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If the office style require “board,” “bureau,” etc., referring to a corporation, or
collection of individuals, to be put down, cases like the following should form
exceptions:
The festive board was graced by the festive board of directors of the
Rochester saw-mills.
It should be printed “Board of Directors.”
A new bureau has been forwarded to the new bureau of musical notation.
Put up “Bureau of Musical Notation.”
Thus, by a judicious selection and arrangement of capital and lower-case
letters, Boards and Bureaus of gentlemen may {p192} be readily differentiated from
mere furniture, mahogany or black-walnut boards and bureaus.
The principle of a change of style by reason of juxtaposition, is recognized in
the following direction for printing an important work on the fisheries: “Put
quantities, measurements, distances, and sums of money in figures; numbers of
men and vessels spelled, except where large numbers occur together.”
RECAPITULATION.
In the preceding part of this chapter we felt it necessary to give many
examples, and enter upon some discussion of styles. To save time and trouble in
turning many leaves to find some particular rule, we give below, all the rules in
compact form, with but brief, if any, examples in illustration.
R ULE I. The initial letter of every sentence should be a capital.
This rule has been long established. It scarcely requires an example.
R ULE II. The first letter in every line of poetry should be a capital.
What though my wingèd hours of bliss have been
Like angel-visits, few and far between.—Campbell.
R ULE III. Principal words in the titles of books, of important
documents, of proclamations, of edicts, of conventions, and words of
especial distinction in monographs, should be put up.
There is in the library a book entitled, “An Interesting Narrative of the Travels
of James Bruce, Esq., into Abyssinia, to Discover the Source of the Nile.” {p193}
R ULE IV. Names and appellations of the Supreme Being should be
capitalized.
R ULE V. Names of ancient Greek and Roman divinities, and of all
pagan and heathen gods, should be put up.
Æsculapius restored many to life, of which Pluto complained to Jupiter, who
struck Æsculapius with thunder, but Apollo, angry at the death of his son, killed
the Cyclops who made the thunderbolts.—Lempriere.
R ULE VI. The pronoun I, and the interjection O, should always be
put up.
Here am I; send me, O king!
R ULE VII. Some words which are put down when spelled in full,
are put up when contracted.
The honorable the Secretary of the Treasury.
The Hon. the Secretary of the Treasury.
R ULE VIII. Names of persons, of things personified, of nations,
countries, cities, towns, streets, ships, etc., should be put up.
And well may Doubt, the mother of Dismay,
Pause at her martyr’s tomb.—Campbell.
R ULE IX. A word usually put down may be put up, or vice versa,
by reason of propinquity to some other word which is in the opposite
category as to capitaliz ation.
The Secretary of War complimented the Secretary of the Typographical Union,
upon his skill with the shooting-stick.
Shall the Choctaw Nation or this Nation adjust the northern boundary? {p194}
Before leaving the subject of capitaliz ation, we must observe that
there is diversity among authors and printers in regard to the use of
capitals when two or more questions occur in succession. The rule
generally given is, “Capitalize each question”: but the exceptions are
so numerous, depending on some common relation to a term
expressed or understood (see Obs. 30 and 31, Rule 29, Chap. V.,
ante), that we forbear indorsing the rule to which we have above
referred. Indeed, it often happens that questions occurring singly are
so connected with what goes before, that they do not require to be
capitalized. Each case must be settled by the judgment of editor or
author,—there is no common standard of reference, as can easily be
shown by comparing different editions of the same work. In
Buckingham’s Shakspeare, printed in Boston, we read in As you Like
It, Act 5, Sc. 2:
Orl. Is’t possible that on so little acquaintance you should like her? . . . And
will you persever, etc.,
the last question having a capital A; but in the London edition of
French & Co., we have—
Orl. Is’t possible that on so little acquaintance you should like her? . . . and will
you persever, etc.,
in which the last of the several questions has a lower-case a. Every
editor endeavors to capitalize correctly—by suiting himself.
CHAPTER VIII.
OLD STYLE.
