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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..6a02f34 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53520 (https://www.gutenberg.org/ebooks/53520) diff --git a/old/53520-0.txt b/old/53520-0.txt deleted file mode 100644 index c91a325..0000000 --- a/old/53520-0.txt +++ /dev/null @@ -1,6641 +0,0 @@ -The Project Gutenberg EBook of The Author's Desk Book, by William Dana Orcutt - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Author's Desk Book - Being a Reference Volume upon Questions of the Relations - of the Author to the Publisher, Copyright, The Relation - of the Contributor to the Magazine, Mechanics of the Book, - Arrangement of the Book, Making of the Index - -Author: William Dana Orcutt - -Release Date: November 13, 2016 [EBook #53520] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE AUTHOR'S DESK BOOK *** - - - - -Produced by MWS, Eleni Christofaki and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - - - -Transcriber's Note. - -A list of the changes made can be found at the end of the book. -Formatting and special characters are indicated as follows: - - _italic_ - =bold= - - - - -THE AUTHOR'S DESK BOOK - - - - -OTHER BOOKS BY MR. ORCUTT - -GOOD OLD DORCHESTER. _A Narrative History_ - -PRINCESS KALLISTO, _and other Tales of the Fairies_ - -ROBERT CAVELIER. _A Novel_ - -THE FLOWER OF DESTINY. _A Novel_ - -THE SPELL. _A Novel_ - -THE LEVER. _A Novel_ - -THE MOTH. _A Novel_ - -THE MADONNA OF SACRIFICE. _A Story of Florence_ - -THE WRITER'S DESK BOOK. _A Companion Volume to "The Author's Desk Book"_ - - - - - The Author's Desk Book - -_Being a reference volume upon questions of the_ RELATIONS OF THE -AUTHOR TO THE PUBLISHER · COPYRIGHT · THE RELATION OF THE CONTRIBUTOR -TO THE MAGAZINE · MECHANICS OF THE BOOK · ARRANGEMENT OF THE BOOK · -MAKING OF THE INDEX · _Etc_ - -_By_ WILLIAM DANA ORCUTT _for many years Head of The University Press · -Cambridge · Now associated with_ THE PLIMPTON PRESS · _Norwood Mass_ - -_New York_ · FREDERICK A STOKES COMPANY · _Publishers_ · MCMXIV - - - - - _Copyright, 1914, by_ - FREDERICK A. STOKES CO. - - [Illustration: FASCO _August, 1914_] - - - THE·PLIMPTON·PRESS - NORWOOD·MASS·U·S·A - - - - -CONTENTS - - - PAGE - - RELATIONS OF THE AUTHOR TO THE PUBLISHER 3 - Submitting the Manuscript--Publishing at the Author's - Expense--Making the Contract--Contract Form--Moving-Picture - Rights--Reports on Royalties. - - THE COPYRIGHT 31 - How to Secure Copyright Registration in the United States--How - to Secure Copyright Registration of Periodicals--How to Secure - Copyright Registration of Motion-Pictures--_Ad Interim_ - Protection--Assignment of Copyright--Fees--The Duration of - Copyright--The Protection of Titles--Application Forms--Practical - Procedure--International Copyright. - - RELATIONS OF THE SHORT-STORY WRITER TO THE MAGAZINES 58 - Copyright--Practical Suggestions--Dealings with the Editor--The - Literary Agent. - - MECHANICS OF THE BOOK 65 - Estimating the Manuscript--The Sample Page--The Typesetting--The - Proofs--Proof Marks--The Plates--The Cover Design and the - Illustrations--The Engraving--The Die Cutting--The Paper--The - Presswork--The Binding. - - ARRANGEMENT OF THE BOOK 88 - The Layout--Bastard-Title--Advertising - Card--Title-Page--Copyright--Dedication--Preface--Table of - Contents--List of Illustrations--Introduction--Half-Title--Limit - Notice--In General--Basic Sizes of Books--English Paper - Sizes--Margins. - - MAKING THE INDEX 98 - What to Index--Plan--Definition of - Terms--Procedure--Arrangement--Adjective-Headings--Subject- - Matter--Rules and Examples. - - GLOSSARY OF TERMS 131 - - INDEX 153 - - - - -THE AUTHOR'S DESK BOOK - - - - -RELATIONS OF THE AUTHOR TO THE PUBLISHER - - -THERE is much which is intangible in the relations between an author -and his publisher. While it is true that modern commercialism has -invaded this field as it has all others, there are probably no actual -business relations more dependent upon mutual confidence than those -which exist between the writer who produces a manuscript which he -wishes to have published, and a publisher who wishes to secure for -the purpose of publication a manuscript which he believes to contain -elements of probable success. This is due to many reasons, the first -and most important of all being that each is in a position to add -to his reputation and success by the efforts of the other. Many a -publisher has by legitimate and judicious business sagacity established -the reputation of a previously-unknown author; many an author has -placed a small publishing-house in a position of importance, or added -to the fame of a house already established. - -Another reason for these closely-identified interests is the fact -that the average writer is not experienced in business matters, -but relies largely upon the integrity of the publisher to whom he -intrusts himself. For the same reason, the publisher feels an added -responsibility to protect the interests of the author, realizing the -fact that he has been placed in the position of agent, to conduct -affairs in the joint interests of both. Even if there have been cases -where this confidence has been misplaced, they are exceptions which do -not affect the general statement. - -The fact that the average author is not versed in business detail has -brought into being the literary agent,[1] who offers to stand between -the author and his so-called natural enemy, the publisher. There is no -doubt that frequently the efforts of these literary agents result in -temporary pecuniary advantage to the author, but the common consensus -of opinion is that in the long run the author will best serve his own -ends by co-operating with his publisher, rather than by employing any -intermediary. Confidence begets confidence, and fair play invites a -personal interest which is an asset, the value of which cannot be -over-estimated. When a manuscript has been offered competitively, and -is finally secured by the highest-bidding publisher, it by no means -follows that the net returns from this contract will exceed or equal -what the author might have received through some other publisher, -better equipped to sell it, who would have taken a pride far beyond -mere commercial advantage in making it a successful venture. - -Take, for example, the question of advertising. If a publisher issues -a volume written by an author whose later work is likely to be given -to another house, he realizes that whatever investment he makes must -be charged off against this particular book. On the other hand, if he -feels that the author's relations are such as to make it probable that -the present publisher will have an opportunity to share in his later -success, then it is good business for him to invest a larger sum in -advertising the _author_ than he could possibly afford to expend upon -any single _book_. Here again is the mutual interest. The author's -reputation rests in a large measure in the hands of his publisher, and -he shares equally in any advantage which accrues to the publisher from -the publicity which comes to both. - -From still another standpoint, the author can secure material -assistance from intimate relations with his publisher. Many a novel -owes its success to the advice given by the editorial staff of the -publishing-house. Many a strong story would never have reached its -audience because of mechanical or structural defects, which the -publisher helped to overcome. There have been instances of unwise -editorial advice, and of undue pressure brought to bear upon the author -to the detriment of his literary production, but these cases are rare -compared with those of helpful assistance, which every successful -writer will gratefully acknowledge he has received from his publisher. -In general, the publisher is a wise person in his own field, and as the -ultimate success of a book depends upon its sale, his advice is usually -based upon a knowledge and an experience which the author cannot -possess. To make his business a success, the publisher, as well as the -author, must interject his own personality, this expression taking the -form of personal suggestions, of determining the physical aspect of the -volume, of selecting the artist, of arranging methods of publicity, and -of making plans for interesting the retail booksellers. - -Few publishers depend upon the judgment of their "readers" to the -extent of accepting or declining manuscripts wholly upon their -opinions. It is inevitable that a large proportion of the manuscripts -submitted should be culled out and discarded by the professional -reader without ever reaching the final court of appeal. These readers -consider each story from two distinct standpoints: (1) Has the author -a real story to tell? and (2) How well has the story been told? If the -manuscript fails to stand the test of the first question, its doom is -sealed at that point; if it passes through this test, even though it -fails in the second, it will be referred to the publisher for a final -reading, with the critic's comments affixed to it. - -It is remarkable how many manuscripts in this state are actually read -by the publisher himself, in view of the countless other details which -naturally devolve upon him; but here is where he recognizes the first -claim upon his personality. His viewpoint differs from that of his -reader only in that it has narrowed down to three main questions which -he demands of each manuscript: (1) Does it conform to the standards of -the house? (2) To what and how large an audience will it appeal? (3) -Will the probable returns warrant the initial investment? - -Having settled these points in his mind, the publisher will further -consider the literary value of the story. If the plot is strong and -original but clumsily constructed, he will discuss the situation -frankly with the author, and will advise him to rewrite such portions -as demand revision. Many a successful author has learned how to tell -his story through his publisher's assistance, and owes his present -reputation to the fact that some publisher discovered in his early, -amateurish efforts the germs of strength and originality, almost -smothered by structural faults. - -After the manuscript is ready for the printer, it is the publisher's -function to decide upon its physical aspect, combining business -judgment and personal taste in producing a volume in keeping with -its content, and in such a dress as to attract to it that class of -bookbuyers who are influenced by its attractiveness. Nowhere, perhaps, -is the fickleness of the public shown more than in the taste displayed -by this class of buyers, and styles obtain in this as much as in -millinery or in dress. - -With the plan of the building of the book determined, the publisher -undertakes to create a demand, first from the booksellers and later -from the public. The traveling salesman is the usual means to -accomplish the first end. He makes his regular trips at stated seasons, -covering the entire country, carrying with him "traveler's dummies," -which usually consist of a stamped cover of each book, inside of -which are fastened representative pages and proofs of illustrations. -From these samples, the salesmen take their "advance orders," and the -publisher usually awaits the tabulation of these before deciding upon -the size of his first edition. - -Other methods are employed in addition to these, varying with the -ingenuity of each publisher: such as the sending out to the booksellers -of advance copies or sheets, writing special letters, giving synopses -of the stories, etc., all of which advance preparation requires time -and thought. Authors sometimes become impatient over what seems to them -to be unwarranted delays, when in reality the publisher is serving -their interests as well as his own by creating a market before actually -placing the book on sale. - -To create a demand on the part of the public is as difficult in -marketing books as any other commodity. Advertising helps, of course, -but as to the amount, nature, and method of advertising, each -publisher has his own ideas. Each author naturally regards his own work -as deserving of the maximum publicity, but the publisher is obliged -to consider his list as a whole. If he thinks it wise to invest a -large sum in advertising a particular story, it is because he believes -that story to possess an appeal to the public sufficient to warrant -this investment. His judgment may be wrong, and often is. The book -he depends upon does not respond as he expects, and some other book, -in which he did not have as much confidence, for some unknown reason -suddenly shows unexpected strength. But the publisher has been honest -in his attempt, even though faulty in his judgment, and the author who -recognizes this in his attitude to his publisher will go far toward -cementing the bonds of co-operation which inevitably bring success to -those writers who actually possess, the genius to demand it. - -The fact that one author's contract differs from another's cannot be -taken as evidence that the publisher has not fulfilled his entire -responsibility to both. An author without an established reputation has -no right to expect as attractive a contract as one whose name is of -known value to the publisher's list. - - -SUBMITTING THE MANUSCRIPT - -The enormous number of manuscripts with which the publisher is deluged -makes it absolutely necessary, for self-interest, to submit typewritten -copy. Some houses make it a rule to return handwritten manuscripts -unread. - -The manuscript should not be bound together in any way, but the pages -should be carefully numbered consecutively. - -The best size of paper is the standard 8½ by 11, and the sheets should -be uniform in size. - -The paper should not be shiny or slippery, as this affects the eyes of -the reader unpleasantly. - -Each page should contain approximately the same number of lines, as -this assists the publisher in estimating the number of words, and in -determining the probable size of the printed volume.[2] - -Always retain a duplicate copy of a manuscript, to prevent loss by -fire, theft or other accident. It is an undue responsibility for an -author to place upon a publisher to submit to him the only copy of a -manuscript in existence. If the manuscript be accepted, it is also an -advantage to have a copy for the use of the artist, etc. - -Write on one side of the paper only. - -Deliver the manuscript to the publisher flat rather than rolled or -folded. - -Manuscript copy costs two cents an ounce for mailing; when mailed with -proof it costs one-half cent an ounce. - -In fastening one piece of paper to another, or in fastening addenda -upon pages already written, use mucilage rather than pins or clips. - -Be sure that the author's name and address are plainly marked upon the -manuscript. The usual location for this is the upper left-hand corner -of the first page. - - -PUBLISHING AT THE AUTHOR'S EXPENSE - -It may be taken as a general statement that if a book possesses -sufficient merit to warrant its publication at all, a publisher can -be found who is willing to assume the entire risk of the expense of -publication. This statement does not apply to scientific, technical, -or special works which publishers are glad to have upon their lists, -but which must be subsidized from some source in order to make -publication financially possible. In the case of a novel, the statement -has no exceptions. No first-class publishing-house will issue with -its imprint, at the author's expense, a novel in which it cannot have -sufficient confidence to warrant it in assuming the entire expense. - -Frequently the unknown author, eager to secure the publication of his -work, is willing to make any sacrifice, or any terms, with almost any -house which is willing to assist him in accomplishing the desired -result. In fact, there are publishing firms who confine their -operations to the publication of manuscripts to be paid for entirely by -the writer. The general proposition is that the author assumes the cost -of publication, the publisher places against this his expense of doing -business, and the value--such as it is--of his imprint; and then author -and publisher divide the profits. - -Unfortunately, it is the rarest thing that there are any profits to -divide; and the part of the whole transaction which is deplorable is -that the publisher must know in advance that he has, to a certain -extent, played upon the vanity of the author,--not so much, perhaps, in -what he has actually said to him, as in the fact that he has shown an -enthusiasm which leads the author to think that he has really produced -a "best seller." There is a legitimate fee for privately-printed books -if the author goes into the transaction with his eyes open, and accepts -the services of the publisher as an agent, allowing the publisher's -profit to stand as a return for services rendered. - -Authors should be particularly wary of heeding solicitations from -publishing-houses for manuscripts to be published in this way. - - -MAKING THE CONTRACT - -There have been several new elements, in recent years, entering into -the contract between author and publisher, which have made it a more -complicated business-partnership than in the past. It was not so long -ago, for instance, that neither author nor publisher would spend much -time discussing the clause relating to dramatization; for few novels -were then dramatized, and the chance of having this clause become of -importance was remote. To-day, however, nearly every author considers -his work teeming with potential dramatic probabilities, and the fact -that so many plays have been produced, based upon successful novels, -naturally leads the publisher to wish, if possible, a share in this -supplementary reward. In considering this clause, therefore, the author -must take into account the part which his publisher is likely to play -in advancing the interests of both along these lines. - -The present stock contract of most publishing houses assigns the -dramatic rights to the publisher, but provides that the author shall -share in such profits as may accrue from the dramatization.[3] Just -where the division shall occur is a subject for discussion. It seems -a fair contention on the publisher's part that any interest in -dramatization comes from the popularity which a novel attains, and that -this attainment results from his energy and ability in placing the book -before the public as much as from the merit of the story itself. If the -author feels this position to be warranted, he will undoubtedly accept -an equal division; if not, he will insist that the clause be stricken -out. - -The moving-picture rights[4] add a still more recent factor to the -consideration of the contract. The development of the moving-picture -business has been so rapid that the demand found both publishers and -authors unprepared for the unexpected, but no less welcome market for -what must be considered a by-product. And the possibilities of its -further extension are so unlimited that the returns from this single -source alone may easily prove of greater value than the original right -to publish the novel. Here, then, is a point which could never have -appeared in the old-time contract, yet which now warrants the most -careful consideration. - -The serial rights[4] have long formed a definite clause to be included -or omitted. Often the publisher's contract is not made until after the -serial publication of the story has been arranged, in which case it is -naturally an entirely independent business transaction. Frequently, -however, the publisher places the story serially for the author, -arranging his own date of publication to conform. Obviously, under -these conditions, the publisher is entitled to share in the returns -from the serialization. - -The "second serial rights" represent still another phase. It is the -custom for publishers to sell these rights to newspapers, and to -receive their pay not in cash but in advertising space, since by so -doing they receive more than they could get for a fair equivalent -in cash. This second serialization does not ordinarily take place -until a story has had its sale, and its appearance in this cheaper -form is not supposed to affect the author's royalties one way or the -other. The advertising space thus secured is used not to advertise -the story so serialized, but other, later books issued by the same -house. The publisher usually credits the author's royalty account with -an arbitrary sum, equivalent in his estimation to the value of the -transaction. Few contracts contain any clause covering this point. The -publisher argues that the author, in all probability, could not have -disposed of these rights at any price, and that whatever amount he -receives is clear gain. - -The contracts of various publishing-houses differ in their clauses -covering "author's alterations," which include all changes made from -the original manuscript as delivered to the printer. Some publishers -allow a flat sum of $25[5]; others allow 10% of the printer's bill for -composition and electrotyping. The average author cannot understand -the expense of making changes after the manuscript has been put in -type, and this point is one of the most disagreeable features which -creep into the relations between author and publisher. It is inevitable -that certain changes should be required when the author sees his work -reduced to the rigidity of type, but the publisher should certainly -not be expected to pay the penalty for elaborate changes which are the -results of the author's carelessness or change of heart.