnlulum regem amD.mus.
Verba sapienta iudicum bonorum non audrv-istr.
Aves multae puerOruIn sagittIs vulneratae sunt.
Onus magnum Ii. servis timidis non motum erit.
Roma, urbs nostra, a Nomulo rege aedificata est.
Virgines pulchrae carmina dulcia canta-bant.
Caius, amicus tuus, et rulia, soror mea, aegrlfuerunt.
Libri tU! ab omnibus amicis nostns laudat-l erant.
1. The wall and the gate were built by Caius, your friend.
2. The boy and the girl had been taught by the son of
the judge.
[friend.
3. We have seen Julia, your sister, and Lentulus, our
4. Books and letters were praised by the wise king.
5. Heavy stones had been moved by the great river.
S: We shall have been seen by the Gauls, our eJ;lemies.
7. You were frightened by the voices of the messengers.
8. The bold slaves had broken the gates of the city.
9. Rome, our city, will be attaCked by all the soldiers.
10. The girls' sweet song will be praised by the queen.
11. We shall be wounded by the heavy spears of the
enemy (pl.).
12. We were fearing the deep river and the vast sea.
[Reset in Linotype Typography. Courtesy LongTnans, Green & Co.]
r.
I
!
aliener
IIller
18
aliener, '!i,lt.) to alieullte, to give Away, to

allegeance (all.jons). "'.t., (I.u.) olle'
pn.rt with, to make ove.r, to deli1er up the I'lallce. Ssrm,nt d'-; oath of allegiance.
possession or right of. - le8 a.ffect'io'1u, l68
:R:l::"~~~ (ft:i6r::~)t,io:'~:,e~~~v1ation.
~:dr:~J:~tlil:g1'l~:~ t~e ~1Jr~~~i~n.wlle~t~~~/~d

ea:i1::!~ef(al_1e.j6), "."., to
1::8;:rtr:~~~:u~~! ;~~&:~~:~:ellm~f.dS.-=: burdeIL, to lighten, to unload
eaBe. to dis(a boat): to

to lose, to estra.nge j to be lost; to be al1eviate, to soften, to relieve, to assuage
alienated i to become dera.nged.
1),7""
lin: ~~rat\t:rif:1nJ ;~i~~te h~~df:~ei; i~

lin:'a11 emeut, -n.m., laying' out by Il line:
Una; FmUiI.) drassing; (print.) ranging.
Getts maison lort de t'-; that house stands
01.1t of the row. Bent1"er dans l'-; to tall
into Uns. Prend.re L'- i to trace the Une ct.
- I (milit.) dress!
al1gZler, V,a.., to layout br a line' to
square; to put in a atralght lInej (miUt.)
to dress; (print.) to range. - de. troupes;
to form troops. in a line. - 868 phrases i to
.squa:re one's sentences. un compt,
(com.) i to balance an ac.count.
h~:~r::tt((to ~~i~~:,) to dress; (pop.) to
mea;t:n:::;;;;:l, f~~1ri~i~~~n:~~~un~~je~t:
lowance.
aliments, n.m. pl., (jur.) alimony, maintenance.
alimentaire, adi., alimentary i alimental.
Pension - j a.limony, maintenance. B4gVmB
- : diet. Pompa - j feedpump, donkey en
gina.
alimentation, n.f., al1mQl'tation i teedinl'.
allmenter, 'U.a.' J to feed, to nourish j 10
maintain
IURP1Y with what iB lleCe8!!a~,
ito
~5 fi:~~ ~"" U~1~ t:u!:e~1J~" L:illZfr~h:
market "'es not turDish enough to supply

the town.
al1menteu-z, .Ie, a.dj., (med.) nutritive,
alimentary, al.ime:t1tal.
aUne., n:m.., (-8) ,n8W' paragra];lh, break.
6l1quIDte, alli., (math.) aliquont.
allquote, alli., (math.) aliquot.
alise, n.t., beamberry, wild,sorb, chess'
opple.
aUslar, 11-.m., servioetree, berun-tree.
a.l1te, ..e, part., bedridden, la.id up.
aliter, v.".,t to (lontine to one's bed.
J~~~~~toVt~et~ok~~,:n:~t bed, be bed
aUzar:l, n.m., m.adder-root.
~j:'t~~'e.'Ve71otB - s i trade-winds.
aliIler,
V. allslor.
a1ka1l, &c. V. alca.ll, &c.
aJ.kekense, 11..'1111., wint~cherry.
to
!li:::
".m.
:If.1(~~~i~~.m~'1i\a~~.:li~
pa~\~iu~riv~~:, \~atiiht~~~ig;:Ji;Q8.
alle~orle (01-14), 71.t., oUegory. Far-;
a.Uagol'loally.
&lIegorique (aH"), o.dj., aUegoric, aile
gorical.
allegorlquement (man), 0.<1 , allegori
.ally.
&l1egoriler (80116), v.u., to allegorize.

allegoriaeur (a11e), n.m., ailegorizel'.
aUegorist. (0116) ",.m., allegorl,l.
aUegre (al.legr), o.di.,
brisk.
nimble.
sprightly, ~o11Y, cheerlul.

allegrement, Gd'V., briskly, joyfully, mer
rily, joyously.
allegresaer n.,., mirth, cheerfUlness, glad
nesSi, loy, galety, .prightliness, alacrity~ glee,

joyfulntisa:. Or18 d'-; shouts of glaanesa i
hu.zzas.
aUegretto (0116gTOHo), ad . , and ".m.,

(-a) (mu . ) allegTetto.
aUegro (oH6), aa. and 1I.m., (-a)
(mus.) allegro.
allegue. (al.I.gM), V.a.., to alle,e; to
quote, t.o brinr in, to cite, to plead, to produce, to advance, to urge.
alleluia, n.m., hallelujah; (bot., woodsorrel.
allemand, .. " (-man, 'mandl' a.clj.,Germs.:n.
'lIne q'llle1eUa cZ'-; 0 groUDd ess qUDn-el.
:M=:~e,n:.t:~ ":ue~n~~r;:d~nee.
aller, n.m., going, course ot time, run;

(nav,) olltward voyage. -et reto'lllr; voyage
aut and in.. BiUet 0/- et r6tO'lllr; re~urn
ticket. 4U lO'ng-j in the long run. AVoW
l' - pour 1.6 'Venir; to lose one's time and
trouble . ..tu pi8 - ; at the. worllt_ G'est 1Jotl'e
i it's your last shift.
alIer (allant, all!!), v.n., to~, to be gOing;
to move, to be in motion or movement; to
depa.r1 to repa-iT,
l:esort i to reach, to
~=~, ~l~~dlo~; d !~a::J;t~:e~n!gu~~ fO:~
act; to proceed; to go about; to tend, to
aim i to an-ive i to lay i to stake; to play j to
go to the water-closet; to 'Work j to chance i
to fl.t, to become, to be matched; to alit.
(W m.erck;; to go to mal'ket. AUSI en
pia -
ero
to
~~Je~if.~ ~~o~:::tfi~~:~:ir:~~:a~n~
La. carte 'Va. l& dill /ro,1I.08; the bill a.mounts

.llaltement (-llltma.:o.), n.m., lacta.tion, to ten francB. Fa;TS - ; to make go, to set
ioing. - A p(sa; to go on foot. - a. (lhBlIa.l;
nu:tA'er~~~~~o suckle, give suck, to to go on horseback, to :J:ide. - 8710 voitu1'S; to
nurse.
ride in a caniage, to drive. - au paB,' at
allant, 7I..m., goer. - st VB'/l.am.tB; goer8
and aomers.
:at::~~a~ro;::::-A~Up!~:l~ai~pt;rt~- c~t:~
allant, .e, q.d;., stirring! bustling, 'fond of - Bon train; to koep on, to take one'. own
course. - bon tram; to go on at a. good
IO~Ja:rgrJe, 710./., (anat.) allantois.
aUechementt n.m.., allurement, enticement, :::&y~~e,. ~ ~ d~t!:I~;;u:Z ~,:::8 ~ l~
baIt.
r,1I00mril ~8 ~uelt'un; to go anX meet all.)"
allecher, 1'.0.., tOo aUu1'e, to entiae, to at
tract.
~~, ~/~etet 1I~6nir~a~bJ~ :~thln:b:::'r~:
and fOl'wards. Je n. lera. qu' 13I1ae~e~a~:t"t7~~i~ ;co~a::~~~' ae~~~ ~:&: etbackwarda
ttn&r I I will not stay; I ahall be baole
Fa.(rs de, - 8 ,t
to ,0 in and out, again directly. Mo. mon-tre
1't1J8; my
to !lond fro.
allegation (aI-hi), n.f., citation, quota.tion, I~ :~e(n:~~) ~~UJ1~afo~~teb,f: 'V~~~ckJr;
alle,-ation.
tha.t suits you. A.llons 4011.0; come now j
allege,,,.fjjlighter, tender; (arch.) window
basement, st ot the. window; (rail.) tender. ~~::~:~!/'.:r~' a~':tfeb;r~~: t\:.e~ff8'/~r::"'n;.
PrAll d'-; (com,) ll,hteraae.
'nBr; to go for a walk. 4Ue, 'll'O'UB 2'rQmaner;
to
'Venue,;
on, """
[Reset in Linotype Typoeraphy. Courtesy D. C. Heath &: Co.]
STYLE PAGE FOR FRENCH DICTIONARY

CRITICAL COMMENT
DICTIONARIES, Text Books, and Readers in which
the text matter calls for the use of roman, italics, small
caps and bold face mixed in the same line, offer an excellent opportunity to the Linotype to demonstrate its
versatility.
The specimen above comes in this class and is composed
on a Linotype having Multiple Distributor, which makes
possible the moong in one line of matrices from two or
more magazines. In this case two complete fonts of 6
poi nt were employed, one containing the roman with
ltalic and smaU cap combination and the other the bold
face combination.
See also the specimens on pages 185, 188, 189 and 190.
SPECIFICATIONS
TYPE: 6 Point DeVinne with italic and small caps and
6 Point DeVinne with Antique No.3.
RUNNING HEAD: 8 Point Antique No.3 lower case.
FOLIO: 8 Point DeVinne fig11res.
(8 Point Olit St~l. No.1, 2 po/..tl.G,,-.it)
(8 Point Olit St~l. No.1, solid)
186
1--_'
j
J
ACT II.' SCENE II

ZACHARIE
Et du Seigneur I'auteI ahandonne!
STYLE PAGES
FOR FRENCH TEXT
JOSABETH
Je tremble. Hatezvous d'eclaircir votre mere.

SPECIFICATIONS
ZACHARIE
TYPE: 10 Point Bodon; Book.

LEADING: 2 ~oint.
HEADING: 14 Point Bodoni Book caps.
SUBHEAD: 12 Point Bodon; Book ca~s.
Deja, selon la loi, Ie grand-pretre mon pere,

Apres avoir au Dieu qui nourrit les humains
De la moisson nouvelle offert les premiers pains,
Lui presentait encore entre ses mains sanglantes
Des victimes de paix les entrailles fumantes;
Debout it ses cotes, Ie jeune Eliacin
Comme rnoi Ie servait en long hahit de lin;
Et cependant du sang de la chair immolee
Les pretres arrosaient l'autel et l'assemblee:
Un bruit confus s' eleve, et du peuple surpris
Detourne tout it coup les yeux et les esprits.
Une femme .. Peuton la nommer sans'
Une femme .. C'etait Athalie ellemerne
(6 Poi..t Old Slyi. No.1. 2 point leaded)
JOSABETH
Ciel!
ZACHARIE
Dans un des parvis aox hommes rese

Cette femme superbe entre, Ie front leve, ,
Et se preparait meme II passer les limites ,
De I'enceinte saeree ouverte aox seuls leviles
Le peuple s'epouvante et fuit de toutes parts
Mon pike . . Ah! quel courroux anima:
MOIse it PharaoD parut moins formidable: :
" Reine, sors, atil dit, de ce lieu redoutabh
D'ou te bannit ton sexe et ton impiere.
.
ACTE DEUXIEME
ScENE I
JOSABETH, SALoMITH, LE CHCEUR
JOSABETH
Mes fiUes, c'ast 3SSez; suspendez vos cantiques.

II est temps de nous joindre aux prieres publiques.
Voici notre heure. Allons celehrer ce grand jour,
Et devant Ie Seigneur paraitre notre tour.
SCENE II
JOSABETH, ZACHARIE, SALOMlTH, LE CH<EUR
JOSABETH
Mais que vois-je? Mon fils, quel sujet vous ramene?

Oil courezvous ainsi tout pale et hors d'haleine?
CRITICAL COMMENT
THE similarity between the Bodoni and the
Didot types makes this an appropriate selection for a French volume.
These pages follow the French style of indention, and are characteristic examples of
French typography.
ZACHARIE
a rna mere!
JOSABETir
He hien!
quoi?
ZACHARIE
Le temple est profane!
(8 Po'nt Old St:;lt No.1. 2 po;"t leaded)
JOSABETH
Comment?
:)T"",-~~-,::,::::::"~.....""""",.,,=~n;,,,,~" """"~"':'''~'''''''''''!'''"''''''~''''''''",_~'':'~~.':''.;~;''':-:::~'~__J''~~_''-'''''"''''''''~'''-=:-~""""""""~"!.""':""""''''':''='~~~
,i
r!
22
mer atme $eina fef)Hef Me sanae \Qaef)t
'I:' j
J:,'
('j
11
~!
ii
~l
10
SPECIFICATIONS
fein ganees ~eib roieber bot iqm unb srinfte i~)n on rote
Upper Page
eine XeufeXSIatbe.
TYPE, 10 Point German No.3.
LEADING: 2 point.
S), roenn itlj bergeffen fonnte," tief et, "toenn tcf) bet
RUNNING HEAD: 8 Point German Bold Face
No.2.
geffm ronnie 1@8 sieM einen faorn; roenn man bon ieinem
FOLIO, 10 Point German No.3 figure .
mlaH er ninH, f0 fcf)roinbet aIlc~ fl1ergongene aug bem
MARGINAL FIGURES, 10 Point C.,lon Old
Face figures.
@leb1icf)tni~. lffier aeigt mir ben lffieg au bet OueIle~"
Lower Page
,,~eiJ" rief eine <5timme neven iljm. lImon bern lffioifer,
TYPE: 8 Point German No.3 with Bold Face No.2;
ba~ bergeiien modji, bin idj rooljI tmterrid)tet ullb roill
!n~OA~~~~dJtgl~o~n<t ~JI~t! grJi~:~~ small caps
Gfucq gern mit metner lffiifienicf)aft au $Dienften fein.
LEADING: 2 point.
~etna bUdte ouf unb ialj bot fidj einen iungen Qlefellen
RUNNING HEAD: 12 Point Old Style No.3
small callS.
ilt aerfcf)HHenem, fef)tootacm Qleroanb; aw ieinen <5cf)uljen
FOLIO: 10 Point German No.3 figures.
BOLD FIGURES: 8 Point Clarendon No.1 figures.
fcf)auten fiirroi~ig Me 8eljen. $Der gob fief) aI~ faljrenben
<5d)iiIet au edennen unb fllrocf) roeHer :
(6 Pomt Old Style No.1, 2 point leadeel)
,,:Do!! lffiaffct, roelef)es betgefien macf)t, ljeif3t 2etlje unb
fllringt in @lrieef)enlanb. :Dortljin aIio miif3tet ~t teifen
unb bonn an Itt unb SteIle ba~ !nii~ere erfragen. !IDolIt
~ljr's aver bequemer l}aven, fo liegreitetmid
,,8ur fa rauen :ttauIJe. @iie Iiegt nicfJt roeit
roitb Gfucf) hie lffiirtin ben Xranr ber !Bergel
aen, botausgefe~t, baa Gfuer faeUeI minbe'
bet meinige." .
NOTES
77
@io flltacf) ber fl1ogant. ~eina aber erljoli:
53.-1.
(eine
<ilefc!jic!jte)
sum
l8eften
ge~en,
to
relate
a
sto.y.il}m in bie !illalbfcf)enfe. :Dort nonIen bie vr
3 ~U~ 1111, archa3c for fjoli an.-7. be: Qjtafenftein, the Count's
einen ganaen :tag unb eine ~aThe !nadjt, II
stone; there is an immense rock by this name in "Thfuoingen" near
!mttternacf)t eintt1cf)t!g auf ber IOfenhnf II
Eisenach.-Io. iteufd~fed (devil'e-churl), wild rake.-IIj.. (bie)
~etna aIfetbing5 betgenen, roas iI)n fiimmel
mllentugenb, ance.tral virtue.-16. 8U UloQ, on horse; au is often
IDHt bem 2ic!j be5 IDlorgenS ram aver aue
used thus. Cf. au goua, au !!Ragen, all IEdjijf, etc.-fafmben auf, to
pursue; a legal term.-17. ~ettentelfJt, lord's right. Cf. .;:Ji'cgetGfdnnerung bet bem ~iiget roteber, unb ~o
tedjt. 52. 12.-20. entglitt, entgreiten, to sliP away,. ent has the
ovenbrein. :Da :Oeaa~Ite er feine unb ieir
/I
,;
1:
~:
~;
o~me :traum,
STYLE PAGES
FOR GERMAN READER
fii~ iqn Me !morgenfiilte roeette. ~a itanb aber aucf) ar~barb
" :,
I:I
~d !maffet bel! i8etgeffed
15
!'
zo
zs
30
II
CRITICAL COMMENT
THE reader pages shown on this page are a

practical demonstration of composition in
the German language. The upper page is
set in 10 point throughout, while the lower
page is set in 8 point.
In order to compose pages similar to the lower
specimen, a Linotype having MUltiple Distributor must be used. This permits the mixing in the same line of the German light and
bold face with the English roman, italic
and small caps. See also pages 185, 186, 189
and 190.
force of separation. Cf. enUommen, to escape; entneljmen, to take

away.-llj.. e$ is an indefinite subject frequent in German; used to
convev an idea of something mysterious or gruesome, Cf. 18 8..6. bltB I5toligefiet, tke hurried pra)ler'-'9. !lon bet=bon biefer.
ging; in fic!j geljen, to repent, ,eform.
54.-3. !malb~lIter (wold-, forest-heeder) =.;:Ji'cger, hunter, for.ste'.-7. lIJunberjllm,=tounbetoar, wonderful, miraculo'us " distinguish from IDunberIidj, strange, queer.-S. afjn!idjeB I eupply ettocr!l.
-13. fjodjjelig (high-blessed), lat. (of deceased high personages).
cr. bet ~odjfe!ige ~i:ini(l, his late Maiesty of blessed memory; also
meine feriBe llnutter (French: ma sainte mere), n1y deceased mother.
~e" Iltlttet; ~etr is used for reverence with lUater, !8ruber etc.,
and with titles, llSrofeffor, 5rlofor etc'-'9. bie l5auf,all=llie lEau~~e, the boaThunt.-.o. ~lIu,tflfJl1Jeln, boar over five years. ~ttffllfj!
hurrah/-.x. ben riiutenben Olliben, the .ounding pack. tf,ai'Bareidjl einem gIeic!j tfjun, to equal.-.Ij.. (bcr!l) Glefid.,tl I. the face;
. th. sight,' 3. the vision (plu. -e)
auf gilt Qjrtlif (on good
luck), at hapha.ard.-3x. unb llantar~-; notice the clever suspense
in narration.
1i1l.-1. !metter, lIJeitet/ Go on, go ani 1-4. ei gelingt mit, I
.ucc d; geIingen is always impersonal.- 6. ~utiedd. cr. 52. I.
gefohn, to promise, vow; distinguish from rOlien, to praise.!madj$ferse, wax-candle for the saint's shrine.-x6. ftug=fragte,
which is the older form; ftllg is formed in accordance with such
verbs as n:agen-n:ug-gen:agen.-18. 15d',u1!~atton=~ubettu~.
-19. mein 2ebtag (life-day), my life long.-.o. elne atme ~aut
(a poor hide), a poor fel/ow.-21. Unfetetnet=einet bon uni.
31. et-fel~et, F]ubertlts himself.
,-'5.
(8 Poi"t ola Style No.1, 2 pointleael,d)
[Reset in Linotype rypo(Jraph)l. Courtesy Henry Holt &
ISS
Co.l
LESSONS AND EXERCISES
107
per i sign6ri. 3. Cio possibile, rna non Ie certo. 4. Chi ha un

pilelre c6me qu6Ilo Cm6lto fortunato. S. Chi e? E queUo studente
francese. 6. Che cosa avete in qu611a mana? Dei biglietti per una
g'ita a Venezia. 7. Quille i\ i1 numero della C:1sa eli quel signore?
S. Quale lezi6ne ern hI piu difficJe? 9. Quanti quadri in quel
saletto I 10. Di chi c quel cappello verde?
4. Trallslata into Italian.' l. What handsome children! Who

are they? 2. Those poems arc shorter than this one. 3. How
much money would he have then? 4. At last he has what is
necessary for the work. S. These boys are here every morning.
6. Arc you reaely? Have you those tickets? 7. Which churches
are more interesting, those of Venice or those of Milan? 8. That
red is pretty. Yes, if it isn't too dark for the room. 9. How many
will be here Monc.lay? More than ten or twelve? IO. Whose
g'lllsses are these? Are they John's?
STYLE PAGES
FOR ITALIAN GRAMMAR
SPECIFICATIONS
T;~:~n~.~n~Q~.;t~n~l ~~l~~
Antique
Sfd 1t';I~hJ:lii
with
No.1.
LEADING: 2 point.
HEADING: 9 Point Antique No.1 c.ps.
SUnHEAD: 81'0int Antique No.1 cap
RUNNING nEAD: 8 Point Old Stylo No.1 cap .
FOLIO: 10 Point Old Style No.1 Inodorni.od
figures.
(6 Point Old
St~lc
No.1, Z point I,.d,d)
LESSON 9. THE FIRST CONJUGATION

Stltdy 58, 59 [omittillg (a), (b)], 62, 63 [O!littilSg (a)-(d)],
the first sontonce of 75, and the first smtancc ot 77
EXERCISE 9
1. I dO/IUfy a.nd trallslate: lJal'lo, parlercte, pal'li,

late, parJi(ullo, patJcrci, pnrlcriLi, lliLrlillo, padera.,
vano.
2. Translate illto Italian: I spoke, she would sp
speaking, 1 shall speak, they spolce, speak, let us s'
speak, speaking, they speak, WI! Sh(lUJd speak, be spe
VOCABULARY
baulc, m., tmllil.
cstmc, Ill., ,.'I'UmiIlCiliOlI.
forcstierc, Ill., f oraiUllcl.
guAnto, ulmlc.
mom6nto, ",mllc"l.
palAzzo, PUIIICC.
pane, Ill., bread.
paniare, m., ll(/s

poetll, 111., poet.
chiiive, t, key.
gallerIa, gallery
stazi6ne, f., stili
univcrsitA, utli'IA
CRITICAL COMMlmT
TJ:m camhi nation of Old Style No.1 roman

and italic with headings and catch words ill
Antique No.1, as alww!1 in the pagcs above,
produces a neut and clignified page.
Composition ()f this kine! is J.11ocluccd all a
Linotype having' MlIltiI)]e Distributor, which
mtlkcs possible the mixing ill one line of
matrices fre1111 two or more malidzincs. Sec
jlUges 185, 186, I fiB lind 190 for additional
spccimens in this dass.
(8 Point Old Stylt No.1, 2 (loinII dad)
ITALIAN-ENGLISH VOCABULARY
HUe, such, so.
tanto, so much, as, so;-pi)), all
the marc.
tardi, la~c.
tardo, slow.
tasca, pocket.
tavola, tablc.
teatro, tlH:aUc.
tedesco, Gcrman.
telefonarc, to telephone.
tSma,m., theme.
tcm&re, to fear, be afraid.
tempo, time, wenthcr; tano-,
so long.
tenere, to hold;-per fermo, to
be certaill;-vlVO, to keel> up.
terra, earth, lit'ound, land, world.
terribile, terrihle.
terr6rc, m., terror.
tesOro. treasure.
testa, heael.
Tlivcrc, 1'/1., Tiber.
t!ngere, to tinge, stain.
toccarc, to touch, feel.
tOglicre, to takc;-a, to take
from.
t6no, tone.
tornare, to I'cturn, g'll hack, come
back; tornArllenc, to come h0111e.
t6rre. t., tower.
torto, wrong; aver -, to be
wIong.
toHHe, totn!.
tra, between, through.
tranquillamente, calmly.
trarre, to draw, bl'ing, takc.
trascinare, to drag.
trattAre, to treat.
tremare, to tremble.
treno, train.
trionfale, triumphal.
169
tri6nfo, tl'iumllh.
tristc, sad.
troppo, too, too much, very; pur
-, unfortunately.
trovare, to find.
tumulto, tumult.
tutto, all, everything; - ii, the
whole; tutti e due, both.
U
ubbid!re, to obey.
uccello, bird.
udlre, to hear.
ultimo, last, latost.
umana, hUlllan, of man, kindly.
umido, wet.
unire, to tlnite.
unita, ul1ity, ul1ion.
univcrsita, L1Il ivel'sity.
uno, one, some, someone; 1'- e
l' altro, both.
u8mo,man.
uscio, doorway, door.
usc{re, to!l'Q out; - di, to leave.
utile, useful, goot!.
V
vacanza, vacation.
vacca, cow.
vag6ne, m., car.
val&:re, to he worth; far -, to
prove.
valigia, valise, hag.
vallata, valley.
van, 3,'cl pl. pres. illd. of andarc.
vaticano, Vatican.
vecchia, old womall.
vecchio, old; n., old man.
vcdSrc, to sec; far -, to show.
vendere, to sell.
venerdl, Fritlay.
[Reset In Linotype Typography.
COlJ.rt~sy
D. C. II cath & Co.
50
[ 55
LESSON XV
ro~t (compr-, com-, viv-), or, in the future and conditional indicative, to the whole infinitive.
I
INFIN.
PRES. biD. PRET.
GERUND.
P.PART.
1:: ..
comprae
compro
compre
comprando comprado
the
STYLE PAGES
FOR SPANISH GRAMMAR
=~{
"''''
11
~
'S
~t:{
1: ..
1><",
11
~
SPECIFICATIONS
FUT.
comprare
IMPF. IND.
compraba
CONDo IND.
compraeia
SUBI. CONDo SUB].

compre
compeau
"''''
11
No.1.
RUNNING HEAD; 8 Point Old Style No.1 caps.