Fonts of movable Types, from their firſt Introdu ion into England
until late in the eighteenth Century, contained—owing principally to
the long “ſ” (= s) then in Uſe—far more Ligatures than the Fonts of
the preſent Day. Johnſon’s Di ionary furniſhes a Liſt which we here
inſert, with their more modern Equivalents:
= ct; ſ = s; ſb = sb; ſh = sh; ſi = si; ſk = sk; ſſ = ss; ſt = st; ſſi
= ssi; ſſl = ssl: and in italic, = ct; ſ = s; ſb = sb; ſh = sh; ſk = sk;
ſſ = ss; ſt = st; ſſi = ssi; ſſl = ssl.
It was our good Fortune, at a very early Period of Life, to attend
a dame School, where a Book, printed in Glaſgow, in the Year 1756,
was put into our Hands. This Book contained the Weſtminſter Larger
and Shorter Catechiſms, and a Dire ory of Public Worſhip,—the
Intention perhaps being to teach us good Engliſh and ſound “Kirk”
Do rines at the ſame Time. Fortunately or otherwiſe, the Do rines
were above our Comprehenſion at that Time; but the long ſ ’s and
the Ligatures {p196} became Part of our Eye-Vernacular (if we may be
pardoned for ſuch an Expreſſion), at which we rejoice. We hope that
the Young who have not had the Advantages of antique Catechiſms
will peruſe the Old Style Pages of this Chapter until they become ſo
familiar with ancient and nearly forgotten Letters as to be able to
enjoy the many good Things to be found in old-time Books, whether
printed in Glaſgow or elſewhere.
To Printers who have “ſerved their Time” in the Book-offices of
the Eaſt or the early ſettled Cities of the South and Weſt, a Chapter
like this may ſeem wholly ſuperfluous. But in a Country like ours,
where new Towns and Cities are daily ſpringing into Exiſtence, daily
Newſpapers ſpringing up with them, it often happens that Boys and
young Men who have had but ſcanty Schooling are taken as
Apprentices to learn the Art of Arts. Many of theſe become rapid and
corre Compoſitors, and in Proceſs of Time drift to Cities where are
Printing-offices with more Varieties of Type than the new Comers
have been accuſtomed to,—among the reſt, Old Style, both in its
ancient and modernized Forms; and it is, in good Part, for the
Benefit of theſe that we devote a few Pages to Old Style.
In purſuing our Subje we ſhall paſs by {p197} Caxton, who, as
Everybody knows, introduced movable Types into England in the
ſeventh Year of the fourth Edward, make but brief Mention of Caſlon
(1692–1766), who about the Year 1720, made Matrices and call
genuine and beautiful old-ſtyle Type,—and come dire ly to the Fa
that, in 1843, an Engliſh Printer deſired to reprint in Old Style a Book
of the Time of Charles II. The old Matrices of Caſlon were found (v.
Brit. Encyc.), and from them a Font was caſt, which, with improved
Preſſes, etc., gave a better Impreſſion than had been obtained in
Caſlon’s Time. Since then (1843), the Demand for Old Style has
ſteadily increaſed, both in England and America, and our Founders
have produced a modernized Old Style; in which, however, it is
thought by many that Legibility has been ſacrificed to Beauty and
general Effe . Our Purpoſe here is to treat of the earlier Style, which
ſtill reaches Printing-offices occaſionally as Copy, and in which
Programmes for “Old Folks’ Concerts,” and alſo ſome Pamphlets, are
printed even in theſe Days.
In Old Style, s final is a ſhort s; in all other Parts of a Word, even
if it is the laſt Letter of a Syllable of a Word divided at the End of a
Line, the long, kerned “ſ” is uſed. To prevent breaking the Kern the
long “ſ” was caſt in the ſame {p198} Matrix with ſuch Letters as it would
otherwiſe interfere with,—the two, or in Caſe of double ſ the three,
Letters forming one Type; juſt as “f” is now ligated to other Letters,
as fi, ffl, etc.