[6] - -The rate of royalty depends upon the value of the author's name to the -publisher's list, but the normal rate is 10% of the retail price.[7] -Some publishers demand that the first thousand copies shall be exempt -from royalty, but this is looked upon to a certain extent as taking -advantage of the author's lack of reputation. The best houses, if they -are willing to publish a book at all, are willing to take the whole -risk, allowing the author returns on every copy sold. - -On fiction, the rate goes up from 10% to 33⅓%, but at this latter rate -the publisher is giving the author more than he can afford, hoping to -make up for his plunge by the impetus which this fortunate author's -name will give to the balance of the list. Broadly speaking, 20% is the -maximum a publisher can afford to pay, and then only on a book which -is practically certain to win a place among the best sellers. A method -which seems fair to all concerned is what is called the "progressive -royalty." This gives the author say 10% on the first ten thousand -copies, 15% upon the next ten thousand, and 20% upon all copies sold -over twenty thousand. An arrangement such as this gives the publisher -an opportunity to charge off all his initial expenses of manufacture, -and to be liberal in his advertising appropriations in extending and -continuing the sale of the book. - -The royalty upon common-and high-school textbooks is normally 7½% to -10%, but as the publisher frequently makes special prices to secure -large adoptions, the rate may be less. Special clauses are usually -inserted into contracts made with authors of books of this nature, to -cover these contingencies. College textbooks command 10% to 15%. - -The clause relating to English rights[8] is unimportant to the average -American author, for American stories do not as a rule sell well in -England. As a leading English publisher once jocosely told the writer: -"The average American novel deals either with society or sport, and -we in England don't think you know much about either in America." If, -however, the author believes his book has a chance, in all probability -the publisher will strike out the clause, and give him a free hand to -make his arrangements direct. The question of Colonial rights should -not be overlooked, as these sometimes prove to be of greater value -than the English rights themselves. - -The "option" clause,[9] giving the publisher the refusal of subsequent -books, is one which every publisher is glad to have, as it binds him -to nothing and may prove of value if the earlier story of the author -is successful. On general principles, it is the part of wisdom, in any -contract, to make no agreement which does not bind both parties. An -author should consider the probable advantage to himself in having the -publisher feel sufficiently certain of retaining him upon his list to -warrant the expenditure of larger sums, in advertising and in pushing -the book in hand, than would be safe if the author were free to take -his next manuscript to another publisher. - -The present writer is a strong believer in the advantage to the author -of remaining on a single publisher's list, provided the publisher has -shown himself to be enterprising, and inclined to advance the author's -interests simultaneously with his own. There are unquestionably many -instances where an author can secure larger royalties by "shopping -around," but in the long run better results will come from a -consideration of the bonds between author and publisher in the light -of a business partnership, not to be broken while relations remain -amicable. - -At present there is no uniform book contract used by all publishers. -The blank contract form here given is that used by a reputable -publishing-house. As a matter of fact, no present contract of any -publisher is wholly satisfactory, and it is interesting to note that -the subject of contract is one which the leading houses are taking up -seriously with a view to standardization and improvement. - - -=Contract form:= - -MEMORANDUM OF AGREEMENT made this ... day of ..., 19..., between ..., -party of the first part (hereinafter called the Author), and ... of -..., party of the second part (hereinafter called the Publishers), -WITNESSETH: That - -WHEREAS the said ... is the author and proprietor of a work entitled -... (hereinafter called "the Work"), and desires that the same be -published and put on the market by the said ..., - -NOW, THEREFORE, in consideration of the premises and of One Dollar to -each in hand paid by other, the receipt whereof is hereby acknowledged, -the parties hereto do covenant and agree as follows:-- - -FIRST: The Author hereby bargains, sells, grants, conveys, transfers -and sets over unto the said ... the sole and exclusive[10] right -and privilege to print, publish and put on the market the said -Work, during the whole term of its copyright and all the renewals -thereof in the United States of America and in the Dominion of -Canada and elsewhere[10]; the Publishers shall also have all rights -of translation, abridgment, dramatization, moving-picture rights, -selection, and other rights of, in, or to said Work in the United -States of America and in the Dominion of Canada and elsewhere.[11] - -SECOND: The Author hereby guarantees - -I. That he is the legal author and sole proprietor of the said Work -hereinabove mentioned, and that he has the sole and exclusive right to -dispose of the same. - -II. That the said Work has not heretofore been published, and that it -is in no way a violation of any existing copyright, either in whole or -in part, and that it contains nothing of a scandalous, an immoral or -libelous nature. - -THIRD: The Author covenants and agrees - -(_a_) That he will keep the Publishers safe, whole and harmless from -all damage, hurt and expense of every nature, kind, and description -whatsoever arising from any claims of infringement of copyright or from -any matter or thing contained in said Work. - -(_b_) That he will deliver to the Publishers full and complete -manuscript of said Work, on or before the ... day of ..., and that -he will pay all expenses for corrections[12] in plates after last -proof from type, whether page or galley, has been corrected by him and -such corrections carried out by the compositors. The manuscript thus -given to the Publishers shall be final revised "copy." In this regard -it is understood that in case, because of danger of serious delay in -publication or of the loss of copyright, opportunity is not given -the Author to read proof as hereinbefore provided, the cost of plate -corrections not necessitated by typographical errors shall still be -borne by the Author, unless delay in sending proofs from type is due -to gross negligence on the part of the Publishers. If the Publishers -are required by the Author to make corrections or alterations in the -type (not necessitated by typographical errors) costing in excess of -twenty-five dollars, the Author agrees to pay the excess of cost. - -(_c_) That he will give to the Publishers the first refusal of the -next[13] ... to be written by him, hereby granting to the said -Publishers, on the same terms as those of this contract, an option on -the publication thereof for ... days after the manuscript shall have -been delivered to them. - -(_d_) That he will take or cause to be taken all necessary steps to -effect renewals of copyright as provided for by law. - -FOURTH: The Publishers hereby covenant and agree - -I. To copyright[14] the said Work in the United States of America -in the name of the Publishers, and to take all usual precautions to -protect the same. - -II. To publish said Work and put the same on the market at their own -expense, in such style and manner as they shall deem expedient, and -at such time or times as they shall see fit, it being understood that -the advertising, the number and destination of free copies, and each -and every detail as to manufacture and publication shall be in the -exclusive control of the Publishers. - -III. To pay to the Author[15] ... per cent. on the catalogue (retail) -price, regular cloth style, for all copies of said Work actually sold -by them, which shall be construed as not including copies given to the -Author, travelers' samples, damaged copies, copies given away for the -purpose of aiding the sale of the Work, copies sold at or below cost, -where falling off in profitable sales in any style of binding requires -this, or copies sold at a catalogue (retail) price of fifty cents or -less, or copies sold in foreign countries.[13] - -IV. To pay upon all copies of the said Work sold and paid for at a -catalogue (retail) price of fifty cents or less, or copies sold in -foreign countries, one-half of the first above-mentioned royalty or -percentage on the foreign[16] catalogue (retail) price of the same. - -V. To pay upon all copies of the said Work sold at "remainder" prices -(except when sold at or below cost) ten per cent. of the actual net -price received. Such "remainder" prices shall not exceed one-third of -the retail price of the Work. - -VI. To pay to the Author the sum of ... on the ... day of ... in -advance and on account of the royalty or percentage to accrue to the -Author as hereinbefore specified. - -VII. To give to the Author[17] ... copies of said Work, and to sell to -him further copies for his personal use at the trade[18] price. - -VIII. No payment shall be made by the Publishers for permission -gratuitously given to publish extracts from said Work to benefit the -sale thereof; but if the Publishers receive any compensation for the -publication of extracts therefrom, or for serial use after publication -in book form, or for translations, or abridgments, such compensation -shall be equally divided between the parties hereto. - -IX. If the publishers receive any compensation for rights of -dramatization, moving-picture rights,[19] or first serial rights, such -compensation shall be divided in the proportion of[20] ... to the -Author, and ... to the Publishers. - -X. To submit statements of sales as of the second Monday in January -[and the first Monday in July],[21] on April 1st (and October 1st -respectively) in each and every year, and to settle for the same in -cash on the first of every May (and the first of every November), -respectively following. - -FIFTH: It is further covenanted and agreed by and between the parties -hereto as follows: - -_A._ If at any time during the continuance of this agreement the -Publishers wish permanently to discontinue the publication of -said Work, they shall notify the Author in writing, mailed to his -latest-known address, and for thirty days thereafter he shall have -the option or right to buy from the Publishers all copies on hand at -the cost of manufacture, and (should these not have been destroyed by -fire or otherwise) stamps and electrotype plates if any, at one-third -their cost to the Publishers, paying in addition for engravings of the -illustrations, if any, twenty-five cents per square inch of each plate, -and upon the failure of said Author to exercise this right or option, -by paying for the same in cash within said time, said Publishers shall -dispose of the same as they may see fit without any commission or -percentage whatsoever, and this contract shall forthwith cease and -determine. - -_B._ If, after the publication of any edition of said Work, the plates -be rendered useless by fire or otherwise, the Publishers shall have -the option of reproducing them or not; and if they shall decline to -reproduce them, then, after the sale of all copies remaining on hand, -they shall, upon written request, reconvey to the Author the copyright -and all rights herein granted, and this contract shall terminate. No -insurance shall be effected by the Publishers for the Author. - -_C._ The parties hereto hereby agree to settle all disputes and -differences under this contract by arbitration. One arbitrator shall be -chosen by each party to this agreement, and these two arbitrators shall -select a third, and the decision of a majority of the arbitrators shall -be final and shall be binding upon the parties hereto. - -_D._ It is understood and agreed that the Publishers are not insurers -of manuscripts or drawings placed in their possession, and that they -shall be liable for gross negligence only in the care of the same. - - -It is understood and agreed that this instrument shall bind the parties -hereto, their heirs, executors, administrators, successor, successors -or assigns. - -IN WITNESS WHEREOF the parties hereto have hereunto interchangedly set -their hands and seals the day and year first above written. - -IN THE PRESENCE OF - -As to the Author - -As to ... - - -MOVING-PICTURE RIGHTS - -The tremendous development in the moving-picture business has -created a demand for dramatic films taken from long stories, or for -a reproduction entire of short stories, which offers an entirely new -and unexpected revenue to both publisher and author. Moving-pictures -have passed from the experimental period into an institution. The -reproduction entire of certain famous stories has given to the -enterprise a dignity which no one could have predicted, and the outlet -they offer for a by-product is considered perfectly legitimate. - -All this produces new conditions in the relations between author and -publisher, and many new questions have arisen which neither one may -have anticipated at the time the contract was drawn. It is still -necessary to have interpretations of the laws governing dramatic -regulations, and of the rights involved. - -It has been the practice of the moving-picture producer to buy his -plots outright, but with the new knowledge which has come to the -writers of scenarios and plots of the real value of these when once -assured of success, has also come a realization of the advantages of -making royalty arrangements instead of selling outright. - -As far as the future is concerned, authors should familiarize -themselves with the various intricacies of this particular field before -signing contracts, making sure that the contract clearly defines -the exact basis of what they part with and what they retain, or the -percentage of ownership which the author holds in any one of the -various rights. - -The following excellent summary is supplied by the "Authors' League" to -its members: - - "While the business of motion photography is by no means new, it - is only within comparatively recent times that there has been a - general demand for scenarios and plots. Within the last two or - three years authors have found a new and unsuspected source of - revenue in the sale of 'Cinema' rights to their short stories, - and, although the returns were usually small, they formed a - welcome addition to the writer's income. Prices frequently - depended more upon the advertising value of the author's name - than upon the character of the material, and ranged from $15 to - $150; nevertheless, many persons not engaged in the usual forms of - literary work have reaped a substantial harvest from that source. - Until recently, subjects have been commonly confined to one reel - of 1000 feet in length, but owing to the rapid development of - the motion-picture business there has arisen a demand for more - pretentious photoplays, for 'feature films' of multiple reel - length, and, in consequence, many famous books and dramas have - been, and are being, photographed. - - The demand is logical and promises to be permanent, hence the - producer finds himself in need of good subjects, and the author is - beginning to recognize his photoplay rights as something more than - an insignificant by-product of his labor. - - It has been the picture-producer's practice to pay cash for his - plots, but royalty arrangements covering 'feature films' are - now being made. The latter method has its drawbacks, for, owing - to the existence of a middle-man, it is more difficult for the - photo-playwright to share in the full returns of his work than - it is for the author of a book or play. The book-publisher or - theatrical-producer distributes his goods directly to the public, - and the author receives a royalty on the retail price of the book - in the one instance, and on the box-office receipts in the other. - The motion-picture manufacturer, on the contrary, does not sell - his films to the theater or to the public, except in certain cases - noted later, but to an 'exchange' or series of exchanges, which in - turn leases to the exhibitor. Under this practice, therefore, the - author receives a percentage only upon the rental or purchase price - paid by the exchange to the manufacturer. - - The exceptions above referred to, under which the author may more - nearly share in the full returns from his photoplay, is when state - rights, foreign rights, etc., to 'feature films' are sold or leased - for cash, without passing through the hands of the exchanges, or - when the producer elects to exhibit his films in his own or leased - theaters. It may be seen, therefore, that while a sale on a royalty - basis is in some ways unsatisfactory from the author's standpoint, - it is on the whole preferable to a cash sale. - - The exchanges are, in effect, circulating libraries, which - distribute reels of film instead of books. The results are similar - to those arising from the English library system, under which large - book sales are almost impossible, and under which neither author - nor publisher profits greatly from a book's popularity. There is - this difference, however: the publishers of Great Britain do not - own the libraries, while in this country the exchanges--at least to - a great extent--are owned by the manufacturers. - - Since many writers are totally unfamiliar with the conditions - of the trade, a word of explanation may be of value and avoid - bewilderment. Broadly speaking, the motion-picture field is - occupied by two factions--the 'licensed' manufacturers, with their - own exchanges and exhibitors, and the 'independents.' The former - are composed of ten producing firms, the patents and rights under - which they operate being vested in a holding company--The General - Film Company--which is the sales-agent for all regularly released - films of the coalition, and has about fifty branches. These - manufacturers make only 'licensed' films, and distribute their - regular releases only through the general film company, which in - turn leases exclusively to licensed theaters, of which there are - about 10,000 in this country. - - The remaining producers, exchanges and exhibitors comprise the - independents. - - When an ordinary film of 1000 feet is made, it is released for - exhibition on a given date, and is then termed a 'first-run - picture.' As it gradually wears out, this rental grows less, and - in about six months it is called in and destroyed. If the subject - is popular, reprints are made, and distributed as before. 