SIDE HEADS; 6 Point Title No.1 caps and
lower case.
FOLIO; 10 Point Old Style No.1 figures.
FUT. SUBT.
comprare
PRES. IND.
Como
COInt
FUT.
comere
IMPF. IND.
cornia
IMPF. SUBI.
comiese
CONDo IND.
comeria
PRES. SUB]. COND.SUll].

comiera
coma
GERUND.
comiendo
III
PRET.
vivi
PRES. IND.
vivo
IMPF.IND.
vivia
CONDo IND.
viviria
PRES. SUB]. CONDo SUll].

viva
viviera
IMPv.
vivid
I
I
I
I
i
I
167
SPANISH-ENGLISH VOCABULARY
GERUND,
viviend"
FUT.
vivir
P.PART.
comido
FUT. SUB].
comiere
IMPv.
comed
INFIN.
vivir
(6Poinl Old Style No.1, 2 point leaded)
II
PRET.
INFIN.
comer
vive
TYPE; 8 Point Old Style No.1 with italic and small

caps; 8 and 10 Point Old Style No. 1 with Title
PRES.
I MPV.
compra comprad
come
"J:=~{
..
IMPF. SUBI.
comprase
l)1[PI". SUBJ.
viviese
FliT. SUBJ.
vivien
CRITICAL COMMENT
THESE pages again demonstrate the Multiple Distributor feature of certain models of
the Linotype, which permits the mi.'ting of
matrices from two or more magazines. In
this case 8 Point Old Style No.1 with italic
and small caps is carried in one magazine
and 8 Point Old Style No.1 with Title No.1
in a second magazine. The weight of the
Title No.1 gives just the proper emphasis
to the catch words and terminations. See
also specimens on pages 185,186, 188 and 189.
(8 Point Old Style No. l, 2 poinll.aded)
derecho, -11, right; a ]a derecha,

to the right.
desagradable, disagreeable, unpleasant.
desayuno, 111. breakfast.
desayunarse, to breakfast.
descansar to rest.
descortes?a, f. impoliteness, incivility.
descripcion, f. description.
desc:ubir, to discover.
deade, from, since.
desear, to desire, want, wish.
deseo, m. wish.
deaertar, to desert.
desistir, to desist.
desorden, m. disorder.
despacio, slowly.
despacho, .... office.
despedirse, to take leave.
despertarse, to a waken.
despues, afterwards; - de, after;
-que, after.
destrDir, to destroy.
detalle, m. detail.
detras de, behind.
devolver, to return.
elia, m. day; al - siguiente, on
the following day.
diaho, p. p. of decic.
diciem.bre, m. December.
diente, m. tooth.
diez, ten.
dificil, difficult.
diticultad, f. difficulty.
dinero, m. money.
Dios, .... God.
direccion, f. direction.
dirigir, to direct; - se al portera,
to inquire of the porter.
disdpulo, -a, .... and f. pupil.
discurso, m. taIk, discourse,
speech.
dispensar, to excuse, pardon.
distar, to be distant.
distinguir, to distinguish.
distintamente, distinctly.
divertir, to amuse.
dividir, to divide.
doce, twelve.
docena, f. dozen.
dolar, ns. dollar.
doler, to pain, hurt.

dolor, m. pain; - de cabeza,
headache.
domingo, m. Sunday.
Don (D.), Mr. (used onl~ with
Christian names).
donde, where?
donde, where.
Dofia (Da.), Mrs. or Miss (used
onl~
with Christian "ames).
dormir, to sleep; _e, to fall

asleep.
das, two.
drama, m. drama.
dramltico, -a, dramatic.
drogueIfa, f. drug store.
dudu, to doubt.
duello, m. master.
dulce, sweet; -s, sweets, candy.
dulcemente, sweetly.
duodecimo, twelfth.
duque, m. duke.
durante, during.
durar, to last.
duro, m. dollar.
duro, -a, hard.
II
I
I"
I
I
I
iI
it
!I
il
~
e, and
echar, to pour, pour out, throw.
edad, f. age.
editicio, m. building.
ejercicio, m. exercise.
el (la, 10, los, las), the, that, the
one, those; - que, who, whom,
he who, etc.
iiI, he, him, it.
elegic, to elect.
ella, she, her, it.
ello, it; - es, the tact is.
ellos, -as, they.
emocion, f. emotion.
empeiiarse, to insist.
empezar, to begin.
empleaI, to use, employ.
empleo, m. work, employment.
empIesa, f. Wldertaking.
en, in, into, on.
encargar, to charge, order.
enceuder, to light.
i.
/'
,.I"
[Reset in Linotype Typography. Courtesy D. C. Heath & Co.]
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".,u..,_...........
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190
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f)\J
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t) w.;
STYLE PAGES
FOR ARABIC COMPOSITION
.;..i\j
.;,.)).r.f'
J.:-.>J 1
trw
V7 I
SPECIFICATIONS
TYPE: 18 Point Arabic.
HEADING: 24 Point Arabic Bold.
(6Poi"t 014 Stsl. No.1, 2 poi'" leaded)
J\iJ
'l
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f-i
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JI J\jj '~..)~I JI !IyL-l1 dJ..iS 'lJ ~ ~I

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r"\f."'J.I~1 ~ J..1...t ;.;1S'w.~.)j ~.
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.!J"jU (.)" ~_.)l.:-J iJ':-J" (.)" ~!I~ ,..;.:s.J -oJ" (.)"
:..J J\i ~ 0\;\ loll .rW1 ;.;\.G ":J..,}-. ;.;ISJ '.::JI."..
,-,
1 -1.,; 1.1:!. \..:....1.>-1 uJ"!.
<' u.
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CRITICAL COMMENT
ARABIC is the living tongue of seventy-five
millions of those that live in the wide zone
of Islam that stretches from Morocco to
the East Indies; and is the literary medium
of Mohammedans throughout the entire
world. It is the native language of Syria,
Arahia, Egypt, and Palestine: its charac.
ters compose Turkish, Persian, and Hindustani, which differ from Arabic much as
Portuguese Or French differ from English.
The adaptation of the Linotype to Arabic
is eloquent tribute to the versatility of the
machine. The broad sweep of wide strokes,
which are read from right to left, is made
possible by division of matrices into prefix,
medial, and final, thus comprehending the
entire alphabet. The specimen shown above
is from an old tale of Bagdad, entitled
"The Caliph and the Poets."
+~I J~
r'
L.'\AJ
4,:-.."uJ '~I ~
.,.::..J\
~~ ~ ~..I"
'\.)J <fll ~.)~I ..i... j
~'l' Jlfj cf.~I';'" ..rW1 'C~ '.::J\..I".!J"N

;';1,,1.-1
;.;..~
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r} ~J ~ liS 1 ~ ~Lo"";j ~~(.)"

~J '..r.:-'. .P ~ ~j ;.)1.0 J 4Al"
r t..1:! .sJ '-:'.?
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')\9 !I.;:Al
.;..i
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cjl J\jJ ~\ JI '~j ~
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tf ;.; 1 '-:'~ 1 G- 1 ~ JlQ9 .~. ~."..J \
~~ t/' \..;';j ~ dJ..:..i1S' ;';\J ;;.J~ 4.1 ~

:.~.;.i\J ~.J
J\i +y
..u
(8 PollIl Old Sl~l. No.1, 2/1oinlle.ded)
191
STYLE PAGES
FOR RUSSIAN COMPOSITION
1130 cotrHHeHi}i
H. B. rOrOJIH.
SPECIFICATIONS
Page 53
TYPE: 10 Point Russian No.3 Light.

LEADING: 2 point.
RUNNING HEAD: 12 Point Russian No.3 Light.
CHAPTER HEAD: 10 Point Russian No.111lalic.
FOLIO: 10 Point Russian No.3 Light filfUr.s.
INITIAL: 24 Point Cheltenham.
RULES: 3 Point Matrix Slide No. 303.
HHM'b, yKa3hIBa~ BCt.M'b Ha rpt.llIHHKaj CaMa ;a:opora,

t:ry;a:HJIOCb, M"laJIaCh no CJI'B;a:aM'b ero.
OTtlalIHHbIH IWJI,lI;YH'b JIeTt.JI'b EI'b KieB'b K'b CBHTbIM'b ~tcTaM'b.
Paoc 7
rAaBa KY.
TYPE: 10 Point Russian No.3 Bold.

LEADING: 4 point.
TITLE: 14 Point Russian ChUl'cb.
D~'i>~~Il3;r~ ~U:,o~~.BJ"s"t:.r Nos. 548 and 549;
FOLIO: 10 Point Ru .. ian No.3 Light
;a:HHOKO CH,!l:BJI'b B'b CBoeH nelUep'B nepe;a:'b JraMna,!l.0I0 CXHMHHK'b H He CBO,n:HJI'b OqeH C'b CBlITOH
KHB:rH.
figul'e, bracketed.
Y}Ke MHoro JItT'b KaK'b OE'b 3aTBOpHJICJ'l B'b
(6 Poi~1 Old Slyle No.1, 1 pomlload.d)
cBoefi nel1l,ep'Bj Y}Ke c,n:tJIaJI'b ce6t H ,!I.Olll.aTblfi rpo6'b

B'b KOTOPbIH JIO}KHJIClI CIlaTb BMtCTo nOCTeJIH. 3a2
KPbIJI'b CBHTOH CTapell,'b CBOIO KHHry H CTaJI'b MOJIHTbcH ... B,n:pyr'b B6t}KaJI'b t:reJIOBtK'b 1l:y,n:J '"
1,
I
BH;a:a. 113YMHJIC~ CBHTOH CXHMHHK'b )

H oTcTynHJl'b, YBH,n:'BB'b TaKoro <leJIOI
}KaJI'b OH'b, KaK'b OCHHOBbIH JIHCT'bj,n:B
'i
,n:pOiKb HaBo,n:HJlO Ha ,n:yllIy ypO,n:JIHB(

OTeU'b, MOJIHCb, MOJIHCb! sal<
I';,:
II
1.:,
Ot:rH H CTpallIHbIH orOHb nyrJIHBO Cbll
t:raHHEO: - MOJlHCb 0 norH6Lllefi ,n:YllI',

Ha 3eMJIIO.
CBflTO:li: CXHMHHK'b nepeKpeCTHJl(
ry, pa3BepHyJI'b ee H, B'b Y}Kact, OTCT,
BbIPOHHJI'b KHHry: "H'BT'b, HeCJIhIXaH:
H'BT'b Te6t nOMHJIOBaHisr! E'BrH 01
MOJIHTbCsr 0 Te6t!"
-
HtT'b? -
SaKpH<laJI'b, Kll.K'b
61
HHK'b.
,
- fJlH,!I.H CBHThIR 6YXBbI B'b I
KpOBblO ... Ew.e HHKOr,!l.a B'b Mip'B He:
rpt.IllHHKa!
-
OTeu.'b! TbI CM'BellIbClI Ha..n:O ~
53
B'b CTapble rO,lJ,bI npOSlBHJlCSI HeB)l.aJleKt OT'b KieBa

CTpawHbIlt SMtii:. MHOrO HapO)l.Y nOTaCKaJlb OHb HS'b
Kh!Ba D'b CBOlO llepJIory, nOTaCKaJl'b H notJl'b.
YTaIUHJI'b 3Mtil H Uapct<ylO )1.0%, HO He Cbt.JI'b ee, a
KptnKo-HaKpt.nKO sanep'b D'b cBoeil 6epJlort. YBSlsaJIaCb sa u.apeBHoii: HS'b l10MY MaJIeHbKa!l co6alfeHKa.
KaK'b YJIeTHT'b 3Mtlt Ha npOMbICeJI'b, uapeBHS HanHWeT'b sanHCOt:rKY K'b OTUY, K'b MaTepH, npHBSUHeT'b
SanHCO'lKy K'b C06atlKt Ha weIO H nOWJIen ee ,lJ,OMoil.
Cofiat:rKa sanHCOIIKY OTHeCeT'b H OTBtT'b npHHeCeT'b.
BOTb pas'b uapb H uapHua nHWYT'b 1\'0 uapeBHt:
"ysHaH-,lJ,e OT'b 3MtSl, KTO ero CHJIbHtA?" CTaJIa uapeBHa OT'b 3MtSl ,lJ,OnbITbIBaTbcSI H ,lI;OnbITaJIaCb:"EcTb
-
rOBOpHT'b 3Mt.1t -
B'b KleBt HHKHTa-KolKeM!lKa -
TOT'b MeHSl'CHJIbHtA." KaK'b yweJl'b 3Mt.A Ha npOMblceJI'b, u.apeBHa H HanHCaJla K'b OTUY, H'b MaTepH: "eCTb)I.e B'b KieBt HHKHTa-KO)!{eMSlKaj OH'b Ol1HHb CHJIbHt.e
3MtSl: nOWJIHTe HHKHTY MeHH HS'b 3JIOH HeSOJlH BblPYtlHTb."
CblCKaJI'b u.apb HHKHTY H CaM'b C'b uapHueit no-
CRITICAL COMMENT
weJI'b ero npOCHTb: BblPYlfHTb HX'b )l.OIIKy HSb T!I)!{KOii
PRINTING in the Russian language appears

strange to eyes accustomed to the roman
characters, by reason of the apparent inter.
mingling of small caps and lower case. Yet
these type forms permit the development
of beautiful pages, pleasing to the eye.
Heavy-face type is considerably used, especi_
ally in books, having wide circulation.
HeBOJIH. Bb Ty nopy M!lJI'b HHKHTa paSOM'b Jl.BtHaJl.uaTb BOJIOBbHX'b KOiH'b. KaK'b YBJlJl.aJI'b HHKHTa uapsr
-
HcnyraJlCH: PYKH Y HHI\HTbl saJl.pO)!{aJIH -
H pa-
30pBaJIb OH'b paSOM'b Bet .1lBtHa.1luaTb 'CO)!{'b. Pa3cep-
[7]
(8 Poinl Old Slyle No.1, 2 point leaded)
192
SAMPLE PAGES SHOWING VARIOUS STYLES

OF COMPOSITION FOR DRAMATIC AND
GENEALOGICAL VOLUMES
BIBLIOGRAPHY AND
INDEX SECTIONS
1/
I
SPECIFICATIONS: The border enetoring ,hi, ptlge ;. huilt up with

611 QS80ctmenr of Lir2orgp~ d~tOrafiue
'0
material
placed cra to
tbis plm'ing rife,;'. The uar;ou, designs are herewith lisrd
in the order in which rhev appear. beginning at the oatside: J
Point Matrix Slide No. 406; 6 Point Matrix Slide No. 181&:
8 PCJint Matrix Slide ND. JJl I: 6 Point Matr;x Slide No. 181&:
2 Point Matrix Slide No. 401-; 24 Point Border Not.. aSI. 8,1,
855. 857 tlnd 1J59~ in combindtion; 6 Point Matrix Sride No.
142: 6 Paint Bardcr No.1 18 with Cornerpi,ee No.1 /854, lind
Z Point J..latrix Slide No. 40Z. The free ornament i. 6d Point
X-1459. 14 Poi"t Bf!ncdicrine nook roman ~ps waa used for title.
produ~t
::
MR. FAUST
ACT V]
.';
STYLE PAGES
FOR DRAMATIC COMPOSITION
99
In my enchambering memory-Life, life

With all its glow and wonder pours a flood
On this strait room whence I have watched the worldWhence I must go with all my love and wonder
As though no love and wonder I had won.
[Faust bends his head, sinking into a daze of thought.
Brander doubtfully approaches him, and at last
touches his shoulder. ]
SPECIFICATIONS
UN" Paye
OVER-ALL SIZE: 21 x 35 pico .

TYPE: 11 Point Scotch.
LEADING: 1 point.
RUNNING HEAD: 11 Point Scotch cap. and
small caps.
FOLIO: 11 Point Scotch.

Lower Page

TYPE: 11 Point easlon Old Face.
LEADING: 2point.
RUNNING HEAD: 14 Point C.,lon Old Face
BRANDEl!.
I have been heavy-hearted; but that thus

I find you, overwhelms me.
small caps.
FOLlO: 12 Point C.slon Old Face.

FAUST
Why thus sad
(6 Po,nt Old Style No.1, 1 po,nt leaded)
Over milk so irrevocably spilled?

BRANDEl!.
I cannot utter what is in my heart.

It is as though I had with my own hand
Stricken you down. And yet I did not dreat
Of what would follow. . 0 Faust, F
give me!
FAUST
Forgive you? Aye, and thank you! Greater

Hung imminent than you dreamed of. For,
Wild lightnings free in me that smote the ds:_
Furled round me; and they grew and l1a
fiamed
Even as I fell. Aye, Brander, you who stro,
For my salvation should rejoice at lastNow, past all doubts and wanderings, I am I
35
THE PILGRIM SPIRIT

MRS. GREENWOOD
Yes, mine if you will, but not yours!
Not yours!
(Wanly) Perchance there may be another respite.

BARROW
(Who has been walking up and down) Nay, no

more respites.
Last month they had struck off our
chains and stood ready to bind us to the cart to take us
BRANDEl!.
Saved! .Ab, impossible!
to our deaths. A reprieve. Another day they took us to

the place of execution and tied the nooses around our
necks to the gallows. Again a reprieve.
[Reset in Linotype Typot;raphy.

Courtesy Liule, Brown & Co.]
Enough of
reprieves! What our words, what our lives could not

do, our deaths
will. Men pass; ideas abide.

MRS. GREENWOOD
JOHN HENRY, pray!

me strength.
I cannot. Pray that God give
As her husband comforts her, BARROW begins praying. Distantly a bell strikes ten.
MRS. GREENWOOD
Only seven hours to daybreak! Only seven.
CRITICAL COMMENT
COMPOSITION of dramatic manuscripts
requires careful advance consideration in
order to keep the dialogue and the stage
directions so clearly distinct that the reader
has no difficulty in following the text. The
page above accomplishes this by reverse
indention of text; the lower page emphasizes the characters by using caps and small
caps for the names and centering names of
speakers.
II
She clings to GREENWOOD, sobbing hysterically. To

the sound of BARROw'S half audible praying, the lights
close i1~.
SCENE III
THE
1603
OPPOSITION-April,
The Royal March in this scene was composed by

EDWARD BURLINGAME HILL
The lights come up quickly and full. There is a rush

and flurry of children and young people across the way
(8 Point Old St"l. No.1, 2 point "'aded)
[Reset in Linotype Typography. Courtesy Marshall! ones Co.]
l.1i liQ-"~-_ ;' ;- ; "-'; "-; -' ' -; ;-' -' '- _-' - ; -~' "' ' ; ;- ;'
~- .;.;;;-.~.;;;;;.;",~_,_,
-...
- ..
--.....;;--iii;;;;,;...;;;
....;;...;;;..,;;;-;m;-_ ___.......;;;.,;;;
....-iiii-...-;;.;"_______.....-..
-;;.-......
--."...-.,.;";. ....
--..
- _"",';;'"
194
...
ATHANASIUS
STYLE PAGES
FOR DRAMATIC COMPOSITION
Alexatuler.-Dost thou indeed so greatly love the Saviour

of the World, Athanasius?
SPECIFICATIONS
Upper Page
Athanasius.- Beyond all words I love Him. I wish that
TYPE:
12
Point
Franklin Old Style.
like the martyrs I coul<;l. seal my love and die
LEADING: 4 point.
RUNNING HEAD: 11 Point Franldin Old Style
for Him.
caps, interspaeed.
FOLIO: 12 Point Franklin Old Style.
Alexa1zder.-Art thou also willing to live for Him,
Lower Page
Athanasius?
TYPE: lZ Point Century Expanded.
LEADING: 2 point.
Athanasius.-Oh, if I but knew how! I would do His
RUNNING HEAD: 12 Point Century Expanded
small caps.
will as long as there was a breath left in me.
FOLIO: 10 Poim: Century Expanded.
(6 Point Old Style No.1, 1 point lea~.d)
Alexander (tQ h,imself in reverie}.-This pure stream of
faith and love should not be left to chance
guidance.
Vision (WhO h,as drawn near, and now speaks behind him,
invisible to A Zexander and A f '
. .,
Lift up thine eyes, Alexander, ~
the future. Couldst thou do b
Church of Jesus Christ than :
86 HISTORICAL PLAYS OF COLONIAL DAYS
child for service therein?
PATIENCE.-Oh, that would be dreadful!
A Zexa'lZder . (dreamily) . - Yes the days are;
MARGARET.-I should not dare.
I see on the horizon the dust of ti
ANNE.-Well, I shall dare. Will you come?
. . . when this clear mind and
MARGARET AND PATIENCE.-Oh, no, no!
will be needed in the Church. (),
ANNE.-You can't be over-thirsty then.
(She starts off, but spies the sack of apples.)
to A thanasius) My child, I t
Oh, look! Patience! Margaret! See. what I
Custodian of the Sacred VesseJ
have found! (She holds up an apple.)

MARGARET.-Why, what is it?
PATIENcE.-Oh, how lovely and smooth it is
and so red!
MARGARET. - It looks like those big berries
that the Indians call tomatoes.
ANNE. -N onsense!
MARGARET.-Well, do you lrnow what it is?
ANNE.-Yes! It is a pomegranate.
PATIENCE AND MARGARET.-A what?
ANNE.-A pomegranate!
MARGARET.-How do you know?
ANNE.-I've read of them.
MARGARET.-Are you very sure?
ANNE.-The prince always says, "Hermouth
was a split pomegranate set with pearls."
PATIENCE.-Why, Anne Bradberry! What
dost thou know of princes!
ANNE.-The prince in the book I mean.
Didst thou never read the "Arabian Nights'
Entertainments" ?
37
[Re.set in Linolype Typography.
;
Courtesy Longmam, Green & Co.]:
CRITICAL COMMENT
THESE pages of dramatic composition can
only be used where the manuscript is slight.
The page above sacrifices space to clearness; the page below is more economical
of space, but is less readable.
. (8 Poinl Old
St~l.
No.1, 2 pDlnt leaded)
[Re.set in Lin.otype T'J'Pography. Courtesy Long mans, Green & Co.]
~;';';_~~~~~;:;;:'~-:;;-&~~'~';;~~,!-;-~~;;;~~;;~:;;;~~;-~~Ji;.3';:,!':';9",Mf':'fM~~.a;~~':\",~~'f).'II1''''',,~M'~4.::~.''''~;u,,-v.~~~'k.l''~~~:''''~;.;'~~~
F;::
S1'!:CIF!CATIONS
THE JONATHAN
SMITH
C'rr~" 1'.'!1
FAMILY
TYPr:~ 14 Pulflt C:l.!thm ot.l1''.wr wIth ltl!.Hc Imd amall C"IlI.

I.l:A\)[~l;: ~ pili lIt.
Rl!NNINt: Hr.\h: to! l'lliut l'.1'111)I'\ 0111 F4i.'.t IInhl.H Cotps.
I,'OLtO: 14 l'llilll I.'atllull tHtl rJ.(r. li}lllCC"1I htad(t't~\l.
4. Mary Johnson, b. 3 I May, 18 9 2 .

5. Francis Johnson, b. 2 June, 18 94.
1"IIU'~1'
1"'4111
T\"tlt-:: l} ~fI\1 l' ,'(lhlt l:v!wJi,'itur HUlIk. 1I1l.} II l',lim

lI':M,Ih.Ullr.
U:I\lllN{;: ..: III\IIH.
HlitllU'S: () IUlll II l',I!ttt IIrlu'.lldillfl IIllhlrtflll;l"~ hgurt!.lllnd
H l',IIlU llr.lu'I!t'" Hta, .I tJ.U~ 11M ~I) lit tlt!Ur'I:'l$.
IH.INN'lN(: Hf:.\!1: 11 ~lpl,,' ltrll~,I~ctIIlCl ~lIllatl t,lp1.
r'Ut.tu; 1 L 111~\llt U"llrdh ~hl" IIt~ :lt~ 1.... tlll~Ir"',
III. ROLAND SMITH, born 24 March, 1860;

married I 3 October, 1886, Margaret
Patterson Snow, of Boston.
(0/"',.1' t:.Hi,'IJI 0;,1 ~.-.I~II..! 1','I.fli 1~.J.II!.l)
ISSUE:
John Smith, b. 16 Ju1v

2. William Snow, b. 9 D
d. 19 June, 1908.
3. Margaret Patterson,
1892; married 29
Guy Emerson, of Bo~
1.
r RR'7
STRAW13RIDGI~
GENEALOGY
').7
19
Reubeno Strawbridge (Elish.l' Samuel' Samuela John~ George') W.1S born in Norwich, Vt ..
Sept. 30, 1776. He married (ISt] MJr. 24. I 7CJ I.
19
IV. ANNIE OSGOOD, born

1862; married 26 Sel
Bayard Marshall, of N e,
ISSUE:
1.
Elizabeth Waters, b<

24 July, 1883; marrie(
William M. Procter, (
Polly Ycmans. who died April 4. I79'i. lIe mJrtied (2d) Oct. 26, 1796, Sally Ashley. They
resided in Norwich. Mrs. Sally (Ashley) Strawbridge died April 8, 1806.
Children:
27
[ 67]
i.
ii.
iii.
iv.
v.
vi.
Polly,T b .Jun. 2. 17tp.

Peggy. b. Sept.
;tf).
171J7.
Oramel, h. Apr. 23, 1'/9').

Harry, h. Mar. t J.. ! 80 I.
Adalinc. b. Dec. ll, '!!O.l. d. July 30. ISuCt.
Sally Ashley, h. Apr. 1\1. 11105.
20
20 Elisha G Strawbridge (Elisha" Samuel' S muei" John~ George') was born at N~\rwkh. Vt .
Aug. 2. 1778. He settled at PalmyrJ, N. Y., ;mcl
died in 1842. Many descendants now live nc,lt'
Palmyra.
Children:
CRITICAL COMMENT
THESE page. of genealogical campo,itlon arc m\lch
Ie.. complic.ted than the one !In the oppa.iee poge,
~nd a.re intended as !uggeationa for thoBe abbreviated !lonealogie. which are frequently i .. ued f!lr
family uae. Here no attempt it! mnde at condenaa..
tlon, and everything j. worked (lut with the idea of
clnrity nnd ease ill Tcnding~ The p~gea offer an
interesting comparison.
(8 Paint e/ulon Old FAC., 2 tom: ulteUd)
28
i. Mary, T m. (1st) ThomJn Rohy of Iinl<kllflft. N. Y

m. (lO) Judge Wood!! of LllCi.port. N. Y.
ii. Joseph.
iii. Jamea W.
iv. Charlotte,
v. ThomAS M., h. 181 L
21
(Capt.) Alden- Strawbridge (Samuel' S.'lm~

uel~ Samue1 3 John~ George ' ) W.'IS born in Nur~
wich, Vt.. Jan. 12, 1785, and died there. J.1fl. 16.
21
SEVENTH GENERATION
241
480
CAPT. JOSEPH LEWIS 7 FARWELL (JOSEPH,s THADDEUS,5
ELIEZER,' ELIEZER,8 ELIEZER,' JOHN'). Born in Plymouth, Aug. I,
1805. He was a sailor, and died at sea, Aug. 18, 1842, on board the brig
"Androscoggin," of Portland, on the passage from Wilmington, N. C.,
to Jamaica. Married, May 27, 1830, ABIGAIL MERRILL GOODWIN, of
Falmouth, Me. She died August, 184-6.
Child"n:
950
I. CHARLES TaoMAS, b. June 16, 1833.

II. LOUISA. LE BARON,S b. June 2.1., 1835; m. BENJAMIN F. DYER, Feb. 22, 1854.
III. SAIIAH ANN,' b. Nov. 2, 1&37l m. GEOltGE F. MEP.JULL, Jan. 3, 1856.

IV. ABBV LEWIS,S b. Sept. lz., 1839; m. DAVID HALL, Aug. 4-, 1856.'
V. HELEN HARVEY,' b. Oct. J 5, 1841, d. Aug. 30, 184:1..
481
SAMUEL 7 FARWELL (SAMUEL," SAMUEL,5 JOSIAH;' ELIEZER,8
ELIEZER! JOHN'). Born in Plymouth, August 31, 1802. Married,
Jan. I, 1827, RACHEL CAPEN, who was born July 25, 1804.
Children:
I. ELIZABE.TH CAPEN,S b. Sept. z., 1827 j d. June 27, 1847.
II. SARAH FRANCES,S h. April 2.9, 1829; m. HE.NRY B_ CRAN1!., Dec. 12, 1848.
Ill. MARTHA ANN,8 h. March 10, 1831 j m. MASSENA BALLOU, Nov. 4, 1&49.
IV. LAURA AUnLIA,8 h. March 18, 18:33; m. CHARLES UPRAM, Nev. 12, ISS:.
V. INlOANT.1 not numed, died SOOn.
VI. ELLEN COVlNGTONl S b. May, 19l 1837; m. GEORGE P. REYNOLDS, April 18, 1868.
VII. SAMUJ!L HENRY,S d. in infancy.
VI1L MARVELMlRA,8b. Dec. 24,1842; ro. ALFRED UPHAM, Dec, 25, 186I.
IX. ALICE ISABEL)8 b. Jan. z6, 1846; m. NATHANIEL F. FOSTER, Jan. 25, 1865.
482
EZRA 7 FARWELL (SAMUEL/ SAMUEL: JOSIAH; ELIEZER,"
ELIEZER,' JOHN '). Born in Plymouth, March 10, 1805. He died April
17, 1850' Married, June 29, 1830, MEHITABLE PORTER, who was
born in Stoughton, Dec. 3, 1808, and died Dec. 28, 1863.
951
Childrm:
I. MARY .ELIZA,S b. Oct. II, 1832.; d. Sept. 28, 18S3i unmarried.
II. FREDERICK,S b. Jan. 5, 1839; d. unmarried (lost at '.,.,.), 1860/61.
III. CATHERINE PORTER,S b. Oct. 2.t, 1843; d. Oct. :1.9, 1845.
IV. EnA RUODES,S b. April 4, 1847, at North Bridgewater, m. ELLA JANE TUA'ER,
April:>., 1870; b. March 4,1850.
CRITICAL COMMENT
SPECIFICATIONS
IN genealogical composition the selection of the type. and their .rraniement

is of viblimportance, also the UBe of caps, sma.ll caps) roman and italic lower
case, antique ligures, and indentation-each plays its part in making the
subject matter cleo.r to the reader. As condensntion i. usually essential in
publication. of this kind, the CaBlon fate i. a fortunate ,election.
TYPE: Coolon Old Face with italic aIld small cap" 11 point on 13 point body
and 8. point on 9 point body.
BOLD FIGURES: 10 and 121'oint Antique No.1.
RUNNING HEAD: 11 Point CaBlon Old Foce roman c.p
FOLIO: 11 Point C.don Old Face modernized figure
(8 Potnt Carlo" Old. File.) 2 I"int 141l~d)
----,-_..... .......
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Four Hundred and Seventy-s8Ven

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BIBLIOGRAPHY, NOTES, ETC.