And here, while ſpeaking of Ligatures, we would fain digreſs a
Moment,—even at the Expenſe of lengthening our old-ſtyle Chapter,
—to remark that there are ſome interfering Combinations for which
Ligatures have not been caſt. We have ſeen Book-catalogues in
which the Word “Illuſtrated” frequently occurred, having the Kerns of
the italic I and its Neighbor l, one or both, broken off. The ſame
happens when the Word “Illinois” is ſet in italic, unleſs the
Compoſitor inſert a thin Space to keep the Letters from encroaching
on each other’s Territory. The ſame Method muſt be obſerved when
the Combination of f with b, h, or k, is met with; as in Hofburg,
Hofhoof, and Hoffkirchen; otherwiſe one or more Letters will preſent
a mutilated Appearance on the Proof-ſheet.
An italic ſhort s ligated with t, formerly in Uſe, does not ſeem to
have remained long in the Printer’s Caſe; but—perhaps from the
Beauty of its Curves—the “ ,” both in roman and italic, retains its
Popularity, and is found in Fonts of modernized Old Style which have
reje ed the long ſ and its Ligatures. Indeed, we have what are {p199}
called “ Books,” in which the deſignating Term is uſed as though it
were as needful as “fi,” and the other Combinations of the kerned
Letter f.
We conclude this Portion of our Work by preſenting ſome Fac-
ſimiles of Old Style, produced by Photogravure. The firſt is Part of a
Page from “Annals of King George,” printed in London, in 1717.
The next is a Fac-ſimile of four roman and three italic Lines from
T. B. Reed’s “Hiſtory of Printing.” Theſe ſeven Lines were printed from
Type caſt in the Matrices made by the elder Caſlon, in 1720. They
ſhow an immenſe Improvement when compared with the Page of the
“Annals” executed but three Years before.
The third Sample is from Fry & Steele’s “Specimens of Printing
Type,” dated 1794; while the fourth, from the Foundry of Caſlon the
younger, dated 1796, having dropped the long “ſ” and its Ligatures,
informs us of the Period when the Old was giving Place to the New.
{p200}
The above is a fac-simile from the second volume of Annals of
George I.; London, 1717.
OLD STYLE
Facsimile of four roman and three italic lines from T. B. Reed’s “History of Printing”, printed
in type cast in the matrices made by the elder Caslon in 1720.
S MALL P ICA R OMAN . N O. 1.
Facsimile of ten lines from Fry & Steele’s “Specimens of Printing Type”, dated 1794.
Small Pica Roman. No. 1.
Facsimile of ten lines from the Foundry of Caslon the younger, dated 1796.
CHAPTER IX.
TECHNICAL TERMS USED IN THIS WORK.
C ASE. A frame divided into boxes, or compartments, for holding
types. The upper case contains capitals; the lower case, small
letters.
C HAPEL. An association of workmen in a printing-office.
C HASE. An iron frame in which the pages of matter are locked up.
D OUBLET. A portion of a take repeated by the compositor. For
instance: “It is of no use to lament our misfortunes, of no benefit to
grieve over past mistakes.” Suppose the compositor to have set up
as far as the second “no” inclusive,—he then glances at his copy for
the following words, but his eye catches the first “no,” and he resets
what is already in his stick. Of course the proof will read thus: “It is
of no use to lament our misfortunes, of no use to lament our
misfortunes, of no benefit to grieve over,” etc.
F ORM. The pages of matter inclosed in the chase.
G ALLEY. A frame which receives the contents of the composing-
stick. When the stick is full, it is emptied upon a galley.
I MPOSE. To lay the made-up pages of matter on the stone, and fit
on the chase in order to carry the form to press.
I NDENTION. The blank space at the beginning of a common
paragraph, or of a line of poetry, etc. When the first line is not
indented, while the following lines of the paragraph have a blank
space before them, the paragraph is said to be set with a “hanging
indention.”
Specimen of Hanging Indention.
Be it enacted by the Senate and House of Representatives, in General Court
assembled, and by the authority of the same.
J USTIFY. To insert spaces between the words of a line of type, so
that the line shall exactly fit the width of the stick.