'Feature - films' comprising several reels are sometimes handled as previously - noted. Foreign rights are most frequently sold outright." - - - =Don'ts for Authors= - - "Don't give away your photoplay rights in selling a story for - magazine or book publication. - - Don't include them in a dramatic contract without some clause - similar to that governing stock rights. - - Don't sell them to the first bidder. - - Don't sell them for cash if you can secure a continuing interest in - the film. It may be of value ten years hence. - - Don't decide that your story will not make a motion-picture. It may - contain values which you do not see. - - Don't decide that your story will make a good photoplay until you - understand something about the requirements and limitations of the - business. Remember, every film must be passed by the National Board - of Censors. - - Don't forget that your story must be told in pantomime. - - Don't turn your photoplay rights over to the stranger who offers to - adapt and handle your stories for one-half the proceeds. - - Don't forget that you probably sold 'all rights' to your story when - you signed that receipt. - - Don't sell the producer a right which you don't own, and make him - buy it over again from the present owner. He won't like it." - - -REPORTS ON ROYALTIES - -The methods employed by the various publishing-houses in keeping and -rendering their accounts with authors vary with each house, but all -publishers are alike to the extent of realizing that this end of the -business must be absolutely above suspicion. An unwarranted rumor, or a -clerical error, would raise a question which might affect the standing -of the house more than any other one thing. For this reason, the -royalty records of all reputable publishing firms are so kept that they -may be easily inspected if any question arises, and no objection would -ever be made to a request from an author to make an examination should -he feel that circumstances justified it. - -The publisher recognizes that each author is, in a sense, his partner -in the production of a book, and as such is entitled to intimate -information regarding the progress of their joint enterprise. -Semi-annual statements are rendered, which are often verified by -certified reports from the publisher's printers and binders, covering -the number of copies manufactured and sold during each period. Some -publishers include a report of the number of copies distributed for -review or other advertising purposes; some do not. Some have these -reports checked by public accountants, who compare the statements of -sales with the bills for printing and binding and the inventories for -paper. But all these varying methods are based upon accurate, detailed -records, which are carried forward regularly to the author's account. - -Payments upon these semi-annual statements are usually made four months -after they are rendered, making an average date of seven months which -the publisher takes upon his royalty account. On the face of it, this -seems too long a time, but those authors who are familiar with the -customs of the trade realize that the publisher is obliged to sell -to the jobbers and retailers on time, so that in this, as in other -portions of the undertaking, they are simply sharing the financial -necessities. - - - - -THE COPYRIGHT - - -THE matter of copyright is one which admittedly requires thorough -revision. No one seems able to explain why it is that in spite of -conferences and delegations, congresses and discussions, the product -of a man's brain is still at the mercy of regulations which even those -in authority are unable to define. As a matter of fact, the copyright -itself is merely a registration, which protects only in case the -claimant of the copyright possesses the rights he claims. The Copyright -Office does not undertake to pass upon his rights, leaving the question -to the courts in case of dispute. It simply records his claims, and -by this recording gives him certain rights provided his claims can be -substantiated. The statements here made, therefore, cannot be taken as -definitive, but are based upon information given out by the Copyright -Office, and upon the usage of the best publishing-houses. - -When a publisher has accepted a manuscript, it becomes a part of his -duty to secure the copyright. Usually, this is taken out in the name -of the publisher rather than of the author, as the contract itself -is really a license to sell from the author to the publisher. It is -also the duty of the publisher to take all necessary steps to effect -renewals of copyright as provided for by law.[22] - -For those who find it necessary to take out their own copyrights, the -following information is of value: - -The copyright law provides that the application for registration of any -work "shall specify to which of the following classes the work in which -copyright is claimed belongs": - - (_a_) Books, including composite and cyclopaedic works, directories, - gazetteers, and other compilations. - (_b_) Periodicals, newspapers. - (_c_) Lectures, sermons, addresses, prepared for oral delivery. - (_d_) Dramatic or dramatico-musical compositions. - (_e_) Musical compositions. - (_f_) Maps. - (_g_) Works of art; models or designs for works of art. - (_h_) Reproductions of a work of art. - (_i_) Drawings or plastic works of a scientific or technical - character. - (_j_) Photographs. - (_k_) Prints and pictorial illustrations. - -The Amendatory act, approved August 24, 1912, added the following two -new classes of works as subject to copyright: - - (_l_) Motion-picture photoplays. - (_m_) Motion pictures other than photoplays. - -A work is not entitled to registration unless it is reasonably possible -to classify it under one or the other of the above designations named -in the statute. - - ¶Compilations, abridgments, adaptations, dramatizations, - translations or other versions of works produced with the consent - of the proprietor of such works, or works republished with new - matter, are regarded as new works subject to copyright. - -An alien author or proprietor can be protected by our law only in case -he be domiciled within the United States at the time of the first -publication of his work; or when the foreign state or nation of which -he is a citizen or subject grants to citizens of the United States -the benefit of copyright on substantially the same basis as to its -own citizens; or when such foreign state or nation is a party to an -international agreement which provides for reciprocity in the granting -of copyright by the terms of which the United States may become a party -thereto. - - ¶Copyright protection is at present granted in the United States - to works of authors who are citizens or subjects of the following - countries: Belgium, France, Great Britain and her possessions, - Switzerland, Germany, Italy, Denmark, Portugal, Spain, Mexico, - Chile, Costa Rica, Netherlands and her possessions, Cuba, China, - Norway, Japan (and Korea), Austria, Guatemala, Salvador, Honduras, - Nicaragua, Luxemburg, Sweden, Tunis and Hungary. - - -HOW TO SECURE COPYRIGHT REGISTRATION IN THE UNITED STATES - -=For works reproduced in copies for sale:= - -1. Publish the work with the copyright notice. The notice may be in -the form "Copyright, 19... (year date of publication) by ... (name of -copyright proprietor)."[23] The date in the copyright notice should -agree with the year date of publication. - -2. Promptly after publication, send to the Copyright Office two -copies of the best edition of the work, with an application for -registration and a money-order payable to the Register of Copyrights -for the statutory registration fee of $1.00. (As to special fee for -registration of photographs, see below.) The law provides "that of the -printed book or periodical the text shall be printed from type set -within the limits of the United States, either by hand or by the aid of -any kind of typesetting machine, or from plates made within the limits -of the United States from type set therein, or, if the text be produced -by lithographic process, or photo-engraving process, then by a process -wholly performed within the limits of the United States." - -The law requires also that the postmaster to whom are delivered the -articles to be deposited in the Copyright Office shall, if requested, -give a receipt therefor, and shall mail them to their destination -without cost to the copyright claimant. - -In the case of books, the copies deposited must be accompanied by -an affidavit, under the official seal of an officer authorized to -administer oaths, stating that the type-setting, printing, and binding -of the book have been performed within the United States. Affidavit and -application forms are supplied by the Copyright Office on request. This -affidavit is not required in the case of works in raised characters -for the use of the blind, or in the case of a book of foreign origin in -a language or languages other than English, or in the case of a printed -play in any language; as such works are not required to be manufactured -in the United States. - -In the case of _contributions_ to periodicals, send one complete copy -of the periodical containing the contribution with application and fee. -No affidavit is required.[24] - - -=For works not reproduced in copies for sale:= - -Copyright may also be had of certain classes of works (see _a_--_e_ -below) of which copies are not reproduced for sale, by filing in the -Copyright Office an application for registration with the statutory fee -of $1.00, sending therewith: - -(_a_) In the case of lectures or other oral addresses, or of dramatic -or musical compositions, one complete manuscript or typewritten copy of -the work. - -(_b_) In the case of photographs not intended for general circulation, -one photographic print. (As to special fee, see next page.) - -(_c_) In the case of works of art (paintings, drawings, sculpture), or -of drawings or plastic works of a scientific or technical character, -one photograph or other identifying reproduction of the work. - -(_d_) In the case of motion-picture photoplays, a title and -description, with one print taken from each scene or act. - -(_e_) In the case of motion-pictures other than photoplays, a title -and description, with not less than two prints taken from different -sections of a complete motion-picture. - -In the case of each of the works above noted, not reproduced in copies -for sale, the law expressly requires that a second deposit of printed -copies for registration and the payment of a second fee must be made -upon publication. - - -=Fees:= - -The statutory fee for registration of any work, except a photograph, is -$1.00, including a certificate of registration under seal. In the case -of a photograph, if a certificate is not demanded, the fee is fifty -cents. In the case of several volumes of the same _book_ deposited at -the same time, only one registration and one fee is required. - - -HOW TO SECURE COPYRIGHT REGISTRATION OF PERIODICALS - -1. Publish the issue upon which copyright protection is desired, -printing therein the required copyright notice, before making any -application to the Copyright Office for registration. (As to the form -and position of the notice, see page 34.) - -2. Promptly after the publication of each issue, send two copies -thereof to the Copyright Office, Washington, D.C., with an application -for registration (upon Form "B 1") and a remittance for the statutory -fee of $1.00, which sum includes the cost of a certificate under -seal. Such certificate "shall be admitted in any court as prima facie -evidence of the facts stated therein." - - ¶Publishers who desire to avoid the trouble of filling out a - separate application form, and of making a separate remittance for - each issue, may send in advance a sum to be placed to their credit, - accompanied by a general application (upon Form "B 2"), requesting - registrations to be made thereafter upon the prompt deposit in - the Copyright Office of the copies of the successive issues, from - time to time, as they are published. After this has been done, - two copies of each issue should be mailed to the Copyright Office - promptly after publication, with a slip (supplied in blank by the - Copyright Office) giving the exact date of publication of the - issue (i.e. "the earliest date when copies of the first authorized - edition were placed on sale, or sold, or publicly distributed by - the proprietor of the copyright or under his authority"). - -The statutory fee for the registration of any one issue of a periodical -is one dollar, including a certificate under seal as already explained. -Non-certificate, fifty-cent, entries are not permissible under the -present law. Each issue of a copyright periodical requires the payment -of its own registration fee of one dollar. - - -=Contributions to periodicals:= - -Section 3 of the new law provides "that the copyright provided by this -Act shall protect all the copyrightable component parts of the work -copyrighted, and all matter therein in which copyright is already -subsisting, but without extending the duration or scope of such -copyright. The copyright upon composite works or periodicals shall give -to the proprietor thereof all the rights in respect thereto which he -would have if each part were individually copyrighted under this Act." -For regulations regarding _contributions_ to periodicals see page 36. - - -=Titles:= - -The general title of a newspaper, magazine, or other periodical cannot -be recorded under the copyright law. The requirement of the former law, -that a printed title be deposited on or before the day of publication, -has been abrogated, and the deposit of the title in advance of -publication is no longer authorized. What the law now requires is that -there be deposited two complete copies of each issue, promptly after -publication. - - -=Remittances:= - -All remittances to the Copyright Office should be made by money-order, -payable to the Register of Copyrights. No money (currency or coin) -should be placed in any letter or other matter sent to the Copyright -Office. Postage stamps should not be sent as fees. Private checks will -not be accepted unless certified. - - -HOW TO SECURE COPYRIGHT REGISTRATION OF MOTION-PICTURES - -In order to secure registration of claims to copyright for such works -the following steps should be taken: - - -=Motion-picture photoplays:= - -I. _Motion-picture photoplays not reproduced in copies for sale_: -Deposit in the Copyright Office, Washington, D.C., (1) the title of the -motion-picture photoplay; (2) a description of the work, preferably -either printed or typewritten; (3) a photograph taken from each scene -of every act. These deposits should be accompanied by an application -for recording the claim to copyright. For this purpose use Application -Form "L 2," which is furnished by the Copyright Office upon request. -Also send with the application the statutory registration fee of $1.00. - -II. _Motion-picture photoplays reproduced in copies for sale_: When -the motion-picture photoplay has been published (i.e., placed on sale, -sold, or publicly distributed) with the required notice of copyright -upon each copy, promptly after such publication deposit in the -Copyright Office two complete copies of the work, accompanied by an -application for recording the claim to copyright in the published work. -For this purpose use Application Form "L 1," which is furnished by -the Copyright Office upon request. Also send with the application the -statutory registration fee of $1.00. - - -=Motion-pictures other than photoplays:= - -I. _Motion-pictures other than photoplays not reproduced in copies -for sale_: Deposit in the Copyright Office, Washington, D.C., (1) the -title of the motion-picture; (2) a description of the work, preferably -either printed or typewritten; (3) two or more photographs taken from -different sections of the complete motion-picture. These deposits -should be accompanied by an application for recording the claim to -copyright. For this purpose use Application Form "M 2," which is -furnished by the Copyright Office upon request. Also send with the -application the statutory fee of $1.00. - -II. _Motion-pictures other than photoplays reproduced in copies for -sale_: When the work has been published (i.e., placed on sale, sold, -or publicly distributed) with the required notice of copyright upon -each copy, promptly after such publication deposit in the Copyright -Office two complete copies of the work, accompanied by an application -for recording the claim to copyright in the published work. For this -purpose use Application Form "M 1," which is furnished by the Copyright -Office upon request. Also send with the application the statutory fee -of $1.00. - -In all cases, the money order remitting the registration fee should -be made payable to the "Register of Copyrights." Send the title, -description, prints, copies, application and fee in one parcel, -addressed to the Register of Copyrights, Washington, D.C. - -If any motion-picture has been registered as a work "not reproduced in -copies for sale," it must nevertheless be registered a second time if -it has been afterward published. - - -AD INTERIM PROTECTION - -In the case of a book published abroad in the English language before -publication in the United States, the deposit in the Copyright Office -at Washington, not later than thirty days after its publication -abroad, of one complete copy of the foreign edition, with a request -for the reservation of the copyright, and a statement of the name -and nationality of the author and of the copyright proprietor, and -of the date of the publication of the book, secures to the author or -proprietor an _ad interim_ copyright, which has all the force and -effect given by copyright, and extends until the expiration of thirty -days after such deposit in the Copyright Office. Whenever, within -the period of this _ad interim_ publication, an authorized edition -of the book is published within the United States in accordance with -the manufacturing provisions specified in the American copyright law, -and when the provisions of the American law as to deposit of copies, -registration, filing of affidavit, and the printing of the copyright -notice have been duly complied with, the protection is then extended -over the full term. - - -ASSIGNMENT OF COPYRIGHT - -A copyright may be assigned, granted, or mortgaged by an instrument in -writing signed by the proprietor of the copyright. No special blank -form for assignment is issued by the Copyright Office. - - -=Recording assignments:= - -Every assignment of copyright should be recorded in the Copyright -Office within three calendar months after its execution in the United -States, or within six calendar months after its execution without -the limits of the United States, "in default of which it shall be -void as against any subsequent purchaser or mortgagee for a valuable -consideration, without notice, whose assignment has been duly recorded." - -The original instrument of assignment should be sent to the Copyright -Office to be placed on record. A valuable document of this kind should -be forwarded by registered post. - -After having been recorded, a certificate of record under seal of the -Copyright Office is attached, and it is then returned by post. If -the sender desires to have it returned by registered post, ten cents -postage for the post-office registry fee should be sent in addition to -the recording fees as stated below. - - -=Notice in assignee's name:= - -When an assignment of the copyright in a specified book or other work -has been recorded, the assignee may substitute his name for that of -the assignor in the copyright notice. In order that this transfer of -proprietorship may properly appear upon the index of the Copyright -Office, a fee of ten cents (prescribed by law) for each title of a book -or other article transferred is required for indexing, and this fee -should be remitted in addition to the fee prescribed for recording the -instrument as explained below. - - -=Foreign assignments:= - -Every assignment of copyright executed in a foreign country must be -acknowledged by the assignor before a consular officer or secretary of -legation of the United States, authorized by law to administer oaths -or perform notarial acts. The certificate of such acknowledgment under -the hand and official seal of such consular officer or secretary of -legation is prima facie evidence of the execution of the instrument. - - -FEES - -The following schedule of fees, in addition to those already given, is -fixed by the statute: - -1. For recording and certifying any instrument in writing for the -assignment of copyright, or any license to make use of copyright -material, or for any copy of such assignment or license, duly -certified, if not over three hundred words in length, one dollar; if -more than three hundred and less than one thousand words in length, -two dollars; if more than one thousand words in length, one dollar -additional for each additional one thousand words or fraction thereof -over three hundred words. - -2. For comparing any copy of an assignment with the record of such -document in the Copyright Office and certifying the same under seal, -one dollar. - -3. For recording the transfer of the proprietorship of copyrighted -articles, ten cents for each title of a book or other article, in -addition to the fee prescribed for recording the instrument of -assignment. - - -THE DURATION OF COPYRIGHT - -The duration of the term of copyright is twenty-eight years. This term -may be extended for a further term of twenty-eight years by the author -of the work, if living, or by the widow, widower, or children, or, if -they be not living, then by the author's executors, or in absence of a -will, by his next of kin. - - ¶Application for this extension must be made to the Copyright - Office and duly registered there within one year prior to the - expiration of the original term. - - -THE PROTECTION OF TITLES - -The cases which have thus far been settled in litigation indicate that -there is nothing at present in the copyright law which gives to the -author the exclusive right to the title of his particular work. There -may be any number of books or stories brought out by different authors -bearing the same title so long as each one is distinct and original. - - -APPLICATION FORMS - -Applicants for copyright registration