136. References
BIBLIOGRAPHY
BOUCHIER, E. S., Spa;" ""dcT tile Roman Empire. Oxford,
1914
CLARKE, I., and GEIKIE, SIR ARCHIBALD, Physi~al Science
ilt the Time of Nero (Being a TranslatIOn of the
Quaestiones Naturales of Seneca). London, 1910.
FRANK, T., Economic His/ory of Rome. New York, 1920.
GUM MERE R M., Seneca Ad L"cili!tm Episl1,lae Morales,
with ~n English Translation, in The Loeb Classical
Library. New York, 19I7 and 1920. (vols. I and II,
ready; with bibliography).
LODGE, THOMAS, Trans/atio" of Se"eca's prose worT,s.
London, 1614.
PlCHON, R, "Un Philosophe Ministre sous l'Empire
Romain," in Revue des De".,. Mondes, LIX. 363-394
(1910).
WALTZ, RENE, Vie de Seneq1l . Paris, I909 (with bibliography) .
Those interested in the Tragedies of Seneca, which this
volume does not aim to discuss, may consult: Miller, F. J.,
The Tragedies of Sel~eca (translated into English verse).
Chicago, I907; Seneca's Tragedies,with an English Translati01~ in The Loeb Classical Library. :2 vols. New York,
TgI7. 'Cunliffe, J. W., The Injl"ence of Seneca on Eli::Jabethan Tragedy. Manchester, 1893. It is assumed that the
Tragedies are genuine; it has even been held by Pease,
A. S., "Is the Octavia a Play of Seneca?" in Classical
JOllrnal, XV. 388-403 (1920), that the Octavia, that melancholy drama of Nero's first wife, comes from the same
pen,-an experiment in contemporary.portraya! which w~s
rare upon the ancient stage. Cf., beSIdes Cunhffe, op. ~t.,
Lucas, F. L., Seneca and Elizabethan Tragedy. Cambridge
University Press, 192:2; Thorndike, A. H., Tragedy. Boston, 19o5; pp. 33-75; and Schelling, F. E., Eliacbaillall
Drama. Boston, 1908; I. 87 ff., II. 2 ff.
[ 145]
BIBLIOGRAPHY
Dudley, C. B.: The Making of Specifications, Proc. of Am. Soc. for Testing Materials, 1903. Also in Iron Age, July 9, 1903, pp. 29-32.
Dudley, C. B.: The Enforcement Specifications, Proc. of Am. Soc. for
Testing Materials, 1901.
Pearce, H. C.: The Supply Department, N. Y., 1911.
Clapp, H. L.: A Manufacturer's Economic Purchasing System, Sept., 1904,
pp. 227-230.
Parkhurst, F. A.: Applied Methods of Scientific Management, N. Y., 1912.
Ch. V, Importance of a Modern System of Stores.
Kimball, D. S.: Principles of Industrial Organization, N. Y., 1913. C1XII, The Purchasing, Storing, and Inspection of Materials. .
Jacobs, W. H.: Bettennent Briefs, N. Y., 1909. Ch. on The RelatIOn Between the Mechanical and Stores Departments, pp. 171-183.
Ennis, Wm. D.: Works Management, N. Y., 1911, Ch. V, Material.
Webner, F. E.: Factory Costs, N. Y., 1911, Part II, Cbs. V, VI, and VII.
Twyford, H. B.: Purchasing: Its Economic Aspects and Proper Methods,
N. Y., 1915.
Rindsfoos, C. S.: Purchasing, N. Y., 1915.
(ShowiJtg use of all ,.oman lower caJe. Compare ~ith NRefertrnCcs"
Set in 8 PO~1It No. 22 an 10 pomt" slug)
(Jbo7J~.
I. B.
Clark, Distribution (1899).'. chs. ix-xii, and Esseltt.ial~ of

Econo,,..c Theory (1907), chs. XVIl, xx; F. A. Fetter, Pr<nc,ples
(1913), ch. xviii; R v. Bohm-Bawerk, Positive Theory
Capital
(ISgI), bk. ii, ch. ii; W. S. Jevon~, Theory (I~), ch. V~I;. T. N.
Carver, Distrib t'on (1904), ch. VI; R. Mayo-SmIth, Stattst<cs and
Economics (1895), ch. v; F. A. Walker, Political Economy (1888),
part 2, ch. iii; T. Veblen, Theory of Business E.nterpris~. (1904),
chs. ii ix' A. Marshall, Principles (1910), bk. IV, ch. Vll; A. T.
Hadle~, Economics (1896), ch. v; I. S. Nicholson, Prin;iples
(1893), bk. i, ch. vi, and Ma.chinery and Wages (1892), chs; I~, v;
F. W. Taussig, Principles (I9II), ch. V; H. R Seager, Pnnclples
(I9T3),ch. ixi R. Giffen, Economic Inquir!es (1904), part~; W. P.
Trowbridge, Repofl on Power and Machinery Employed m Man,,factI/res (U. S. Tenth Cenms, Extra Volumas, 1888), U. S. Twelfth
Census, VII; United States Industrial Commission, Report, XIX
(1902 ),5 14-544.
a!.
(Showing use of italic and roman.. full measu,"e. COfHpare :with uBiblio9rGPh~"
belOt.rJ. Set iJl. 8 PtJint Old Style No.1 ou 9 pomt slug)
NOTES
8. Cf. A. S. Pease, "The Attitude of Jerome towards
Pagan Literature," in Transactions of the American Philo.
logical Association, L. 150-167 (1919).
90 Trans. W. H. Porter, in E. Vernon Arnold's Roman
Stoicism, Cambridge, 19II, pp. 86 ff.
10. Sen., Brev. Vit., 14.2. V. B., 13. I. Ep. :2. 5; 85. 1;
88.44; loS.:2:2. For the whole subject of soul and body in
Seneca, cf. E/>. :24. 18; 65.24; Ad Polyb., 5. I and 9. 2,
(statement of the problem). Ep. 54. '" 71. 15,8:2. IS ff., and
Frag. 28. (negation). E/>. 36. 9 ff., 75. 17 ff., 63. 16, 92.
30 ff., 10:2. I and 2:2 ff. and Helv. II. 6 ff., (approval of
immortality) .
II. Quid de Deo Sem!ca Senserit, Paris, 1884; E.
Westerburg, Der Urspnmg der Sage dass Saneca Christ
geweselS sci, Berlin, 1881. Min. Fel., Octav., 33. I; Tertu!.,
De Anima, 20; Lact., Inst., I. 5 ; Sen., Ep. 8. 7, 41. 2, 92. 30.
I2. For the modem tendencies discussed in the preceding pages, tbe author has made frequent use of his
"Modern Note in Seneca's Letters," in Classical Philology,
X. 139-ISO (19I5). For a beginning of the studies to which
the rest of this book is devoted, see P"Qceedings of the
American Philological Association, XLII. 38-40 (19u),
and XLIII. :26-49 (1912). W. C. Summers, Selected Letters of Seneca, London, 1910; Introduction, Section C,
contains much valuable material.
13. Ad Paul. de Brev. Vit., 14 f.
14- Cf. J. E. B. Mayor, "Seneca in Alain of Lille," in
J01lrnal of Philology, XX. 1-0 (1892.) A. de 1., trans. by
D. M. Moffat, New York, 19o5 (Holt), esp. pp. 34, 58,67,
73,91
IS. V. of B., Bk.4, ch. 70; Bk. 6., ch. 38. Girald., Everyman edn., p. 151, etc. I. S. Brewer, Life of Bacon, p. 73, in
Works of Roger Bacon, London, 1859. I. E. Sandys, A
History of Classical Scholarship, Cambridge, 1908; 1.
569,57416. Metalogi~lS, I. 22. Po/icratiC<ts, 5. 10 and 8. 13.
Contra J av. ch. 48.
17. F. S. Stevenson, Life of G., London, 1899, pp. 34 ff.,
91 ff.; H. R. Luard's edn. of G.'s Letters, London, 1861.
18. Cf. E. Moore, Studies tIS Dante, Oxford, r8g6-,
[I42
(ComPare this full-measure page 'With f'Bibliograplty" ab"ve, noting

anotller con.n..stcnt use 0/ romDn lower case i1t place of caps and
small ca.ps. Set in 8 Poi1lt Old Style No.1 on 9 pOlnt sI1'0)
STYLE PAGES FOR CAPTIONS
ANY books otherwise well composed lose the advantage of their typographical page
through poor taste or workmanship shown in setting the title-captions for the illustrations. It is just as important that these should be in keeping with the general typography of
the book as that the title page should be considered from the standpoint of the whole. The
following examples will prove useful, and the notations made in the Critical Comment is
intended to be suggestive.
(1)
Set in 8 Point Badon; Book Wad small caps and italic. Where plate is small, caption must not
overbalance. This combination is readable and yet condensed.
THE CASTLE OF THE MAIDENS
From Abbey's Holy Grail
S~t
in 9 Point Caslon Old Face level small caps with 24 Point Caslo" Old Face
initial. This three-line treatment, placed at extreme left of plate, is effective
with oblong or upright plates. Note omission of first quotes.
OVE IS BUT A PART OF LIFE, ONLY

A PART, AND I WANT IT ALL!
SEE-I LOVE YOU EVERYONE!"
(2) .l-t
NEW PLACE
(3)
RES IDE NeE
0F
MR.
W. H. C ROC K
Set in 10 Point Bodoni Book caps, cap, m,d small caps and italic;
Rld.,3 Point Matrix Slide No. 406. With ample margins, the caption
may be spread out to add its typographic treatment to the page. This
arrangement is also suggested for tissue titles.
ER
Near Burlingame
( 4) THE
singers a.nd tTl, fortune-tellers a.ll ha'OB
[Page 71]
[o.ma tI'B patll that leads -up to our gat'lWa'll
(5)
(6)
I WAS GIVEN A Baoo:u '. AND THEN I FOUND MYSELF ALoNE WITH MARY
THE EAL!. OF RECORDS IN !lOUSE OF THE WINDS,
MONTEREY
Set in 8 Point Scote;' italic cap, and low.,. case, wit" 14

Point Scotel, initial; Page Reference in 8 Point Scotc/,
roman. The initi(ll letter gives Ch""o,cter to the cn.ption.
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much extended.
Set;II 8 Poi'llt No.1 caps alia ,,,,alt caps; Rule,

2 Point Matrix Slide No. 404. This style
should never be used if the captions are long
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Set ill 8 Poillt No. 1 level small caps, ;Itterspaced. This style of caption should be
centered on the plate. See No. 3 on next
page for style when a secondary title is
added.
Photo b1/ Hills d; Sa1tndel'S
(7)
THE MASTER'S LODGE, WELLINGTON COLLEGE, 1868

The room to the left of the porch is the study. In the room above it Hugh WIIS born.
Set in. 8 Point Scotc"

caps and Jower case;
Credit Note in 6 Poi"t
Scotc/, italic; RIlle, 2
Poillt Matrix Sliae No.
404.
IRISH CHAIN
Set in 12 Point Bodon' italic caps and lower case; R,tle, 3
Point Matrix Slide No.106; [nitial,21 Point Bedoniroman;
first 'Word in roman. This is an excellent arrangement for
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necessary to have explanatory notes. The heavy line of the
Bodoni face and the beauty of the italic design make this a
desirable combination for printing in red.
(1)
STUDY the squares of this coverlet
and you will find five designs.
Observe the "Pine Tree" which appears as a border in many of the
double-woven coverlets of the new
"Lover's Knot" pattern.
Set in 10 Point Caslon Old Face caps and italic caps and lower case. A caption with a secondary line
i. often spoiled by nOt keeping the relation between the two proportionate. Compare this with
numbers 3, 5, 7 and 8 on this page.
(2) DOCTOR PARMA

By Tit'_
(3)
TIIE
THE
(4)
CASSON
Set in 8 Point No.1 le<tJel small caps and italic caps alld lower cass, aU jllterspaced.
The use of interspacing should be limited to those books where the leading of type
page is open. An inte.tSpaced caption facing a solid page of text i. not pleasing.
CHILDREN
A Picture Taken for Stevenson
OLD
IRISH
WOMAN
AND
THE
YOUNG WIFE WERE HASTENING

DOWN THE STREET
(5)
(6)
FISH
ALLEY
"THAT HORROR TO THE NOSE, THAT PERFUME TO THE EYE"
(8)
Set in 12 Point Caslon Old Fac. smaU caps, int8rspaced, {md 9

Pornt Caslon Old Face small caps.
Franconia Notch & Profile House

ON
(7)
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for smnll plates where the caption enn assist the typographic bala.nce
by a.dding to the length of the page, making it correspond nearer to the
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THE ROCK OF QUEBEC
"Far away, tht'ough these forests and acr08S these cataractll, I

believe with you there lies a little Kingdom (}f Content,
where you and I will one day reign." [po 86]
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FORMAL GARDEN AND PARK AT THE VILLA D' ADDA AT ARCORE
Showing M arclusa J' If dda, COftnt Greppi, Count and Countess Lura,,;, Count
Valmarina, etc.
Set in 11 Point Caslon Old

Face level small caps, and
9 Point Caslo11 Old Face
italic lower case, interspaced.
CHAPTER II
CAPITAL AND CAPITALIZATION
Definitions, 53.-The practical financier v. the economist, 54.-Ca~ital
stock or indebtedness, 59.-Gross and net capitalization, 61.-0fficial
statistical averages, 63.-Their correct interpretation, 64.
Net capitalization of individual roads, 65.- Eliminating intercorporate
issues, 66.-Market value or par value, 67.-Deducting outside investments, 68.-.T oint holdings, 70.-Allowance for individual peculiarities,
71.-Earning power and capitalization, 74.-Expenditures for maintenance,77.-International comparisons, 79.-Financial classwcation
of companies, 81.-The element of Jixed charges, 83.-The test of
margin of safety, 87.
(Set in 8 Point No. 21; Heading in to Poinl No. 21)
VARIOUS
ARRANGEMENTS
FOR
TOPICAL ANALYSES
CHAPTER XXI
THE VOICE THAT YET SPEAKS
!rsttMONY TO THE ENnUX:tNG INFLUENCE OF DR.. KLOl"SClt'S GOOD W01tlC.S-A

SOLDIEll OF HUJr!A:N"ITY-MUTtrAL CONFIDENOE IN '!'HE; "CllRISTIAN HEB.ALD"
FAMD:.Y-PUDLIC 1t(EMORXAL 1tIEETING--ItAED! lIICHELSOlf'S PllAlSE-Bl1IHOP
l>.ABl.IlTOTON'S ADDRESS-DR. :MARSDEN'S AN.A.LYSI9-A WORD FROM lB.VIlfO
DACRELL:&ll-DR. li:lLL'S TALK-JUDGE TO:alPKIN'S VIEW~
STORY-EDJ'l'QlI.IAL COl'IH:RNT.
(Set in 8 Point Scotch small caps,' Heading

in 10 alta 12 Poillt Sc~tch caps)
:~
TRAINING FOR CITIZENSHIP

CHAPTER XX
Lincoln and McClellan-The Peninsular Campaign of J"
patience with McClellan'S Delay-Lincoin Defends
f~om Unjust Criticism-Some Harrowing Experier.
Clellan Recalled from the Peninsula- His Troops
Gene~al Pope-Pope's Defea.t at Manassas-A C~iti
tion-McClellan again in Command-Lincoln Take,
sponsibllity-McClellan's Account of his ReiUBta.tem
Battle of Antietam-The President Vindicated-A
satis:6.ed with McClellan-Visits the Army in the F,
President in the Saddle-Correspondence between Li:
McClellan-McClellan's Final Removal-Lincoln's l:
up of McClellan-McClellan's "Body-guard."
,
any nation of Europe to attempt to increase its territories

on this continent. This is called the "Monroe Doctrine."
It has always been our policy to cultivate the most friendly
relations with the South-American republics, and to extend
and cement their friendship a Pan-American bureau was
established at Washington to which all the nations in the
. New World. belong.
TOPICAL ANALYSIS
I.
(Set;. 8 Point Sea tel.; Headi.gi"11Poi,,,Scotcll)
2.
3.
4.
5.
6.
7.
8.
9.
Paternalism.- The State an instrument for human

welfare.
The minimum wage, old age pensions.
Menless jobs.-Methods of obtaining employment.
Immigration.-:-Exclusion laws.
Strikes.-Settlement of labor difficulties.
Arbitration as applied to labor and capital.
The Hague Tribunal.-International police force
and peace treaties.
The Panama Canal. - Influence on trade relations.
Pan-Americanism. - The Monroe Doctrine.
QUESTIONS AND EXERCISES
CRITICAL COMMENT
What would be a good living for one in your state of life?

lL Compare the requirements of two social sets.
3. How does the United States government advertise for volunteer
I.
THE three examples above show various

treatments of the same matter. Too frequently the topical analyses at the heads of
chapters so predominate that the appearance of the page is top-heavy. The fun page
at the right shows a combination of types
which help to express without confusion the
idea the author writes to convey to the
men?
4. Where and what is Ellis Island?

5. Mention some of the qualifications of a desirable immigrant.
6. Contract laborers and paupers are not admitted. Why?
1. Should an owner be the complete master of his own business?
8. Give an account of the settlement of the anthracite coal strike.
g. What dispute did the Hague Tribunal settle about Venezuela?
xo. What PllIt did Japan take in the Panama exposition?
II. When and where was the irst Pan-American Congress Held?
student.
(Set i" 8 Poi,,1 Old Style No.1, 2 point leoded)
306
(SeH.. 11 Point Old Style No.7 and 8 Point Title No.1)
",-"""-"~--,---~-~,~~,~-,-~-,~,~",,,,,~-~,--,-
ze....1ItIIJiIL
202
1S! tl"l=m
-,-,.,
...
_.,
....... -
. . . .~~-<N:~
CONTENTS
xxi
Page
The a.mbitions of Clmrles of Anjou . . .

The papal counter proj ects . . . . . .
The "Sicilian Vespers" and the explusion of the French
The field opened for diplomacy . _ .
The internal conditions of the city-states
Expedients for external security
353
354
STYLE PAGES
FOR TOPICAL ANALYSES
355
356.
356
SPECIFICATIONS
357
359
Diplomacy becomes a system .

The equilibrium of Italy .
The birth of maritime law
Upper Page
OVERALL SIZE, 22 " 36 Ilien
TYPE: 8 and 9 Point Old Style No.7.
LEADING: 2 point_
RUNNING HEAD: 8 l'oil1~ Old Style No.
361
362
363
Authorities
callS.
FOLIO, 8
POill~
01<1 Style No. 1_
L01lJCt' Page
CHAPTER VIII-THE RISE OF NATIONAL MONARCHIES

The mediaeval kingdoms.
I.
OVER-ALL SIZE, 24 " 37~ picas.

TYPE, 8 Point Frnnklin Old Styl .
LEADING: 1 point.
RUNNING HEAD, 9 Point Franklin Old Style
. . _ _ . . . _ . . . . _ . 365
CIlIl5.
THE GENERAL CAtlSES OF POLITICAL CENTRALIZATION
FOLIO, 9 Point Fr.nklin 01,1 Styl
The chamcter of the feudal monarchies .

The feudal evolution . . .
Tbe influence of the Crusades
J'::manciplItion from servitude
The Third Estate. .
Growth 01 the ciUes . . .
Thl! path to liberty opened .
The fiscal basis military power
The universities . . .
The revival of Roman Jaw
ROYl11 justice
The kings anti the nobility
The orders of nobility. .
Tho Idng~ und the l'apacy
(6 Point Old $1:/'. No.1. 1 poinl/caded)
366
367
368
369
370
371
or
II.
IV.
SOUTlI1!llN Cor.oNtES
A Report on Virginia, r6p. lIy GoverI'D" ~Pilii,,", oBlkeloy . ..

E>;-jJorlS of SOli/nor" CoZo"jgs, 1673 lJ)I
a"llwr 01 America"
II fahanrlry . .................................
n:
TIlE EXPANSION Oli' TIlE KINGDOMS
.
Tbe Norman conquest. . . . . . .
'i'he insular character of Great Bl'ita.in. . .
The possessions Henry II on the continent.
The position of Henry II. . .
The progress o the french monarchy
Tbe cntelltt between England une! France.
The all of the Angevln power in Franco
The Peace of 12 59 .
Tho beginningll of }'rance.
or
xi
CONTENTS
t",
So
CHAPTER III
LABOR, EXCIIANGE, AND I'OPULATION, 1607-1763
LABOR
I.
SCAltCI'l'Y OF LAJlOll.
II.
INDINTEtl SER.'1AN'I'S
A. /ligh Wages t" 1'-",")liv""I,., 1698. B" Clloriel T{.o11ltu .. : ..

D. //ig/~ Wagos'n NtIW EngZamt, 1775. 0)1 tho autlMr of AmO"lcan
lhlso,mdry . .....................................
A. SenJan/s and Slaws i,. AmtWlcQ, 1:748. ROIl Poter CQl1" . ....
D. WorN of a SM''tIant ill V;rlrinia, J656. By /01", Hammo",}, . ...
m.
SJ",-VE LAnon
A. Tlu Sl(Jll)8 Tra,},e 10 Virginia, 1108. By Colonel E. ""illgs ...

B. Reqll",1 of a Itlul101.ar;)l jor SlaV(l.$, 1716. By /okll t.;rmsloflD: .
C. ODifJ~tjo,. to til' l'1'o;';billo" 01 ;R",,. ,,,,d Slavss .11 Clorgla,
1738. /ly Pat. TaU/or a/Ul otllers . .................... .
D. AllSwer of I"e Tr11Slccs, 1739. /1;)1 In" 7'r'lItees of In" COlMY 0/
92
Georgia . ....................................
E. U"Fofitabumus oj SlaTJIW3h :1'174. R;)I Phmp V. FiIMan . . , ...
EXCIIANGn:
r.
CRITICAL COMMENT
IN th()~~ voitllll"$ where the Contents serves
II.
tlutlwr Ims in mimi These two (!xamplcs
III.
indcnticm.
96
97
CREDIT MONEY
A. A DS!811C8 011'a"'8r ,)10noy ~y a Colonia/. Oov.,."o1', 1724. lJy
W.
liume/ .... _ . . . . . . . . .
D. '/'1" Land BtI"k and II... E:ai8n.rion of till nt/MId A tt to tile

Calo",,,,, 1'14:1. 11;)1 GOfj,1'''or Tkomalll"tc!>;JIjolO. . . . . . .
C. Tlu Nec",.;I3I aJ l'a'P",1I1olUy b. 1/", Col."j", 1764. II)! Tkomas
I'ownall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
to bring (lilt exactly the: idea which the
(8 Poinl Old Sly/t No. 1,2 I'oinllrarl.d)
A. Commodit;)l Manly;n Nort/~ Carolina, 1749. By' GOf}. lolmstm,

B. TolJacco Nol'" jn V'rgin'tI, 178:1. B;)I til, MarquIS ,},IJ CIIIlSI.lltt;G
GOf}ertlot'
11.9 a tOllie;11 amllysis, grent ellfe is required

in the S"ll'l'tinn nnc! amUlIIClnlCnt of the type
will serve: as mmll!\s. In the lower l'tlgc,
nute pnrticllhlrly the effectiveness of the
COMMODITY MONEY
98
100
104
RItTAlI. TRADE
.Mar"'" al PMlarltJl-pllia, 1748. /1;)11'1#"" Kaltn . .. . . . . . . . .. . ...
J05
l'OFULA TION
I.
GltOWTII Ol" TilE POX'OLATION
A. Til" Increas, 0/ A(,,,,;';,,d, 1'155. lJy Il'''iam;'~ fi"a1,kUIO .. " ..

B. Population oj #JIJ Britlsl. A_rican Colonies, 1:752-1755. By
tlu Lortl.r Ca",,,.iss;onll'l'l Jar Trado all,}, Plantations. . . . . ..
106
C. Larl" fi'a".ilills in America, 1748. By PBler Kalm . .... - . . . .
JOO
108
INDEX
Lesson study, 103-105.
Levels of interest, 136-139.
LINDNER, T., 50.
List, of emotions, 131; of instincts, 74, 125; of disciplinary and moral habits, 236,
239.
LOCKE, J., 45.
Lockstep, 23.
Love, 76, 126.
2.
805
Neatness, 165, 184, 236.

Nllgative, incentives, 155; initiative, 190-192, 215-216;
teaching, 23.
Neglect of automatic, 23.
Set in 9 Point Caslon Old Face,

1 point leaded
ALL the subject titles in this index are

set in caps and small caps. This style
is effective for a short index, as it
makes the subjects stand out clearly;
but if the index is long the arrangement is not desirable. The reverse
indention makes the page easy of reference, but is not economical of space.
NETSCHAJEFF,.A..,175.
Neurone, 57-58,60.
New Haven, 41.
New York, 41.
NIEMEYER, A., 206.
Obedience, 180, 236, 251.

Objection, philosophical, 48;
psychological, 49.
(l0 Point Old S'yle No.1, 2 point leaded)
Objective
reference, 134.
Man, interest in, 136-139.
Observation, 104, 257, 285.
Manipulation, 76, 108, 207.
Maaual training, 75, 127, 128, Obstruction of stimuli, 221.
Opposing stimuli, 181-187.
151, 191, 269-270.
Order, habit of, 89, 105, 1G2.
:Many-sided interest, 132.
193,23'"
,
Mathematics, 100, 170, 200.
Organize
See Arithmetic.
OrganiziI
McMURRY, C. and F., 28, 35.
of,9-2(
MEIKLEJOHN, A., 245.
7-18.
Method-form, 285.
Organiza
Methodology, of habit, 33. 35,
63, 87, 177: of ideas, 32, 63.
109.
'
INDEX
Origin of
375
Methods, 37, 40,41.
Orlglnali':
MEUMANN, E., 175-246.
Misconceptions of functions, of O'SIIEA
worldly ambition, 337; temunificative stage, 114, 120;
habit, 200; of interest, 134. OSTERM~
poralsovereignty, 338; Popes
love'. response, 120-123; the
Mistake of modern pedagogy, Over-babe
Over-prat,
against Italy's freedom, 339
8,26.
work of Holy Spirit, 121;
Ownershj
Modern pedagogy, 8.
HUMPHREY (s.J.), on power
what shill we do? 122
lvIodes of organizing experiof Papacy, 295
ence, 10-26.
Painful e
MANNING, 305, 351
Modification, method of, 36, 70- Painting':
IGNATIUS, ST" 1&2
MATRIMONY, 233
Parent, 7,
71. 80-82, 133, 179, 207.
Moral training, 3, 95, 285-236. Parental'
MILTON,89
Jl,IORGAN, C., 72.
Past expl
KEENAN'S "Catechism," 141
MINISTRY, the Christian: The
Moti ves, 123-124, 146-151, 191, Pedagogr
Society of "Friends," 169;
214, 2115-217, 228, 241.
Pedago~
LAUD, Archbishop, union of the
wor;hip by sacrifice demands
Pedantry'
lIIUELLER, G" 175.
Multiplicity of association, 87, Penmans.
three line. in him, 197
apriesthood,169S Old TestaMusic, 132, 144-145, 166, 180,
168,181
LAUNOY, collection from the
ment prophecies, 170; Christ
184, 267-269.
PEREZ, B'
Fathers as to "Rock," 328
a Priest, 172, urged that He
Perfectio
LIDDON, 32,45
did not call Himself a Priest,
Nagging, 197.
Performs
Natural punishment, 195-196; Perfuncti
LINGARD, admits Barlow's con172 SEpistle to Hebrews, 172;
natural science, 270: natural Permane:
secration, 199, 201
the mystical body of Christ
variation, 224.
Permane'
loVE AND SERVICE, love the
iclen tified with His Priesthood,
Nature, 195, 200, 204: interest Permane
essence of God'. nature, 105;
173 j New Testament referin, 136-139: study, 96, 137.
PERRY, C
three manifestations of love,
ences, 173; Moberly, 173,
lOS; love's welcome, lOS;
Apostles ordained, 174; this
the eternal treasure of God'.
method has characteristic of
unselfish love, 160-107; ST.
divinity, 174; case of MatAUGUSTINE, 106; St. Thomas
thias, 177; case of St. Paol,
Aquinas 106; St. Vincent de
178; ordination by Apostles
Paul, 106; our Lord knows
of successors, 180; the threeour faolts, yet loves us, 107 ;
f old ministry, 18 1; the presthe world's crowns and songs
byters proved by Scripture to
are for success, 109; Divine
be priests in Old Testament
love gives them to the beaten,
sense, 182
109; love's progress, 109; MOBERLY, Dr., 173
each advance preceded by
fresh porificative action, 110 j
NEWMAN, Cardinal, 191, 311,
hate and fear, 11 0; forlll,351
titude, 112 j three attractive
1. Set in 8 Point No.1, solid
forces exciting three root sins, PAPACY SECULARIZED, 337
113; three antagonistic forces PAPAL INFALLIBILITY, 136 seq.
THIS style shows the subject titles set
on the side of God, 114; OUr PENITENCE, 226
spiritual life a journey in its PETER AND JOHN, SS., St. Peter
in caps and lower case, the proper
purmcative, illuminative and
the representative of Christ
names in caps and small caps. The
MA.CE, W., 259.
MA.HER,46.
MA.JOR, D., 72.
[lJ
~I
~<~
break between the alphabetical divisions is marked only by a blank line.