To L OCK UP A F ORM is to drive quoins (wedges) in such a manner
as to hold the type firmly in the chase.
To M AKE UP is to adjust the matter in pages of equal length, as
nearly as may be, for imposition.
M ATTER. Types set up, so as to form a word or words. When it is
to be distributed (put back into the cases), it is known as “dead”
matter. If not yet printed, or if destined for further use, it is called
“live” matter.
O UT. A portion of a take, accidentally omitted by a compositor. An
“out” is generally referable, as in the case of the “doublet,” to the
recurrence of some word, or sequence of letters. For instance: a
take had in it, “He injured his foot, by wearing a tight boot.” The
proof had, only, “He injured his foot.” The compositor had the whole
sentence in his mind; and having set the final letters “oot,” referred
these to the last word, “boot,” and thought he had set the whole
sentence.
Q UÆRE , or Q UERY , variously abbreviated, as Qu. Qy. or Qr., and
sometimes represented by an interrogation point, is written in the
margin of the proof-sheet, to draw the author’s attention to some
passage about which the proof-reader is in doubt.
R EVISE. The second proof is a revise of the first, the third is a
revise of the second, etc. To R EVISE is to compare the second, or
any subsequent proof, with a preceding one, to see whether the
proper corrections have been made.
S HOOTING-STICK. A wedge-shaped piece of wood for tightening
and loosening the quoins that wedge up the pages in a chase.
S IGNATURE. A letter or figure at the bottom of the first page of
every sheet. It denotes the proper order of the sheets in binding.
S PACE. If a line of type be divided by vertical planes into exact
squares, each of these squares occupies the space of an em, or em-
quadrat. Ems are used to indent common paragraphs, and to
separate sentences in the same paragraph. {p204} The next thinner
space is the en, or en-quadrat, which is one-half of the em. The next
is one-third of the em, and is called the three-em space; next, one-
fourth of the em is the four-em space; then, one-fifth of the em is
the five-em space. Thinner than any of these is the hair-space. The
three-em space is generally used in composition; the other sizes are
needed in justifying.
S TICK (C OMPOSING -S TICK ). A frame of iron or steel, in which the
compositor sets up the type. By means of a movable slide, it can be
adjusted to the required length of line.
S TONE. A table of marble, or other stone, on which forms are
imposed, and on which they are placed for correction.
T AKE. That portion of copy which the compositor takes to put in
type (or “set up”) at one time.
CHAPTER X.
VARIOUS SIZES OF ROMAN LETTER—MODERN.
VARIOUS SIZES OF ROMAN LETTER—OLD
STYLE.
INDEX.
Abbreviated words, how punctuated, 80.
Abbreviations, Catalogue of fishes, 68.
Abbreviations, mischievous, 26.
Abbreviations of States, Territories, Post-offices, 69.
“able,” words ending in, 155–164.
Accents, 121.
Acute accent, 121.
Adams’ or Adams’s, 94.
Advertisement, Publishers’, 5–7.
Aldus Manutius, 75.
Alterations on Proof-sheet, 30.
Ancient and modern methods of punctuation compared, 73–75.
Apostrophe, 118–119.
Attention to revising, 47.
Authors’ proofs, 47–49.
Authors should punctuate their MS., 71.
Brace, The, 121.
Brackets, 93, 94, 120.
Briefs, Lawyers’, 24, 25.
Bureau or Academy yet wanted to settle all difficulties in syntax
orthography, punctuation, etc., 65.
Bureau, Smithsonian, of the English Language, desiderated, 65,
127.
Canceled words, how restored, 29.
Capitalization, 171–194.
Capitals and points, when to be mentioned by copy-holders, 45,
46, 55, 56.
Capitals, Rules for use of, very flexible, 190.
Captions, size of type, form of tables, etc., Directions for,
furnished compositors and proof-readers, 37, 38.
Caret, The, 121.
Cedilla, The, 122.
Chirography, Mercantile, 24, 26.
Circumflex accent, 121.
Close attention to revising, 47.
Close pointing, 80.