should use the application forms -furnished on request by the Copyright Office. A separate form should be -used for each work to be entered. - -_Books_: For any new book printed and published for the first time in -the United States, use Application Form and Affidavit Form "A 1" if the -book is to be printed from type or plates made from type; if it is to -be produced by lithographic or photo-engraving process use Application -Form and Affidavit Form "A 2." - -For a book reprinted in the United States, with new copyright matter, -use Application Form "A 2." - -For a book of foreign origin in a language or languages other than -English, use Application Form "A 3." - -For _ad interim_ copyright in a book published abroad in the English -language, use Application Form "A 4." - -For the American edition of a book in the English language on which _ad -interim_ copyright has been previously secured, use Application Form -and Affidavit Form "A 1." - -For a _contribution_ to a newspaper or periodical, use Application Form -"A 5." - -_Periodicals_: For a periodical, if it is desired to make a separate -application and remittance as each issue appears, use Application Form -"B 1." If it is desired to file a general application in advance, and -to deposit therewith a sum to cover the fees for several issues, use -Application Form "B 2." - -_Oral Works_: For a Lecture, Sermon, or Address for oral delivery, use -Application Form "C." - -_Dramas_: For a published Dramatic Composition, use Application Form "D -1." - -For a Dramatic Composition of which copies are not reproduced for sale, -use Application Form "D 2." - -For a published Dramatico-Musical Composition, use Application Form "D -3." - -_Music_: For a Musical Composition published for the first time, use -Application Form "E." - -For a Musical Composition, republished with new copyright matter, use -Application Form "E 1." - -For a Musical Composition of which copies are not reproduced for sale, -use Application Form "E 2." - -_Maps_: For a published map, use Application Form "F." - -_Works of Art_: For a Work of Art (Painting, Drawing, or Sculpture); or -for Model or Design for a Work of Art, use Application Form "G." - -_Drawing or Plastic Work_: For a published Drawing or Plastic Work of a -scientific or technical character, use Application Form "I 1." - -For an unpublished Drawing or Plastic Work of a scientific or technical -character, use Application Form "I 2." - -_Photographs_: For a Photograph published for sale, use Application -Form "J 1." - -For a Photograph of which copies are not reproduced for sale, use -Application Form "J 2." - -_Prints or Pictorial Illustrations_: For the registration of any -"Print" or "Pictorial Illustration," which is a printed picture, -complete in itself and having artistic quality, use Application Form -"K." - -_Motion-Pictures_: For the registration of a Motion-Picture Photoplay -reproduced in copies for sale, use Application Form "L 1." - -For a Motion-Picture Photoplay of which copies are not reproduced for -sale, use Application Form "L 2." - -For a Motion-Picture, not a Photoplay, reproduced in copies for sale, -use Application Form "M 1." - -For a Motion-Picture, not a Photoplay, not reproduced in copies for -sale, use Application Form "M 2." - - -=Renewal or extension:= - -For the renewal of copyright subsisting in any work for the new renewal -term of twenty-eight years as provided by the present law, use Renewal -Form "R 1." - -For the extension of an existing renewal term from fourteen years -as provided under the old law, to twenty-eight years granted by the -present law, use Extension Form "R 2." - - ¶These renewal forms can only be used within a period of one year - prior to the expiration of the existing term. - - -=Assignments:= - -No forms are issued by the Copyright Office for assignments, or -licenses, nor for Postmaster's receipts for articles deposited. - - -PRACTICAL PROCEDURE - -The methods of each publisher in the various steps toward registration -of copyright may vary in details, but the following method may -be taken as typical and sufficient for the average American book -copyrighted in the United States: - -1. The type must be set up in the United States, and, if the book is -printed from plates, the plates be made therefrom; - -2. The book must be printed and bound in the United States; - -3. The book must bear the copyright notice. - -4. On the date set for publication, copies are for the first time -offered to the public, sold or publicly distributed by the publisher -or his authorized agents. This constitutes the "act of publication," -on which the registration of copyright depends. The sale of these -copies is recorded on the publisher's books in the same manner as the -sale of any of his books, and this dating of the sale on his books is -often deemed sufficient record of the first publication. In case books -are to be distributed for sale by various booksellers as well as by -the publisher himself, the booksellers must be notified in advance in -order that no copies may be sold previous to the date set for first -publication. - -[Illustration: FACSIMILE (reduced) OF A COPYRIGHT APPLICATION BLANK] - -5. Either on the same day as the book is first published or promptly -thereafter (but not before), blank Application and Affidavit Form "A 1" -is filled out and sworn to.[25] Two copies of the book for deposit -with the Copyright Office, together with this completed Application -Form and a post-office money-order for the required fee of $1.00 made -payable to the Register of Copyrights, are made up into one package, -and the package addressed to: _The Register of Copyrights, Washington, -D.C._ On the outside of the package is marked: "Books for Copyright -Registration." The package is then delivered to the post-office, and -the postmaster, if requested, will sign a receipt for the package which -the publisher makes out. This receipt should contain the name of the -book, the date, and the fact that the copies are to be transmitted to -the Register of Copyrights in Washington for purpose of registration of -copyright. The postmaster is required by law to forward these copies to -the Copyright Office without expense to the sender. - -6. After a few days a receipt under seal will come from the Copyright -Office, certifying that the books have been received, with the -remittance and application, and that the copyright has been duly -recorded. - -This is all that needs to be done for twenty-seven years, in case the -copyright has not in the meantime been assigned. In case of assignment -this fact should be recorded in the Copyright Office in accord with the -methods specified.[26] - -After twenty-seven years have passed, and within one year of the -expiration of the copyright, the owner may renew it for twenty-eight -years more upon application to the Copyright Office. - - -INTERNATIONAL COPYRIGHT - -In America, with the general lack of definite knowledge concerning all -matters relating to copyright, the so-called "International Copyright" -is equally shrouded in uncertainty. As the United States is not yet -a member of the International Copyright Union as established in the -convention of Berne, and cannot join this Union so long as the present -clause in the American copyright law exists requiring all books to be -completely manufactured within the United States in order to secure -copyright, it will be evident that registration at Washington does -not secure protection abroad. Mutual copyright protection has been -arranged, however, by special treaties with foreign nations. The -countries with which these treaty relations exist at present include: -Belgium, France, Great Britain and her possessions, Switzerland, -Germany, Italy, Denmark, Portugal, Spain, Mexico, Chile, Costa Rica, -Netherlands and her possessions, Cuba, China, Norway, Japan (and -Korea), Austria, Guatemala, Salvador, Honduras, Nicaragua, Luxemburg, -Sweden, Tunis and Hungary. Inasmuch as we are not yet members of the -International Copyright Union it is, strictly speaking, impossible for -a citizen of the United States to secure "International Copyright" on -his book, though a book can be protected in most of the countries where -protection is desirable.[27] Many publishers secure copyright in Great -Britain and her dependencies by publishing in England simultaneously -with the American publication, and by conforming to the other -requirements of the British law. A few publishers are of the opinion -that protection in Great Britain and her colonies can be secured by -publishing simultaneously in Canada instead of in England. Whether or -not this is equally binding cannot be definitely determined, as no test -case has as yet been made to establish or dispute the fact. - -Recent copyright legislation in England has been pointed in the -direction of more strict regulations regarding bona fide publication in -England of American books on which English copyright is desired. This -is a step in the right direction, and defines the issue somewhat more -clearly, but even now conditions are not as well defined as they should -be, or as they must ultimately be. The following statements may be made: - -(_a_) Simultaneous publication is necessary in England and the United -States. The English agents, therefore, should be supplied with not -less than seven copies of the book at least one week before the date -fixed for American publication. - - ¶Great care should be taken that the date selected for publication - is not Saturday, Sunday or a public holiday in England. These - public holidays are: Easter Monday, Monday in Whitsun-week, first - Monday in August, December 26 (or, if Sunday, December 27), Good - Friday and Christmas Day. - - In Canada the public holidays are: New Year's, Good Friday, Easter - Monday, Empire Day (May 24), Dominion Day (July 1), first Mondays - in August and September (Labor Day), Thanksgiving and Christmas Day. - -The publication is accepted in England as being simultaneous if the -time between publication in England and in America does not exceed -fourteen days. It is important to note that when the case is reversed -the "simultaneous" publication of an American book in England must be -made on the exact day of its publication in America. - -(_b_) The so-called English agent must be an English publisher. On the -day appointed for publication, the English agent must make formal sale -of at least one copy of the volume, and the entry of such sale must -appear upon his books. Six copies are delivered by the agent to the -following libraries: - - _British Museum_ - _Bodleian Library, Oxford_ - _University Library, Cambridge_ - _Library of the Faculty of Advocates, Edinburgh_ - _Library of Trinity College, Dublin_ - _National Library of Wales_ - - ¶It is not obligatory that five of these six copies be delivered - unless demand is formally made within twelve months after - publication, but if the books are not in stock for delivery then - the agent may be fined £5 plus the cost of the volume. The copy - for the British Museum must be delivered within one month after - publication. - - If an edition de luxe is issued, the copy sent to the British - Museum must be of this edition. - -Points which are still to be settled in the new English copyright law -are, whether or not, in order to make a bona fide publication, copies -should be sent out for review, and advertised or offered for sale by -the traveling salesmen of the English publisher. It is probable that -these points will be definitely determined within the next few months. -The English act requires a genuine publication to satisfy public -demand, and not merely a "colourable" formality. What "public demand" -may be has not yet been defined. - -There is no necessity for printing any notice of English copyright, as -the English law does not require it; but it is customary, on American -books copyrighted in England, to use the words, "Copyright in England," -to give warning that copyright is claimed on the book. It is not -considered necessary to have the English publisher's imprint on the -title-page of such books. - -The expression sometimes seen on the copyright page, "All rights -reserved including that of translation into foreign languages including -the Scandinavian," is now valueless. The American and English -copyrights protect the book in all countries with which the United -States has copyright relations, and the notice would not prevent -appropriation in any country with which the United States has no -copyright relations. The expression came into use during the years -preceding our present reciprocal copyright arrangements, and is now -discontinued by those familiar with its original significance. - - - - -RELATIONS OF THE SHORT-STORY WRITER TO THE MAGAZINES - - -THE contributor to the magazines stands in a relation entirely -different from that of the novelist to his publisher. In this case, -the author has no joint interest with the publisher, being but one of -many contributors to the magazine as a whole. In an article in their -"Bulletin," the Authors' League refers to these dealings as follows: - - "In his relations with the magazine publisher, the short-story - writer may be considered either as an independent merchant, - peddling his wares, or as an employee,--on the same plane with the - ink-dealer and the paper-house, say, or on the same plane with the - sub-editor and the cashier. The magazine publisher, for selfish - reasons, generally prefers to consider him as a merchant. Your - committee, for reasons equally selfish but perhaps better founded, - considers him rather in the light of an employee. First, and most - importantly, the ink-dealer and the paper-house have capital; the - magazine writer brings nothing to his business but his brain and - his two hands. In the second place, a great deal of the writing for - our periodicals is done by men and women employed on salary, and - economically in the same category as the cashier or the sub-editor. - The man or woman who writes 'on the outside,' either on speculation - or on order, it seems to us, is no less a temporary employee of the - magazine. - - This consideration enters into the first grievance which has been - urged by many of our members against certain of our magazines,--the - deferring of payments after the acceptance of the article or story. - As every one knows, the custom of our leading periodicals varies - greatly in this regard. Some pay upon acceptance, not nominally - but really. Certain others pay within the month. Still others pay - just about when the author can get it. The staff writer receives - his regular salary every week; the free-lance writer, working on - order, temporarily just as much a part of the magazine staff as - any regular employee, often has to wait for weeks and months. - Certain of the magazine publishers interviewed by your committee - have their ready-made answer to this: 'The ink maker and the paper - manufacturer give us time: they wait one, two, or three months for - their money; why should we be any more prompt with the author?' - This position, on the theory that the magazine writer is only an - outside employee, is of course untenable." - - -COPYRIGHT - -From the same source comes most valuable comment regarding the -importance of a fuller knowledge on the part of the short-story writer -of the exact bearing of the copyright law upon his work, being the -statements upon recent opinions handed down as a result of litigation. -Briefly, these opinions are to the effect that a magazine copyright -covers the matter contained in each number only to the extent to which -such matter is the property of the magazine. It therefore follows -that in the case of a story, of which only the magazine rights have -been sold by the author, the magazine copyright leaves him absolutely -unprotected in his dramatic and, theoretically at least, in his book -rights. To save whatever he reserves, he must take copyright, also, -in his own name, fulfilling the necessary formalities, such as paying -a separate fee, depositing two copies of the book in the Library of -Congress, and seeing that his notice of copyright appears upon the -story when published in the magazine.[28] The attorney for the Authors' -League advises as follows: - - "So long as this and similar matters remain in doubt, both authors - and publishers should, for their own protection, agree on some - system whereby the dramatic and all other rights are thoroughly - safeguarded. This can be accomplished in either of two ways: - - (_a_) The editor can copyright each story or article separately in - the author's name, printing at the bottom of the first page thereof - a proper copyright notice, as follows: - - 'Copyright, 1913, by John Doe' - - The author should then, immediately on publication, mail one copy - of the magazine to the Register of Copyrights in Washington, in - conformity with the requirements of the present Act, enclosing the - fee of One Dollar. This is perhaps the simplest way, although it - involves a separate registration of the magazine for each story or - article so copyrighted. - - (_b_) Or the author can sell his story outright to the editor - or publisher, and safely reserve his equitable interests in the - dramatic or other rights thereto by attaching to his manuscript a - 'rider' or slip somewhat as follows: - - 'This manuscript is submitted with the understanding that, if - accepted for publication, the same shall be copyrighted by the - publishers, and all rights under said copyright (except that of - magazine publication) shall be held in trust for the benefit of the - writer or his assigns, and will be reassigned to him upon demand.'" - - -PRACTICAL SUGGESTIONS - -The general advice under "Submitting the Manuscript"[29] applies with -added force to the manuscripts of short stories, as the number of such -manuscripts submitted to editors is naturally greater than in the case -of novels and publishers. In a word, make the reading of your story as -attractive and as easy for the editor as possible. In addition, these -points are of importance in submitting manuscripts of short stories: - -Use double space in typewriting. - -Be sure that your typewriting machine is in good order. Typewritten -manuscript possesses an individuality as well as hand-script, and -inaccurate or slovenly pages prejudice the reader. - -Always enclose a stamped, addressed envelope, and be sure that the -postage is not underpaid. Manuscript copy costs two cents an ounce; -when mailed with proof, it costs one-half cent an ounce. - -Write your name and address in the upper, left-hand corner of the first -page; in the upper, right-hand corner write the approximate number of -words.