This and the page opposite represent
the two extremes in leading indices.
Ii
(10 Point Old
St~l.
[2]
No.1, 2 point l.aded)
i!\1
!i
l~~",,;;;;~,~~~~~~.,,;,;~~~~;;:,~;;;;,;.;;,,.,,,;,.,;~
: . .~,.; ,:, , >, ;,
ZD4
..
INDEX
Delegates,4. Set in 8 Point No.1, 1 point leaded;
to county conventions, 256.
Initials in 24 Point Bodoni
number determined, 261.
definition and authority, 262.
alternates and proxies, 263.
territorial, 304.
NOTE the style for making the alphaDemocracy,betical division. Compare this leading
definition, 20.
in N.E. townships, 80.
with that of Nos. 1 and 2.
Democratic party, 254.
Departmental business, 379.
(10 Po;nt Old Style No.1, 2 point/.oded)
(U.S.), 389.
Departments,Courts (U.S.),408-413.
three, 21.
Credentials,interdependent, 406.
Deposit,to conventions, 260.
referred to committee, 264.
definition, 151.
Credit agencies, 153.
certificate of, 151.
Crime. See capital crimes.
interest on, 151.
Despotism,religion not a cloak, 9.
definitinn. ?n
definition, 10, 163.
prefer' ...... .
cost of, 12.
Diploma:
infant not capable of, 52.
and civil injury, 159.
as tea'
Diplom;:
under U.S., 408.
Secre:
Criminal case,INDEX
321
complaint, 188.
natun
Disorde,
warrant, 189.
arrest, 190.
District;
Fox, George, 227, 228.
Historical School, Modern, 221
bail, 191.
repor"
FranCiS, St., 2, 57, 180, 191 f.,
ft., 236.
arraignment, 192.
385:
Holbein, H., 172.
271.
trial,193.
inU.!1
Franzos, K. E., 58.
Holden, 0., 209.
sentence, 194.
District:
Frazer, d. G., 237.
Holmes, O. W., 205.
Criminal law, 25.
U.S.,:
Freedom, Human, 269 ft.
Holy Roman Empire, 189.
concu~
Damages,French Revolution, The, 5, 242.
Holy Spirit, The: the wish to
District'
founded on wrongs, 162.
Frere, W. H., 155.
Divorce;
know more of, 1 IT.; in the
imprisonment for, 179.
Fl'iends, Society of, 227 ft.
Old Testament, 16 IT.; Christ's
Docket,;
Debt,justici
Froude, d. A., 176.
Revelation of, 34 ft.; on Penimprisonment for, 179.
judgn'
Future, The, 310 ff.
tecost, 43 if.; in St. Paul's
of county, 252.
descrii
Epistles, 63 IT.; Holiness of,
Declaration of Independence,
Dower,:
ALILEO, 181, 212.
71; in the Synoptic Gospels,
222.
widol;
Declaration, sent by, 197.
80 fE.; Sin against, 88 f.; iu
Gerson, 197.
natud
Deed,Giorgione, 172.
the Fourth Gospel, 92 IT.; in
convei
definition, 133.
Giotto, 172.
Early Christian Theology,113
Draft, ~
as mortgage, 134, 282.
Gladden, W., 207.
ff.; in the Mediaeval Church,
Due foxi
for state lands, 327.
Glory of the life of the historic
156 ff.; in the last three cen
of Ian!
Defendant,turles, 204 if.; the summary
desus, 99 Jr.
Duties,-i
definition, 178.
Gnosticism, 93.
of the doctrine of, 252 IT.; the
politi!:
as witoess, 182.
social,;
Good Friday, 38, 39, 134.
direct dependence upon, 254
in civil case, 206.
Duties
~!
Deficiency judgment, 135.
Gore, C., 223.
ff.; the double test of the
Definition, selection of, 1.
Duty,-:
Gothic Architecture an expres
authority of, 258 f.; the om
Delaware, hundreds in, 82.
sion
of
the
Spiritual,
167
fr.,
nipresence
of, 269 IT.; the
339 defini1
omnipotence of, 283 IT.; con180,232.
fidence in, 310 ff.; what we
Gottesfreunde, 164 f.
chiefly learn in history aud
Gounod, C., 210.
experience about, 315 f.
Greece, victorious spiritually in
Hooker, R., 147.
phYSical defeat, 278.
Greek Church, The, 184, 188, 234. Hort, F. d. A., 222.
Howe, dulia Ward, 267 f.
Greek Testament, The, 175 ft'.
Huguenots, The, 201.
Greek Thought, 29 f.
Hull House, 246.
Gregory Vr!, 158.
Humanists, The, 174 IT.
Gregory X, 150.
Huntington, W. R., 142 n.
Greville, G., 58 n.
RUBS, J., 174.
Grieving the Holy Spirit, 77.
Hymns as an Expression of the
Groton, W. M., 263 n.
Holy Spirit, 115, 200, 205, 267
ABIT, W. James on, 218.
f., 214.
Hypapante, Festival of the, 135.
.Haeckel, E., 212.
3. Set in 8 Point Old Style No.1,
Hypnotism, 208 fE.
Handel, G. F., 210.
solid
Harnack, A., 233.
Haydn, F. d., 210.
GNATIUS,13l.
Heber, Ro, 206.
Individualism and SoliTHE arrangement here is designed for
darity, 258 ft.
Heine, R., 200.
Higher Criticism, 222 f.
Imagination in Science, 216.
indices where the entries under the
Infallibility, Search for, 254 Jr.
Hildebrand, 158.
subject titles are not run on. It is the
Inge, W. R., 8.
Hill, OctaVia, 234 n.
clearest possible form of index, but
Ingrum, A. F. W., 248 f.
Hirsaugian Chronicle, 156 n.
Historical method in Phlloso Inquisition, The, 181, 186, 192,
can only be used where the index
phy, 237.
201, 206 ff.
Courts martial, 395.
appeal to President, 369, 4.
necessity for, 405.
Courts of Appeal (U.S.), 411.
Courts, powers of,assent to formation of corporations, 78.
dissolves partnerships, 147.
dissolves corporations, 148, 3.
protect absolute rights, 158.
appoint inferior officers
[3]
itself is not extended.
[4]
L
205'
Set in H Puint o It! Style ~ll. 1, Stllid
b.
INDEX
BADEN, arcn. of, 3; JOinS

N ortb Germnn Federation,
22; special privileges of,
42,123,13011; reserved
privileges of, 43 j representMion in Reic/ISlag, 48,
in BmJ,Zesral, 641 Civil
Code in, 183
Bagdad milway, 251, 253
Balkan League, 255
Bnlkan~, attempts of Rusaia
to dominate, 236, 237,
2S 6; claims of Austrill
on, 236, 237; pence re
stored in, by Germnny llUd
Engbnd,254
BlIltic provinces, 242
Bank, Imperial, 42
Dn.nking, regulation of, 119,
122
Dankrllptcy Law, 191
Barker, J, E" quoteel, 94
156, 1721 cited, 23 a n,
241 11
Bav:J.ria, area of, 31 demo.
cl'ati c ten cleney of, 3, 4\
'1' III';
('att'el i!l.Itx;,
q7,128
n,saidtlngsgfJ
Bethnmnn.Ilt
B.G,B. (B,'rg
bucll), seD
CelCle
13ismnl'ck, lle
llism~rck,
1\'IIal PU ~\,,~{"" Xp, I, ",'I'Ulltt '''fhJ~',')
of North G
tiOll dictate
tude of te
[5J
(~ENEIU\l. l~Il!':X
cn~H5 (st't!
tj'm).
i!i:"u~, filUM'"
.'
,
climax.
dit'liUfh\d."".
I'I.!.I"
ti"n (11r til<' wl'itillv, "i 1"'"

tlll'rtWs. J,m.
tli"t~.ittu. Irlf (~~I"I1itluu, U~~"!,

,~h.:!; ~tlr .hnr" l'''..Ll~rl1 in ,It"
critidsm. vuhll' "f
"'1I!11l<1,ltI,,1I III
illlll1'uvinll. 1.1.1. ..!Ikl: 'UKtI'
J70 (.fl' I'~yi,~w I: SLlKIl,..,tlnl"

for the ~ritici~lII~ IIi <1",1)'
CI()~H.cxmt\lnhti"l1 ..!KIl.
clIlminntinn. 1~1). ISU (su
\'<lIII:I\I~.i"fll.
\)
Vail), lhrm,,~. 3.21{.Ul.

[l"Nn:. ,,,brill', 1.111.
lli\I.III~r, AI.rlt(lI'l~.
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1',..,,1'"
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~!)l:;lk('r~. 1171.lO. :ll-\'/lfH. ro',
huttal (.I',f r,/lIt""",. I. InS.
109. 114.\15. mlll1. II'/I,!II
ddinitiun. 4,1, 4-1. .!t!,l.b"l. .!>li
2RM, 2W).
c1dmlt..
nll.~IIf.. HtiltinJlIl1 ('rll.w,'.
dclillt!nllivc oratury, I.!S.
~h'jJUU'f'~11 ...!~"'l,.,:.HI,
.... h. 1Ii', I/O. ,!W/,."I
dinl+lx.
170. JO.I.
(I~nl(lnrotl"tiun, nllt "'1",11), ~lIl1ill"
llbll'. !U'i, H8-H"I, .,..$

d~r\tJtl.\li,m 1111(\ t'"l1trltllli,,". 1'.1("
2tJ6...!07,
DE Quu/C'v,v: "111110110'1. "/'1,. Ii.,!!.
liill Mai/.CtllIrh. \:., 17. If), .llI.
I.t'l'IIM (uld ( luy 1.lltl.1 ,,'
rll~I1\.,I.
(/dtlt~tSIIl"'ll,
NII<'Il1rif, 1IU;
1 point leaded
19R.
descriptillll, 16').IHIl. ;1..l1{..loll (U~
sub.hcOiclillll" in CClflkflh I.
details, lind the whlllt'. ill 1''I(k.. 1
cOnlp<J,itiun. 45-46, IIIl~4; III
literary cl1mpu-itifJlI. I.I!! I.ztJ;
in d"!lCrillliltu. lilIi'I!.t.U; d~.
tails for thvmliClve., ll~ ~aliml.
dlllfllC\cri$tic, nr
it is possi1>!e to open up all

index with a 1 point lead it adds very
much to its serviceability, Here the
alphabetical divisions are shown hy
setting the first subject title in cap~
and small caps. The folio at the bottom
follows thc style of the hook itself.
WIIERE
No, 1, 2 poinllcad.d)
173-l7(j.
dllvclopmellt,
lie
1t\.~I.
ilL
.111<1
111,.1., ,,[
>.I"IY. 11'1, UI. .10.1,.111\: 1;, ,\,.

I,,,rt. III, L'U ill,\ ,111-1.
,1I.IIII,.li., rnrllll~1 I"'.), .,h,t:t,,"l
ill ,1"'''"1111'''1. ItU ht,\

.h',.m.. 11I IrV"I''', 1:'11 .111.; .1111,
,h'.I'",llIt: IIlIItir . 1,1:). lr.7. ,III.!.
I-:
K""t,~. J"II~, /'t'~lh!h """"'.
I-.t'W.'~II',
MS.
(;'"Q',,, \V IIAU'"N,
'1'J, .....I.,,,,i/ ,/N,.. Il(v. I~
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EI~.I!R.
K.
11111.",.. " ..
tlr'r
(';'111'4 1
rlll"I<','1I11I
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1., I "111011/(
IU !,
I,rmr "I ,hI',
1
.-11'"""" lll:' ...!III:
.11 d'"ll'rl\"'>'
t!rM'I; ~'\ r.- ..rrvf"' 'n1"..!f'J; lU'''''''
ei .."IY. II\'.I;IIIH Y...
'u.l1Il", 'I.
".1rh", ..~u':r
~!f.IH ,,,,'tPI ~ 'IIlu''II'l ull
in
1It.lIltI;,h tli rhl'lu,l<'. ~I'I; ,Irn'
ill Ih~ rll:"lrrlli/l ,'r'lbil )', ;"Vl.
SClrrlll('. 2262.:17 i 11"/",, ,WI;
5. Set in 9 Point Caslon Old Facc,
u'\,uhh uf U~~~Rt.,
;&"4
,Iith,,n..,'. Mi11"1 ,',lIIlI" "I. ;'1).

1111,'111111'1, 11I.~ 111,1 !lIr,
,III""1m""" ( ..... t ......I, IMtur;ll.lIhl
Pr
before AUl
181 "blo()(1
trine of, 1:
[ 319]
St~lo
Ji.!
Lantlosgeri
Bavarian Fn
in ReiC/u(,
Bebel, 46, 2~
Belgium, 2, 1
Bennigscn, 2 1
13erlin, elmg:
Bernhard, l'r
I',
(10 Poin# Old
{'agl' !ih"w~ ~tylc [01' " ('llmpli-
SUhjl'l't titb; an~ set

without ('aps ,;<.l"pt 'It tIlt: l)('ginning
(If ('adl a11l1lalll'tiral divbil>!I. These
divi~i<lUs an' ~(,t nIT with llt'aciings
ill:>tca.! of ~illll'ly :;I'il~:es. Names of
\'IK'\-S an' shl1wn in it.llie; pmper
nimH'S in ,':II'S :m,l ~;III:dl ('al'~'
joins North German Federation, 22; contingent of,

in German Army, 3 I, ISO,
151 ; criminal military lnw
of, 32; special privilc~es
of,42, 43, 65,12&-13011,
153, 173, 205 n: representation of, in Reic/lSlag,
48; in Bundesrllt, 6468;
limitations of, on military power, 77; union of,
with Prusai:J. advocated by
Hohenlohe, 104; military
budget of 145149; Civil
Code in, 1831 Oherst,s
formation of Triple Alli:lnce, 239; alliance with

GermanyandRussia, 239;
strained relations 'with
Russia, 243; aids Germany
in Morocco crisis, 249;
annexation of BosniaHerzegovina by, 250 I the
Gre:J.t War, 256
Austrian Code, 183
t!IO; ,'.,rrr$.'tr-t
lltl.
"Y
h)fU'_ OII~lJ..
1':"'''1'. t;! ".:.. )! \,/.1.110.",.,11, It.,.:,

.1/111, JUI ; "/J.ml II"I~ 1,14.
"II/fl,il. llnoblr, .!1,
EIiIlIl"IJ)ol. n', II" I>jf~U... t. lU
('111,,11,,11 ,
,(01
k .. lll1lt I
tl"IIf~4,i,. IIrrl<'r,,1. III 1"111(.. 1 r'~I1
pictun;"III<'.
cfmr;u:tt'r, I'll.
u.o, 300: .11 plm. 14;.151. .lllll.
dialect. tn txprt~~ IUI:.:II ur Ilrr ..

"(Jlml petlllillrity. IJII.-I.l'l .lUlI
dialClllue. 131, 1.1lI-J.\tl. 142.J.t1.
. 144, ISSISI\, 11-1.11 .11111.
DICKKNS. [hltill t nNw/idd, 1J'l.
14~, 14? J(ll~ .Tit.. (J~d. ('I.~i'
(I."ly $hl'p, ""; .1 1 a/" ..I
Tum Cili,'~, 252.
diction (Part II). 191.2J1l. J.I..!
3SH.
.
[6]
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~I,h.
l"P}ihtll'n, 11. I~l. Jt ~ lth'\~*'
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th,~ wh.. lc. 1'1, .:1 C; ,'1 "
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J.!I; In ilIM'II1I~II!. I,~!I.!I:
111'11<""1, ill 1""'-4'~' "00.1111"""
liffu. l,.1,\; 1:1 Il~'iH ..th~;.f.. liHf."

m,,,jll dhlf>lKb'I, 1.l'1\-IIl1"111"
Il..Ililct' j
'0-41.
(1,,,,,,,"1.
fiulllrlhJU14llon
1010 1411ro.!
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d"l11 ".th':l. .h~I"'!t'I<', ..",I d,'
858
INDEX
tlefensc, :385-388, In the Mltldle

Wt'st, SllO-:102; Ilrguments for nnd
against, 300-401; the tlevelopment
of, 401-400.
Iron (and steel) manutacturers ot,
200, 27ll-281, 283 (table), 297800, 752-705 (tnble).
Irrlgntion, importnnce of, 622-624.
ot, 267; introduction of cotton, 287, 288,

747-'751; argiculturai, 280, 297,
467--476, 622; introduction of
woolen, 295: value of (1860),
299; in factories, 528-537, 745.
Manners, 112, 113, 260-271, 338Machinery, invention
342.
Manufaci-ures (1721) ,43-46: (1732)

Labor, scarcity of, in colonies, 82;
cOll!lIthm of, 110, 229, 237, 524528, 7H2, &.HI-847: and the tnrll'r,
:11:1-:n(l; tho hours ot, r.aH35
(table), 704, 812; orgllnlzntions
of, 7115-801; legislation concern
lng, 801-808; share of, In net
PI"Ol]lI(.'1: of Industry, 815-810;
shnre of, In nutionallncome, 824820.
I..nk(>M, trnmc on, a84, 407, 440, 650Gtill; rut(IS on, 401-40(\.
I..nnd, )I(wl rights ot colonists to,
:l, lll; ,ulvl('ll un grltutlng, 23;
gl"llutM of, by goverll()rH, 2-1 ; gruutH
lrt, In l'ennsylvun!ll, 25; methods
ot grunting, 20; sules of, 27, 238,
2:10 (tnblc); free, IIttmctt.>U settlllra to Wcst, 2:14, 001; slIlull
hohllngM of, 237; speculation in
IJubllc, 238, 4!l8-4(l.1, GOO; gruutN
of, to statlls, 414-41G, '.l50; extent
IIl1d ltuI,ortllll(!O of puhllc, 4'104G5, 01.G; prot'OO(ls trom sale of,
448, 4titi, 4GU: null wageN, '15134117; [JI'h'l) of, .!57, 481, 1)71-572,
110:1, CIa-02:!, 1I:11, Ga5: tenure of,
UOI-GOR, 027-021J i grants of. In
the WI'st, 1140-MH,
J..cgal '1'('nller Act, criticism ot,

IIIm-01l5.
Uvcatock. See Cattlo, nogs, Sheep.

l,ullIlJer, in tllO (!o!on!cH, 42-43, '16,
411, tiS, 7Q-72, 74, 7ll-78, 80; on
tIm 1I11t1HiRSIIJl'i. 1157-:158; manufncture of, 743.
0Q-U5: (1765),158; (1840),283:

In Massachusetts, 43; 111 PennsylvanIa, 4U :iu New York, 05-<l6;
In New England, 68; of iron prohibited in colonies, 130; few, for
MIlle (1775), 2ti2; obstllClcs to the
dovelol,ment of, 253, 310, 339;
after the Revolution, 254, 255;
Ilrotoetlon asl,Cll for, 200, :lOH, ff.;
Bamilton'S report on, 257-2GO;
of iron, 200, 270-28~ 207-300,
752-751); of cotton, 203, 278-279,
283, 285-293, 747-751: of woolellS, 2(H, 2Da-200, 743; of leather,
277, aoo-aoa, 743; of printing
]l1'('HHea, 225, 303-304; of sewing
Illlll'hincs, a04-aOtl; of flour tl1ll1
Jll(!lll, 22u, aOa-300, 71:1; of 1u(1111
rnhh!'l' guodA, :107; of furniture,
225, :lO7, 74:1; of wlltchCA, aDS;
l,rOh'fCSS of (17113), 2UG j (:1.810),
277; (1840), 283; (1800), 282;
(18uO-18tlO), 740; decline of
(170fi), 207; 1l0I1scllol<l, 200-2(;8,
270; Gallatin's report 011, 270282; gcOgral,hlcal dlatl'lll11t1on of,
277, a02, a04-308, 742-744, 740,
751; value of (1840),283; (1800),
282, 201, 207, 200, 301, 304, 300;
(1000), 018; (18UQ-1SS0), 740,
7,.3; (1000-11110), 715: in the
WCHt, :m7; coudltlons fltVOrahll'
to, 730.
l\Iark(!t, retail, lOu; colonies a, to!'
Drltlsh manufnctures, 132; western, 248; wholesale, 303.
[7]
i. Set in H P()itlt No.1 and 8 Point Antiqlte No.1, 2 point leaded
I-hIm the val"ious alphahetical divisiol1s