Colon, 97, 98.
Comma between subject and predicate, 77–79.
Comma, rules for use of, 100–112.
Comma, use of, depending on taste in many cases, 80.
Compositors and proof-readers punctuate, 36.
Compositors and proof-readers should punctuate, if author
neglects, 71.
Compositors’ names on proofs, 46.
Copy for printers, black ink on white paper, 31.
Copy-holders’ duty, 41.
Copy to be followed closely in doubtful cases, 123.
Correcting proof-sheets, Marks used in, 43, 45.
Correctly spelled list of doubtful words, Webster style, 127–140.
Correctly spelled list of doubtful words, Worcester style, 141–154.
Court, Records of, 51.
Court, Transcripts of Records of, with extraneous documents, 25.
Dash, the, 89–91.
Dash, the, Rules for use of, 114–118.
Dash, used too freely by writers for the press, 90.
D.D., LL.D., M.D., 181, 182.
Difficulty of drawing line between words “up” and words “down,”
183–189.
“Directions” for style of any work, frequently consulted, 37.
“Directions,” Samples of, 38–40.
Discussion of various modes of spelling same word, 126.
Distributing type, 33; results of error in, 34.
Diversities of grammar and idiom—of orthography, etc.,
Smithsonian Institution might settle all controversies by
Bureau of Language, whose rulings should be adopted in
Governmental publications, 65.
Division of words on vowels or syllables, 87, 88.
Division of words—to be avoided or not, 89.
Doubtful orthography; double column lists in dictionaries, 125,
126.
Doubtful words, query to author or editor, 31.
Dr. Johnson and proof-reader, 32.
Duty of copy-holder, 41.
Eccentricities of orthography, punctuation, capitalization, etc.,
recorded for reference by proof-reader, while a work is in
progress, 37.
ei and ie, Rule for, 169.
Ellipsis, or Omission, Marks of, 121.
Employé or Employee, 39.
English Grammar defined, 72.
Ensure and Insure differentiated, 170.
Enure and Inure differentiated, 170.
Erasures, to be made with ink, 29.
Errors from mistakes in distributing, 34.
Errors in MS. copy, corrected, or pointed out, in printing-office,
36.
Errors,—marked in text, and correction denoted on margin, of
proof-sheets, 41–45.
Errors, rare, from printed copy, 18.
Errors unavoidable, while present methods continue, 34.
Esq., Jr., rules for, 181.
Exclamation, note of, rules for use of, 113, 114.
Fac-similes of Old Style, 200, 201.
Faults of manuscript reappear in proof-sheets, 25.
First letter in line of poetry, 174.
First proof, specimen of, 44.
Footnotes in manuscript, 30.
Footnotes, references to, 123.
Foreign words italic, 57, 58.
Foreign words roman, 58.
Full point, or period, 96.
General remarks on incongruities of style, 66–70.
Gods, pagan, capitalized, 180.
Golden rule of punctuation, 77.
Grammatical points, 72.
Grave accent, 121.
Greek alphabet, 54.
Handwriting of Clergymen, 22, 23.
Handwriting of lawyers, 23–25.
Handwriting of mercantile and business men, 24, 26.
Handwriting of physicians, 27.
Heathen deities, names of, to be capitalized, 180.
Hyphen, 118.
Hyphens in one-half, two-thirds, etc., 87.
Hyphens in succession at end of lines, not to exceed three, 89.
Hyphens, use of, 84–89.
I and J, 29.
I and O, to be capitals, 180, 181.
“ible,” words ending in, 165–167.
Illegibility of the writing, no damages, on account of the, 15.
Importance of a and the, 188.
Initial letters put up, 172–174.
Ink, black, on white paper, for press, 31.
Insure and Ensure differentiated, 170.
Interrogation, note of, rules for use of, 112, 113.
Inure and Enure differentiated, 170.
“ise,” words ending in, 168, 169.
Junior, Esquire, rules for, 181.
Juxtaposition influences use of capitals, 189.
Language—“The Foundation for the Whole Faculty of Thinking”—
should have the sharp oversight of those who would “diffuse
knowledge among men,” 65.