[30] - -A short story is usually supposed to contain from 3000 to 6000 words. - -Number your pages consecutively. - -The manuscript may be folded, not more than twice, but should never be -rolled. - - -DEALINGS WITH THE EDITOR - -The letter accompanying the manuscript should be brief, business-like, -and to the point. The editor is too busy to concern himself with -anything in connection with the writer or the story except the story -itself. - -Don't call upon the editor, or send him a letter of introduction; let -the merit of your story be your only sponsor. - -Don't ask the editor to criticize your work; place the manuscript in -the hands of a professional reader if that is what you desire. - -Be patient. It is reasonable to expect a decision upon your manuscript -within three months' time, but not sooner. - -Don't be offended by the receipt of a printed rejection slip. Personal -letters are not to be expected. - -Accept the editor's judgment cheerfully. Nothing is ever gained, and -much is usually lost, by personal pique. - -Study the spirit and policy which lie behind each publication. Just as -a merchant offers his wares only in the market where the demand exists, -make sure in your own mind that your story fits the magazine to which -you send it. - -Look upon the return of a manuscript as an opportunity for revision and -improvement before sending it out again. Study it, and try yourself to -discover why it did not succeed. - -Keep a careful record of the peregrinations of your various manuscripts. - -Be timely, remembering that "seasonable" stories should be received by -the magazines four to six months before the season arrives. - -The best magazines have a regular rate of payment, so it is needless to -discuss terms in submitting your manuscript. - -Never give a story away. If it is worth publishing it is worth being -paid for, and to part with it for nothing injures the literary market -for your fellow-writers as well as for yourself. - -There is much difference of opinion regarding the ethics of submitting -the same manuscript to more than one magazine at a time. In this matter -each writer must settle the question for himself. There is no general -custom, but good taste would seem to argue against the practice. - -It is seldom wise to submit more than one story at a time to the same -magazine. - - -THE LITERARY AGENT - -Enlarging upon what has been said in an earlier chapter,[31] the -literary agent may be found much more useful in the marketing of short -stories than in novels. The relations of the author to the publisher -are much closer than those existing between the short-story writer -and the magazine editor, and the personality of the author is a less -important factor. If the writer of short-stories makes a study of -the market, and possesses ordinary business ability, he has no more -occasion for an "agent" than a man engaged in any other profession. On -the other hand, it is a fact that the average writer does not develop -himself along these lines, so that the advice and co-operation of one -who makes a business of acting as a go-between can be made exceedingly -valuable. - -In placing oneself in the hands of a literary agent, great care should -be exercised to select one with a reputation for the successful placing -of manuscripts and for prompt financial dealings. - -The ordinary commission of the literary agent is 10 per cent. upon all -sums received on account of the author, and it is customary for him -to handle the financial as well as the literary relations between the -writer and the magazines. - - - - -THE MECHANICS OF THE BOOK - - -SOME authors have a general idea of how a book is manufactured, -but more have none. Even in the case of experienced writers, every -printing-office could tell surprising stories to illustrate the -unreasonableness born of a lack of knowledge of the ordinary mechanics -of manufacture, or of a confidence born of too little knowledge. And -unreasonableness on the part of the author means extra and unnecessary -expense either to the printer or to the publisher. One of the most -unfortunate features of the publishing business is that the exact cost -of manufacturing a book can rarely be estimated in advance: typography, -electrotyping, engraving, designing, presswork, paper, and binding -can be figured closely, but the "extras," resulting from the author's -carelessness, lack of knowledge of the book's mechanics, or change of -heart as the manuscript goes into type, in many cases so increase the -cost beyond the publisher's expectations that the publication can only -show a loss instead of a profit. - -These "extras" result from different causes: the manuscript may be -carelessly prepared, with poor punctuation and clumsy expressions, -which the author corrects in the proof. The author frequently boasts, -"I know nothing about punctuation," but would an artist admit that -he was ignorant of how to mix his colors? There is no question that -authors sometimes take advantage of their "temperament," and lie down -upon it in a manner most unfair to their co-partners in the enterprise. - -Changes in the manuscript cost nothing, changes in the type cost one -dollar per hour. To correct vital points after the book is in type is -warranted; to correct blunders in punctuation or expression is needless -expense, and is a reflection upon the intelligence of the author. -Genius may be erratic, but it is more respected when it is not made -to carry the responsibility of ordinary carelessness or ignorance. -The writer recalls a case where the author of a story changed the -name of one of the characters after the book was in type; it cost -the publishers over eighty dollars. Frequently an author changes the -name of his story, necessitating resetting the running-heads, the -title-page, and recutting the brass dies, all of which adds expense -beyond the publisher's original estimate. Countless other examples -might be cited, but the main point is that all vital details should be -discussed and settled while the story is still in manuscript, and after -it has been placed in the printer's hands further changes should be -only those which are of serious moment. - -Other "extra" expenses include the cost of proofs. The publisher -usually receives from the printer two sets of galley-proof, two sets of -page-proof, and two sets of foundry-proof. All proofs beyond these six -sets are charged for as "extra," the usual rate being one cent per page. - -If the author retains his proof longer than is necessary to read and -correct it, this delay frequently forces the printer to work over-time -to meet publication-day; this over-time work is charged for at double -price. - -An author would never have any difficulty in securing a letter of -introduction from his publisher to some large printing-house, and the -printer would gladly give him every opportunity to familiarize himself -with the mechanical processes. This knowledge, together with a study of -those elements which go into the manufacture of a book, would enable -the author to avoid needless cost, or to incur intelligently such extra -expense as became vitally necessary. - -The following suggestions are important regarding the relations between -the author and the printer: - -It is always wiser to leave all questions of typography for the -publisher to settle with the printer, unless there is some specific -reason why the author wishes to accomplish a particular result by using -certain type effects. - -Copy should be typewritten, and revised carefully by the author, -before sending it to the printer, to correct typewriter's errors. -Interlineations and erasures which make the reading difficult should be -avoided. It is always a simple matter to rewrite such portions without -rewriting the entire chapter. - -If the author has decided preferences regarding spelling or -punctuation, this fact should be clearly stated on the manuscript; -otherwise the printer follows his office style, which may or may not -conform with the author's ideas. - -In the preparation of copy, consistency of spelling and punctuation is -strongly urged, as it not only simplifies the problem for the printer, -but also prevents possible misunderstanding of copy and consequent -necessity for resetting. - -All paragraphs should be clearly indicated in the copy. - -All directions written upon the manuscript, which are not intended as -"copy," should be enclosed in a circle. - -The author should punctuate each sentence as he writes it, for in this -way the marks are indicative of the natural pauses, and better express -his meaning. - -Foot-notes should always be clearly indicated. - -Unusual words, proper names, and figures should be written out with the -greatest care and distinctness by the author. - -It is for the common advantage of the author, the publisher, and the -printer that the author or the editor read all proofs promptly. - - -ESTIMATING THE MANUSCRIPT - -The usual procedure in making a book is as follows: When the publisher -sends the manuscript to the printer, a request goes with it for a -sample page, set to a size and in a type which will make a volume of -the desired number of pages. A novel is supposed to run from 320 pages -to 400 pages. The first thing to be done is to estimate the number of -words in the manuscript, and this is accomplished by averaging the -number of words in say thirty lines, and then multiplying by the number -of lines on a page. No allowance is made for fractional lines, as these -also occur in the printed page. If the manuscript is carefully written, -each page will contain the same number of lines, so the total number -of words may be found by multiplying the number of words on the page, -as arrived at above, by the total number of pages in the manuscript. -This explains the importance of having a standard number of lines on -each page.[32] No allowance is made for fractional pages at the end of -chapters, as there are also fractional pages in the printed book, and -it averages up. - -The front matter has to be estimated separately, with allowance for -the blanks on the reverse of bastard-title, dedication, etc.,[33] but -the usual number of pages is eight. Then, again, an allowance of half -a page for each chapter sinkage[34] has to be made. Suppose we have a -manuscript of 90,000 words, with 24 chapters: A type page of 280 words -gives us 322 pages, to which we add 8 pages for front and 12 pages -for chapter sinkages, giving us a volume of about 344 pages. As the -presswork is usually done in forms of 32 pages, an effort is always -made not to exceed even forms by a small number of pages. Striking out -the bastard-title will often save a form of press-work. - -Various short-cuts have been suggested for estimating the number of -words in a printed page, but the old-fashioned method of counting is -the safest. Here is a table which is as accurate as any short-cut can -be: - - Words in - sq. in. - - 18-Point (Great Primer), solid 7 - 14-Point (English), solid 10 - 12-Point (Pica), solid 14 - 12-Point (Pica), leaded[35] 11 - 11-Point (Small Pica), solid 17 - 11-Point (Small Pica), leaded 14 - 10-Point (Long Primer), solid 21 - 10-Point (Long Primer), leaded 16 - 9-Point (Bourgeois), solid 26 - 9-Point (Bourgeois), leaded 20 - 8-Point (Brevier), solid 30 - 8-Point (Brevier), leaded 21 - 7-Point (Minion), solid 38 - 7-Point (Minion), leaded 27 - 6-Point (Nonpareil), solid 47 - 6-Point (Nonpareil), leaded 33 - 5-Point (Pearl), solid 69 - 5-Point (Pearl), leaded 50 - -In cases where the number of lines to the inch of certain sizes of type -is desired, the following table may be employed up to 18-point body: - - No. lines - No. lines leaded with - Size of type set solid 2-point leads - - 5-pt. 14 10 - 5½-pt. (agate) 13+ 9+ - 6-pt. 12 9 - 8 " 9 7+ - 10 " 7+ 6 - 12 " 6+ 5+ - 14 " 5+ 4+ - 18 " 4 3+ - - -THE SAMPLE PAGE - -With these details settled, the sample page is next in order. Knowing -that the book is to be a 12mo (size of leaf 5⅛ × 7⅝) or a 10mo (size -of leaf 5½ × 8¼), the printer must "lay out" the page so as to leave -margins of proper size and proportion. A 12mo type page may vary from -3 × 5¼ inches to 4 × 6¾ inches. Somewhere within this area, in the -given example, the page must contain about 280 words. If the manuscript -is long, then the type page must be large, the type itself small (never -smaller than long primer[36] nor larger than pica[36]), the leads[36] -reduced or omitted altogether. This is where the printer's taste and -skill is given an opportunity for expression: he is the architect -of the book, and must not combine types or decorations which are -inharmonious, and his proportions must be kept correct. - -For his sample page for the given novel, the printer would select from -these standard faces: - -[Illustration: PICA OR 12-POINT OLD STYLE - - abcdefghijklmnopqrstuvwxyz 1234567890 - ABCDEFGHIJKLMNOP ABCDEFGHIJKLM - _ABCDEFGHIJKLMNOP abcdefghijklmno_] - -[Illustration: PICA OR 12-POINT CASLON OLD STYLE - - abcdefghijklmnopqrstuvwx 1234567890 - ABCDEFGHIJKLM ABCDEFGHIJKLMN - _abcdefghijklmnopqrstuvwxyz 1234567890_ - _ABCDEFGHIJKLMNOPQRSTUVW_] - -[Illustration: PICA OR 12-POINT SCOTCH - - abcdefghijklmnopqrstuvwx 1234567890 - ABCDEFGHIJKLM ABCDEFGHIJKLMN - _abcdefghijklmnopqrstuvwxyz 1234567890_ - _ABCDEFGHIJKLM NOPQRSTUVW_] - -[Illustration: PICA OR 12-POINT MODERN - - abcdefghijklmnopqrstuvwx 1234567890 - ABCDEFGHIJKLM ABCDEFGHIJKLMN - _ABCDEFGHIJKLM abcdefghijklmnop_] - -[Illustration: SMALL PICA OR 11-POINT OLD STYLE - - abcdefghijklmnopqrstuvwxyzabc 1234567890 - ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNO - _ABCDEFGHIJKLMNOP abcdefghijklmnopq_] - -[Illustration: SMALL PICA OR 11-POINT CASLON OLD STYLE - - abcdefghijklmnopqrstuvwxyz 1234567890 - ABCDEFGHIJKLMN ABCDEFGHIJKLMNO - _abcdefghijklmnopqrstuvwxyz 1234567890&_ - _ABCDEFGHIJKLMNOPQRSTUVWXY_] - -[Illustration: SMALL PICA OR 11-POINT SCOTCH - - abcdefghijklmnopqrstuvwxyz 1234567890 - ABCDEFGHIJKLMNOP ABCDEFGHIJKL - _ABCDEFGHIJKLMNO abcdefghijklmnop_] - -[Illustration: SMALL PICA OR 11-POINT MODERN - - abcdefghijklmnopqrstuvwyz 1234567890 - ABCDEFGHIJKLMNO ABCDEFGHIJKLM - _ABCDEFGHIJKLMN abcdefghijklmnopq_] - -[Illustration: LONG PRIMER OR 10-POINT OLD STYLE - - abcdefghijklmnopqrstuvwxyz 1234567890 abcde - ABCDEFGHIJKLMNOPQ ABCDEFGHIJKLMNOP - _ABCDEFGHIJKLMNOP abcdefghijklmnopqrstu_] - -[Illustration: LONG PRIMER OR 10-POINT CASLON OLD STYLE - - abcdefghijklmnopqrstuvwxyz 1234567890 abc - ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNOP - _abcdefghijklmnopqrstuvwxyz 1234567890 & abc_ - _ABCDEFGHIJKLMNOPQRSTUVWXYZIS_] - -[Illustration: LONG PRIMER OR 10-POINT SCOTCH - - abcdefghijklmnopqrstuvwxyz 1234567890 abc - ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNO - _ABCDEFGHIJKLMNO& abcdefghijklmnopqr_] - -[Illustration: LONG PRIMER OR 10-POINT MODERN - - abcdefghijklmnopqrstuvwxyz 1234567890 abc - ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNO - _ABCDEFGHIJKLMNOP abcdefghijklmnopqr_] - -Type sizes in the present day are determined by the point system, the -fundamental unit of which is the point. This is obtained by dividing -a length of 13⅘ inches into 996 equal parts, each one being called a -point. One point is therefore .0138 of an inch or 72.46 points are -equal to 1 inch. - -For purposes of convenience, a point is expressed as being 1/72 of an -inch. Thus 6-point type occupies 6/72 of an inch of space, 12-point -12/72 and so on. This does not mean, however, that the actual printed -face occupies six points on the paper, but that it is six points from -the base to the top of the body carrying the face. - -In other words, one may say that it is 12 points from the bottom of -one line of 12-point type to the _bottom_ of the next line of 12-point -type, etc. - -The pica is the standard of measurement of the old system, and is equal -to 12 points of the new system; thus six picas are equal to 1 inch or -72 points. Printers still estimate the length and width of a page or a -column by the pica; thus a page 4 inches wide is 24 picas. - -The "em" is the square of a type body. Thus a "12-point em" is 12 -points wide and 12 points long, or 1 pica long and 1 pica wide. A -"10-point em" is a 10 point square, etc. The em used in measuring -newspaper column widths, magazine columns, etc., is known as the em -pica, which is 12 points square. - -In using larger faces for headings and display, or smaller faces for -footnotes or quoted matter, the printer will select from the same -family to which the type belongs, or from some family which combines -with it harmoniously. Old-style faces should not be used with modern -faces, but the Scotch face, which is a cross between old-style and -modern, combines well with either. - -As to leading, this volume is leaded with a 1-point lead; between the -first and second lines of the preceding paragraph there is no leading -(technically, "set solid"); between the second and third, a 2-point -lead, and between the third and fourth, a 3-point lead. - -In technical volumes and schoolbooks the Old Style Antique type is -largely used for subject-headings and side-notes: - -[Illustration: LONG PRIMER OR 10-POINT OLD STYLE ANTIQUE - - =abcdefghijklmnopqrstuvwxyz 1234567890 abc - ABCDEFGHIJKLMNOPQRSTUVWXYZ&AJ=] - - -THE TYPESETTING - -With the sample page accepted by the publisher or author, or both, -the printer is authorized to proceed with the typesetting. Setting -type by hand is now almost entirely superseded by machine-composition, -except for the display pages (such as the title) and where the type -itself runs larger than the English (14-point) size, this being the -limit of the machines. Linotype[37] composition is cheaper than -monotype,[37] but as the type is cast all in one line, instead of in -separate characters, the cost of corrections is much higher. To change -even a mark of punctuation requires recasting the entire line. If the -manuscript is reasonably final in its form, the publisher is likely to -order linotype composition; otherwise, monotype will be selected. Both -machines carry the standard faces and sizes of type. - - -THE PROOFS - -The first proofs sent out by the printer are called "galley-slips," -or "galleys."[38] These are supposed to give the author opportunity -to make such changes as are absolutely necessary. When returned to -the printer, these galleys are made up into "page-proofs,"[38] and -frequently go again to the author, or the type may be "cast" (made -into electrotype plates) at this point. When page-proofs are submitted -to the author, the publisher expects him to revise them, making sure -that all his galley corrections have been properly made, rather than -to make further corrections, as changes in the pages are still more -expensive than in the galleys. If changes must be made, the author -should endeavor to have the correction occupy exactly the same space as -the matter cut out, or to cut out further matter to make room for the -addition. Otherwise, the page so corrected will contain more than the -standard number of lines, which must be thrown forward, and the make-up -of each page changed to the end of the chapter. - -Competent proofreaders in the best offices frequently call the -attention of the author to errors in dates, figures, or proper names, -but this should always be regarded by the author as a courtesy -rather than as something which the printer is expected to do. The -proofreader, on the other hand, is supposed to have corrected every -typographical error, and for the author to mark corrections which have -been overlooked is a courtesy on the part of the author. The fact that -the author or editor has passed over typographical errors in no way -relieves the proofreader of his responsibility. - -The proofreader is expected to correct any obvious error without -hesitation, but to make no other changes. If he thinks a change should -be made, it will take the form of a query in the margin to the author. -The author should carefully note all such queries, and answer them -or strike them out, bearing in mind that if he accepts the query the -change necessitated in the type becomes an author's correction, the -expense of which falls upon the publisher. - -Any marks on the proofs for correction should be made distinct by -drawing a short line through the letter to be changed, etc., placing in -the margin the recognized sign indicating the change, _exactly opposite -the line in which the change is to be made, and in the order in which -the necessary alterations occur_. In doing this be sure to write -legibly, and do not cover the proof with lines and counter-lines. - -The author should familiarize himself with the standard proofreading -marks, and employ these in marking all corrections upon the proofs -which are sent him. These marks are as follows: - -[Illustration: PROOF MARKS - -THE above marks are the ones most generally used in proofreading. There -are many others that are required in different classes of work, but -these are in the main self-explanatory. This display of proof marks and -their meanings has been prepared for THE GRAPHIC ARTS and endorsed by -the Boston Proofreaders Association. - - THE GRAPHIC ARTS, Boston] - -When the page-proofs are returned to the printer, they are carefully -"read for foundry" by the proofreader, and all final changes in the -type are then made. "Bearers"[39] are placed around pages, which are -imposed[39] in chases[39] and sent to foundry.[39] Foundry-proofs are -taken at this point. - - -THE PLATES - -The process of electrotyping is one of the most interesting steps in -the making of a book, and authors will find it well worth while to -brave the grime of the black-lead in order to become familiar with the -detail. In brief, the type form is pressed down into a tablet made of -wax or similar substance, in which it leaves an impression. This wax -tablet is then allowed to remain in a galvanic bath, through which it -becomes covered with a coating of copper. When separated from the wax, -the thin, copper replica of the composed type is backed up by an alloy, -and, after passing through various stages in finishing, finally becomes -an electrotype plate.