are set off by using Alltiql1c for the
fir!lt suhjeet title ill each division.
(10 Puint OIJ SI~lc ND, 1, 2/V1i"llcadcd)
~~~~.....-..:....r...~~.tI'~i"\I'\!!IIi/.""'~~II'Ji''''''mGl'~_~:''}~''~_'~~~~$'I,'!VWfj'!''''''WU''i$~~Io.''~~~.""~~il:\(~~iM.~~~"I"I'<>\''"''1~':'"~~~'')rllrtli\'4,\1'''.I<,VI'''O'\\~14~'101
~in?
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Ii
:1:
11
:!,~
i,""
" :,'
~.
!
. I
468
INDEX
Army of Egypt, advances on Army of the Alps, Napoleon's

Syria, ii. 68, 69; abandoned by
plans for the, i. 245; combined
N. in Egypt, 80: Adm. Bruix
with Army of Italy, ii. 9.
9. Set in 8 Point Scotch, solid; Initials
sent to relieve tne, 79; its deso Army of the East (Allies), iv.
in 18 Point Scotch
late plight, 80, 81.
3.
Army of England, the, creation Army of the Elbe. formation
of ii. 24; N. general of, 24, 35;
of, iii. 23.
HERE the alphabetical divisions are
on the watch at Boulogne, 48: Army of the Interior, the, i.
298; N, made second in com
the right wing of, 51; strength,
shown by using not only caps for the
290, 291; ordered to march to
mand, 305; N. reorganizes, 308:
first subj ect title in each, but also
the eastward, 362,
1796, 345; commanded by Auge
Armyof Helvetia, incorporated
reau, ii. 7.
using a two-line initial.
into the Army oi the Rhine, ii. Armyof the Main, formation of
(10 Poi,,1 Old Slyi. No.1, 2 PO;lIlleadtd)
140. f
d f
the, iii. 393.
Army 0 Holland, free
or Army of the Netherlands, ser.
active service, li. 146.
. vice on the Rhine, iv, 55.
Armyof Italy,eqnipmentofthe. Army of the North, conquers
i. 196; campaign in the Alps,
the Austrian Netherlands, i.
213; N.'s service with and com
273: in 1796, 347; operations
mand of, 216, 224, 237, 255,
h Rh'
434 B
'
318-22, 342; question of its
on t e
lne,
; arras 5
sustenance, 239; strength and
schemes in regard to, ii. 6.
organization, 240, 241; No's Army of the North (Allies), in
Brandenburg, iv. 3; contem
plans for the, 245; Corsicans in
the, 252; N,'s monograph on,
plated movement against the, 24.
288; promised booty, 339, 340, Army of the Pyrenees, trans
344; the question of its employ.
ferred to Maritime Alps, i. 342;
ment, 342, 343; joined to that
joined to that ft! ~~~l..: .~'A. --of the Pyrenees, 343; destitu.
vice on the Rh'
tion of, 344; strength (1796), Army of the F
346; pillage in the, 351; rein
to Italy, ii. 16
forced from Vend~e, 387; popu.
to attack Mel!
larity of, 419; growing arrog
the Alps, 169-::
Index
595
ance of the, ii. 4; reinforced by Army of th4;
the Army of the Alps, 9; spec(French), N. '
Monroe Doctrine, origin, 8'16; NobUlty, titles of, forbidden, 124.
ulations as to further employ
216; N. fails oj
applications, 876-878.
Nominations. S e. Politics.
ment, 32; restrained from pli.
commanded by:
Morals, public regulation, 55, Non-partisan boards, 145.
lage, 42; Moreau's service with,
nais, 314; thf:
661, 562; attempted prohibi- North CarOlina, no veto power,
72; division of, and disaster,
employment, 3,
186; appointed county officers,
tion of gambling and prosti87; frauds in, 91; commanded
port N. in Ital),
tution, 1562, 1568.
174; early state unlverslty,587.
by Massena, 140, 186; scheme
of, ii. 6; Augcj
North Dakota, prohibition, 669.
Mormons. S66 Utah.
for raising money for, 154; No',
of, 7; disbanc:
Mortmain, 826.
manifesto to, 159, 160; its line
commanding,'
Museums, public, 1i50, 551.
FFICERS. See Civil serof operations, 160; service on
f t t 159 '
the Rhine, iv. 55.
C:n~o~dat i~,j
vice, Executive.
ATIONAL BOARD OF Ohio, no veto power, 80; tax inArmy of Silesia, contemplated
Domingo exp:
quisition, 892.
HEALTH, 1572.
movement against, iv. 24; con
from, 236; N.'1j
National Conference of Charities Olney, Richard, application of
templated movement of, 25.
ing oppositio\
the Monroe Doctrine, 878.
and Corrections, /l69.
Army of the Danube, under
weakened to (
Order. Se. Law and order.
National Museum, 279.
command of Jourdan, ii. 72.
Italy,296.!
Naturalization, control and pro- Ordinance of 1784, 864.
cess, 17; exceptions, 17; effect Ordinance of 1787, provisions,
28, 864, 865.
on claim of native country, 18.
Navy, Department, 278, 279; Oregon, popular initiative, 80;
annexation, 848-S45; boundclvll head, 462; retirement of
ary controversy, 847.
officers, 468; history, 466, 467;
organization and pay, 467, 468;
strength, 468; sliips, 468; adARDON, governor's power,
ministration, 468; combined
142; preSident's power, 270.
training in engineering and Parks and forests, municipal,
navigation, 468, 469; peace
828; state, 829, 880, 504; naduties, 469; naval academy,
tional, 882, S88.
470, 471; War College, 471; Parliament, development. 89-41;
naval militia, 478; present
system compared with conneeds, 477; cost, 4/17. 1366 alBO
gressional, 248, 244.
War.
Partnership, 488.
Nebraska, referendum, 80.
Patents system, 492.
Negroes, population and distri- Peabody, George, fund for negro
bution, 10, 11; personal rights,
education, 546.
8. Set in 8 Point Bodoni Book, solid,
25, Sl-88; suffrage, 69, 88; Pennsylvania, borough governand 8 Point Antique No.1
special educational funds, /l46.
ment, 169; Ripper Bill, 185,
New England Confederation, 48.
186; budget, 418.
New Hampshire, election of leg- Pensions, private bills, 257,479;
islators, 128; former prohibilaws and amount, 477-478;
THE style shown in this page is one
tion, 569.
difficulties of the system, 479,
which emphasizes particularly the
New Mexico, annexation, 844480.
846.
Personal property, taxation, 885subject titles. From a typographical
New Odeans, private sewers,1l72.
887 ; assessment, 890-892;
standpoint, the contrast is too great
public, 409, 410.
New York, civil service reform,
except in unusual cases.
148-150, 198; village govern- Petition, right, 28.
ment, 169; tax on vlilue of Petroleum land, sale of publiC,
(10 Point Old St~I.No.1, 2 Poi"llead.d)
franchises, 888 I state control
as8.
Philippine Islands, slavery, 24;
of education, .542.
personal rights, 82, 872; anNew York City, rapid transit.
nexation, 844-846; govern529, 588, 584; free lecture
ment, 867. 868, 8'12; advantage
courses, .561.
[8]
,II
[9]
L. .__ .__.______. __.__. . .__.____._ . __. . . . _.........._. . ____._ ............._... '__. _._ . ._. _.,. . . ____. "___ ._._. _. __._.......___ .. ___ _
208
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AT EIGHT O'CLOCK
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i.
1
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~~~;,,::;:-~~...,~~m~__~.;,m.",toit,;.;..'::t'.ciI~~.t.~'~J~'~I'.!!>.-i.YfflrA~;.,w~..\\t.aWi:,-..m$~.~~.;~":r.J1J.t'j~;"~~,~~r\;:~1~it""'~;.;""1~'~~.,.;i>,
213
~:..M~.f),~ ~ ~''''f.:'IIr.}<J.,'~.;-;f,')....';.;.~-"~~~~!J.
.,:1..... A'."t: .
..... ..
FEBRUARY 8
"WHAT IS A GOOD BOOK"
THE LECTURERS &

THEIR SUBJECTS
'.l' HIS
lecture will be given by Mr. T"o'11~ar R.
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NOVEMBER 17
"EMERSON, THE PURITAN"
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JANUARY 5
"THE HONEST MINER OF
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FEBRUARY 25
"OLD AND NEW SPAIN:
PERSONAL EXPERIENCES
IN THE SUMMER OF 1902"
R. Van N ers is to give another of his mOllt
delightful tlavellectures. The two lectures

given by Mr.Van NIlS in previous years describing
trips to Russia were listened to with the greatest
interest and pleasure. His wOllderful and thrilling
power of description enables him to almost literally take his audience with him on the journey
he describes.
MARCH 7
"MODERN INDUSTRY AND
ITS RELATION TO INTELLECTUAL DEVELOPMENT"
HIS lcctul'e is to be given by President Carrott
)1 D. Wright of Clark College. Mr. Wright
is recognized as one of the closest students of
" .j .'.
SPECIFICATIONS
FOLDER: Set in Caolon Old Face, the body
;n 9 point, 1 point leaded, with 24 point
initial. and 12 point head., main heading
in 18 point with 12 Point Ca,lon Border
No 1061L and R.
ORDER FORM: 10 Point Ca.lon Old Face

cap', interspacedl 14 point cap., ,mall
cap', and italic, Dotted Rule, 2 Po;nt
Matri" Slide No. 2011 12 Point Caslon
Border No . 1024, 1025 and 1026, with
CRITICAL COMMENT
GOOD taote on the part of the printer i.
al evident in the .mall job a. in the
elaborate catalogue or brochure. We ,how
here two repreaentative Ipecimens of amall
job work, set in Callan Old Face, with
appropriate Cas Ion decorative material.
ORDER FORM
THEDAM PUTERSCHEIN'S SONS

P. O.Box 246, Hingham Centre, U. S. A.
GENTLEMEN:
I enclose .rub scription ($ 1.00) for copy of

THE FABULIST, NO.3
Officers
ADAM S CABOT LOWELL
Pro/ident
CABOT ADAMS
Vice-Presidsnt
LOWELL CABOT
Sscretarp
A. C. L. SALTON STALL
Treasul'sr and Cashier
Directors
FANEUIL H. ADAMS
The PARK STREET NATIONAL BANK

BOSTON, MASSACHUSETTS
PARK AND TREMONT STREETS
Condensed Statement of Condition as of January First
I:
i
II
~l~i
~:
1
~!
RESOURCES
LIABILITIES
Loans and Discounts

$116,953,4 2 5. 0 7
United States Bond,
11,4 8 9,59 0 .40
(market value)
Other Bonds
(market value)
Federal Reserve Bank Stock
525,000.00
Othe~ Stocks
993>555. 0 3
(market value)
Customers' Liability Account of
Acceptances .
Loans held for Customers
4,279,000.00
Cash and Exchanges
36,9 38 ,937. 1 4-
Capital
$ 10,500,000.00
Surplus and Undivided Profits
9,9 69,64+62
Unearned Discount
5?3,2.77- 28
Reserve for Taxes, etc.
Circulation
Acceptances executed for Customers
(After deducting $13,04-0.80
held by bank)
Loans held for Customers.
4,279,000.00
Deposits
149,879,3 69.33
r~I
Wi
~I
Foreign Department
COLLECTIONS IN DOLLARS AND FOREIGN CURRENCY COLLECTED AND CREDITED AT BEST RATES
FOREIGN EXCHANGE BOUGHT AND SOLD
it
DOMESTIC AND FOREIGN LETTERS OF CREDIT AND TRAVELERS' CHECKS ISSUED
MONEY TRANSFERRED BY CABLE TO ALL PRINCll'AL CITIES OF THE WORLD
:Ii
;t
~I
t!
'Ii,
~.
II ~I:
Fol
It,
~~il
m
I'I'
THE four-page bank statement i. almost
0 .tandardized product, it. content

being of the me nature in practically all c..... The individuality of any
.tatem."t, therefore, will depend chiefiy upon the typographic treatment of the
n,.terial. The .etting above i. designed for a bank of conservative character,
and i. appropriately worked out in Caalon Old Face. It pre.ent< the necessary
facta in thoroughly readable fashion, relieved by a .imple decorative border,
"'" ., ."'",. "". ;. .,. _w _
SPECIFICATIONS: Set throughout in Caslon Old F.ee .. follows:

UnKR LnT: 21 point cap' and it.lic; 11 point italic.
UPPER R,OHT: 14 point, 9 point cap', interspaccd,' 9 point italic,
C~NnR: 18 point cap. and it.lic; 9 point cap.; 10 and 18 point; 10 point
small .ap" Rule., 4 Point Matrix Slide No. 351.
BORDER: 4- Point Matrix Slide No. SOg i 12 Point Coolon Border No., 1024-,
1027 '"""',
.,...,.
(8 p""" Carl," Olt
.t ......~M'I.~"~~~'1I!'~",,",,~"""'"1;~"'J~~NIIt'r.lllollJ~W~~"':lI:\f,.~I~
"-<I .. ,
H"'tI..,t'::'~> ~ ,
F.", Z ,.1", l ..d,l.)
"~;(.~,.~",~,.,,,II':, ',,~~I'II:I'M:Ii.ot~,.~~~I,.b)e\~ft"'~~-eI.;':(".~~""i':W-'.'.
,,:), 1",,~1t ')'1;1."\'1<',.":.11<'. ;,'".... ,'"., ... " " ..
A RESIDENTIAL GROUP
A UNIQUE
and 125 on the side streets. The garden of :

the St. Francis Home, to the east, insures
an open space on all sides of the building.
RESIDENTIAL GROUP
ON
NOSTRAND AVENUE
The problem that was presented to

Messrs. Gorham & Wilcox, the architects,
,
Booklet Label
was to design a building of moderate height
in which each apartment should have the
combined advantages of an apartment
house unit and a detached nrivate. house ..
In the solution of this p
tects have succeeded aeIn
The plan adopted divi
site into six approximat
I
only three of which will bf
NOVEL and ingenious idea has been
ings. Of the other three
developed in the plans for a residenbe laid out as gardens :fi
tial
group
which is proposed forthe east side
section of the group of }
ofNostrand Avenue between Hinckley and
remaining square will bE
Ardmore Streets. For lack of a better term
With such a generous
this unique stl'Ucture will be classified as
the middle of Nostrand
House Apartments, because the dwellings
[6 ]
it comprises are more like houses than the
usual apartments.
d
.,
,;
!
SPECIFICATIONS
LABEL: 8, 10, 11 and 12 Point Scotch caps, with
4 Point Matrlx Sllde No. ~OB.
BOOKLET PAGES, U Point Scotch, 6 point
leaded, with small cap numeral and 80 point
inltlal.
RUNNING HEAD: 10 Point Scotch cap inter
spaced.

(6 Point Scotch, 'po/nt leaaecl)
CRITICAL COMMENT
I
1
i
I
II
SCOTCH, like other modern faces, appears

to best advantage when properly leaded.
This has been done in the two booklet
pages above, wlrlch are excellent examples
of the beauty and readability of the plain
type page. For the small advertising booklet where these two factors must be the
:6.rst consideration, it would be hard to
devise a more effective setting.
Each apartment will be offered complete isolation from the others by reason
of the novel plan evolved by the architects,
which will provide the privacy that only
a detached house can give, with all the
conveniences of a modern apartment.
The site, which is that of the old St.
Francis Hospital, is in the most desirable
neighborhood in New York City. It has a
frontage or 200 feet on N ostrand Avenue
[5 ]
(8 Paint Scotch, S pO/lIt lead. a)
.~.;;-~~~==:;;,=:==c:
..-.."--..---"-" .."--.-- . -..... --.......~.""......... - ........ :... .
- -............ ~-'"""--'--""-----~1IIo.~~~:m'~Jiilf.1WAt:t";'1&:!~~Iw..:~~!I!.;:r;Ylti.
216
APPLICATION FOR MEMBERSHIP
THE NATIONAL INSTITUTE OF APPLIED ARTS

210 COLUMBUS AVENUE, WASHINGTON
INCORPORATED FOR THE PURPOSE OF STIMULATING AND ENCOURAGING
THOSE ENGAGED IN THE APPLIED ARTS IN THE UNITED STATES
APPLICANT:
ADDRESS:
BUSINESS:
DATE:
PROPOSED BY:
Dues $15.00 per year. payable in aduance, from January first I

Make check payable to the order of WILLIAM BLACK, Treasurer,
Th;s ;s a Sample of
5_, I" n4Htdlct/'.4 Book, 10 lit/ltd ClifT, int41'rpllud; 14 ",,4 10 1'0"Jl cal'IJ 10 point Imail caps;
8 1'01", 11II4U c(Jpllmd lfilllt.; Rut.!, 2 Paillt MatrIx 31M" Nfl, 4()4.
WE CORDIALLY INVITE
From the
INSPECTION OF OUR FABRICS
Paper and Cardboard
FOR SPRING TAILORING
19ARCHERSTREET,ALBANY
UR LINE is comprehensive, and

the many weaves and colorings is something that will suit your
tastes. If you want the kind of clothes
that arc dressy and smart you should
add your name to our list of pleased
'[~mong
clistomers.
THE WARP LOOME COMPANY
i
ij
,,,i"',
1~1IJ.l!d, tD""
S.t III Pahrt Old Sill" 10~ 12 (111111-1 poJnt; 11. lind /oJ polflt Jtalici 18 Point
B~rJ"dlctlfJ. Bnrtl.,. NOl. 724L .tnd 724~, R.ul~l~ Z Pol'~'t Mat",;;t Slid.
No. 403.
CRITICAL COMMENT
THE three specimens on this page illustmte the typographic scope of the Linotype. The first utilizes the
c:lassic beauty of the Benedictinc Book capitals, in
combination with a simplc rule treatment; the second
shows a paper dealer's sample card su~h as would
ordinarily involve the making of a drawing and engraving; the third is a small announcement, with a
rather bookish setting in Caslon Old Face. All arc
simple, appropriate, and distinguished in their effect.
Btl I" (:.ulun ()ld ""u, ch,. 6tJjl, ,,, U

.f p411ta
Jd polrat l,.l1,l"l (llImd) 1 Ho.J..
10 ,.,1,,, Cf4,,', JnC.rlp,*Cttl, .91(f,.durt, 10 IflillJ cII.N ",,,1 'IAlJ~
IWAth CIlPII Or"amtmt,
'rI"
II PuJ,.. Cllllul)
wi'"
Ilur.lllr .'III, ItJoh'.
L.u,. . . . . . . . . ""_"''..,. . .~' ' '. _, ~,. . ,~. ",K"'''.''''''''''' "'.~, "'..,.."'''''.'''., '"'''_~..''"'''''._'''''__'''...,.,........'. . .,'.,''' """',. . _.~'''~ '"~
_'w..
..",'
, c. . .,.,. .
"""",,,.,.,,,,,,,,""'''''-'..... ".,,,<..
~~~-------------------------~
FEATURING RUGS
'The
NEW IDEA
======- NE
in Rug Dvf erchandising
this month, a rug was marketed

which dealers have good cause to remember.
It was rather a startling rug. To begin with,
the design was not Oriental. It was called
Chinese, but there was a stork in it and ducks
and trees, and ,no one had seen that kind of thing III rugs
before. And there was no repetition in the design.
YEAR AGO
WHILE admiring its remarkable beauty,

most buyers thought it too unusual to
sell in any quantity, and only bought a
limited number at first.
buy that particular design, they bought

other rugs in the store where it was displayed.
is the feature rug idea which is
making such a change in rug merchandising'-to provide the dealer with designs that are so striking, so different
from the ordinary, that they form a center of interest in his store and quicken
turn-over on his whole stock.
THAi
then they suddenly made a discovery-it was the unusual, the really
unusual, that attracted the public.
AND
WHEREVER the Chinese Renaissance

Rug was displayed it drew crowds. A
dealer in Portland, Oregon, reported

ranks four deep outside his windows.
Another in JacksonviIIe, Florida, had"
two hundred in his department the day
he advertised the rug. And so on almost everywhere. This WHton created
rug-interest, rug-desire, where it did
not exist before. Even if people did not
WHILE continuing to weave beautiful

Oriental designs into all their lines, the
HOUSE of KACHADOORIAN wiII produce
each season designs in novel styles and
along novel technical, lines, worthy successors to the C hi1tese Renaissance Rug.
Write for details about tbis season's feature rugs: Tbe BARBIZON LANDSCAPE
(whicb bas more colors tbm' any other WiUon) and tbe ASSYRIAN TEMPLE
RUG
RUG
T. & S. Kachadoorian
Fiftb~venueJJ'few
CHICAGO
SAN FRANCISCO
BOSTON
York
PHILADELPHIA
DETROIT
tMillsat Wsymoutb.R.l.
~~.--------------------------------------------~
218
GIOVANNI BATTISTA TIEPOLO

rA 'Biographical rJV:.ote
HE last great name in the illustrious roll of Venetian
painters was Giovanni Battista Tiepolo, born in
Venice, April 6th, 1696, in the parish San Pietro a
Castello. I-Ie was the fifth child of a well-to-do captain
(naval) and merchant of marine goods, Domenico
Giovanni Tiepoio, and his wife Orsola Jugali. The
father died when Giovanni was one year old, and a considerable fortune
was divided between his children In 1721, Giovanni married Cecilia,
co Guardia. Cecilia bore him
in a fine house in the parish of
ancesco dello Vigna. 1-lis wife
mbling, and was said to have
as well as denuded the studio
If-finished paintings, in order
for the gaming table. Tiepolo
ear Mirano. In the Church of
ar pieces representing "A Mir-
EXHIBITION
OF PAINTINGS
By
EDWIN MORRIS
be said to be traced to a carealthough by no means was he a

xcelled these masters as a ceilnever had a rival. The amount
magnificent fresco is nothing
etchings and finished sketches
convents, and royal palaces in
Monday, January 9tb

to Saturday, January 28tb
inclusive
ecoration of the ceiling of the

Venice, otherwise called Santa
rly belonged to the Monastery
Venice in 1393, and came in~o
88, who wished to honor their
SPC:CIFICATIONS
COVGR PAGE: G, 10, 12 .nd 24 Point cl.evir No.3,
with 9 and 12 point italic; Decoration, 24 Point
Louis XV Ornam,nt No. 814; 4 Point Matri. SHoo
No. ,08.
FOLDER PAGE: 12 Point E1zevir No. ), Z point
leaded: Initi.l, 24 point; fle.dlng, IA point: Subhead, 14 point it.dic; Decoratioll, Louis XV Headband X1346; Initial, 78 Point X-IZ15; 2 Point
At the
PEMBROKE GALLERIES
ARLINGTON AVGNUG, AT 60TH STREET
NeW YORK CITY
CRITICAL COMMENT
These p.ses, employing the Elzevir race with it. ro
lated series of Lauis XV Ornament, show two simple
but etTective decorn.tive treatments whkh can be ad ..
vantagl.:ollsly utilized. for artistk subjects.
(6 I'o"nt filr,vir No. J, 2 poinll ..J,d)
')
CRITICAL COMMENT
F OR the commercial printer Elzevir will
r--
find its most frequent use in that class

of job work where a light, dainty,
"feminine" effect is desired. The tea
room menu is a typical specimen. Here
again the text is complemented by the
Louis XV Series of Ornament, which
matches it in weight of line.
The grace and beauty of the Elzevir italic
appears in the card at the bottom of
the page. Like the Caslon italic, this
series is made with swash characters,
which enhance its effect.
rv1 t the Sign of the
(8 Poi1lt Elii1vir No.3, 2 POi1lt leadld)
6 RED COCKLESHELLS
CHISWICK,
L. I.
SPECIAL LUNCHEON
$1.25
COLD CLAM BOUILLON
COTTAGE CHEESE AND EGG ROLLS IN CREAM SAUCE
FRIED HALIBUT
ROAST BEEF HASH, POACHED EGG
NEW STRING BEANS
CREAMED CARROTS AND PEAS
ICE COLD CAROLINA WATERMELON
WALNUT CREAM LAYER CAKE
BROWN BETTY, WHIPPED CREAM
COFFEE, TEA-ICED OR HOT
LUNCHEON,
12 TO 3
Tables may
SPECIFICATIONS
MENU: Set in Elzevir No.3; Heading in 14
point italic, 18 and 24 point caps, inter..
spaced, 12 point caps and small caps; Body
in 14 point caps, 11 point small caps, 11
point with italic and small Caps; 24 Point
Louis XV Border Nos. 814i, 814" 814g.
814d, 814j and 814, with 6 Point Motrix
Slide No. 303a; Free Ornament, 24 Point No.
814; 3 Point Matrix Slide Dash No 923.
ANNOUNCEMENT CARD: 14 Point Elzevir
No.3 italic, 5 point leaded; 4 Point Matrix
Slide No. 506.
(6 Poi,,! EII,vi, No. J, 1 poi"t lead'd)
DvIiss [/V[ argaret S. Wainwright takes pleasure

in announcing the opening of her new Tea Room,
"At the Sign of the Six Red Cockleshells," in the
basement of the old Holley House, Chiswick, Long
Island. Luncheon, Tea, and Supper will be served
daily, Sundays included.
Tables may be reservetji in advance by felephoningChiswick 670 ..
no
SPECIFICATIONS
Set in Elzevir No.3; Heading in 18 point
caps, interspaced, and 10 point italic;
Body in 8 and 10 paint with italic and
small G.lPS; Numerals, 10 point small
caps; Louis XV Headpiece, X-1I91;
Dashes, 3 Point Matrix Slid. No. 920.
(6 Point Ell,vir No. J, 1 point l.ad,d)
SPECIAL PROGRAMME
for the Benefit of The Associated Charities
THE FESTIVAL QUARTETTE

MISS MAY NEWMAN
MR.s. D. CAMPBELL.
Soprano
Contralto
Tenor
Bass
MR.. FRANKLIN PAYSON

MR.. JOHN R. WILLIS
MR. FREDERICK L. SIMPSON at tbe Pia1W

G. C. LOCKHARDT
at the Organ
MR..
PRELUDE, Op. 3, No.2
RACHMANINOFF
Mr. Simpson
II
(A) MY LOVE IS LI KE THE RED, RED ROSE

GARRET
(B) LEGENDE
(C) A SPRING SONG
TSCHAI KOWS KY
I'INSUTI
Miss Newman
Mrs. Campbell
Mr. Payson
Mr. Willis
[[[
(A) DANSE ESPAGNOLE, No.7

(B) A REVERIE (Improvisation)
. (c) DANSE ESPAGNOLE, No.5 (Andalusia)
GRANADOS
GRANADOS
GRANADOS
Mr. Simpson
IV
MIDSUMMER NIGHT'S DREAM (Overture)

Mr. Lockhardt
MENDELSSOHN
v
KLAVlERSTUCKE, Op. 5, No. I
CRITICAL COMMENT
By the use of caps and small caps