Last reading for press; careful, deliberate, etc., 49–51.
Lawyers’ briefs, 24.
Leaders, 121.
Lead pencils, avoid, when writing for press, 31.
Lead pencils, no erasure with, 28.
Length of pause at the various points, 72, 73.
Liberal pointing, 80.
Ligated letters, Old Style, 195.
Lines above and below a correction, to be compared when
revising, 47.
LL.D., D.D., M.D., 181, 182.
Manuscript, faults of, reappear in proof-sheets, 25.
Manuscript for the press,—black ink on white paper, 31.
Manutii, The, 75; Manutius, Aldus, 75.
“Mark-off,” 47.
Marks of Ellipsis, or Omission, 121.
Marks of Parenthesis, 120.
Marks of Quotation, 119, 120.
Marks used in correcting proof-sheets, 43, 45.
Matter “off its feet,” 42.
Meaning of “Put up” and “Put down,” 171, 172.
M.D., LL.D., D.D., 181, 182.
Mercantile chirography, 24, 26.
Method of reading points, capitals, etc., 46.
Mingling of styles, 40.
Namely, viz., to wit, how punctuated, 82.
Names of compositors on proofs, 46.
Names of countries, states, ships, towns, streets, political parties,
etc., capitalized, 182.
Note of exclamation, rules for use of, 113, 114.
Note of interrogation, rules for use of, 112, 113.
Note on the “etc.,” in Rule 7, on use of capitals, 183–189.
Note-references, 123.
Notes as to captions, size of type, form of tables, etc., to be
furnished employees, 38.
Nouns ending in o, plurals of, 167, 168.
O and I, capitals, 181.
O, nouns ending in, 167, 168.
“Off its feet,” 42.
Old Style, 195–201.
Omission, or Ellipsis, Marks of, 121.
One correct spelling, according to Webster, of variously spelled
words, 127–140.
One correct spelling, according to Worcester, of variously spelled
words, 141–154.
One style for Governmental publications desiderated, 127.
Orthography, 125–170.
Orthography, definitions of, 125.
Orthography; the Webster list of doubtful words (1500+), in the
one preferred manner of spelling, 127–140.
Orthography; the Worcester list of doubtful words (1500+), in the
one preferred manner of spelling, 141–154.
Over-punctuated manuscript, 30.
Pagination of MS., 29.
Paragraph mark (¶), 122.
Parenthesis, 92–94.
Parenthesis, marks of, 120.
Pauses and sense both indicated by punctuation, 75, 76.
Period, or full point, 96.
Personified things capitalized, 182.
Physicians’ chirography, 27.
Plurals, when denoted by apostrophe and s, 94, 95.
Pointing—close, liberal, 80.
Points, capitals, etc., method of reading by copy-holder, 46.
Points mark sense as well as pauses, 75, 76.
Possessive case of nouns singular ending in s, 94.
Preambles, resolves, and provisos, how punctuated, 81.
Preferred spelling, Webster’s, of 1500+ words of various
orthography, 127–140.
Preferred spelling, Worcester’s, of 1500+ words of various
orthography, 141–154.
Principal words capitalized, 175, 176.
Printers, usually best proof-readers, 35.
Professional men “at the case,” 36.
Proof-reader and Dr. Johnson, 32.
Proof-readers and compositors punctuate, 36.
Proof-reader, to query doubtful words, etc., 31.
Proof-reading, 33–58.
Proof-sheets, marks used in correcting, 43, 45.
Proof-sheets, numbered in regular sequence, 46.
Proof-sheets of Records of Court, 51.
Proof-sheets, second reading and revising of, 47.
Proofs, routine in regard to, 37.
Proper nouns, having common form, put down, 183.
Propinquity a reason for putting up or putting down, 189–192.
Provisos, preambles, and resolutions, how punctuated, 81.
Punctuation, 71–124; a modern art, 73.
Punctuation, ancient and modern methods of, 73–75.
Punctuation by compositor and proof-reader, 36.