[39] - - -COVER DESIGN AND ILLUSTRATIONS - -While the printer has been engaged in putting the manuscript into -type, the publisher has had a designer at work upon a cover sketch, -and an artist upon such illustrations as the book requires. All this -has to fall in with the publisher's general scheme for the book as a -whole. The designer must know what limits are placed upon him as to -the number of inks or foils, or the amount of gold-leaf which he may -employ. The artist must know whether his pictures are to be drawn for -full color, two-color or one-color plates. In deciding these questions, -the publisher is influenced by what he believes the book to require in -its appeal to the public, and how great an expense is warranted by the -probability of its success. - - -ENGRAVING - -The illustrations in all except the most pretentious volumes are either -halftone or lineplate photo-engravings. In making a halftone plate, the -picture or object to be reproduced is photographed through a screen -consisting of a glass plate, diagonally ruled at right angles in two -directions with lines numbering from fifty to four hundred to the -inch. This screen is placed inside of the camera and in front of, and -very near, the chemically sensitized plate. The light reflected from -the object to be photographed, varying in intensity according to the -lights and shadows of the object, is focused on the sensitized plate -through the intervening line screen, and affects the sensitized film -more or less according to its intensity. This causes a chemical change -of such nature that the next following operations, the development -and the intensification of the picture, result in producing it in the -form of dots and stipples varying in size, and consequently in the -respective light and shade effects, according to the varying lights -and shadows of the original. Inasmuch as the lights show dark and the -darks light, the picture on the glass makes a negative of the subject. -This negative is placed in a printing frame, in close contact with a -polished copper plate prepared with a film sensitive to the light. A -few minutes' exposure to the light renders insoluble in water those -parts of the film which the light has reached through the negative, and -when the other parts of the film, which remain soluble in water, are -washed away, the picture appears clear on the surface of the plate. The -dots and the stipples forming the picture are then further treated to -enable them to resist the action of the solution of iron perchloride to -which the plate is next subjected, which etches out the spaces between -the dots, and leaves the latter in relief. As the etching on the -copper must be in reverse as regards right and left, in order that it -may appear in proper relation when printed on the paper, the negative -must be produced through a reflecting prism, or the finished negative, -properly toughened, must be stripped from the glass on which it has -been produced, and turned over. In ordinary practice, a number of such -turned negatives are placed together on a single large glass, and -exposed together on a large copper plate, to be cut apart afterwards -and mounted separately. The primary etching is usually supplemented by -further processes, such as re-etching, vignetting, hand-tooling and -routing. The finished plate is finally mounted on a wooden block to the -height of type. - -Illustrations in full color are reproduced from corresponding -originals, usually paintings in oil or water-color, by means of the -three-[40] or four-color[40] process of reproduction. The plates for -this purpose are usually all halftone, but are sometimes a combination -of halftones and Benday[40] plates. Two-color halftones have either -a tint background, or secondary plate in tint, the latter forming -the underground upon which the keyplate is printed in black. In the -three-color process, the respective plates are printed in yellow, red -and blue successively over one another. In the four-color process a -fourth plate is used to emphasize the blacks of the picture, the plate -being virtually a keyplate, combining all the features of the subject, -printed on top of the other three colors, usually in black or dark gray. - -It is of particular importance that the engraver who is to make the -halftone plates should be informed as to the kind of paper they are to -be printed on. A 50-line halftone plate will print on almost anything, -but is too coarse to render the details of the picture, and is usually -applied only for newspaper use. It would be entirely too coarse for the -purpose of book illustration. On the other hand, a halftone plate made -through a screen of 400 lines to the inch can be printed satisfactorily -only upon paper of the highest surface, and with correspondingly -careful presswork. For super-calendered or English-finish paper, plates -made through a 133-line screen are most advisable, while the average -coated or enameled paper will take 150-line halftones to best advantage. - -Lineplates are etchings in relief on plates of zinc or copper, -reproduced from pen-and-ink-drawings, or diagrams, by photo-mechanical -process. The method in general is the same as that for halftone work, -but without the intervention of the screen. In lineplates, the light -and shade effects are produced by gradations of thick and thin lines, -in distinction from the effects of wash-drawings and photographs, which -are produced by gradations of tone. The latter require the intervention -of the screen to convert the full tone gradations into the halftone -of the dots and stipples, while the former may, as already noted, be -reproduced directly. - -Other classes of engravings, of a more costly kind, and which are -therefore used only in books of more expensive character, are the -various forms of engraving in intaglio; that is to say, in effects -produced by cutting or etching the design into and below the surface -of the plate, instead of cutting or etching away the ground, and -leaving the design in relief. Examples of this order are the old-time -copperplate engraving, the more modern steel-engraving,[41] in the -form of line or mezzotint effects,[41] photogravure,[41] and the yet -more recent photo-intaglio process known as rotogravure,[41] and -photo-mezzotint. - - -DIE CUTTING - -Dies,[41] generally required for stamping the covers of books in gilt -letters and designs, are cut in brass by hand or by finely adjusted -routing-machines, the design being drawn upon the metal by an artist, -or transferred to it by photography. In the case of very elaborate -designs, the dies are first etched by nitric acid or iron perchloride, -and the more open or less intricate spaces then deepened by hand, or by -the routing-machines. - - -THE PAPER - -In selecting the paper for the book, the publisher must consider the -surface required by his plates, the weight necessary to give a proper -bulk in proportion to the size of his volume, and the quality as -regulated by the price. The average book, with no text illustrations, -is printed on wove[42] paper of antique finish, which is a fairly rough -surface, giving a maximum bulk. A 12mo[42] book should bulk 1 to 1⅛ -inches, a 10mo[42] book, 1⅛ to 1¼ inches. If the book runs more than an -average length, a medium-or a plate-finish paper may be used, and the -weight per ream is regulated by the number of pages in each volume and -the bulk required. - -Lineplates print satisfactorily on medium-finish paper, and even -on antique-finish if the lines are not too fine. Halftones require -English-finish,[42] super-calendered[42] or coated[42] paper. -Inserts[42] are almost always printed upon coated paper. - -Laid[42] paper is used in more expensive books, as, from its nature, -better and more costly stock is required in its making. - - -THE PRESSWORK - -Books are printed in forms[42] of 4 pages and multiples of 4 pages, -depending upon the size of the paper leaf. The usual form is 32 pages, -so the publisher tries to plan his volume to make approximately even -forms. To print any number of pages over an even form is as expensive -as to print the complete 32 pages.[43] - - -THE BINDING - -In binding, the questions to be settled include the style of -back,--flat, half-round, or round; plain or gilt-top; headband[45] -or not; trimmed or uncut edges;[44] kind of cloth,--T pattern,[45] -silk,[45] vellum,[45] etc.; color and shade of cloth; location of dies; -stamping,--ink, foil, gold or Oriental tissue, etc.; jacket,--glassine, -manila, or printed. - - - - -THE ARRANGEMENT OF THE BOOK - - -THE proper layout for an ordinary volume, arranged in accord with the -best usage, is as follows: - - Bastard-Title (_right hand_). - Blank Page or Advertising Card (_left hand_). - Title-Page (_right hand_). - Copyright Page and the Printer's Imprint (_left hand_). - Dedication (_right hand_). - Blank Page (_left hand_). - Preface (_begins on right hand_). - Table of Contents (_begins on right hand_). - List of Illustrations (_begins on right hand_). - Introduction (_begins on right hand_). - Half-Title (_right hand_). - Blank Page (_left hand_). - First Page of Text (_begins on right hand_). - -In limited editions, the limit notice is placed upon the reverse of the -bastard-title, or on a left-hand page facing the bastard-title. - -Following the text may be: - - Appendix (_begins on right hand_). - Glossary (_begins on right hand_). - Bibliography (_begins on right hand_). - Index (_begins on right hand_). - -Considering these various divisions more at length: - - -BASTARD-TITLE - -The bastard-title, which is often wrongly called the half-title, -is a modern evolution in its present application. Originally, this -single-line title was the only title which existed, but as time went -on the demand of the public, on the one hand, for a decorated page at -the beginning of the book, together with the printer's desire, on the -other hand, to advertise himself, developed the bastard-title into the -dimensions of the title-page which we now know, containing the name -of the book, the name of the author, the publisher's device, and the -publisher's name and address. At the present time the bastard-title is -used more to add elegance to the appearance of the volume than for any -practical purpose, it being pleasanter for the eye to rest first upon -this page rather than at once upon the title-page, which extends over -the full dimensions of the type area. - - -ADVERTISING CARD - -If an advertising card or limit notice is required, this page of -display should be set up with careful consideration of the page it is -to face, and of the typography of the book of which it is to be a part. -Too frequently advertising cards are looked upon as separate jobs, and -are set in types which do not harmonize with the typography of the rest -of the book. - - -TITLE-PAGE - -The title-page offers the printer and the publisher a tempting -opportunity for display and for artistic typography, and too few -realize the value of restraint. Cobden-Sanderson once remarked, as -explaining the high prices which he secures for his work, that he -always charges more for what he leaves out than for what he puts in. - -The earliest volumes lacked the title-page, because vellum and -linen paper were held so high that the expense of an extra leaf was -considered an unnecessary luxury. In these books that which took the -place of the title was at the end, the colophon being in evidence, -indicating the name of the illuminator, if not always that of the -printer. As was the case with the manuscript book, the volume began -with the phrase, "Here beginneth...." Later came piratical reprints, -which resulted in making the critical reader insist upon having each -volume stamped with the printer's name or mark, as a guarantee of -reliable workmanship. - -The first definite step in the direction of the title-page is marked -by bibliographers in a little volume printed by Arnold Ther Hoernen, -of Cologne, in 1470. It consisted of an introduction at the head of -a page, the major part of which was left blank. Whether the printer -forgot to place the usual introduction at the head of the first page, -and took this way to remedy his error, is not known. - -In general, different faces of type should never be combined upon the -title-page, the variations being secured by using smaller sizes of the -same face, or harmonizing fonts. Capitals and lower-case letters can be -successfully combined on the title-page only as a result of care and -thought, the best title-pages usually being all in lower-case or all in -caps and small caps. A two-color title-page is rarely a success unless -it was originally composed with two colors in mind, instead of being -set up in black and arbitrarily split up for colors. - -The decoration should never overbalance the type, and this applies -as well to the question of borders on decorated books. No matter how -beautiful, if the decoration overbalances the type, the volume or the -title-page ceases to be an example of typography and becomes something -answerable only to itself. - - -COPYRIGHT - -On the reverse of the title-page is ordinarily placed the copyright -notice of the volume,[46] usually a little above the center, set in -caps and small caps, or in small caps alone. At the foot of this same -page the printer usually places his imprint.[47] - - -DEDICATION - -The dedication is a page set in the monumental style, generally in -small capitals. This must always be a right-hand page, and the reverse -must always be blank. - - -PREFACE - -Ordinarily the preface is set in the same size of type as the body. If -it is written by some one other than the author, it is frequently set -in italic to mark the distinction. This is particularly true in case -the book contains an introduction as well. If the preface is of unusual -importance, it is sometimes customary to have it set in type one size -larger than the body, or double-leaded. - - -TABLE OF CONTENTS - -After the preface and before the list of illustrations comes the -contents, occupying whatever number of pages may be necessary. The -style of its composition is dependent entirely upon the subject-matter -and the typographical arrangement of the volume. - - -LIST OF ILLUSTRATIONS - -This follows the contents, and is always set in a style conforming to -the contents page or pages. - - -INTRODUCTION - -See remarks under "Preface." - - -HALF-TITLE - -The half-title ordinarily consists of a single line, standing by -itself on the first page of the leaf immediately preceding the first -page of the text, and carries the title of the book as at the top of -the first page of text. It is frequently confused with the bastard or -false-title, which always precedes the title-page. Half-titles may also -run through the book before various divisions, but the bastard-title -never moves from its one position at the beginning of the volume. - - -LIMIT NOTICE - -If an edition be limited in number, the notice of such limit should be -placed either on the page facing the bastard-title or on the reverse of -the bastard-title. - - -IN GENERAL - -The front matter is often put into type after the composition of -the body has been completed, so that the number of pages is rarely -definitely determined at the beginning of the work. For this reason, -publishers have favored the expedient of numbering the preliminary -pages with roman folios, using the arabic folios for the text itself. -The front matter and the chapter pages running through the book -offer opportunities for embellishment and distinctive typographical -treatment, and therefore should be kept in exact accord, whether -elaborate decorations are used or the severest form of typographical -simplicity. - - -BASIC SIZES OF BOOKS - -The following list gives the size of leaf to which the various standard -names and proportions naturally fold: - - ========+============+=====================+============== - No. pp. | Size of | Name | Size of leaf - to form | sheet | | - --------+------------+---------------------+-------------- - 32 | 19 × 25 |Thirty-two mo (32mo) | 3⅛ × 4¾ - 32 | 22 × 29 |Twenty-four mo (24mo)| 3⅝ × 5½ - 32 | 24 × 32 |Eighteen mo (18mo) | 4 × 6 - 32 | 27 × 34 |Sixteen mo (16mo) | 4½ × 6¾ - 32 | 30½ × 41|Duodecimo (12mo) | 5⅛ × 7⅝ - 32 | 33 × 44 |Decimo (10mo) | 5½ × 8¼ - 16 | 24 × 36 |Octavo (8vo) | 6 × 9 - 4 | 18 × 24 |Quarto (4to) | 9 × 12 - 2 | 18 × 24 |Folio |12 × 18 - --------+------------+---------------------+-------------- - - -ENGLISH PAPER SIZES - - ===================================================== - | Abbreviated | Pages | Watermarks - Name | to | to one | in - | | sheet | hand-made - ------------------+-------------+--------+----------- - Folio | Fo. | 4 | Vertical - Quarto | 4to | 8 | Horizontal - Octavo | 8vo | 16 | Vertical - Duodecimo | 12mo | 24 | Horizontal - Sextodecimo | 16mo | 32 | Horizontal - Octodecimo | 18mo | 36 | Vertical - Vigesimo-quarto | 24mo | 48 | Vertical - Trigesimo-secundo | 32mo | 64 | Vertical - ------------------+-------------+--------+----------- - -OCTAVOS - - Foolscap 6¾ × 4¼ may become Crown 7½ × 5 inches - Crown 7½ × 5 " " Demy 8¾ × 5⅝ - Post 8 × 5 " " Medium 9½ × 6 - Demy 8¾ × 5⅝ " " Royal 10 × 6¼ - Medium 9½ × 6 " " Super Royal 10¼ × 6⅞ - Royal 10 × 6¼ " " Imperial 11 × 7½ - -QUARTOS - - Foolscap 8½ × 6¾ may become Crown 10 × 7½ inches - Crown 10 × 7½ " " Demy 11¼ × 8¾ - Post 10 × 8 " " Medium 12 × 9½ - Demy 11¼ × 8¾ " " Royal 12½ × 10 - Medium 12 × 9½ " " Super Royal 13¾ × 10¼ - Royal 12½ × 10 " " Imperial 15 × 11 - - Pott 15½ × 12½ - Foolscap 17 × 13½ - Crown 20 × 15 - Post 20 × 16 - Demy 22½ × 17½ - Medium 24 × 19 - Double Pott 25 × 15½ - Royal 25 × 20 - Double Foolscap 27 × 17 - Super Royal 27½ × 20½ - Double Crown 30 × 20 - Imperial 30 × 22 - Double Post 32 × 20 - Columbia 34½ × 23½ - Atlas 36 × 26 - - Octavo Quarto - Pott 6¼ × 3⅞ 7¾ × 6¼ - Foolscap 6¾ × 4¼ 8½ × 6¾ - Crown 7½ × 5 10 × 7½ - Post 8 × 5 10 × 8 - Demy 8¾ × 5⅝ 11¼ × 8¾ - Medium 9½ × 6 12 × 9½ - Royal 10 × 6¼ 12¼ × 10 - Super Royal 10¼ × 6⅞ 13¾ × 10¼ - Imperial 11 × 7½ 15 × 11 - - -MARGINS - -A feature not to be overlooked in the appearance of a well-printed -book is that of the margins. The perfect type-page is supposed to be -proportioned in such a way that its diagonal is twice its width. With -this page as a basis, the location of the type upon the paper leaf is -to be studied carefully. In general, the two pages, right and left, -should be considered as a unit, and the top margin and the inside -margin of each page should be approximately the same. Doing this, the -total blank between the two pages is supposed approximately to equal -the outside and the bottom margins. - -The proportion of margin is, to a certain extent, dependent upon the -size of the book, the margins becoming greater as the volume increases -from the thirty-two mo size up to the folio. A student of typography -has ingeniously estimated that, taking the height of the paper leaf -as 100 units, the height of the type page of the ordinary trade book -should be from 72% to 75%; that of a library edition, from 66% to 71%; -that of a de luxe volume, from 60% to 65%. - - - - -MAKING THE INDEX - - -EVERY book of a permanent nature, or intended as a work of reference, -requires an index. The length of the Index, or its minuteness, depends -upon the nature of the subject treated, and the importance of making it -easily available to the reader. The Index belongs to the same family -as the Table of Contents, and the Topical Analyses often placed at the -beginning of each chapter: the Contents gives a general idea of the -divisions into which the author has separated his subject; the Topical -Analyses still further divide each chapter; and the Index is ordinarily -still more minute, with the further advantage of having its references -arranged in alphabetical order. - -The proper person to make an index is, first of all, the author of the -book, provided that he possesses the natural characteristics. It does -not at all naturally follow, however, that all authors are competent to -do this, for the art of indexing is not as simple as many superficially -suppose. The author should be the one best fitted, because he knows -better than any reader the exact meaning each of his sentences is -intended to convey,--and this meaning should be expressed in the -index. The ideal index is that which gives every topic, thought, or -reference contained in the book itself, without a single superfluous -word, and with no description or comment. - -To make an index requires a quick grasp of the idea contained in each -sentence or paragraph, an immediate discernment of the main thought, -an instinctive classification, absolute accuracy in translating this -thought into its briefest expression, ability to condense, and a -sensing of the reader's needs in adequate cross-references. All this -demands a mind more logical and more sensitive to codified detail -than is possessed by many able writers. Under these circumstances, -it is desirable to place the making of the index in the hands of one -possessing these qualifications, either instinctively or as a result of -experience. - -Every publishing-house and most printing establishments of any -consequence are in a position to have indexes prepared when required, -but the danger is always present that the indexer, approaching his -subject from the outside, will fail to place himself sufficiently in -the author's attitude, and thus lessen the value of his work. It is -most desirable, in order to prevent this, that the author carefully -inspect the index while in manuscript. He can thus detect possible -departures in the indexer's condensed expression of his own thought. - -The following rules and suggestions are given with a twofold object -in mind: _first_, to prevent those authors who possess the necessary -qualifications from avoiding the preparation of their own indexes -because of unfamiliarity with the technical details; _second_, to -enable authors intelligently to criticize the form as well as the -matter of those indexes which are prepared for their volumes by other -hands. - - -WHAT TO INDEX - -The closeness with which a book is to be indexed depends partly upon -the nature of its contents and partly upon