a variety of emphasis is secured
in this programme which gives
to each detaiI its proper importance yet permits no one to obtrude itself at the expense of the
rest. The body matter is entirely
in 8 and 10 point, maintaining
a consistent and unified setting.
Note how the tall, "lean" Elzevir
caps harmonize with the upright
shape of the page.
D'ALBERT
Mr. Simpson
VI
EL PELELE (Goyescas)
GRANADOS
Mr. Simpson
VII
THE LOST CHORD
SULLIVAN
THE FESTIVAL QUARTETTE
Mr. Lockhardt and Mr. Simpson
(8 Point Elftvir No.1, Z pointleod,d)
.j'
THE STEARNS-EvANS BUILDIN(" INC.
Dear Sir:
The recent ohange in ownership of tho
Stearns-Evans Building makes it possible for un
to offer you offioe spaoe here on unusually
favorable terms.
As you doubtless know, this building
is in the heart of' the rapidly growing mid-town
distriot, oonvenient to all oity traffio oonnections and to the terminals of the ohief
suburban railroad lines.
The offices are large and roomy. with
unobstructed air and sunlight. Fourteen-foot
oeilings make possible the oonstruotion ot
galleries for storage, eto., at no additionnl
rental cost. The servioe is ot the beat. inoluding eight high.. speed psusnger elevtlioro,
with express servioe to the upper tloors.
The renting office, looated on tho
premises in Room 414. will be glad to Qommunicate further with you or with your broker in
regard to terms. Speoimen floor plan w111 be
mailed on applioation.
Yours very truly.
THE STEARNS-EVANS BUILDING, INC.
Secretary
~~~aw,I;tt'.lI.Wt~~.o\~l!\"""~I'~'~OIS>I!.llIIJ~~U~rA~~:!h~~\)'~"@Q7.u~~~
..... ,~ . . . . " , """,,,.-~_,._,,,~.,,,'."'''' , . . . . . . . . . . _~~~ . . , _ ; " " . " ....
_."
.... , _ . ,OW
. . . '
'".
,_.
,~~._ ,",.,,,
_"
".
, " 0 . , _ . , , , , , , . , _ , ,._~_._ .. " .
" ' _ _ _ _ _ _ _ . _ _
................... _ _ _ _ _ ..... _ _
The Pacific and Atkinson's
SCHOOL ADVERTISING
INTHE NATIONAL MAGAZINE
Dealing direct
EALING directly with us means gain for the

subscriber and yourself. The delay and risk of
enor that you avoid means a subscriber pleased by
prompt arrival of his magazines. Your direct orders
may qualify you for the liberal bop.us above commission that ,we will explain on request.
CLOSING DATES
Copy fo .. approval or corrlction m",t be received
one 'We,k ;1'1 aJ..Jance of closing datel.
issue, published 20th of May

closes April loth
JULY issue, published 20th of June
closss May loth
AUGUST issue, published 2 Isto July
closss June loth
SEPTEMBER issue, published 20th of
closes July roth
[August
JUNE
Short term subscriptions
UBSCRIPTIONS for less than one year will be

taken for convenience to subscribers, at proportionate rates-except Athi/nBon'. new subscriptions
at the special rate.
.
Short paid orders

of less than $2.00 will not delay
SHORTAGES
entry of your orders, but only one bill will reach
you. After reasonable time for collection, the short
paid subscriptions will be cut down.
SPACE
Improper subscriptions
The smallest space acceptable is half an

inch (7 lines).
by subscription, copies of
N oTil,ONE may ororder,
Atkinson', Intended for newsPa~ifia
stand sale, nor may copies ordered en subscription

be resold at retail in any way, nor may any subscription worker forward, without OUf consent,
ordel's not obtained from the subscribers by hiB own
direct effort.
SIZ ES
x lOy,; inches
Fullpage-7
or 'P9lines
Column - 2 x lOy,; inches or 143 lines
Observance of rules
CIRCULATION
In excess of
_" _ _ _ _ . _ "
300,000
ONE should sell The Pa~ifio MlLg~ine or

Atkinson'8 at any othel' terms than those stated
in this schedule of rates. Any Paoific or Atkinson!,
subscription sold directly or indirectly In violation
01 our terms will be cancelled.
RATE
The school rate in The National Magazine is $1.00 a line; the rate to other
advertisers is $1.50 a line.
E. F. Atkinson Co.
West 18th Street, New York
CRITICAL COMMENT
THE NEW YORK OFFICE of

SPECIFICATIONS
LEFT. Set in Caslen Ohl. FIlCCt Hoadlng in

11 point cOopsJ Subhends, 12 pOInt rmtltl
CIl,PSJ interapllcedl' BO~Yt 9 point 1tj1l1c~ 1 t
point) 12 point with italic and smp,11 !;apil
12 Point Bgrder No. 514.

RICHT: Set in Scotchs the body In 8 point,
sond, with 18 point jnitinls :Lnd 1:2 point
heads, R.unnlng Hen.cf. 1 12 point with italle:,
Signature, 14 point Clnd 1l point it:l.ltc;
Rules, 4 point Matrix Slldc No. 508 tmet Z

Point No. 403.
BELOW: 14 Point Benedictine, 2 point
leded, with 18 point lnithll, IIboveJ 10
~nd 12 point caps ;md. S pclnt small caPI,
intmpncedJ 18 .Point Banedictinb Border
Nos. 724>1i and 724~.
(6 Point Callan Old F4'1, 1 pOillt l'4d,tl)
this Company has been

moved to 478 Columbus
Avenue (the new Union
Central Building) and the
telephone number is now
Harriman 8927
EADS - KIMBALL CO.
THE two pages above are adapted

from l,yout. by the late Benjamin
Sherbow, and .how an extremely
effective use of Caolon and of Seotch
in the folder of envelope si.e. Note
the deft way in which the text of
each i. accented-in the c.udon page
by tbe use of small '"'PO and italic,
and in the Scotch by the initials. It
would be hard to surpass either as a
combination of beauty and utility.
The nenedictine Betting at the bottom
of the page, also in envelope size, is
an original and amusing rendering
of a removal notice.
INCORPORATED
BOSTON
~1I:~~~~~t'iI'I.~;~!M'iL-~IW.,~~~~"~-M~i':~"'.:iI~'.!!i!'\:'\I\t~I,I),:("'4_'1'\l~~~~.~~~'1.'(:'''~lo/II.w.,q'~,j/:'>r,i'~iII.~..te-.''''Ij'.~fo!'i!'~IJ,)'W".~,.;,.~.if'"'''';':~.~I!"<',\Ii'~"~"'~~;"'''::~\1l~''';''''':';';;';.~';~:~I.",'~~A'.~
2:;.\
SPECIFICATIONS
RIGHT: 14 Point Original Old Style
small cap!, itaUc caps, upper and
lower case; 12 point. wlth small
caps; Heading in 14 Point Scotch:
36 PDint Badoni Bordet No. 1206;
Rule. 8 point Matrix Slide No. 73$.
BELOW: 12 Point Original Old
FRENCH JAPAN PAPER
Style: cap:s, :omall caps, and italic,
with 30 Point Scot<:h initial. the

italic 2 point leaded j 8 Point 1vIatrb:
Slide No. 735 and 2 Point lvlatri:x:
Slid. No. 401.
(6 Point Original Old Style.
2 point lealieli)
FOR
PUBLISHERS, PRINTERS
ADVERTISERS
Carried in Stock by
NIPPON PAPER COMPANY
Importers of High-Grade Papers from

CHINA, JAPAN, FRANCE, ITALY
ENGLAND [5 GERMANY
INTRODI
DRENCH Japan 1
take the place of!
Vellum where the COl
Mbitive, and is the 0 :
senting the same appl
working qualities as
It is used for phot,
Sole Distributors in the United States
work where wet prin,
CALDECOTT SgUARE, EAST
a growing demand am
advertisers wishing h
New York City
moderate outlay.
,
The variety of sizes'
for every form of cal,
leaflet, and book pri
heavier weights may'
calendars, etC. The'
adapted for iUustrat; ;
well as commercial u!.
certificates, and even stationery.
The Nippon Paper Company is the sole importer
CRITICAL COMMENT
SOME of the best examples of th~ com~
and carries large quantUzes of all sizes, weights, and
mercia1 use of fiM typography in recent
tz'nts. Special requirements as to colour, size, finish,
years have a.ppeartd in the samples issued
by manufa.cturers of high-grade: papers.
and weight may be imported to order.
Realizing that a beautiful setting is the
I:
most effective means of shewing their
NIPPON PAPER COMPANY
product, the".e manufacturers have gone

to the best printers and designers avail-
able. and have used their work with

striking- results.
Above is a typical sample folaet. set in
Original Old Style. with heading and
initial in Scotch to give it accent. The
Scotch face, being half way between the
old style and the modern in it:s characteristics, may be appropriately used with
Original Old Style for this purpose.
(6 Point Oduillal Old St~le, Z PO;II/ leaded)
224
\tbe \tbirb
$unba~ after tbe 15ptpban~

JANUARY TWENTY-THIRD
~.
E!0orning praptt ann antt~Ql:ommunfon

teulUlIt:-Meditation on Bach's 7th Prelude (C minor)
(Fer vi olio, 11 a.rp all d orglE!)
tet.,tt~~tonal, ~l'mn
------@tnttt (Jones)
Bordier
66 (2nd tune)
'iltt 3IDtUm JLaubamu~

~ubtlatt
SPECIFICATIONS
E. W. Naylor
LEFT: 18 Point Tudor Black (hand);

10 Point Elzevir No.3 small caps; \0
and 12 Point Caslon Text; 6, 8 and
10 Point Elzevir No.3, with 18 Point
Elzevir No. 3 Initial; Crosses, 12
Point Border No.51O; Rules, 2 Point
BELOW: 12 and 24 Point Elzevir No.
3 caps; 12 Point Matrix Slide No.
1481a; 2 Point Matrix Slide No. 403.
(8 Po;"t Elti, No. J. 2 point l.ad,d)
3IDtO
~l?m1t321
----------------------Hyde
1itl'tit <!elti.eon in B flat

~l1mn335
.QDUtttOtl1 .%1ntDtm:-Psalm 150"Hallelujah! 0 praise ye the

HALLELUJAH!
o praise ye the Lord,
.
Praise ye the Lord in the firmament 0 '
Praise ye Him for His mighty acts.
'
Praise ye Him according to His majesl
Praise ye Him with the sound of the t1
Praise ye Him with the psaltery and h:
Praise ye Him with the dance.
Praise Him with the organ and stringe'
Praise ye Him upon the loud cymbals. '
Praise ye Him upon the high-sounding "
Let everything that hath breath praise
Hallelujah!
teo~tl bt :-"L' Envoi"
SERVICES
FOR THE CONSECRATION OF THE
REV'D HENRY HERBERT JENKS
BISHOP-ELECT OF HANKOW
AT EMMANUEL CHURCH, BOSTON
(Arransed for violin. harp and organ)
ON MONDAY,NOVEMBER
FOURTEEN
CRITICAL COMMENT
OF these two specimens,
the one above

follows the traditional black-letter
setting of the church programme,
with horizontal rules and crosses in
red. It is a representative specimen
of this class of work such as is most
generally used.
The one at the right has a modern, contemporary feeling, due to its being set
entirely in roman. Note the fine, dig~
nified effect of the Elzevir caps.
(10 Poi"t Eltcvir No. J.2 floi"t l d.d)
ANNO DOMINI
MDCCCCXXIII
SPF.CIFICATIONS
TITLE PAGE: Franklin Old Style, 16
point caps, 14 point italic 1 12 point caps
and small .aps; 2 point Matrix Slid.
No. 505 (Speci.I), with 12 Point Caslon
Border Nos. 1024, 1027 and 1028.
TABULAR PAGE: Franklin Old Style, 8
and 11 point caps, 6 and 8 point ca.ps
and lower case with 8 Point Modernized
Franklin Old Style figures and 8 Point
No.1 Horizonta.l Stroke Fractions; Folta
in 8 point old style ftgures. Table act
~~
( t ;~(t-",",,"'-"" ""-"-~"~-"-,,,,",,,,,,,,-~,",,,"",,,,,,,,,,-,,- ......~. .,.---.....,-..~....- ....~.- ...--.. ~..k~~_"_
--,_.. --
'..d~ ;")
<
~ 1>,
'1\,
~ "~1
with the Lino-tablel' System and Crossrule Broach.
(6 Poi.1 Fra.~li" OltlSI"Z., 2 ~oiIlIZ,",utl)
j
1
If
THE
FLAT TURRET LA'Tl'IE
.j
I.\
~
THE FLAT TURRET LATHE MANUAL
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.,114 ..
II~ tIt._~ti.. "t..l !;!y;. ~fk'~. with

1~_l"'4 t __<tilllfll"....
16M with
(:....... ~_. I .......M , ... TM IA""I..
~.I." hit J _I ...." Ia.~ 1,"'J~..blt:r
~re"" ifl'ikrt l'"",,"""~'fIII tha ...h.. n. I.r
toto.". h41t. tmtjt(t'-'r
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SPECIFICATIONS
DETAIL PAGE (loft): Franklin Old
Style, 8 and II point caps; 10 point, 2
.paint lea.ded, with 10 Point ellSlon No.
3 italic; 8 lloint, solid.
BODY PAGE (~.Iow): Headband, Franklln
Old Style, 18 point caps and italic, inteTspa.ced; Border, 12 Point CaslOD Nos.
1024, 1027 and 1028, and Matri" Slides,
4 Point No. 505 and 2 Point No. 401;
Body in 12 point, 2 point leaded; FC)lio
in 8 paint old style fil'Ures.
EQUIPMENT FOR 2 x 24 LATHE
DETAILS OF OUTFIT OF TOOLS FOR BAR WORK.

UP TO 2~-INCH BAR
The Machine-One 2]4 x 24~inch Flat Turret Lathe, cross-feed
head, single drive, four tool holders, three stock supports, oil pump
and piping, friction countershaft, cast-iron table for holding tools,
etc., and suitable wrenches.
Parts for Handling fl. .. 1l ... ft~ Q*ft_.r._A"+ft_~+:~ ~"' .. ~1, ~. ,
roller feed. Fifteen sets ,
~ inch to 2]4 inches in s:
(6 Po;,.t Franklin Old SI:/I., 2 ~oi"llccded)
Turning Tools-Two'
(Model H) and one Mod!
able to sizes from 2]4 inc';
ting-off and forming tool
one drill chuck.
,
Screw Thread Cuttif:

with 15 sets of chasers for:
inches in diameter, inclus!
All the ahove may be brieB;
with the automatic die outfit ,
DETAILS OF 2~X:;
WITH CHUCl
UP TO eli
The Machine-One /
cross-feed head, single dri'
friction CQuntershaft, cast:
able wrenches.
.
Chucking Tools-Or'
clamp blocks. One 12-inCI!.
set 3-step jaws for inside (
combination tool plates wi;'
and when the plates begir'
inside and outside tumin'
type. Two square cutter t.
cutter. One extension dri:
taper shanks.
All the above may be briefi,'
with chucking outfit (outfit C:
For chuck work requirinl: ;
added tQ chucking outfit. It';
for each pitch.
CRITICAL COMMENT
THE FraDkliD face bas a practical,
warkma.Hke quality which particularly
adapts it to cataloJUc use. As a text letteT it Bives an evenly tutured and very
readable page, When accent Is desired,
it m.ay be appropriately combined with
CasloD. No.3. as ill page aboYD. Althou8'h
a more delicate face. it resembles CasLon
in its I'eneral chaTacteriatics and barlllo"
nile3 with the Cadon Series of decoradDD. Far lil'hter effects. the Louis XV
decoration may be used.
SECTION ONE
oLT
the machine to the floor before putting on the

belt. Do not adjust the position of the machine to
.the running of the belt. Set 'the machine true
with the countershaft or main line by dropping down a
plumb bob from each end of the shaft. Since plumb bobs
are not in the kit of every machinist, an inch nut or any
weight on the end of a string thrown over the shaft may
be made to serve the same purpose.
The countershaft should line up perfectly with the
shaft from which the power is received, and it should be
perfectly level. It should be well oiled before starting
and examined after it has run fifteen minutes to see if any
of the bearings are warm.
After the machine has been set parallel with the counter,
the lag screws should be put through the legs into the floor,
but should not be screwed down until after the machine
is leveled. As the bed rests on three points and is flexibly
connected to one pair of legs, the leveling is not done in
the usual way. When the level is placed across the V's of
the lathe bed and is found to be a little high on one side,
drive the wedges under the edge of the leg at head end.
Do not try to change it by wedging up under the back
leg, for it is not connected to the bed by the usual means,
but only serves as a pivotal support. Wedging under
this leg will only raise or lower this end of the machine.
us
r----
TO ORDER
...
.e
','
SPECIFICATIONS
BELOW: Benedicrine Book. 12 point
lapS.
HJ
poinl i,.lic, lZ point ,mall azp'; 6 Pornr

Border Nc. 41 with Z Point Jlatr;x Slide
N 4Q3.
RIGHT: Ben"tlictinlt Book .. 12 point CIlJU:

Body in 8 point. 6 point leaded; Border and
Cantaloupe or honeydew melon 35
Cherrystone dams 35
Caviar on toast 25
Ornament ac above.
(6 Point Benedicrine BooA. Z point leaded)
Grapefruit 35
Little Neck clams 35

Cream of barley, Normande 30
Cold tomato broth 25

Cold chicken consomme 25
Consomme chitronade 30
Fried filet of lemon sale, 85

Soft shell crabs .aute meuniere 85
Broiled codfish with bacon, potatoes Delmonico 85
Broiled small steak, Perrin 1 25
Minced chicken and Virginia ham, Gourmet 90
Cold leg of mutton. celery salad 90
Bermuda potatoes 20
Artichoke 35
New peas 40
French peas 35
Oyster Bay asparagus 40

Potatoes saute 25
,ttuce salad and sliced tomatoes 30
Blueberry tart 25
Cup surprise 25
DINNER
French pastry 1 5
Tuesday, July 18th
Stilton che..e and crackers 40

Demi tasse 10
, Walker Gordon milk split 15
CREAM OF BARLEY, NORMANDE
:'Ieavy cream, individual bottle 10
COLD CHICKEN CONSOMME
;eak, Guinea Chicken, Chops. Eggs
FILET OF HALIBUT, DIEPPOISE
'.'
CROQUETTE OF DUCKLING, BAYONNAISE

GRILLED SWEET POTATOES
PEAS WITH BUTTER
CRITICAL COMMENT
LETTUCE AND TOMATO SALAD
THE daily menu card of the sort used at clubs,

etc.. calls for a type treatment which can be"
consistently followed from day to day and
which at the same time i. flexible enough in
arrangement to permit of the necessary daily
changes in detail. The setting above serves
both purposes, and. in addition, provides a
style of unusual distinction.
BOSTON CREAM PUFF

FRUIT ICE
-eDEMI TASSE
(8 Poi"t Blnedictine Beok. 2 poinr leaded)
~~------------------------------------------------------~~l
228
-_
;Jl.,.,~~'"".Ii.~';':'!::<~\I.."1i~~~__ ('':''~(':N:'l~:''';:';~_;';~'~~~~~~'''~'~.a;~.~..u~~:r.~~.k""1~~~~.~..,.~~~:il;~"'"<I!.t':~~'!1'11'.:it~:&~::.t:I-'lil,*,"'""',):OOt-."''II).!.l.1:>Ii'.7~.'N_.;z~~"'~,\o;".::'V"N''*'~'_'''''"'"~'~~~''Il~;'i_~
~
--,-- .. - -. - , ... -----.~
.~... -. -,.~. ~ .. - .__ ._ .........__ ._. _... _..._... .. -..... , ._._-- ._.. .-, .. .. - - _.----- -.- ------------_ . ...... ... ----. -- .. --..-... -.... .
- .- .,.."- ......
"'.
.. -. . .... . .
'
_-
__ _. __
__
----_._-_ _-.
SPECIFICATIONS
LEFT: 6, IJ and 10 Point Original 01.
Styl~ ca/Js, inlu.spacd; 36 Poin
A CATALOGUE
Caslon Bord". N~_1204.
OF THE ENGRAVED PLATES

FOR
7S1L and. R d 752L d R;

Malri" SIU, No. 1708.
PICTURESQUE VIEWS
IN ENGLAND AND WALES
WITH
NOTES AND COMMENTARIES
COMPILED BY
ALGERNON STANHOPE
BOSTON
PRIVATELY PRINTED
CRITICAL COMMENT
THE catalogue title page above is interesting as an instance

of how effective display may be accomplished with faces
no larger than 10 point. An extreme simplicity of means
here achieves a most striking effect.
The folder page shows a harmonious combination of line
illustration with Caslon type and border material.
(10 Point Orig'.al Old Sty
i., 2 pcint leoJ<d)
BELOW, 11 d 18 Point ClUlo, 01.

Fac~ Border, 4 Point Ma~ri;r; Slid.
No. 508. 18 Pc;n, Caslo. Bord.er No,
'.
.f
(6 Poi.t Original Old SIy/,.

2 point ltaded)
Poin
9_U~.!AN~E:_~D
FIRST
SPECIFICATIONS
MORTGAGES
SET in Benedictine Book; Body in 12 point. 2

point leaded. with 36 Point Initia.l; Heading in
14 point caps. interspaced; Running Head in 12
point small caps, interspaced; 2 Point Matrix Slide
No.4 04; Headband. 24 Point Adam Border Nos.
853 and 855. with Matrix Slides. 5 Point No.
510 and 2 Point No. 404.
Guaranteed First Mortgages and Guaran~

teed First Mortgage Certificates are especially
suited to those who depend upon a regular
and certain income and who cannot afford to
be subjected to the fluctuations and uncertain~
(B Point Benedicrjr'Je Book. Z point ltadecl)
ties of Stocks and Bonds. The severe drops
occurring every few years in the prices of railroad stocks. resulting in the aggregate to losses
of thousands of millions ('.f.... ~~~I~.~~ ":l~~ U'7411
known to the investing p~
great shrinkages in the mao
grade railroad bonds. Thi
induce investors to purch
that they will advance in
recent years a converse illu
vestors are more and mor
INTRODUCTORY
best way to preserve their:
make sure of regular inte'
T~IS booklet is addressed to the caref~l
purchase Guaranteed First
.ii mvestor who wants to be sure that hls
While the Guaranteed F
principal'is
safe; who desires a good return,
Certificates are particulady
but
recognizes
that, in the long run, better
are not experts in real estat
results
are
obtained
from an investment which
facilities for selecting mort
and yields a reasonkeeps
the
principal
intact
theless there are many insri
able income than from speCUlation in fluctu~
savings banks, insurance'
ating securities.
and trustees, who are extre
Guaranteed First Mortgages and Certificates
on values and who may bl
offer
no opportunity for speculation because
yet who. by preference, pI
not fluctuate in principal value. They
they
do
Mortgages. They realize t
appeal strongcly to the professional or business
[ 22]
man who wants to be free from anxiety about
his investments; to the person, not in active
business, who lives on the income from in~
vestments and cannot afford to lose; to the
trustee, who must not lose; and even to the
speculator. who takes chances, but who wants
a part of his resources, an anchor to windward
as it were, invested where it cannot be lost.
CRITICAL COMMENT
They are a form of guaranteed security, much
THE text matter of these booklet pages called for a .
longer established in Europe than here, no
setting essentially conservative in character. very
holder of which throughout many generations
simply handled and depending for its deet prihas ever sustained a loss. There are many in~
marily upon the type face used. Type and ornament are keyed to a single note. the rules and initial
vestments which hold out the promise of a
being run in a second color to harmonize.
Compare these pages with the s.:otch booklet pages
(page 216) observing the similarity of treatment
and tbe entire difference of deet. It is the character
of the type face in each case which determines the
cbaracter of the booklet.
(8 Point Benedictine Book. Z point f.ded)
[ 3
1m
~1~lmfmfmlml~I~lm!~i~I~I~I~imfmlmlm!~
iIe -- -
II
THE
38
ALEXANDER
~~t
STANDARD
BORE AND STROKE.
~~t
ACTUAL HORSE POWER
. 63
EXTREME WIDTH
WHEEL BASE
140"
FUEL CAPACITY
56"
GIL CAPACITY .
..
Ie.
.,.~
~~t
m
~.It
m
1M
~
4" x 5"
TREAD
EXTREME LENGTH
TIRE SIZES 36"x5"front; 37"x5"rear
II
t~
SPECIFI~ATIONS
-I
~
~~
CHASSIS
[~
17'2". top lowered

70"
28 gallons
6 quarts
9 gallons
WATERCAPACTIY
--
CHASSIS FRAME
Pressed chrome nickel steel. heat treated. 6" drop
MOTOR
Alexander six cylinder. Bronze base. Enclosed valves
CARBURETER
Alexander improved automatic type. Highly economical
FUEL SYSTEM
Pressure feed. Tank at rear with quantity gauge
IGNITION SYSTEM.
High tension. dual system. High tension magneto
tl~
I~
11
,
i.~~
~<:.
{ r:EJ
1;
!
tit..
I~
j t.
j ~
!tOt
l~
.t
STORAGE BATTERY
6 volt. 120 ampere-hour storage battery
I tlCM
MOTOR LUBRICATION
Low pressure circulation. self-contained system with gear pump
CHASSIS LUBRICATION
Grease cups or housin-gs at all points of friction
11
COOLING SYSTEM.
Honeycomb radiator. Bronze centrifugal pump. gear driven
!!!
CLUTCH
Multiple dry disc
TRANSMISSION
Four speeds and reverse. Selective type. Manganese bronze case
~4Jt
PROPELLER SHAFT
Heavy. chrome nickel steel. Universal joints. each one encased
FRONT AXLE
Alexander. "I" beam section forging. heat treated
~~
REAR AXLE
Alexander full floating type. Spiral bevel driving gears
I tCM
SPRINGS
Finest steel. heat treated. Front. semi-elliptic; rear, 1" elliptic
SPRING SIZES
Front. 38" x 2"; rear. 50" x 3"
WHEELS
Artillery type. and of finest second growth hickory stock
*~
=
=
~
TIRES
Quick detachable. demountable. Tire carrier rear
-M~t
FENDERS
Alexander. one-piece pressed steel
~"lj
BRAKES.
~~
STEERING
Left drive. center contI
~4~t
ELECTRIC STARTING.
Alexander special. "~
~~
ELECTRIC LIGHTING .
Alexander special. Se~
i4.~
~'ij
[ 21 ] :
m
.It
~
ill-It
is
It
-_.
~1~I~i~l~i~iWi~iWI~i
tiEl*
~~
1_
~ R'~
!_
A
=
=
i tCllt
~
~
{Foot. external contracting; hand. internal expansion

Four brake shoes in all; location. rear wheels. Separate drum
~~I~
: ~~
SPECIFICATrONS
TYPE: 10 Point Benedictine Book. 6 point leaded. with Running
Head in 10 point caps, interspaced ; Heading. 18 Point Benedictine Book caps. interspaced.
DECORATION: 18 Point Benedictine Border Nos. 719. 71974.
719~ and 720; 6 Point Nos.lS7 and 15774; 5 Point Matrix
Slide No. 510 and 2 Point No. 403; Dash. Matrix Slide Dash
No. 910.
CRITICAL COMMENT
THIS specifications page. taken from an automobile catalogue .
shows an open and readable presentation of detail in which any
item may be found with a minimum of effort. It should be
compared with the similar treatment in Bodoni OR page 234.
(8 Point Bln.dictin. Book. 2. point I~adtd)
".---~- -"---'""""~'"""-~-""'--~~~~l
TYPE: 14, 1 g and 24 Point
Benedictine. the body matter 4 point leaded. The
Initial is "built up" from
10 Point Matrix Slid. No.
1654 and 12 Point Matrix
Slid. No. 1482. with 30
Point Benedictine T.
(2 Point Bf"eJidin~; Z point lullfll)
AN
ANNOUNCEMENT
BY THE
Announcement
CRITICAL COMMENT
THE type dress of the formal business announcement
will vary with the nature
of the firm it represents.
Here a light-faced. "dainty"
effect would obvion.ly be
out of keeping. The Benedictine is consistent and
appropriate.
r' Point ]Jermlitline, Z (Joint ltlfdetl)
HE TIOGA ENGINEERING
CORPORATION has been
organized to design and install
special systems for moistening,
heating, cooling, ventilating; and
drying, etc. It will continue the engineering
business formerly conducted under the name
of the Tioga Air Conditioning Company of
America, Inc. The change is in name only; the
policy, personnel and address remain the same.
The world success of the Tioga System has
placed it in the front rank for industrial and
other buildings where atmospheric control is
either necessary or desirable. A Tioga engineer
is always ready to consider your particular
problem and suggest the solution without any
obligation on your part.
THE MID-WESTERN MONTHLY
17
The Cheltenham Company Announces
WESTERN SKIES
Henry Loring Hooper
A story of present-day America so fine, so sincere, so compelling that
every reader must fall beneath its spell as it marches to its magnificent
climax. "A story with a remarkable' crescendo of interest. The heroine
is unlike any other girl I know of in fiction."-William S. Edwards. $2.00
GARDEN TIME
SANDS OF TIME
Theodore North
John Marquard
An amusing story, containing much

valuable incidental information, of a
commuter's springtime struggles with
his garden plot.
$1.50
A new volume of collected poems by

the author of "St. Anthony's Fire,"
"The Primeval Fount," etc.
Woodcut tron/i'pi...
$1.25
LEAVES FROM
AN ARTIST'S
SKETCH-BOOK
THE ROMANCE
OF KENDALL'S
GREEN
A. E. Fortescue
Original sketches of scenes
and incidents in the second
withdrawal from the Marne,
made under fire.
In photogravure
$5.00
Louise Endicott
A picturesque and appealing
depiction of a quaint episode
of New England life, by the
author of "Monadnock."
PORTRAITS:
NEW SERIES
OUT OF
NEW BEDFORD
Jobn R. Slocum
James M. Fox
IlIuminatingsketchesofSidney Lanier, Mark Twain,
Cleveland, Blaine, Whistler,
Henry Adams, Henry James,
and Joseph Jefferson.
lllu.fraf.d
$3.50
l/lu.trafed
Here is a book of
,enuine enjoyment
1n which the Tired
Business Man discourses freely and
fully on the women
he has met. $1.50
$1.75
This story of experiences

on a whaler out of New Bed
ford in the seventies gives a
picture of oldtime whaling
that will become a classic.
lllaatrafed
$2.50
WAR'S AFTERMATH
Sir Vincent Ellersby
"An inventory and appraisal of present day conditions the world over
such as no other book of the year affords. American readers will find
special interest in the chapters written in this country."-Times.Union.
"His records shed illumination on current history. They furnish data
of the highest usefulness to those whose duty it is to attempt to restore
the balance of a disordered civilization."-Nell> York Gazette.
$5.00
[C.II.tcsy of Holtghto1l Mifflin Company]
THE combination of Cheltenham Bold. Cheltenham. aad Antique No. 1 ill this SPECIFICATIONS: Cheltenham Bold, 18 point italic, 12. 14, 18 and 2+ point
magazine advertisement makes it possible to give due accent to the title. and
caps; Chelte:nham, 10, 11, 12 and 14 point~ with 8 and 10 point italiC; Antique
authors' names and at the lame time preserve good "color" in the body matter.
No.1, 8 and 10 poi'rl.t; 12 Point Matrix Slide No. 1482a with 2 Point Matrix
The setting i. purposely mad. heavy to prillt on magaain. stock.
Slide No. 404; RUlIning Head alld Folia, 10 Point Ca.lon Old Fac
(6 PaiDt ADtique No. 1.1 point leaded)
~.~~
.._ ..~...!..~.~."":"'.._...._,,_~..... "_.~"""""'~''''~'''''''''''' ____ ~~''''''''''''''''_''''''''''_'''''_''''' ____
'W _ _ ' _ _ '
_ _ _ _ .
_.
.,
A
LOCK on the dash board operatedhy a Yale key is an exclusive fea

LOCKING
SYSTEM ture. When the key is turned to "off" position, the motor cannot he started,
the lights switched on, nor the electric signal horn be sounded. Another twist
of the key and everything is released for operation. Still another twist and
the signal lights at front and rear are turned on and locked on, everything
else is inert. The same key locks the tires, bonnet, and tool compartments.
THE
Generator is the Gage.Fitzmorris type, a fourhrush inherently

LIG.HTING
SYSTEM regulated machine, compound wound, with a very high normal capacity.
Single wire system is employed. Many exclusive features.
MOTOR
SIX Cylinder Fitzmorris "'I''' head type, hore 41,i inches, stroke 5
inches. Enclosed valves. High tension dual ignition. Low pressure oiling
system of the self-contained type, with gear pump. Oil capacity, 6% quarts.
SPRINGS
Springs are specially proportioned to produce the maximum of

easy riding. They are of the finest chrome.nickel-Tungsten steel.
STEERING
Drive and Center Control. The steering wheel is located at the

left of the car so that the owner can enter the front seat without having to
walk around the front of the car in the mud. The gear shifting lever is
located at the operator's right hand, the safe and natural position.
TIRES
THE quick detachable, demountable type, 35 x 5 on all four wheels.
Top
THIS is of the Slat-Iron type, very light, and attractive in appearance. The metal parts are all machined and nickel plated, and the bows are
finished in mahogany. The top is covered with imported English Burhank
of a delicate gray shade. The top design permits of easy entrance into the
hody when the top is raised. The top folds into small compass and is provided with a slip-case.
TRANSMISSION
BRONZE Transmission Case bolted to the chassis frame and providing

four speeds and reverse. Dry disc clutch. Propeller shaft drive with two
universal joints. Torsion rod, spring supported at front end. Fitzmorris
special forged steel distance rods remove from rear axle all torsional stress.
Rear springs shackled at hoth ends for easy riding.
UPHOLSTERING
THIS model is upholstered in the hest quality of hand-buffed leather,

specially selected. It is very soft and flexible, is luxuriously padded with
best curled white hair, and the upholstering is arranged in long parallel
tufting. The top line of the body is finished with a metal moulding strip.
THE
LEFT
14 }!Jt-.SPECIFICATIONS
8&1' in Bodoni Book d.t /oUows:
SmE EEAJ)S: 12 point CdI" find small csp'.
BOD... : 10 point, 2 poinl Z,,,ded, wi,h 18 poi,." Inil.l(1/.6.
BoRDBR: 8 Po,nt Mal.,i~ SUde No. 1371.
FWD: 12 Poin' BDdrmi Book wieh 12 Point BodQni
BTrickeu No ... l065L and R.
(6 Pomt Bodoni Book ll.rliic, 1 poiru leadf!d)
ThESE two facing pages .how an automob:ile catalogue Bet in Bodoni Book in the atyle that has been 80 successfully employed by 'Mr. T. M.
Cleland. Note the side heads and "high" initials In the page above. Compare this U'Ilatment with the one in Benedictine Book on page 231.
(8 P.in, Bod1 Bk.ll'Oln.Z..ded)
IM;;d . . ,
III Ilf:l
'UI.C8
11111
"..,..01
if
214
...
'i.III,,"
1.
FITZMORRIS
SPECIAL FOURPASSENGER CAR
Type
SpOTt~j
~I~IS new model has been designed for the fine car user
who will be interested in the foreign type, intermediate in char
acter between the Roadster and the Seven.PassengerTouring Car.
In France, and abroad generally, the low built type sportij,
carrying four passengers, has heen popular for years. It has the
speed and smart lines of a fast runabout, as well as the comfortable coach work and easy riding qualities of the more conventional open touring vehicle.
Cognizant of a growing. appreciation of this attractive foreign style, the Custom Body Department, out of a full knowledge
and experience in continental builttoorder bodies, has designed
theFitzmorrisFour.Passenger Model, introducing into this country
the first real example of the type sportif.
The production of cars of this model for this year will he
limited to forty vehicles. Detailed information of interest will
he found in the following pages. The price is $4750.
THE
FITZMORRIS AUTOMOBILE
Makers of Fine Motor Cars
SPECIFICATIOl'lS
HIADlW'fP; l~ PO;'1I'
Border No. 540, with.
Point
Ma~ri%
Slid. No. 50S.

BoDY: 12 Point Bodoni Bo07" 6 poln.t IBaded, wi.th S6 Pol""
Bodo".! Inltitzl, BlI.lIrotlsd by han,rl.

18 Point BrHlon' CtJPJ~ 1(J Point Badon;' BOlJh
ca.p', 10 Poine Bocian' ~trJUCt all inter.spa.ced.
HZAOINC:
SICl'u:rURI:: 12 Po;'n' Bodonl Boo" smoU cap3, inlerSl'lZcrulj
10 Paille Bodorr,i Book i,'alic.
COMPANY
SPECIFICATIONS
LEFT: 30 Point Bodoni caps, interspacedj B
and 12 Point Bodoni Book caps, interspaced;
10 Point Bodoni Book caps and italic; 24
Point Adam Border No. 852; Outer Rule,
8 Point Matrix Slide No. 735; Inner Rule,
BELOW, Bodoni Book, 18 point caps; 10
pointj 6 point italic; 8 Point Bodoni Dash
No. 991; 4 Point Matrix Slide Brace No.
n09; Rules as above.
COMPLIMENTARY
DINNER
TENDERED
by the
HENDERSON
MANUFACTURING
COMPANY
(8 Point Boaoni Book, 2 point letJded)
to the
DEPARTMENT HEADS
of the
BROOKLYN
WORKS
MENU
ENGINEERS' CLU
Cherry-stone Clams
JUNE TENTH
Celery
Olives
Radishes
Filet of Sole Saute Meuniere
Grilled Breast of Guinea Hen

Potato Croquettes
New Peas in Croustade
CRITICAL COMMENT
THE use of thick and thin roles with the
Bodoni face dates back to the specimen
sheets of Bodoni hlmself, and, in fact, to
the origin of the modern letter. Its appropriatene,. is obvious, the tlUck and thin
parts of the rules balancing the stelllS and
hair lines of the type. The same correspond
ence in weight should be ob,erved in selecting other oreamen! to go with Bodoni, due
allowance being made where the ornament
is to print in a second color.
Fancy Ice Cream in Cases

Demi Tasse
(8 POlne Bodoni Book. 2 paint haded)
236
[I
CALUMETTE PLAYS
[CON~A.INING ~HI\EE OIn,A.C~ DBA,lIU.S]
The Perkinses
In the Next Room
By Elsa Hall
Br Norbert Tomlimon
The Coming of the Dawn

Br Stephen Hayward
fI The themes and treatment vary widely and each play

is characteristic of its author. Miss Hall is represented
by her wellknown rural types in a simple, movingyet humorous-episode. Mr. Tomlinson builds an
effective drama around the tense moment during
which a husband awaits the results of the operation
that is being performed on his wife in the next room.
The contribution of Mr. Hayward, in musical prose,
dealing with the tragic conclusion of a marriage between an Indian and a Frenchman of high birth, bears
out his reputation as a great poet.
fI The unity of the volume lies in the fact that the plays
belong to the original repertory of the Calumette
Dramatic Society, by which they have been performed
in different places in the Middle West.
Price $1.25 net; weight about 16 oz
. . . .n
Martin Vincent, Printer, Publisher, Indianapolis
THE "thick and thin" feeling
of Bodoni has here been carried out even

to the paragraph marks. Note again the leaded setting. The page is
designed to be used as either a circular or a magazine advertisement.
SPECIFICATIONS: Bodolli Bold. 80 point eap" 10 .nd 14 point; Bod,. in 14 Point Bodal.
4 paint le.Qded, 8 Ilrld l' Paint B.dobi itillie. Ilnd 8 point .m..1l Clap jnt~rlJlaoed, Ol'1lameftt.
6 Foint Matrix Sllele No. 51tSlI. with 12 Point BordeI' No. 604; RaIl., Matrix Slidel " Point
No. ~7. B Point N~. 548; Paralraph Marks, l' PClint No. 3234.
(~ana ~ Point Bodoni. I"lid)
__=____
===;======--=====~_=
ELECTRICAL
AND
~_~==~C-~-
MECHANICAL
ENGINEERING
AND
CONTltACTING
EDWARD B. STRONG & COMPANY

TWENTIETH AVENUE, THIRTY.THIRD AND THIRTYFOURTH STREETS
TACOMA, WASHINGTON
CRItiCAL COMMENT
By " judlcloUI
UID
or
midi Ibl. l&)ulbrbcuad f'
m.!ldo to lIC1commo(httct liB utluault.Uy UI'fI'O

amount or copy while QvoidJna onllroly tho
oluttuf!Hl ofi'act which 10 O(lC" rtteull. fn .lIeh

calC'. Thn IClular J, O1IIC1l'1tiaUy wor)cma.DUkD
and :rCl\dl.bll). Note) 1h" Juter.pacod cprl,
3Pr.CIFlCA1'ION!l
SET I. Bod III.ok, 8 ~oI.t "1"1 (llil.'OI'iI"Il.
14 paM .'~" 6
11 ,...
ca~ .. , 12 rlghu "Atll ~)l ~U 4::".)1., tl ~." i
Onu.me-nt, 12 Foigt Botal~, NAt A:'. .' ~ "v*-'
1'01., ""''''0 SIlt!. N", lIM ....1 2 """"
M.,rI. Slid. No. 401.
1><'." ....
pol.,
(6 Pal., Bodoni Baok, J paint Idod)
MEMDER
NATIONAL
ELli:CTlIICAL
CONTRACTORS
AlISOCIAT10S
=-::.:-::.:-====
- _ . __,__ ,_,_::-=-==c:-=-=--=::::::::::::::====-='
~~~~======---
:SS "EVELL ERIE"
II
THE EVANS-ELLIOTT TUBE CO.