Punctuation, by one reader only, 47.
Punctuation of viz., namely, to wit, 82.
Punctuation, rules of, not fixed, 75.
Punctuation, uniformity of, not attainable, 123.
“Put down” and “Put up,” meaning of, 171, 172.
Quantity, marks of, 121, 122.
Quotation marks, 119, 120.
Reading final proof before printing, 49–51.
Reading Greek, 53–56.
Reading points and capitals, 46.
Recapitulation of rules for right use of capitals, 192–194.
Recipes—Greek and Latin, 27, 28.
Records of Court, no alterations in, allowable, except clerical
errors in punctuation, 51.
Records of Court, transcripts of, with extraneous documents, 25.
Records of Court, uniform style in, not to be sought at expense of
departing from copy, 51.
Reference marks to footnotes and sidenotes, 123.
Resolutions, preambles, and provisos, how punctuated, 81.
Restoring canceled words, 29.
Revising, 47.
Revising, in, great care required, 47.
Rhetorical points, 72.
Rules of punctuation, 96–118.
Rules of punctuation not fixed, 75.
Rules for capitalization very bendable, 190.
Samples or directions and notes to printers, 38–40.
Second proof, 46.
Second reading of proof by copy, 47.
Second, third, etc., revision of proof-sheets, 48.
Section mark (§), 123.
Semicolon, 98–100.
Semicolon before as, when particulars follow a general statement,
82.
Sense and pauses, both indicated by points, 75, 76.
Sentences difficult and involved, compositor and proof-reader to
follow copy carefully, 123, 124.
Separation of words in manuscripts, 74.
Size of type; captions; form of tables, etc., directions for, to be
supplied, 38.
Slips of proof, numbered in sequence, 46.
Space before and after dash, 91.
Spanish ñ, 122.
Specimen of first proof, 44.
“Spectator” of 1711 wished for an Academy to settle differences
between grammar and idiom, 65.
Spelling, errors in, silently corrected, 36.
“Stet,” 29.
Style, 59–65.
Style of the office, 40.
Style of writing in the fifth century, 74.
Style, peculiarities of, to be noted by proof-reader, for reference,
37.
Styles, mingling of, 40.
Styles; Worcester, Webster, and Office, 61.
Subject and predicate, no comma between, except to prevent
ambiguity, 77–79.
Suggestions to writers for press, 28.
Supreme Being, names, etc., of, capitalized, 176–180.
Syllabication, 87–89.
Tables, form of; size of type; style of captions, etc., sometimes
furnished to compositors and proof-readers, 38.
Technical terms used in this book, 202–204.
Tout-ensemble survey of a proof-sheet, 40.
To wit, namely, viz., ending paragraph, how punctuated, 82.
Two “Chapter V.’s,” 30.
Type, how distributed, 34.
Umlaut, 122.
Uniformity—very important in some works, of no consequence in
others, 52.
Use of comma, in many cases, depends upon taste, 80.
Varieties of style, 61–63.
Various marks used in writing and printing, 118.
Various sizes of type—modern, 205.
Various sizes of type—old style, 205.
Viz., namely, to wit; ending paragraph, how punctuated, 83.
Viz., namely, to wit; how punctuated, 82.
Webster’s preferred columns of words of doubtful orthography,
127–140.
Worcester’s preferred columns of words of doubtful orthography,
141–154.
Words connected with a No. of designation, 182.
Words doubtful, query, 31.
Words ending in able, 155–164; in ible, 165–167.
Words ending in ise, 168, 169.
Words from dead and foreign languages, 56–58.
Words ending in cion, 169.
Words l. c. when spelled in full, u. c. when contracted, 181.
Words, not English, to be printed in italics, 57, 58.
Words, not English, to be printed in roman, 58.
Write plain English, 26.
Writers for press should understand technics of proof-reading, 42.
Writing, bad, robs compositors, 21–23.
Writing becomes automatic, 19.
Writing for the press, 15–32.
Writing legibly, imperative, 21.
Writing, illegibility of the, protects printers in suits for damages,
15.