the ideas of the author -or publisher. Some indexes contain only the page references; some -are so analytical that a reader can gain an excellent idea of the -subject-matter itself. These, however, represent the two extremes. The -ordinary index aims to give every reference necessary to enable the -reader to locate easily the subject-matter for which he searches, but -not a synopsis of that subject-matter. The entries should cover, then, -with more or less minuteness, as desired, the following: - - (_a_) Proper names, whether of persons, places, religious or political - bodies, etc. - (_b_) Events and periods. - (_c_) Titles of books to which reference is made. - (_d_) Specific topics or subjects. - (_e_) Definitions. - (_f_) Vital statements. - - -PLAN - -The indexer should decide definitely in his mind just what his -procedure is to be before actually beginning work. At first, it is well -to make the index too full rather than the reverse, as it is easier to -cut out than to fill in. Most important of all, he must be sure that -the matter to be indexed is clearly understood before he attempts to -transcribe the idea. The character of the book to be indexed must be -carefully considered, taking into account the class of people who will -probably consult it, and the lines on which they will probably seek -information. - -Judgment is required in deciding whether it is wise to choose the -exact words of the author or to condense the idea into other words. -In technical books, the exact wording is sometimes essential, but -otherwise it is more important to express the _idea_ than the exact -terms in which it is expressed. - -Always prefer simple words and expressions to those which are unusual -and cumbersome. - -Omit every unessential word. - -When the book being indexed is one written upon a specific subject, -this main subject should not be indexed unless necessary to indicate -some reference for which a searcher would look. Ordinarily, the -Contents covers this point rather than the Index. - -Bear in mind particularly the two extremes: the importance of -including every reference necessary to enable the searcher to find what -he wishes without delay or confusion, the mistake of overloading the -index with useless entries. - -Use ink, as pencil entries often become illegible. - -Write plainly, and do not try to economize space in preparing the copy. - - -DEFINITION OF TERMS - -=Subject=: includes events, places, persons, facts, definitions or -topics: e.g., _Boston, 7_; _Bonnet, Father, 155_; _Huron Mission, -plans for, 129_; _Onontio, meaning of, 102_; _Absolutism, contest with -liberty, 274._ - -=Heading=: the word or words used by the indexer to express the subject -or idea. In the examples above, the headings are _Boston_, _Bonnet_, -_Father_, _Onontio_, etc. - -=Entry=: the amplification of the Heading, with the addition of the -supplementary phrase. In the example above, the entry is _Absolutism, -contest with liberty_, the supplementary phrase being _contest with -liberty_. - -=Cross-reference=: a heading referring to an entry: e.g., _Michabou._ -See _Manabozho_. - - -PROCEDURE - -Having settled upon a definite plan, the indexer seats himself at a -good-sized table, and lays out his materials in front of him. After -testing every possible method, the present writer strongly urges the -use of individual slips of paper, about 2½ inches by 4 inches. Arranged -within easy reach in front of the indexer, but leaving room for the -proof-sheets, should be twenty small pasteboard boxes,[48] a little -larger than the slips themselves.[48] On the inside bottom of each -box mark a letter of the alphabet, combining O and Q, U and V, and X -Y Z. As soon as a slip is written, throw it into its proper box, and -continue throughout the work. It is a false economy to search out the -slips for subsequent entries, unless they can be easily found, as it is -a simple matter at the end to combine the several slips which belong to -the same heading. - -Here are sample slips, showing a heading which requires full entries -and one to which the text contains fewer references. The first shows a -slip on which the various entries have been combined: - - +-------------------------------------------------------+ - | Andastes, the, 5; location and characteristics of, | - | 36; synonyms of, 36; plans for converting, 130; | - | war with Mohawks, 147; Hurons ask aid from, | - | 162; mortal quarrel with Mohawks, 163; promise | - | to aid Hurons, 163; Huron fugitives try to reach, | - | 240, 250; Mohawks first to bear brunt of war | - | with, 268; receive aid from Swedish colonists, 268; | - | attack Senecas, 269; courage their only strength | - | 270; finally overborne by Senecas, 270. | - +-------------------------------------------------------+ - -This slip shows the method of indexing a work in more than one volume: - - +-------------------------------------------------+ - | James, Edwin, gives account of Nanabush, i. 67; | - | on Indian ideas of another life, ii. 79. | - | | - | | - +-------------------------------------------------+ - -In the rules which follow, the basis adopted is "Cutter's Rules for -a Dictionary Catalogue,"[49] prepared for library cataloguing. Such -portion as applies to book indexing has been freely drawn upon, adapted -and added to from the present writer's experience. - - -ARRANGEMENT - -When, under a single entry, there are both subject-references and -references by folios only, place the folio-references together at the -end of the entry, following the subject-references. - -Arrange entries according to the English alphabet, whatever the order -of the alphabet in which a foreign name might have been entered in its -original language. - -Arrange German names spelled with the vowels ä, ö, ü as if spelled ae, -oe, ue, but retain the form employed by the author. - -When the same word serves for several kinds of entries, the order -should be as follows: person, place, subject, title: e.g., (1) _Brown, -G. F._ (person). (2) _Brown Village_ (place). (3) _Brown-tail Moth_ -(subject). (4) _Brown Family, the_ (title). - -Forenames precede surnames: e.g., _Francis I_ precedes _Francis, -Charles_. - - -ADJECTIVE-HEADINGS - -In general, a noun or a substantive phrase should be selected for the -heading, but when an adjective forms part of a name or well-known -term, the entry should include it: e.g., _Alimentary canal, hereditary -genius, perpetual motion_, etc. - - -SUBJECT-MATTER - -It is not possible to formulate rules for indexing subject-matter -as definitely as has already been done with names, places, etc. The -judgment of the indexer and his analytical skill will be called fully -into play. The effort should be to express in the index, in the -clearest yet briefest form, the _idea_ which the author has amplified -in his text. As an aid to the nature and form of the entries, a page of -text is shown on the opposite page, and the entries which would appear -in the index from this page, are given below. This is what would be -considered as a medium full index: - - Bressani, Joseph, tortured by Iroquois, 73; life spared by Iroquois, - 73; sent to Fort Orange, 73; ransomed by Dutch, 73; sent to Rochelle, - 73. - - Dutch, the, ransom Bressani, 73. - - Indian Torture, See _Torture, Indian_. - - Iroquois Indians, the, torture Bressani, 73; spare Bressani's - life, 73. - - Jogues, Isaac, referred to, 73. - - Orange, Fort, Bressani sent to, 73. - - Rochelle, Bressani sent to, 73. - - Torture, Indian, Bressani by the Iroquois, 73. - - ESCAPE OF BRESSANI 73 - - march of several days,--during which Bressani, in wading a rocky - stream, fell from exhaustion and was nearly drowned,--they reached - an Iroquois town. It is needless to follow the revolting details - of the new torments that succeeded. They hung him by the feet - with chains; placed food for their dogs on his naked body, that - they might lacerate him as they ate; and at last had reduced his - emaciated frame to such a condition that even they themselves stood - in horror of him. "I could not have believed," he writes to his - Superior, "that a man was so hard to kill." He found among them - those who, from compassion or from a refinement of cruelty, fed - him, for he could not feed himself. They told him jestingly that - they wished to fatten him before putting him to death. - - The council that was to decide his fate met on the nineteenth of - June, when to the prisoner's amazement, and, as it seemed, to their - own surprise, they resolved to spare his life. He was given, with - due ceremony, to an old woman, to take the place of a deceased - relative; but since he was as repulsive, in his mangled condition - as, by the Indian standard, he was useless, she sent her son - with him to Fort Orange, to sell him to the Dutch. With the same - humanity which they had shown in the case of Jogues, they gave a - generous ransom for him, supplied him with clothing, kept him until - his strength was in some degree recruited, and then placed him on - board a vessel bound for Rochelle. Here he - - PAGE FROM PARKMAN'S WORKS. BY PERMISSION LITTLE, BROWN, & CO. - - -RULES AND EXAMPLES - -=Names:= - -Index under the Christian name or forename: - -(_a_) Sovereigns, popes, queens, princes and princesses. _Exceptions_: -Greek or Roman sovereigns, princes of the French Empire. - -(_b_) Persons canonized: e.g., _Thomas a Becket, Saint_. - -Also make cross-reference: e.g., _Becket, Thomas a._ See _Thomas a -Becket_. - -(_c_) Friars required by the constitution of their order to relinquish -their surname: e.g., _Paolino da S. Bartolomeo_. - -Also make cross-reference under family name: e.g., _Wesdin, J.P._ See -_Paolino da S. Bartolomeo_. - -(_d_) Persons known only by their first names, whether or not their -profession, rank or native place be added: e.g., _Michelangelo -Buonarroti_, _Rembrandt van Rhijn_. - -Cross-reference under family name is optional, dependent upon closeness -of indexing. - -(_e_) Oriental authors, including Jewish rabbis: e.g., _Abu Bakr ibn -Badr_. - -This rule has many exceptions. Some Oriental writers are known and -should be entered under other parts of their name than the first, as -"_Abu-l-Kasim, Khalaf ibn Abbas_," _Firdusi, Abul Kasim_, etc., _known -as_, or under some appellation as "_al-Masudi_," "_at-Tabari_." - -In Arabic names, the words of relationship _Abu_ (father), _Umm_ -(mother), _Ibn_, _Bin_ (son), _Ahu_ (brother), though not to be treated -as names by themselves, are yet not to be disregarded. They form a -name in conjunction with the word following (e.g., _Abu Bakr_), and -determine the alphabetical place of the entry. But the article _al_ -(changed by assonance to _ad_-, _ar_-, _as_-, _at_-, _az_-, according -to the letter it precedes) is neglected (al- _Masudi_). - -In all Oriental names, the indexer must be careful not to take titles, -as _Emir, Bey, Pasha, Sri, Babu, Pundit_, for names. - -In regard to East Indian names, Dr. Feigl gives the rule: If there are -two names, enter under the first, which is the individual name, with -a cross-reference from the second; if there are three or more, enter -under the third, which is the family name, with a cross-reference under -the first or individual name; the second may be neglected. - - -Index under the surname: - -(_a_) In general, all persons not included under previous rules. - -In a few cases, chiefly of artists, a universally-used sobriquet -is to be taken in place of the family or forename, as _Tintoretto_ -(whose real name was Giacomo _Robusti_). Similar cases are _Canaletto_ -(Antonio _Canale_ and also B. _Belotto_), _Correggio_ (Ant. _Allegri_), -_Garofalo_ (Benvenuto Piero _Tisi_), Il _Sodoma_ (Giov. Ant. _Bazzi_), -_Spagnoletto_ (Jusepe _Ribera_, now however oftener called _Ribera_), -_Uccello_ (Paolo _Doni_). Always cross-reference from the family name. - -(_b_) In particular, ecclesiastical dignitaries: e.g., _Kaye_, John, -Bishop of Lincoln. _Lincoln_, John, Bishop of. See _Kaye_. - -Bishops usually omit their family name, canons their forename: e.g., -_Canon Liddon_, _Bishop of Ripon, Henry Edward_, _Archbishop of -Westminster_, i.e., _H. E. Manning_. Care must be taken not to treat -Canon as a forename or Edward as a family name. - -(_c_) Married women, using the known form: - -Wives often continue writing, and are known in literature only under -their maiden names (as _Miss Freer_ or _Fanny Lewald_), or after a -second marriage retain for literary purposes the first husband's name. -Enclose the maiden name in parenthesis: e.g., _Ward, Mrs. Elizabeth -(Phelps)_. Use the form _White, Mrs. Julia Charlotte, wife of J. C._, -when the husband's name is used: e.g., _Hopkins, Mrs Sarah (Drake) -Garretson_. _Stowe, Mrs. Emily Howard (Jennings)_. _Soyaux, Frau Frieda -(Schanz)_. _Gasparin, Valérie (Boissier) Comtesse de_. - -Women known under their husbands' names are to be entered as follows: -_Hinkson, Mrs. Katherine (Tynan), Mrs. H. A. Hinkson_. Cross-reference -to be made from the latter form. - - -Index under the highest title: - -British and foreign noblemen, with cross-reference from earlier titles -by which they have been known, and, in the case of British noblemen, -from the family name: e.g., _Chesterfield, 4th Earl of (Philip -Dormer Stanhope)_. _Chesterfield, 5th Earl of (Philip Stanhope)_. -Cross-reference from _Stanhope_. _Saint-Simon, Louis de Rouvroi, Duc -de_. - -Authors should be put under their names. The definition of a name is -"that by which a person or thing is known." Noblemen are known by their -titles, not by their family names. - - In the few cases in which the family name[50] or a lower title is - decidedly better known, index under that and cross-reference from - the title: e.g., _Francis Bacon, Baron Verulam_; _Robert Curzon, - 14th Baron Zouche_; _John Napier, Baron of Merchiston_; _Horace - Walpole, 4th Earl of Oxford_; likewise the military nobles and - princes of the French Empire: e.g., _Lucien Bonaparte, Prince de - Canino_; _McMahon, Duc de Magenta_. - - Englishwomen's titles-of-honor are to be treated by the following - rules. In the matter of titles an Englishwoman in marrying has - everything to gain and nothing to lose. If she marries above her - own rank she takes her husband's title in exchange for her own, - if below her own rank she keeps her own title. - -(_a_) The wife of a peer takes her husband's style. - -That is, she is Baroness, Viscountess, Marchioness, etc. In indexing, -say _Brassey, Annie (Allnutt), Baroness_; not _Brassey, Annie -(Allnutt), Lady_. - -(_b_) The wife of a knight or baronet is _Lady_. Whether this title -precedes or follows her forename depends upon whether she had a title -before her marriage. - -That is, if Lady Mary Smith marries Sir John Brown (either knight or -baronet), she is _Lady Mary Brown_, also if Hon. Mary Smith marries -Sir John Brown (knight or baronet) she is _Lady Mary Brown_; but if -Miss Mary Smith marries Sir John Brown (knight or baronet), she becomes -_Mary, Lady Brown_. - -(_c_) A maid of honor retains her _Hon._ after marriage, unless, of -course, it is merged into a higher title. - -Thus, if she marries a baronet she is the _Honᵇˡᵉ Lady Brown_; if a -peer, the _Lady So and So_. In either case as though she had been a -peer's daughter. - -(_d_) The wife of an earl's (or higher peer's) younger son is never the -_Honᵇˡᵉ Lady_; if she used the _Lady_ before marriage in her own right -she does not, of course, add anything by such marriage, but the wife -of a younger son of a lower peer than an earl is _Honᵇˡᵉ Mrs._ (not -_Lady_)--the younger children of all peers using, of course, the family -name, with or without their forenames, according to their rank. - -(_e_) If the lady to whom the title _Hon._ belongs in virtue of her -father's rank marries a commoner, she retains her title, becoming -_Hon. Lady_ if she marries a knight or baronet, and _Hon. Mrs._ if her -husband has no title. - -None of these courtesy titles is inherited by the children of those who -bear them, the third generation of even the highest peer being simply -commoners unless raised in rank by marriage or merit. - -(_f_) The title _Lady_ belongs to daughters of all noblemen not lower -than earl. - -(_g_) The title _Hon._ belongs to daughters of viscounts and barons; -also to an untitled woman who becomes a maid-of-honor to the Queen, -and this title is retained after she leaves the service. If a woman who -has the title _Lady_ becomes maid-of-honor she does not acquire the -title _Hon._ - - - Index compound names according to the usage of the author's - fatherland, though if it is known that his practice differs from - this usage, his preference should be followed. Compound names - then go: - -(_a_) If English, under the last part of the name, when the first has -not been used alone by the author: e.g., _Gould, Sabine Baring-_; -but _Halliwell (afterwards Halliwell-Phillipps), J. O._, and _Locker -(afterwards Locker-Lampson)_, because they are well-known under the -first names. - -(_b_) If foreign, under the first part. - -Both such compound names as _Gentil-Bernard_ and such as _Gentil de -Chavagnac_. There are various exceptions, when a name has been more -known under the last part, as _Fénelon_, not _Salignac de Lamothe -Fénelon_; _Voltaire_, not _Arouet de Voltaire_; _Sternberg_, not -_Ungern-Sternberg_. Moreover, it is not always easy to determine -what is a compound surname in French. Cross-references are necessary -whichever way one decides each case, especially when the second part -of a foreign compound name has been used alone, as _Merle d'Aubigné_ -(index under _Merle_ with a cross-reference from _Aubigné_). - -In French, a forename is sometimes joined to a surname by a hyphen. In -such cases make the entry under the family name, with a cross-reference -from the forename: e.g., entry, _Rochette, Désiré Raoul_; -cross-reference, _Raoul-Rochette, Désiré_. See _Rochette_. - -(_c_) In foreign compound names of women also, although the first part -is usually the maiden name and the second the husband's name, the entry -should generally be under the first, with a cross-reference from the -second[51]: e.g., _Rivé-King_, with cross-reference from _King, born -Rivé_. - - -Index surnames preceded by prefixes: - -(_a_) In French and Belgian, under the prefix when it is or contains -an article, _Le, La, L', Du, Des_; under the word following when the -prefix is a preposition, _de, d'_: e.g., _Des Essarts, Du Cange, -La Fontaine, Le Sage, L'Estoille_; but _Charlevoix, P. F. X. de_; -_Estrées, Mme d'_. - -_La_ and _Le_ are often, _Des_ is usually, and _Les_ is almost without -exception printed as one word with the name following, as _Lafontaine, -Lesage, Lesdiguières_; _de_ and _d'_ are sometimes so printed; when -they are, enter under the _D_: e.g., _Debucourt, Decamps, Delisle_; but -_Bucourt, A. de_, _Camps, C. de_, _Lisle, J. de_. - -(_b_) In English, under the prefix, no matter from what language the -name is derived, with cross-references when necessary: e.g., _De -Quincey_, _Van Buren_. - -(_c_) In all other languages, under the name following the prefix, with -cross-references whenever the name has been commonly used in English -with the prefix, as _Del Rio_, _Vandyck, Van Ess_: e.g. _Gama, Vasco -da_, _Goethe, J. W. von_. - -But when the name is printed as one word, entry is made under the -prefix, as _Vanderhaeghen_. - -(_d_) Naturalized names with prefixes are to be treated by the rules of -the nation adopting them. - -Thus German names preceded by _von_, when belonging to Russians, are to -be entered under _Von_, as this is the Russian custom. So when Dutch -names compounded with _van_ are adopted into French or English (as _Van -Laun_) the _Van_ is treated as part of the family name. - -Prefixes are _d', de, de La_ (the name goes under _La_ not _de_), -_Des, Du, L', La, Le, Les, St, Ste_ (to be arranged as if written -_Saint, Sainte_), _da, dal, dalla, dalle, dai, dagli, del, della, -delle, dei_ (_dé_ or _de_), _degli, da, dos_, _das, ten, ter, thor, -Van, vander, van't, ver, am, auf, auf'm, aus, aus'm, in, im, von, vom, -zu, zum, zur, A', Ap, O', Fitz, Mac_ (which is to be printed as it is -in the title, whether _M'_, or _Mc_, or _Mac_, but to be arranged as if -written _Mac_). - - - Index names of capes, lakes, mountains, rivers, forts, etc., - beginning with _Cape_, _Lake_, _Mt._, etc., under the word - following the prefix, but when the name is itself used as a - prefix, do not transpose _Cape_, etc., nor in such names as _Isle - of the Woods_, _Isles of Shoals_; but there is more reason for - writing _France, Isle de_; _Man, Isle of_; _Wight, Isle of_: - e.g., _Cod, Cape_; _George, Lake_; _Washington, Mt._; _Moultrie, - Fort_; but _Cape Breton Island_. When the name of a fort becomes - the name of a city, of course the inversion must be abandoned, as - _Fort Wayne_. - - Forenames are to be used in the form employed by their owners, - however unusual, as _Will Carleton, Sally (Pratt) McLean, Hans - Droysen, Fritz Reuter_. - - Give names of places in the English