Alana/actarers oj
SEAMLESS BRASS AND COPPER TUBES

Alain Office and Works
ERIE, PA.
:1
II
it
I:
II
..1:.... .J
MONTHLY
STATEMENT
ERIE,PA.
;LLIOTT TUBE CO.

IN ACCOUNT WITH
ERIE. PA.
THE EVANS-ElliOTT TUBE CO.

M anu/acturers oj
II
II
[I]
THE EVANS-ELLIOTT
TUBE CO.
.f
Manufacture,.

Alain OfHce and Works
ERIE, PA.
:R NO.
TERMS:
000 per cent cash discount
10 day. from data or
Invoice. ao dllYIi net
OF ORDER
SOLD TO
BY
PED TO
I-,I
tber Pieces
OD
ID
Gauge-
page above the Bodoni Book face has been used in comtion with a monogram to give a consistent and individual type
, to a complete series of business stationery. The setting is
Hied, readable and business-like, the lines of large caps giving
~ strength appropriate to a firm of this character. To concerns
~ stationery in large quantities, this idea of a unified series,
istently carried out, is to be particnlarly recommended.
[E
Lb
Length
Price
Amount
Total
SPECIFICATIONS: Set in the Bodoni Book Series. as follows:

LETTERHEAD: 6, 14 and 24 point; B point italic; 4 Point Matrix
Slide No. 304.
MONTRLY STATEMNT: 7, B, 10 and 18 point; B point italic; Matrix
Slides, 2 Point Nos. 401 and 402, and 3 Point No. 303.
ENVELOPE: 6 and 8 point..
BIUltUD: 6, 7, 10, 14 and 24 point; 7 and 8 point italic; 4 Point
Matrix Slide No. 304..
(8 Pm-, Bodo1ll Book. 2 poi", Zsaded)
CHARLES F. HODGES
DANIEL NORCROSS
HODGES & NORCROSS

Interior Decorators
639 WATER STREET
New York,
HODGES & NORCROSS

Interior Decoralors
539 WATER STREET

NEW YORK
LETTE~"EAD:
Old StylI No.1, 6, 8 and 10

po.", cop.r, 10 point italic, ana l2 poiflt;
24 PoiDt Adam Bor.ff No. 858.
HODGES &. NORCROSS

Interior Decorators
639 WATER STREET
NEW YORK
NOTS"E.IlJ: Old Style No.1, 6 and

8 jH>int caps and 6 point italic; 2 ~
Po'"t Adam Bord... No. 858.
Old St.,~ No. I, 6 poi", t:aps

and italic; 24 Point Adam BO'rdI!Y No.
858.
ENVELOPE;
for
LABEL: Old Style No.1, 8 an. 12 poi".

caps, 10 and 14 point ita.lic; 24 Poi"t
AdomBarder No. 858; 12 Point Matri.<"
Slide No. 14820, wil/. 4 Point No. 505
aud 2 Point No. 403.
HODGES & NORCROSS
Interior Decorators
639 WATER ST.
CRITICAL COMMENT
idea of a consistent series of
stationery, as shown on the preceding
page, is here carried out in an old
style face, with the Adam Border
piece taking the place of a monogram
or trademark The choice of old style
or modern face is entirely a matter of
appropriateness.
THE
NEW YORK
(8 Point Old StY/. No.1. 2 poi"tleaded)
240
HILARY P. THORNTON
INCQRPORATED
Bridge Street and Lexington Avenue

NEW
HAvEN, CONN.
------------------------------------- I
9--
SHIPPED TO
Your Order No.
Date of Order
Shipped Vb
Dfi~t.., ................... _
.......... _._.._.................... .
To h1; ......_..........................................
From IvI1" ..............
Subject:
SPECIFICATIONS
SHIPPING BLANK: Cailon Old F.u,

8 tlFlrl 1 Z 'Point with mJ.ic ttnd small
.:apr. 21 point; Ornam,.nf, III Point
C.ulrm Border NO$. 751 and 7S1Ri
Rul#s, Matr;": Slidel, 4 Point No.
J04 (JTI.d 2 Point No. 403.
OFFICE MEMORANDUM: C.slon No.
3. 12 poi11t clIPr; au~ CaI'lon Oltl
FIX., 12 ilnd 18 1'aM it.1;c Imd 18
point romp,,; Ruler, Mll.trix 3lf.dn,
4 Point No. 304 61Jd 2 Polnt No.
201.
CASHIER'S SLIP: elisIon Old Ft.fGe,
11, 14 MUl 18 point itdlic Vlith
swn.rh ClIpr; 18 'Point ramlln; Orrnrment .as ,J,ov~; lWlas, 2 Point
Mat.rb: SlulJ Na. 404.
TELEPHONE SLIP: Ch.lumham, 12
Ilnd 20 point, 10 i'oi7Jt it4lic.; Rul'"
3 Paint Matri:# Slide No. 304.
fJ{ 0. ___________
-------------------------I9 ------
HILARY P. THORNTON, Inc.
Cashier:
Please pay to bearer on presentation $___________________________________ _
---------___________________________________________________________________________'IJollars
for _____________________________________________________________________________________________ _
(" Pailft. CArz"n Old. F "c~:.

1 pojnt l.:tUkd)
Charge to ________________ _
Rec'd by ______________________________ _
Telephone Message
Rec'd
Time______________ .._
CRITICAL COMMENT
For Mr. _______________________________________________.
THE four specimens on this page are

typical oifice forms, set in appropriate
faces and designed with an eye solely
to legibility. Small forms of this 'ort
should, above all else, be t1asy to 1'e.at!.
They are good trPographically only
insofar as they fulfill this purpose.
(8 Point C4.llan Old Fact:,2 ?aillt [UJdeJ)
SPECIF1CATIONS
SPRAGUE-LATHAM CONTRAanNG COMPANY
TOP: CenturJl Bold, 6, 9, 10 and

14 point caps; Rules. Matru
Slides, 2 Point Nos, 403 o.ti 405:
4-Poi.t No. 351.
MIDDLE: ElzeviT No.3, 6 and 10
point italic, 6 and 12 point r:a/JI,
inl.t!T.rpaced: 36 Point B odD 'IIi
Burd" No. 1216: Rule.<, MatT;"
Slides, 3 Point No. 303, 2 Point
No. 402.
BOTTOM: 10 and 12 Point Scotch
caps. inleTspaced.- 8 and 11 Point
Scotch,' Rule$. Matr:': Slides, 4Point No. S08, 2 Point Nos. 401
and 4040.
(d Point Original Old Style,
TACOMA, W.ASHINGTON
SOLD TO ___.._ .._.... _ ......_......._............__ .._...........__......... _..._....._...._
TERMS CASH ON PRESENTA.TION OF BILL
NO DISCOUNTS
1 point leaded)
I I
Telepbo., Mo!l 331
CUT FLOWERS OF
ALL DESCRIPTIONS
ALL YOUR ORDERS ARE

CAREFULLY DELIVERED
M r ____ .... _.............._._..._._ ...__ .................__ ......._ ..............._.. _ .. _..
Boston,._ .....____._..__.._ .........._........_. __ 19...._..
.JOS}~PH
1-1 NYII:
Telephone Spring 2660
RARE AND OLD BOOKS

VALUABLE PRlNTS
Sold to______________ .....____.
206 Jones Street, New York, ____._____..19_
CRITICAL COMMENT
THESE three billheads show three different treat

ments of type and rules, each appropriate to the
finn for which it is designed. All are representa
tive specimens of this class of work, such as come
to every job printer, Note, in the bottom speci
men, the use of thick and thin upright rules to
match the lines of the Oxford rule in weight.
(8 Point Original Old ,sIJllo, Z pointl.oded)
THE FEDERAL EQUIPMENT COMPANY, INC.

announces the removal of its offices from 98 Chance Street
to the new Cosmopolitan Building, 45 Waverly Avenue,
Baltimore-10th to 11 th Streets, opposite Hotel Berkeley,
one block from Union Central Terminal
Telephone, Marmaduke 7136
&~t
in 14 Potn" DtJncdictin# Book with itali~. 8 1'oint lud,ul; 18 POilit BC1Udlcti". Bordo,. NOI. 7;
72Q, with 5 Pomt. M"trot aUd, No. 510.
4na
HARLEY & GOULD

ARCHITECTS
$\(ew York City

Mr. Edgar Harley
Stt~ In ellS/VII O/ll F"CCI
12 And
J~~ #lui/It eltplJ
,ltlUJU Cr1PI, 14 f!GJ", Italla wit/l tWill" C(lPI

.rp.u~~d),
12 t'ulut.
("U ~'Jt.,...
From SHEPLEY & NORTON
12 I'Q~tJt .,.oman.
808 HUNT BUILDING, GRANT STREET, OMAHA
8., I" 14 /lind 18 Potut llot/tJllil 12 PoIJ~ Mod,r" BOfd&

Nos. lQ60j, J060d, 1060, .1060h and 1()601.
eJ!.nnual Meeting and Vinner

of the
CRITICAL COMMENT
U nited Manufacturers' ~ssociation

Hotel Varlington
:Jv1.onday evening, J un~ Sixth
at Seven o'Clock
. ..
(8 Poln/, Cnrlu,., 01J.11f"~. 2 taint Jllad,d)
~~:),'I~_'''.).'!;'1II',~r_~~"j\~''(t'.~1I,_'Ii'!'I~,~.;~I)}I,",,~.>f<~<II~~:'''.t''('II\I~'I!'I!t'''''''\....:~M"'l~'~"fl", J't~(f;.4or.oIiiI"Ii'II:o""~"'~'J...!;,~,;"1...... ,~IIioIo""~:''f'',~_.-IO'.IIoW;''<''" ,~~ ... ".:,,...~-'f_"' ...,!P,.) .. ~ ..;~\
;'1 i :
HERE again the spl."CimcnB shown illu8~

trn.tc: the wide typographic range of
the Linotype. For oll thi. class of job
work, which must be set economically
and at the same time set wdl) the
p08sibilities: of the machttlc are limited
only by the ingenuity of the pl'inter.
.~:>-',.'--':,,.;.,'.~",q...,
,',oJ" ...... , "
i~',
""",../"',-'', 'I<,,,.,,,,,,.~,,,.,,.,,:,"'"
;",:DVERTISING ECONOMY
Manufacture Royale, established in

the Sixteenth Century, may be had
beautiful papers in great variety. A
card will bring many samples.
,~;:r,l
can be effected with French

hand-made papers. Beauty
'-"'""-d. i and dignity added to your
message will make a lesser quantity
of printed pieces produce the same or
better results. In the end your advertising will have cost less than if you
had used ordinary paper and yet your
customers will be better convinced
that your message is one that should
receive more than
This folder is a1
can be done in a
It was set most
Linotype machit
French hand-mad
THE MONTH OF
themselves to fine
1-------New York sellin
."41:
o~~o
LAVOISIER ~ BIROTTEAU
GRAPHIC ARTS BUILDING
NEW YORK
o--
.0
)YEN AGE
AUGUST
______
r....aid
Bulk 3 inches to Ream
Four Deckle edges
10
~12
13
14 15 16 17 18 19
20 21 22 23 24 25 26 i
I
27 28 29 30 31
I
I' - - - - _ o_ _ _ _
..."_ _ _ _ _ _ _._ _ _o
On the Economy
of French Hand-made
Papers
..if
SPECIFICATIONS
CRITICAL COMMENT
CALENDAR PAGE-) 2 Point Benedictine Book (aps. small
caps. figures and iulic. with 18 Point Benedictine Border

Nos. 719 .nd 720 nd Matrix Slides 2 Point No. 403
and 4 Point No. 505. The (ross-rule work set by the
Lino-tabler System.
BODY PAGES in 8. 10 and 12 Point Benedictine Book. 2
point leaded; Initial. 48 Point Benedictine. X-1356.
and 2 Point Matrix Slide No. 403.
THIS folder. designed as one of series of envelope enclos

ures to be sent out monthly. is an excellent example of
what can be accomplished for advertisers with the faciti
ties afforded hy Linotype Typography and its system of
related decorative material. Both text and decoration are
of the Benedictine Series. and except the initial Were simply and inexpensively composed on the machine.
(2 Paine Benedictint Book. 2 point leaded)
(B Poinr Benedit:tint Book. 2 point leaded)
2+4
trained people from its staff to serve, wait on table and

perform other duties that go so far to make such affairs
successful. The hotel kitchens may be drawn on at any
time for the entire dinner or for.anY part of it, and for
special dishes, desserts, ices, pastries and other delicacies
and accessories. In the same way many of the smaller
social matters are made easy. The hotel has a daintily
appointed tea room; there is a breakfast room where
the popular form known as "club breakfast" is served;
dinners will be served either in the hotel rooms or in
apartments; any emergency or sudden desire can bernet.
The designer's leading thought-that of eliminating
all disturbance of privacy-has been applied, among
other things, t<? the matter of delivering goods and supplies. Each apartment has a modern service-installation,
where all deliveries are unobtrusively deposited under
THIS page, taken from a descriptive booklet

issued by a large New York apartment house,
is interesting for its dignified and harmonious
combination of text matter and illustration.
The body is in 18 Point Caslon Old Face;
caption in 12 Point Caslon Old Face Iulie.
(to Poin1 CQlltm Old F(I~e, Z ~o1n1leQd~J.) .
t ............. "... ft",,
. ..
~'f~~*~~~~~~WiIi_"~IlI;.:f/I.'I~.Jif.~;J!I.~tmowr.!!~'a;.."..1.. U~~'Ii~~:<'?"..~~~.~Ml,ilJlWlJil(!l"i~' ..,~.'lI',ll,'*:"...~I.~;W>V.W.,;'~'M.~I\,"".....,~1I.,~~~:,"'I,;..'.Ito ......~...i!;...\!"'.'l!\ii~.M.~

I,'.';J r~
.....
_..__...
~~tt.::.;:~~!r';.~!":,:':'~"'.:lo:=>-..tfI~.~.\'~!rI~!k~.."I!.)&p~"t18toW~'i'If'Aa.r.~~~.<~~~.1III;~~~...~',,,,,,;:;'J.:. ..\Ol'.lI:!I!n;~&lt'<>~~~~~~'l~~_"*-~
.....
.....
....
....
. ...
..
....
.. ...
.."
.................
'."
. . . . . . . . . . . _." ...
"
......." . .
........
. .................................................
SPECIFICATIONS
LEFT: Set in Benedictine, 8, 9,12
and 14 point, the caps interspaced;
24 Point Arlam Border Nos. 862,
856, 856a, 859, 860 and 857
in combination, with 4 Point
Matrix Slide No. 508; 66 Point
Adam Ornament. X-1459.
BELOW: Set in Benedictine, 8
point italic, 10 point with italic
and small caps, 12 point caps; 3
Point Matrix Slide Braces Nos.
1103 and 1107; 10 point small
cap numerals; Border as above.
PIANO RECITAL
BY
MME.
JEANNE CRAPAUD
At the Hom. of
MR.. AND MRS. HUGH WILLIAMS
(8 Point Benedictine Book, 2 poine leaded)
PROGRAMME
FRIDAY EVENING
JUNE TWENTY-SEVEN
EIGHT O'CLOCK
NOVELETTE, No.2. D Major

FINALE, Fantasie, op.
17 .
SCHUMANN
II
PRELUDE, F Major
POLONAISE, A Major.
MAZURKA. A Minor
SCHERZO, C Sharp Minor
CHOPIN
11I
LA CARIllON DE CYTHERE
COUPERIN
LA CATHEDRALE ENGLOUTlE
DEBUSSY
IV
TOCCATA, G Major
CRITICAL COMMENT
THIS programme should be compared
with the one in Elzevir on page 221.
It is designed for a private as distinguished from a publit recital, and is
therefore more intimate in feeling and
more sophisticated in treatment. Note
the contrasting use of small caps,
lower case and iralit in the page at
the right.
(8 Point Benedittine &011.# Z point leaded)
BACH
XIII
SONATA; No.
SCARLATTI
UNDINE.
RAVEL
EL ALBAlCIN
ALBENIZ
V
MAGIC
FIRE, Die Walkiire
FINALE, Tristan und Isolde

The piano is an Albrecht
WAGNER
:i:I
~
r
!
Clulol'l old Fm:., 18 tofP1t '"PI> 11 1'c>ir.~

smdll Co1pl and tlr",""J, iflUrJIAc,d,J d p(}UJt
Matd:r SUdol No. JS4.
From
THE LARRABEE FLOWER SHOP

Anniston
Alabama
FOR
Y;!fiYi~~
THE CUSHMAN-BARNEGAT PRESS
me
97 NORTH ARLINGTON STREET. LOS ANGELES
rrm
ABOVE: Elfllev';,. No, 3, lZ im4 13 ,oint, 12 poillt italicr 36

PlliPit BtJ,uud Dord,,. No. 121d; 1.1 PlJ',II. Mtl.t,.j~ SJi~
No. 1d73.
BELOW: D."tltUetintl, 10 Imd Ja f'<Iint cr:pr, 10 ttJ-ln.' IwlJe,

24 Point /jen,tii,"'" 80".1.,-,. NOI. 8.l7, 8.l8 and B2Gd J with
Matri#t Slides, 10 Po{"~ /:/0. 1654 lmd 4 Point No. SOG. tI
Pai'j~ Ma~ri:r BUd.
NrJ. 91J.
])d.'.
Stt il112 Po,,,t Gel/lie No. 3J and J2 Pol,Jt GtJti1lc No, 33bJ
M.aM;t Slidel, U Poi"t No. 1585. ~ PiJi"t NQ. 426,
.,. Pc~"c No. 407 Ifnd Z Poin't No. 404.
Return in 5 da.ys to
THORPE, RANDALL ~ DAVIES

CRITICAL COMMENT
1418 CLARKE STREET. MINNEAPOLIS
THE creatIon of effective decorative
lobel. i., for tbe Linotype-equipped

printer, n problem chiefly of selection,
fot the possible combinations of fnces
and decoration at his disposal are almost unlimited. The specimens above
nre intended III suggestions from
which he can work out his own design . They .how four different fnce.
and styles of trc<ltment.
:. !)7
[.~~~~-=: "~.--~-~:!t::S~~C~~~s)l:n:~~t,a~~, ;~~~f ;fdi.f~

I
i 1j
I
i
l
. .
and 80 po,nt; l f Point Badon. Boreler

Nos. 106B and 10GS\Ii. wit" B Point
Matrix Slide No. 785; 6 Point Matri"
Slid. Dash No. 9.1.
EDITORIAL rAGE (below): Set ;"
Scotc}" the body in J2 point, 4 poi,,1
.:. ',:' ':,"
" ".
.. "
MANUFACTURING
~~'::td'I"::f::~t'IS;~~ ~~~~~~~ a~:z:;,
. '.,
'.d. JOURNAL OF FACTORY lllANAOFJJ.llRN1'
X-1890). 111 boo;, 10 and n point italic,

1! and 80 po;"t; Rul., 6 Point Matl""
Slide No. 516.
(6 Point Scotch., 1 point loaded)
FEBRUARY
VOLUME IX
Contents
The Genoa Couferenec
A JOURNAL OF
Publi~
January Production Shows Irwrt'ast'
MANUFACTURE]
784 Ratl
The Need For Knowing' Costs

The Small Town Factory
Subscrip
VOLUME
IX
FE
Reducing the Personnel rruruOvt't'

Federal Trade CommissioIl Ht!tlrings
The Public Vocational Schools
of the Printing Industry
THEGEN
the ti
Is Industry Over-Departmentalized
conference
News and N otcs

political hi
Regular Departments
the same assurance of this t
for the purpose of dealing
lems which confront Eurol
the start, and political dift
attention. The conference 1
pic~esque. and undoubte(
national relationships; but l
and exchange, it still rema
gone to the heart of those problems, or defined concrete solutions.
The obviously fair thing with respect to Genoa is to withhold final
C1tITIC.\I. (~IIIo1',S'l'
'l'UI'~"IR t_ r,,,I ..x filiI". _", ..., .. ,',.".
judgment until it is seen what reconstruction plans come out of the
pl,,1e 1)'1'" d,.... 'tI, .. II J I.. ,,, ...
urp.n. hK!'h&t'Uu"
f:t_l"h~ rill
conference. and further. what machinery is set to work to restore
torlal P_. 5po.,I1.... " Mtlv " ... ~... ",I
!met ",>vpr dt4plaY 11O"~fll"I...... I ..1I
international prosperity. Because the disorganization of Europe is
III<t 01111",1)' 1>11 til" t.III'oI,.I'<' ." '''''
fttUI,f
Iltkh tare, 'kllh ",131",1 .... nt" ..

_totrlill. 1111>11.... 11..,...
1'1,,,,,
AI'4I In WId" II"" .",14" by 1",11>101<,,.1
IIr_ II" w,'1I .... hy IJ,.""halhm ....... t
tb.. llIcl 1I111! Ilwy e,m III! p,.~l,w.."
"I II".
[3]
ell"",ly
11ft
th..
lI\""I~""''.""""'''I1....
Incllldlld--wllI IN; ot InltoJ""t lu "" ..,

.... 1Ind a.s."rtt.lllff lilt" pm".Ut.
(II 1',,1,,1 /!cc>trA, I
___
~._,~._A._
~m
.. .. _.,_., .... ,
~
._~
",.
"., . . , ..
....... !M$~.II';pr._8iNillJl'M$!
$Ji\it)Oi;Qi;IlII111!J..~lUi4
iidiI'~I,;I'.I~!;'~:"'~._r:M_.
f ..~oo.
,.
..
Ji'fI"' ,.....,.",
.
tdi:~'lMt~,~"",",,,~
il~~~::~
,;~J",il'
MANUFACTURING
iJ
1: i
THE- NEED FOR KNOWING COSTS
~1
From an Address Delivered Before the Marketing Forum of New York
'~"
".'
I',
'1'
~:
~!
{:;}
'>1
~!
~H
):
:.: i
~i
:11
'~:,;tI
:.
'1):
i:.
~I
Ii
i!
i:'<i
'II
;~"1j
:: !
::1
ill
111
:~ I
:,i
$i
:11
~:
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ell
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Ii
ji
ORD BEACONSFIELD once said

that, powerful as were the tradi-
amountillg to $58,498,000,000. It is a
startling ar:raignment of the much-
tions and valuable the political continuity

of the State, we must live in the present
and prepare for the future.
At present we know that prices are out
ofline;thattheworld'sgoldproduction
is away below demand; that the world's
productive power is disorganized, because of the enormous losses of lives and
property during the war; and that the
stronger nations will make every effort
to stabilize their depreCiated currencies.
We are the only country with an overabundance of gold to which the world
can turn for relief. It will try to secure
gold from us by the exchange of commodities. Every time this happens on any
large scale our own prices will go down.
As practically every old-world country
is overwhelmed with the debt, the working out of this problem of stabilization
must take years in its accomplishment.
For these reasons it seems probable that
we are entering a long period of falling
prices, and we certainly should consider
every method that will enable us to mect
these conditions.
Sixty-five per cent of the business
failures in this country are caused by
ignorance. Either ignorance of business
methods or of capital functions.
When the 1892 census was taken,
there were 1,172,705 business concerns
in the United States. In 1920 there
were 1,821,409, or 648,704, more than ill
1892. Also in the same length of years
877,010 concerns failed with liabilities
flaunted Yankee ingenuity. Yet only by

such exhibitions can we learn to remove
the mote from our business eye.
The trend of wages over a long period
of years, unlike prices, shows a steady
advance6 As mechanical processes have
enabled us to turn out a growing volume
of products, the man power necessary
for each unit of production has lessened.
The theory that the machine is the whole
thing is a fallacy. It has been demonstrated that no matter how perfect the
machine may be it is more effective when
its attendant is its master than when he
is but a human adjunct. This advance in
production enabled each worker to produce more each day, and since his production was greater his wages increased
and his desire to maintain a better
standard of living was satisfied.
STANDARD DEPENDS ON OUTPUT
In considering the futu:re wage levels,
production must be the governing factor.
If improvements in methods and the
elimination of waste increase the output
per worker, then wages will not have to
decline horizontally with prices. If, however, output does not come up, then
neither can wages permanently maintain
the advance they have made. Consider
present-day standards of living when
trying to contrast wage scales with those
of former years. By comparison the two
are illuminating. How many of us would
care to go back to the old discomforts
of a generation ago even at the old costs?
J!
~i
~i
;j i
CRITICAL COMMENT
:~. II
THE Scotch face is second only to
'l i
Caslon in the variety of purposes for

which It can be used, and it is particlllarly suited to Ilouse organ /lnd
publication work, where a wide range
of bOth text and dIsplny is involved.
I,
smaller sizes. Simple treatments have

been employed In all tour of these
J~
.[.,I!
,
~
~
~ 'I)
,
r-I
BODY PAGE (left): Set in Bcotch, the

bodl/'" 10 point, point looded, with
.~ Poi.,t Initial; Heading in IS point
caps and 10 point italic; R1l"n{ng
Head, 10 point cIl.ps,inter81laced,wifh
, Point MatTi., Blide No. li08.

BACK COVER
ADVERTISEMENT
(below): Set in Scotch, H pOint, "
point leaded, 14 point ital!c"po!nt;
~~a::.O:~tp~~:.~"~ftZT~epJ~ ll:"'~~
By GEORGE J. HURST
l'
D
~!
~j l
:1
IS .
Blid. lIo. 736.

(6
Paint Scoteh,
I point leaded)
~iation ?
are not familiar
derlul scope of
'ork. There are
tS, the solution of
)ur Association
and experienced
n be of its fullest
lerally make use
d knowledge.
rd Guide is the
Ling, and typifies
h every question
~ is investigated.
plant operation,
d on special subr the asking.
Address the Secreta:ry

Manufacturers' Association of America
78.4 Rathbone Avenue, Chicago
%~;o;~:) 8t~~gW,eO~~!~!ll~g~f c~r,~
pages. For more eluborate eft'ects, the

Bodonl and Modern series of d"",,-
ration may be drawn upon.

(6
Point Scotch, 1 paint leaded)
~~""--"---------,.;;.'.,.'"'"-------'-
SPEClFICATIO~
EXTRA STRONG TINTED ENAMEL
RIGHT: 6 and 8 Pain. Old Slyi. No.

7. with 8 painl italic. tAe had, matle,
2 paint leaded; 8 and 14 Point
Codon No.3.
BELOW: 12 Point Old St,le No.7. 2
point leaded, with italic,' H, 10, 14
and 30 Point Caslon No.3; 5 Penlit
Matrix Slid. Dosh No. 941.
High Glossy Finish-Coated Two Sides

WHITE
Case
Ton
5000 Lbs.
$16.75
$16.00
$15.25
Per 100 lbs.
Per 100 Ibs.
Per 1001bs.
Less than ream lots $22.25 per 100 Ibs.
lWlm
$17.75
Per 100lbs.
(6 Point Old St,le No.7. 2 pa;"'leoded)
Carload
$14.50
Per 1001bs.
TINTS
Carload
$15.25
Per 10Dlbs.
Case
Ton
5000 Lbs.
$17.00
$16.25
$17.75
Per 100 Ibs.
Per 100 Ibs.
Per 100 lbs.
Less than ream lots $23.50 per 100 lbs.
Ream
$18.75
Per 100lbs.
IN STOCK
Substance
25 x38
Monthl
HlGH-GRA
READ
SEPTBMB
tha
most varied as
both coated ali
BELIEVING
91
146
91
146
91
146
91
146
90
91
146
90
140
146
Color
26 x 40-100 White
26x40-160Wbite
26 x 40-100 India
26 x 40-160 India
26 x 40-100 India
26 x 40-160 Buff
26 x 40-100 Seafoam
26 x 40-160 Seafoam
25 x 40- 95 Primrose
26 x 40-100 Primrose
26x40-160 Primrose
25x40- 95 Goldenrod
25 x 40-100 Goldenrod
26 x 40-160 Goldenrod
Columbus
At
At
Oeveland
TOTAL
55Rms.
13 Rms.
91 Rms.
38 Rms.
91Rms.
30Rms.
81Rms.
86Rms.
None
32 Rms.
14Rms.
44Rms.
3Rms.
89Rms.
11 RIDS.
22Rms.
25Rms.
11 Rms.
25Rms.
1Rms.
6Rms.
4Rms.
None
10Rms.
4Rms.
13 Rms.
None
1Rms.
13 Rms.
10Rms.
21 Rms.
11 Rms.
21 Rms.
6Rms.
24Rms.
4Rms.
3 Rms.
11 Rms.
1Rms.
10Rms.
None
None
85Rms.
45 Rms.
149 Rms.
60Rms.
149 Rms.
43 Rms.
111 Rms.
94 Rms.
3 Rms.
53 Rms.
25 Rms.
67Rms.
3Rms.
96 Rms.
Codeword
Kersey-White
Kittel-White
Kersey-Ind;"
Kittel-India
Kersey-Buff
Kittel-Bujj
Kersey-Seafoam
I(jttel-Sea/oam
Knight-Primrose
Kersey-Primrose
Kittel-Primrose
Knight-Goldenrod
Knoll-Goldenrod
Kittel-Goldenrod
TRANSLUCENT WHITE
where in the c
venience of ou
As we make
constantly bei
and inquiry is
tions at any pa
secure immedi
All items in
standard grad
point from wh
No items wi
It is underst
Companies, co
and are not res
delays are bey
Minimum c
Telegraphic
At
Cincinnati
100 sheets and over

1000 sheets and over
5000 sheets and over
Less than 100 sheets
PASTED TWO PLY

High Glossy FiIrlsh-Coated Two Sides
Per 100 .heets
Size 23 x 29
100 lb.
120 lb.
140 lb.
160 lb.
$3.10
$3.70
$4.35
$5.00
2.95
3.50
4.75
U5
2.80
3.35
3.90
4.50
3.90
4.65
5.45
6.25
180 lb.
$5.60
5.30
5.05
7.00
IN STOCK
Substance
2S xJ8
142
110
200
228
256
23 x29-100
23 x29-120
23 x29-140
23 x29-160
23 x29-180
At
CIncinnati
At
At
Columbus Cleveland
TOTAL
191 Rms.
51 Rms.
124Rms.
35Rms.
92 Rms.
11 Rms.
11 Rms.
11 RIDS.
11 Rms.
8Rms.
208 Rms.
83 Rms.
145 Rms.
41Rms.
108 Rms.
None
9 Rms.
4 Rms.
1Rm.
8Rms.
Telegraphic
Code word
Vase
Vacant
Vacuna
Vagabond
Vagaries
SPECIAL SIZES, WEIGHTS OR TINTS SUBJECT TO ESTIMATE
All prices
THE HARRINGTON COMPANY

COSHOCTON, OHIO
Cleveland Warehouse
Columbus Ollice
Cincinnati Warehouse
404 Tribune Building
198 Lake St.
73 Warren St.
Chicago Olliee: 1317 Chamber of Commerce Building
CRITICAL COMMENT
Two typical price lists, one in an old style

and the other in a modern setting, are
shown on tbis and the opposite page. The
use of light and bold face in combination~
while it is not to be recommended on
typographic grounds, is frequently needed
to give aCcent to headings and figures
and the combination above will be found
very satisfactory for this purpose.
(6 Puint Old Style No.7. 2 point lead,d)
SPECIFICATIONS
LEFT, 9.12 and 1"- Potnt No. 18.
the 9 pOint 2 point leaded; 18
and 30 Point Scotch; 12 Point
Bodoni Border No.t06.HI.; Rules.
6 Point Matrix Slid. No. 516.
BELOW, 9 Point No. 16, 2 point
leaded. with Universal hyphen
leaders; Matri", Slide. 4 Point
No. 508. tlltd Lino-ta.bler Rule
No.1.
(6 PoinlNo. 16.2 point leaded)
PRICE LIST
JUNE FIRST
1""J
11,,1
Industrial Chemicals
~.
PRICE LIST-JUNE FIRST
This List gives the a

prices at which our
tainable from Whole
In sections distant f
the prices given will
as jobbers will neces
whatever is needed t
costs of transportati
All prices are subj
market fluctuations.:
Issued Monf
INCORPOR
1359 Richards:
CRITICA.L COIDllENT
THE No. 16 face, a face of French
derivation, lltLS hero been supplemented with Scotch to give the
lal'ge sizes required in the cover
page (ahove). The body page is set
in n single size throllghollt. Like
Bodoni and Scotch, tills fuee must
be leaded to show to best advantage, particularly when caps are
used as In the present setting.
(6 Point No. 18. 2 potnt leaded)
CYANIDE, 96-98 %, 10 Ibs. cans __________________ lb.

"
96-98%, 25 Ibs. cans__________________ lb.
96-98%, 100 Ibs. drums ________________ Ib.
DEXTRINE, 10 lb. bag____________________________lb.
DISTILLED WATER, carboys____________________ gaI.
DRAGON'S BLOOD, 5 lb. cans _____________________lb.
DRAGON'S BLOOD, Zinsser's, 5 lb. cans ___________ lb.
EGG ALBUMEN, Dry----------_____________________ lb.
ETHER, Sulphuric, Concentrated. 55 lb. drums ____lb.
..
..
5 lb. cans ______lb.
FILTER PAPER, Round, lS-inch, White __________ lb.
FORMALDEHYDE, U. S. P., 5 lb. bottles ___________ lb.
FREDERICKSEN'S ETCHING INK ________________ Ib.
GALLIC ACID, U. S. P., Powdered_________________ lb.
GLYCERINE, C. P., 10 lbs. cans___________________ Ib.
50 lbs. cans __________________ .Jb.
GUM ARABIC, bbls. ________________________________ lb.
GUM THUS (Gum Turpentine). 25 lb. cans _________ lb.
GUM THUS, 100 lb. kegs ____________________________ lb.
HYDROFLUORIC ACID. 1 lb. bottles _____________ lb.
HYDRO QUINONE, 1 lb. packages __________________ lb.
"
5 lb. packages __________________ lb.
IODINE, RESUBLIMED, lIb. bottles______________ lb.
"
" 5 lb. bottleB-____________ .Jb.
IRON AND AMMONIUM CITRATE, Brown Scales_lb.
IRON FILINGS, 100 lb. baS _________________________ lb.
IRON PERCHLORIDE, Crystals, 50 lb. kegs________lb.
"
"
"
150 lb. kegs ________lb.
..
"
casks ______________lb.
IRON PERCHLORIDE, Liquid. 42 0 Be, carboys ___ lb.
"
"
" 4 2 0 Be, 7 lb. bot. __ lb.
IRON SULPHATE, Pure. 10 lb. cans ________________ Ib.
25 lb. cans ________________ Ib.
.. 100 lb. cans ________________Ib.
"
.. 350 lb. bbIs. ________________ lb.
LEAD NITRATE, Technical, Powdered____________ lb.
LE PAGE'S GLUE, Clarified _____________________ quart
LITMUS PAPER, Blue and Red _______________ per vial
MAGNESIA, in 1 oz. blocks, K. & M. _________________ lb.
MAGNESIA, Powdered. TechnicaL ________________ Ib.
MERCURY BICHLORIDE, U. S. P. _______________ ~_lb.
MURIA TIC ACID, 20 0 carboys ____________________ lb.
20 0 6 lb. bottles _______________ lb.
C. P., 6 lb. bottles _____________ .lb.
NICKEL SALTS, DOUBLE, 25 lb. cans_____________Ib.
[5 ]
$0.34
.32
.29
.10
.20
1.30
2.00
1.00
.22
.28
2.25
.25
5.50
1.50
.35
.25
.25
.15
.13
1.24
1.60
1.50
4.70
4.65
1.40
.05
.12
.10
.09
.067'2
.12
.09
.07
.05
.04
.35
2.90
.20
.45
.20
1.00
.02%,
.08
.15
.15
llf.2'-=-~?''''''-'''~;;;''~,=~''~"'S-''''=-;'''--S~~~~~'''''-'''''7'=C';';;i~.'''''O'':0'''';""'11 !
':
THE
li,'\
IiI~I
~
III
11,i,
Ii!
1',',i,
!;J
\'
it'
;;;
"
!i
:1'
n:
~,
.:~!~~~~~~__..
PASSENGER RATES TO
.I:
alld
=ft'''_
Ilil
AND FROM PRINCIPAL POINTS
Iiill'
From
Havana
San
tiago
Cama Antilla
giiey
Santa
Clara
To
Antilla.
Alto Cedro-o ......
Bartle ................. .
Bayamo ............... .
Baire ................. ..
Ciego de Avila ....... , ..
Cabaiguan ............. .
Camagiiey .............. .
Cristo ................. .
Dumais ................. :
Entronque San Luis ....
Guayos ................. '
Holguin ............... '
J~tibor:Lico .............. .
Jlgual11 ...............
Las Tunas ............. .
La Maya ............... .
Manzanillo ............ ..
Marti ........ " ....... ..
Placetas del Sur ........ .
Palma Soriano .......... '
Santa Clara ............ .
San Luis ............... .
Santiago de Cuba ...... .
Sancti Spiritus ......... '
Tuinucu ........... ,' .. .
Zaza del Media ........ .
-0
-0
. . . . . . -0 . . . . .
-0
......
Price of a third-class f
Children between five
First-class passengers
transportation of 50 kilos
$23.24
21.88
$ 8.53
7.17
$15.49
14.13
i
Mil..
trom
Jla
nnll
Eastbound
TrainS
256
264
269
273
i'
I'
280
I'
j'
I
I:
Havana to Santa Clara ..

Havana to Cam&giiey ...
Havana to Santiago de C
7. 2 polnlleoded)
,'" ',""'-' ,.',., ','"''''''''
286
290
295
301
308
316
321
332
337
343
STATIONS-Descriptive Notes
Wcstbcullll
Tr&b19
Mil"
from
Sarl-
..-tlaS.
..
7.25
AM
..
7.00
6.44
9.25
9.15
9.05
284
276
271
267
8.06 10.00 Ciego de Avila-(Population of 5,000.)

It is at this point that the famous
military road (trocka), built by the
Spanish as a barrier against Cuban
insurgents in revolutionary times, is
crossed; it extends from San Fernando on the north coast to Jucaro
on the south. Little forts were built
at intervals of one kilometer all the
way across, many of which still
stand, battered, covered with moss
and draped with vines. Several
miles north of Ciego are the citrus
fruit groves of Ceballos.
Ciego is a thriving town, situated
in a good sugar-cane and cattle
country, and there are two valuable
forests near by. Two sawmills have
been established here. They are
turning out mahogany boards and
cedar cigar boxes.
6.30
8,55
260
.... ....
8.36 10.35
.. ..
9.00 11.05
.. ..
..
6.55 8.20
.. ..
7.25
7.40
7.60
I,
(8 Fo;"/ OltiStykNo.
(6 Poi"t Old Style N . 7.

1 poilll'eruled)
I'M
~~
1-
two pages shown here are

examples of table work composed
on the Linotype. Tbey were set
with the Lino-tabler System and
Cross-rule Brooch.
11
Lv
I,
THE
.1 Poittt No. 406.
Lv
Lv
L!
CRITICAL COMMENT
using
THE CUBA RAILROAD
I'
SLEE
Cross-rule Broach,
Lv
Trilladeras Are important shipping
points for cattle, cedar,
9,25 Majagua
9.35 Guayacanes mahogany and other
C
aguasal
woods. This, also, is a
9,45
good cane country.
The hardwoods of Cuba, of which
there are many kinds, are very valuable. Some of them are the best
cabinet woods known. Very beautiful furniture is made of Majag2ta,
an exquisite greenish wood which
takes a high polish. Acana, now used
largely for railroad ties and bridge
timbers, is a magnificent carviug
wood. Many enterprising American
settlers in E~stern Cuba have built
themselves homes of hardwoods
which, elsewhere, would cost fortunes; their furniture is solid mahogany, sometimes polished to a
beautiful brilliancy. The forests are
a source of great wealth.
Santa Rita
Colorado
Gaspar
Corojo
Salvador
9.15 11.25 Cespedes'
9.25 11,38 Florida
9.60 12.03 Aigarrobo
PM Guarina
..
10.16
PM:
Arrive
Me
jollfJ'loil1& faces afJd lJlat,ix Slides'

8 Fou,t Old Slyle No. 5 ,uilk
AII/iq". No.6. 8 Point Old Slyi.
No.7 tuitll itlllic and small caps
12. POi1zt CI,cltmzRtJ1Il Bold, ,;
POtnt No. 11 1' Bordc'l 5 Point
,lIatrix Slide No. 654; Rules 2
Point },{alri. Slid. No. 403 ;"ul
I'~:
I'
A stop-over privilege
first-class through tickets,
S 4.20
2.8'.
IF-:-;'C'';=:~-~O:S''-O",00"~'--~'''~'''''7'''''''''
I'
STOP-
$ 1.82
SPECIFICATIONS
SET will, tho LI".tabler Syst.,.
Thick forests and pleasant pastures, with here

and there a sawmill at
work, aJ:e passed in succession. Shortly after
leaving Guadnn the
traveler descries the tall
towers of the churches
of the city of Camagiiey.
1.00 Camagiiey - (Population of 35,000.)

Founded in 1515 by order of the
Adelantado don Diego Velasquez,
first Governor of Cuba. Its original
site was on Newater Bay, from
where it was removc!d very early in
254
250
245
239
232
4.16
7.55
7.40
7.30
7.00
..
224
219
208
203
3.45
6.30
197
6.20
5.00
4.44
..
Ala:
Lea.ve
28
BITUMINOUS COAL, CAR LOADS, MINIMUM WEIGHT AS PER NOTE 1.

Rates in Cents Per Net Ton of 2000 Pounds.
From Stations shown on}
Page IV and indicated IJ:7
by Group Numbers.
Group
Group
From Stations shown on}

Page IV and indicated P'" Group Group
2
by Group Numbers.
1
[-----------[--- ---
Group
2
3
1---------1---- - - 1
Groul!
---
Rates Rates Rates

Rates Rates Rate.
Index
TO
Index
TO
----1----------1-- ----[----[----------[-- - - - -
Inds Sou Indianapolis Southern
LE&W
Continued
..
"
"..
"
"
"
"
"
MainLine
Continued
Via Indianapolis. Ind.
27 *Gordons ...... Ill.
28 Robinson
29 *Hercules ..... .
30 Stoy ........ .
31 Oblong
32 Willow Hill ... .
33 Newton ..... .
34 Lis ......... .
35 Wheeler ..... .
36 Dietrich ..... .
37 Effingham .. ,.
ICTCo
"
"
.
"
185
185
185
"
"
"
"
"
"
"
"
"
"
3
4
5
6
"
"
7
8
"
"
"
"
9
10
11
12
" 13
" 14
LE&W
"
"
"
"
"
"
"
2
3
4
5
6
7
"
"
"
"
"
210
"
210 210 "
"
"
"
"
P.M.R.R.
Kalamazoo .. Mich.
* Oshtemo
"
Mattawan ... "
Lawton
"
PawPaw .... "
*Lake Cora .. "
Lawrence
"
Hartford ....
*Toquin ..... "
Paw Paw Lake "
Covert ..... .
*Packard .... . "
*Fruitland
"
South Haven. "
Lake Erie & Western
"
"
Via Toledo. Ohio. and C. M. B. Ro.

or
"
15 *Dyer ........ OhiO.}

16 Rawson..... "
17 Mt. Cory. . . . . "
18 Bluffton. . . .. "
19 Beaver Darn.. "
20 Lima ....... .
21 Hume ...... .
22 Buckland
"
23 *Glynwood ... . "
24 St. Marys ... . "
25 New Bremen. "
26 Minster
"
27 Celina ...... . "
28 Coldwater
29 Ft. Recovery . "
30 *Brice
Ind.
31 Portland ..... "
90
90
100
90
90
100 100 100
125 125 125
110
110
no
130 130 130
Via Red K.ey. Ind.
"
"
32 Blaine. . . . . .. Ind.
331--=R-e~d~K=-ey-.-.-...--~,,---
Albany .....
DeSoto
Muncie .....
37 *Cammack ...
38 Gilman .....
39 Alexandria "
34
165
155
140
"
"
"
35
36
130 130 130
.
.
.
.
.
"
130 130 130
"
"
Via Elwood, Ind.
"
40
MainLine
"
42
Via Bur&'OC)n. Ohio
"
"
"
43
Sandusky
Ohio.
Castalia. . . . . " }
*Whitmore... "
Vickery.. . . . . "
*Erlin
"
Fremont. . . . "
*Havens ..... "
Burgoon .... "
100
Via Lima. Ohio
210 210 210
KLS&C Kalamazoo, Lake Shore

& Chicago Ry.
"
Kansas ...... OhiO.]

Amsden..... "
Fostoria ... " "
Arcadia. . . .. "
13 *:j:CasterlineSpur "
14 Findlay. . . .. "
10
11
12
"
Interstate Car Transfer Co.
St. Louis ........ Mo.
"
Via Indianapolis, IntI..

Vandalfa R. R.~ and
E. st. Louis, Ill.
"
Lake Erie & Western
"
100
100
100
90
90
90
90
75
90
"
"
44
45
"
"
"
Orestes. . . . .. Ind.}
41 *:J:Dundee ..... , ,~
47
48
49
50
51
53
54
Elwood ..... .
Hobbs ...... .
Tipton ...... .
Goldsmith
Scircleville ...
Hillisburg
Boyleston ... .
Frankfort ... .
*Deniston
Dayton ..... .
LaFayette .. .
130 130 130
"
"
"
"
"
"
"
"
"
"
130 130 130
150
150 150
For explanation of reference marks, abbreviations and notes see pages XLVI to L.
THE table on this ))age makes use of the vertical rule mtLtrix supplied with
'359, caflt verticaUy on the slug alona' with regular typenuttter and form-
all tonts, no special matrices or attachments being- required. The Braces

are composed of 10 Point Piece Braces Nos. 361. 352, 363, 354. 368 and
ing the complete brac.es when brought together. The faces used are G. 8
and 10 Point Oentury Expanded with a, 8, 10 and 12 Point Century Bold.

(6 Pom! C....t".v E.,p."d.d. Jl point leaded)
"I"
.,
~~ J .)
----,
I
THE OOATESVILLE NATIONAL' BANK
OOATESVILLE,NEBRASKA
STATEMENT OF CONDITION AS OF MAY 3RD
RESOURCES
LIABIL.ITIES
566.032.27
4,062,989.65
LOANS AND BILLS PURCHASED 1.845,797.48
CASH ON HAND AND IN BANK
781.335.72
BONDS AND MORTGAGES.
STOCKS AND BONDS
BANKING HOUSE
OTHER ASSETS
87,000.00
CAPITAL
SURPLUS
UNDIVIDED PROFITS
DEPOSITS
OTHER LIABILITIES.
176,557.33
$7,519,715.45
500.000.00
500,000.00
24.847.93
6,432,246.90
62,620.62
$7,519,715.45
TRUST DEPARTMENT FUNDS

WHICH ARE KEPT SEPARATE AND APART FROM THE OTHER ASSETS OF THE COMPANY
SECURITIES
CASH
$8,181,357.30
97.457.27
INTEREST ALLOWED ON DEPOSITS
SAFE DEPOSIT AND STORAGE VAULTS
CHECKS ON THIS BANK PAYABLE AT PA

BANK OF NE
"
. "'" -.
~~,
.. -..
~-
DEPOSrDEj}"ih" ,
ALBERT i':Sl:IELBY
. PRESIDENT'
THE COATESVlLLE !NATIONAL BANK

':
COATESVILLE
NATIO~.u.
COATESVII.J:.E.NEB.
, .. ..- ......
~-.-----./.
BANK
SPECIFICATIONS
BILLS
=SIL~VER~~_____________________
CHECKS
1 ________________
t~._w .... ~_. __ . '" ..... "......... _'".. .
I~
STATEMENT: 12 and 18 Point Boltl F4~e No. 93,

CARD: 6 Peint Bold Fllc~ No, 9 tula 12 POUlt NO/.
11 Paint Gathie. No. 31 and 12 Poi"t No. J1cs
9a, 9b 4nd 9c.
2 Point Ma=,tx 81,tI,61 Nos. 401 4nd 404.
CHECK: d Point Bold Fat:. No. 9 and. 12 point
DEPOSIT SLIP: d Point Bold Flle~ Ntu. 9, 9a 1D14
No. 9ai Bof'J.S1". 6 Point. MIJ".,.j 3litb No. 1313:1
9b; 12 and 18 Point No. POl; Rules, 2 Point
on tlJ. au-triM 'With 2 p"int Mlltrix Slid. No. 403
M4triJt SJid~ No. 403, .J Point No. 303; LiPloDIS th# insUl..
tllhler System tI"d Cross,"11J B1'oach uu4.
(6 Point Culon 014 F4". solid)
'I:.'
" " - . - ,-,.",...,
HERBERT MARLEY. M. D.
2:34 BOROUGH AVENUE
CI..EVEI..AND. OHIO
!""""
YOU ARE: INVITE:O TO
SONG RECITAL
By PUPILS OF WALTE:R S. HARRINGTON

UNITY HAL.L
FRIDAY EVENING, JUNE 9TH, AT 8:15
THE: SINGERS
MISS
MRS.
MISS
MISS
MRS.
MRs. RUDOL.PH KENT

MISS FRANCES SMITHERS
MRS. HEL.EN ARNOLD
MR. HAROL.D GUSTINE
MR. HARRY N.KENCAL.L
AL.ICE BARBOUR KENT

EDWARD W. CHARL.ES
EDNA GARRETT
MIL.DREC JACOBS
AL.BERT SCHOFFTON
ABOVE: 6 Poi,a Gotlli.: No. 30 lind 12 P.,irlt Nt>. JOe.

13ELOW: 6 Pclllt Gc~hJ:e NDs. 32 am!. J:?o., 12 PO'6lt No.1. 32
iJn4 32e; 6 Po'nt. Q"thie Nt;. 3J and 12 Poim Nfl!. JJ,
3Jo., tm.t JJbl RullStj,J pgln~ M'*"j:r: Slid. N". 3DJ limA 2
P~-lI1~ No. 401 t DO;:lld R~lll, 2 Pojnt Ma:rl:t Slid4 No. 201.
MRS, MORRISON S. YOUNG AT THE PIANO
THIS CARD WILL ADM

PL.EASE PRESENT AT TH.
FOLIO........_
MONTHLY STATEMENT
CL.E:ARVIEW,
ABOVE: d Poi"t OtHMe Nos. 32 IJtJd J~1l1
12 Poin: Nor.
Do.rh NQ. 401.
3~b,
aratZ 32c;
EdJ~orlal
TEL.. CL.EARVIEW IZZIS
N. J . _......... _._........._............. 19 ..... _...
M.............................................................................................................................._
To
ARTHUR S. WILLIAMS DR.

WHOLESALE AND RETAIL
ON
FLORIST AND NURSERYMAN
th.is and the o!"posite pmge IIppenr speel

mens elf some of the Linotype Sericts of
Llnlnc Gothics. These ",re made in the sizes

and weights most used In commercial work,
And in a vuiety of styles c fllce.
(d Poifft CGllon OUF_e.II, 2 point lllaJ,t:d)
OFFICE AND SALESROOM

29 FULLE:R AVENUE:
------
EAST CLEARVIEW BRANCH

664 VALLE:Y AVENUE
SPECIFICATIONS
LEFT: 1:1 Gnd lB Po;',,' Badon;' Book

t:.ap8, intenpae,d; /J Point Maul"
Slide Dash No. 923; Rule.!_ 2 Point
Matri,; sua. No. 401.
BELOW: 12 dnd 14 point l!odoni Book.
leaded. tDith 24 PuLn' 11lliaZ above;
Headtnz in 18 polM caps, interspt1~aJ; OrnlJmC/U, 36 Point Bod on;'
Border Nc. ~218; Rules dnd Dash
115 aboue.
TH:8 BANK OF HUNTINGTON

HUNTINGTON, VERMONT
(6 Poinl BarJQnt BD/'Jk. 2 point l.::aded)
I
\I'
I'
il
l
l~
I
t
II
AN INVITATION
THE Officers and Directors of the

Bank of Huntington cordially invite
you to visit and inspect their New
Banking Rooms in the Huff Building
on Saturday afternoon, the Twentythird of December, from half-past two
until five o'clock
HUNTINGTON, VERMONT
CRITICAL COMMENT
THE :Sodolll letdn&: and "err wide
of
lead.lnl
lm. .peclmCD give it a
marked. dl.tlnction and freahuess of
s..vor 41 cotnpared with the averap
announoement, ..becher engraved ox
prluted.. It:tt desiped fDr printing'
on a weddlar ROCk, ....hich would
he I.maahed ludlc.tod by the rule.
(6 Point B04Ml Bo"k, 2 poilU I~Gded)
_ _--,
.-. ~.-' ..~'~' .'.,1.

...,.".. --~~."--'.'-.-.SIt
~nl
2.56
.--~--.-:..
....~..~
--~.~--'~---'---
.........
~,,~

Manual of Linotype Typography

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'The

((The Hand That Keeps the World Informed))

Typographical 'Plan and Critical Comment by

WILLIAM DANA ORCUTT

Mergenthaler Linotype Company

CDPYRIGHTED 1923 :BY

Print.d .nd bound in the U..i/ed Slates of 1I.m".i,.

MANUAL OF LINOTYPE TYPOGRAPHY HAS

By deliberate purpose a considerable proportion of the Manual is devoted to

...................................................................................................0 . 0 ..........................................11 ................................_

NOTES ON TYPOGRAPHIC ARRANGEMENT

TYPES OF CLASSIC DESIGN AND HEAVIER

OLD STYLE TYPES

Old Style No.1

Old Style No.7

Oaslon Old Face .

Original Old Style.

Franklin Old Style.

RELATED DECORATIONS FOR OLD STYLE

RELATED DECORATIONS FOR TYPES OF CLASSIC

FOREIGN LANGUAGE AND SCHOOL BOOK

Algebra and Trigonometry

RELATED DECORATIONS FOR MODERN

FOREIGN LANGUAGE AND SCHOOL BOOK

STYLES FOR COMMERCIAL PRINTING-

LIMIT NOTICES AND DEDICATIONS

House Organ Pages

STYLE PAGES FOR CAPTIONS

STYLE PAGES FOR TOPICAL ANALYSES.

220, 228, 236

Miscellaneous Small Job Work

STYLES FOR COMMERCIAL PRINTING

Announcements and Invitations

SIGNERS WHO ARE

booklet, pamphlet, or circular, complete unity

a. Back margin, narrowest.

h. Head (ortop), equal to back or slightly

d. Foot (tailor bottom), widest.

The most dominant feature of a piece of

"Vith type alone, the marginal treatment

in which luxury has been sacrificed to commercial purposes.

The single page

The placing of type on a single page or leaf

IlZustratio'1J.S restrict.ed to type pa:.e

if the marginal scheme is steadfastly held,

Illustrations e:rctending into margins,

hilt retaining th.e mD1'gin scheme

To secure further variety in the illustrated

Neve., tl#s -margin sr;h.~me

But the page, for any purpose, must never

for the i1l11~trntiom;. In thil'l ca~c, the sarne

The amount of variation in size thnt will

The rduti()n~hip of various ~i1.es, both of

t',-,,:'" ', ",',' ' '],

exact numerical e"pre~sion of the mnst ngrec~

(If sp:H:e into C'-IIL<11 parts, fit' the use of equal

I":' ~ -~'. '~: : : 'l

101." "'~lIli"t .h~". UN"""/'".""

1,01 ~ '" "".'.";.~ ./

Gooll prClpc.minn is imp()rtl\nt nt the start

is balanced on its horizontal aXIS. Such a

Agreeable proportion of masses of type and

axis, tne line ab, which. divides the type masses

would mean that the lower half of the type

~.~_.........~,.~" ...:"-" __....~_._._~,",_. _ _...._ _ _ _ _ _ _ _ _ _ _ _ _"_