form. (Cross-reference from - the vernacular, if necessary): e.g., _Munich_ not _Muenchen_ or - _München_, _Vienna_ not _Wien_, _Austria_ not _Oesterreich_. - - But if both the English and the foreign forms are used by English - writers, prefer the foreign form: e.g., _Dauphiné_ rather than - _Dauphiny_. - - Use the modern name of a city and cross-reference to it from the - ancient, provided its existence has been continuous and there is - no doubt as to the identity. - - Distinctive epithets are to be in the same language as the name: - e.g., - -_Kniaz, fürst von, Freiherr zu, duc de Magenta, Bishop of Lincoln, -évêque de Meaux_; but _Emperor of Germany, King of France_, not -_kaiser_ and _roi_, when names of sovereign princes are given in -English. Treat in the same way patronymics habitually joined with a -person's name; as, _Clemens Alexandrinus_. - - - Prefixes (i.e., titles which in speaking come before the name), as - _Hon., Mrs., Rev._, etc., should in the heading be placed before - the Christian name (as _Smith, Capt. John_), and suffixes as - _Jr., D.D., LL.D._, after it (as _Channing, James Ellery, D.D._). - -Hereditary titles generally follow the Christian name, as _Derby, -Thomas Stanley, 1st earl of_; but British courtesy titles (i.e., -those given to the younger sons of dukes and marquesses) precede, -as _Wellesley, Lord Charles (2d son of the Duke of Wellington)_. In -other languages than English, French, and German the title usually -precedes the forename; as, _Alfieri, Conte Vittorio_. Occasionally a -French nobleman uniformly places his title before his forenames; as, -_Gasparin, Comte Agénor de_. - -_Lord_ should be replaced by the exact title in the names of English -noblemen: e.g., Lord Macaulay should be entered as _Macaulay, 1st -baron_. _Lord_ in the title of Scotch judges follows the family name; -as, _Kames, H. Home, afterwards Lord_. - -The title Baronet is given in the form _Scott, Sir Walter, bart._ - -Patronymic phrases, as _of Dedham_, follow all the names; but they must -immediately follow the family name when they are always used in close -connection with it, as _Girault de St. Farjeau, Eusèbe_; similarly -_aîné_, _fils_, _jeune_, as _Dumas fils, Alexandre_; _Didot fils, -Ambroise_. Latin appellatives should not in general be separated from -their nouns by a comma; as, _Caesar Heisterbacensis_. - -The name of a king's wife should be written thus: _Charlotte, Queen, -consort of George III of England_. _Anne Boleyn Queen, 2d consort of -Henry VIII of England._ - - -=Countries and places:= - - Index under countries or places important events relating to them: - e.g., _Montreal, Cartier's description of houses at_. Also make - reference under name: e.g., _Cartier, description of houses at - Montreal_. - - Enter congresses of several nations under the name of the place - of meeting (as that usually gives them their name), with - cross-references from the nations taking part in them, and from - any name by which they are popularly known: e.g., the _Congress - of London, of Paris, of Verona, International Peace Congress - at the Hague_. - - Enter treaties under the name of each of the contracting parties, - with a cross-reference from the name of the place of negotiation, - when the treaty is commonly called by that name, and from any - other usual appellation: e.g., treaty of _Versailles_, _Barrier_ - treaty, _Jay's_ treaty. - - -=Parties and sects:= - - Enter the official publications of any political party or - religious denomination or order, under the name of the party, or - denomination, or order: e.g., - -Platforms, manifestoes, addresses, etc., go under _Democratic Party, -Republican Party_, etc. - -Confessions of faith, creeds, catechisms, liturgies, breviaries, -missals, hours, offices, prayer books, etc., go under _Baptists, -Benedictines, Catholic Church, Church of England, Friends_, etc. - -That part of a body which belongs to any place should be entered -under the name of the body, not the place: e.g., _Congregationalists -in New England_, _Congregationalists in Massachusetts_, not _New -England Congregationalists_, _Massachusetts Congregationalists_. But -cross-references must be made from the place (indeed in cases like -_Massachusetts Convention_, _Essex Conference_, it may be doubted -whether those well-known names should not be the headings). - - Enter corporations and quasi corporations, both English and - foreign, under their names as they read, neglecting an initial - article or serial number when there is one. - - Enter orders of knighthood, both those of medieval times and their - honorary modern equivalents, under the significant word of the - English title: e.g., _Garter, Order of the_; _Malta, Knights - of_; _Templars, Knights_; _Teutonic Order_; _Freemasons_. But - the American Knights Templars, being merely a division of the - Freemasons, belong under _Freemasons_; so of other regular - masonic bodies. - - The colleges of an English university and the unnamed professional - schools of an American university go under the university's - name. Such professional schools, if they have a distinctive - name, particularly if at a distance from the university, or for - any other reason less closely connected with it, go under their - own name: e.g., _Oxford University, Magdalen College_; _Harvard - University, Veterinary School_; but _Barnard College, Columbia - University_; _Radcliffe College, Harvard University_; _Sheffield - Scientific School of Yale University_. - - College libraries go under the name of the college: e.g., _Harvard - College, University Library_. But the Bodleian Library may be put - under _Bodleian_. - - Local college societies go under the name of the college; - intercollegiate societies and Greek letter fraternities under - their own names: e.g., Φ B K _A, of Harvard_. - - Alumni and Alumnæ associations go under the name of the school or - college: e.g., _Harvard Alumni Association of New York_. - - Schools supported by public taxation go under the name of the city - or town maintaining them, whether they have an individual name or - not. - - When a corporation is much less known by the first words of its - name than by a later part, enter under the later part: e.g., - _Christian Endeavor, Young People's Society of_. - - Enter guilds under the name of the trade: e.g., _Stationers - Company_, not _Master and Keepers or Wardens and Commonality of - the Mystery and Art of Stationers of the City of London_, which - is the corporate title. - - Enter bodies whose legal name begins with such words as _Board_, - _Corporation_, _Trustees_ under that part of the name by - which they are usually known: e.g., Trustees of the _Eastern - Dispensary_; President and Fellows of _Harvard College_; - Proprietors of the _Boston Athenæum_; Contributors to the - _Asylum for the Relief of Persons Deprived of their Reason_. - Cross-reference from the first word of the legal name. - - Enter the name of a firm under the family name rather than the - forename, and do not fill out the forenames: e.g., _Friedlander - und Sohn, Raphael_, not under _Raphael_; _Stokes, F. A. Co._, not - _Stokes, Frederick A. Co._ - -The consulter is much more likely to remember the family than the -Christian name. Whether the Christian name is written at the end -or thus, _Town (John)_ and _Bowers (Henry)_, all firms should be -arranged after all the other entries of the first family name, i.e., -_Friedlander und Sohn_ after all the _Friedlanders_. - -This rule might be extended to include corporations, colleges, -libraries, etc., whose legal names include forenames. Entry under a -forename, as _Silas Bronson Library_, and especially under initials, as -_T. B. Scott Public Library_, is awkward. But the public habit is not -yet sufficiently settled to justify an exception. - - Enter the universities of the European continent and of Central and - South America under the name of the place; all other societies - under _Königliche_, _Herzogliche_, etc. - -Cross-reference from the first word in the university names and from -the place of societies. - -A few learned academies, commonly called by the names of the cities -where they are established, may be entered under the place with a -cross-reference from the name. These are _Berlin, Göttingen, Leipzig, -Lisbon, Madrid, Munich, St. Petersburg, Vienna_. - - Enter national libraries, museums, and galleries, as well as - libraries, museums, and galleries instituted or supported by a - city, under the place, provided they have not a distinctive name. - -Example of place: _Paris Bibliothèque Nationale_. _Boston Public -Library._ - -Example of name: _Berkshire Athenæum_; _Boston Athenæum_; _British -Museum_; _Forbes Library_; _Marucceliana, Biblioteca_; _Reuben Hoar -Public Library_. - - Enter observatories under the name of the place: e.g., _Greenwich, - Observatory_. _Pulkowa, Sternwarte_; except that: - -(_a_) University observatories go under the university: e.g., _Harvard -College. Astronomical Observatory, at Cambridge._ (Cross-reference from -_Cambridge_.) - -(_b_) Any observatory having an individual name may go under that: -e.g., _Lick Observatory_, _Yerkes Observatory_. - - Enter expositions under the place where they were held: e.g., - -_Buffalo, Pan-American Exposition, 1901_; _Chicago, World's Columbian -Exposition, 1893_; _New Orleans, World's Industrial and Cotton -Centennial Exhibition, 1884-85_; _Philadelphia, Centennial Exhibition, -1876_. - -Cross-reference from an individual name. - - Enter American State universities and State historical, - agricultural and medical societies, whether supported by the - State or not, under the name of the State, unless they are better - known by a distinctive name. The State's name usually enters into - the name of these societies and they are known outside of the - State by its name. Cross-reference when necessary. - - Enter churches under the name of the place. - -Single churches have usually been entered under the place, a practice -which arose in American indexes from our way of naming churches "The -First Church in----," "The Second Church of----," etc., and applies -very well to a majority of English churches, whose name generally -includes the name of the parish. It is more in accordance with indexing -principles to limit the local entry of churches to _First Church_, -etc., and those which have only the name of the town or parish, and to -put all others (as _St. Sepulchre's_, _St. Mary Aldermansbury_) under -their names, as they read, and to treat convents and monasteries in the -same way; but the convenience of having a single definite rule has been -held to outweigh in this case the claims of consistency. - -The parishes of London (as _Kensington_, _Marylebone_, _Southwark_), -like the parts of Boston (_Dorchester_, _Roxbury_, etc.), or of any -other composite city, would be put under their own names, not under the -name of the city. - - A few cathedrals generally known by some other name may be entered - under it: e.g., _St. Paul's, London; Notre Dame, Paris; St. - Peter's, Rome; St. Sophia, Constantinople_. - - Put monasteries and convents, like churches, under the place, - unless better known by the name. - - National banks designated merely by number (as _First National Bank - of Boston_) go under the name of the place. - - Young men's Christian associations, mercantile library - associations, and the like, should have local entry. - - Private schools having no distinctive name go under the name of the - proprietor. - - Private libraries, galleries and museums go under the name of the - proprietor. - - Buildings are for the most part provided for in the above rules, as - museums, galleries, libraries, churches, etc. Any others should - be entered under their names, with a cross-reference from the - city. - - Headings like _Charles_, _George_, _Henry_, when very numerous, - must be divided into classes, in this order: Saints, Popes, - Emperors, Kings, Princes, and Noblemen, others. The Saints are - sub-arranged by their usual appellatives, the Popes by their - number, Sovereigns and Sovereign princes in alphabetical order - of countries, and under countries numerically. Other persons - are sub-arranged by their usual appellatives, neglecting the - prepositions:[52] e.g., - - _Peter_, Saint. - _Peter_, Pope. - _Peter_, the Great, Emperor of Russia. - _Peter II_, of Aragon. - _Peter III_, of Aragon. - _Peter I_, of Portugal. - _Peter_, Duke of Newcastle. - _Peter_, of Groningen, enthusiast. See _Pieter_. - _Peter_, John Henry. - _Peter, Lake._ - _Peter, Mt._ - _Peter-Hansen_, Erik. - _Peter_ Lewis, a true tale. - -When there are two appellatives coming in different parts of -the alphabet, cross-reference from the rejected one, as _Thomas -Cantuariensis_. See _Thomas Becket_. - - Arrange in two alphabets names that differ slightly in spelling and - come close together in the alphabet: e.g., - -_Brown_ and _Browne_, and the French names beginning with _Saint_ and -_Sainte_. As readers may not always know the spelling of the author's -name, cross-references should be made: e.g., _Brown_. See also _Browne_. - - Arrange by the forename headings in which the family name is the - same. - -No attention is to be paid to prefixes, as _Bp., Capt., Dr., Hon., Sir, -Fräulein, Miss, Mlle., Mme., Mrs._, or to suffixes, as _D.D., F.R.S., -LL.D._, etc. - - When the forenames are the same, arrange chronologically. - -No attention is to be paid to the titles _Sir_, etc.: e.g., _Bart, T. -L._, comes before _Bart, Thomas_, for the same reason that _Bart_ comes -before _Barta_. - - Forenames not generally used should be neglected in the arrangement. - -When an author is generally known by one of several forenames he will -be looked for by that alone, and that alone should determine the -arrangement. The form should be _Harte, Bret_ (in full _Francis Bret_), -or _Harte, Bret_ (i.e., _Francis Bret_). - -Make cross-references whenever the omission of a name will change the -alphabetical arrangement, as from _Müller, F. Max_, to _Müller, Max_. - - When there are two names exactly the same, add dates if available: - e.g., _Franklin, John (d. 1759)_; _Franklin, John (d. 1863)_. - - If an author uses both the shorter and the longer forms in - different works, and yet is decidedly better known by the - shorter, arrange by that. - - Arrange a nobleman's title, under which entry is made, and the name - of a bishop's see, from which reference is made to the family - name, among the personal names, not with the places: e.g., - - _London_, Alfred. - _London_, David, bp. of. - _London_, John. - _London_, Conn. - _London_, Eng. - not _London_, John. - _London_, David, bp. of. - _London_, Conn. - nor _London_, John. - _London_, Conn. - _London_, David, bp. of. - _London_, Eng. - - _Danby_, John. - _Danby_, Thomas _Osborne_, earl of. - _Danby_, Wm. - _Danby_, Eng. - _Holland_, C. - _Holland_, 3d baron (H: R. Vassal Fox). - _Holland_, 4th baron (H: E. Vassal Fox). - _Holland_ (the country). - - The possessive case singular should be arranged with the plural: e.g., - - _Bride_ of Lammermoor. - _Brides_ and bridals. - _Bride's_ choice. - _Boys'_ and girls' book. - _Boy's_ King Arthur. - _Boys_ of '76. - - Arrange Greek and Latin personal names by their patronymics or other - appellatives: e.g., - - _Dionysius._ - _Dionysius_ Areopagita. - _Dionysius_ Chalcidensis. - _Dionysius_ Genuensis. - - Arrange English personal and place names compounded with prefixes as - single words; also those foreign names in which the prefix is not - transposed: e.g., - - _Demonstration._ - _De Montfort._ - _Demophilus._ - _De Morgan._ - _Demosthenes._ - -Other such names are _Ap Thomas, Des Barres, Du Chaillu, Fitz Allen, La -Motte Fouqué, Le Sage, Mac Fingal, O'Neal, Saint-Réal, Sainte-Beuve, -Van Buren_. - -This is the universal custom, founded on the fact that the prefixes are -often not separated in printing from the following part of the name. -It would, of course, be wrong to have _Demorgan_ in one place and _De -Morgan_ in another. - - Arrange proper names beginning with _M', Mc, St., Ste._ as if spelled - _Mac, Saint, Sainte_. - -Because they are so pronounced. But _L'_ is not arranged as _La_ -or _Le_, nor _O'_ as if it stood for _Of_, because they are not so -pronounced. - - Arrange compound names of places as separate words, except those - beginning with prefixes: e.g., - - _New_, John. - _New Hampshire._ - _New_ legion of Satan. - _New Sydenham Society._ - _New York._ - _Newark._ - _Newfoundland._ - _Newspapers._ - not _New_, John. - _New_ legion of Satan. - _Newark._ - _Newfoundland._ - _New Hampshire._ - _Newspapers._ - _New Sydenham Society._ - _New York._ - - Arrange personal names compounded of two names with or without a - hyphen after the first name, but before the next longer word: e.g., - - _Fonte_, Bart. de. - _Fonte Resbecq_, Auguste. - _Fontenay_, Louis. - _Fontenay Mareuil_, François. - - Arrange names of societies as separate words. - -See _New Sydenham Society_ in the list above. - - Arrange hyphened words as if separate: e.g., - - _Happy_ home. - _Happy-Thought_ Hall. - _Happy_ thoughts. - _Home_ and hearth. - _Home_ rule. - _Homely_ traits. - _Homer._ - _Sing_, pseud. - _Sing_, James. - _Sing_, James, pseud. - _Sing-Sing Prison._ - _Singapore._ - _Singing._ - _Grave and Reverend Club._ - _Grave County._ - _Grave Creek._ - _Grave-digger._ - _Grave-mounds._ - _Grave_ objections. - _Grave de Mézeray_, Antoine. - _Gravel._ - _Gravestone._ - _Graveyard._ - _Out_ and about. - _Out_ in the cold, a song. - _Out-of-door_ Parliament. - _Outer_ darkness, The. - - Arrange pseudonyms after the corresponding real name: e.g., - - _Andrew_, pseud. - _Andrew_, St. - _Andrew_, St., pseud. - _Andrew_, John. - _Andrew_, John, pseud. - _Andrew_, John Albion. - - Arrange incomplete names by the letters. When the same letters - are followed by different signs, if there are no forenames, - arrange in the order of the complexity of signs; but if there - are forenames, arrange by them: i.e., put a dot before a line, a - line before a star (three lines crossing), etc.: e.g., - - _Far_ from the world. - _Far_ ... - _Far_ *** - _Far_, *** B. F. - _Far_ ..., J. B. - _Farr_, John. - - The arrangement of title-entries is first by the heading words; if - they are the same, then by the next word; if that is the same, - by the next; and so on. Every word, articles and prepositions - included, is to be regarded, but not a transposed article: e.g., - - _Uncovenanted_ Mercies. - _Under_ a Cloud. - _Under_ the Ban. - _Under_ the Greenwood Tree; a novel. - _Under_ the Greenwood Tree; a poem. - _Under_ Which King. - _Undone_ Task, The. - _Undone_ Task Done.[53] - -It makes no difference whether the words are connected with one another -in sense or not; the searcher should not be compelled to think of that. -Let the arrangement be by words as ordinarily printed. Thus _Home Rule_ -is one idea but it is two words, and its place must be determined -primarily by its first word _Home_, which brings it before _Homeless_. -If it were printed _Homerule_ it would come after _Homeless_. Similarly -_Art Amateur_ is one phrase, but as the first word _Art_ is followed by -a word beginning with _am_, it must come before _Art_ and _Artists_, -although its parts are more closely connected than the parts of the -latter phrase. - -The French _d'_ and _l'_ are not to be treated as part of the following -word: e.g., - - _Art d'économiser._ - _Art d'être grandpère._ - _Art d'instruire._ - _Art de faire._ - _Art de l'instruction._ - _Art de linguistique._ - _Art des mines._ - _Art digne._ - not _Art de faire._ - _Art de linguistique._ - _Art de l'instruction._ - _Art d'économiser._ - _Art des mines._ - _Art d'être grandpère._ - _Art digne._ - _Art d'instruire._ - - Arrange titles beginning with numeral figures as if the figures - were written out in the language of the rest of the title: e.g., - -100 deutscher Männer--Ein hundert deutsche Männer; 1812--Mil huit cent -douze. - - Arrange abbreviations as if spelled in full, but elisions as they - are printed: e.g., - -_Dr., M., Mlle., Mme., Mr., Mrs., St., as Doctor, Monsieur, -Mademoiselle, Madame, Mister, Mistress, Saint_. - - But _Who'd be a king?_ - _Who killed Cock Robin?_ - _Who's to blame?_ - - Care must be taken not to mix two subjects together because their - names are spelled in the same way. - -Thus _Grace_ before meals, _Grace_ of body, _Grace_ the musical term, -and _Grace_ the theological term, must be four distinct headings. - - - - -GLOSSARY OF TERMS - - -NOTE.--_(b) Signifies terms used in connection with binding only. (c) -Terms usually employed in connection with the composing-room. (e) Terms -used in engraving. (el) Terms used in electrotyping. (g) Terms used -with general significance. (p) Terms used in connection with presswork._ - -=Accents= (_g_).--Small marks placed over, under, or through particular -letters, used to indicate pronunciation. - -=Adams Press= (_p_).--A large platen printing-machine, used for -bookwork. - -=Agate= (_c_).--A small size of type equal to 5½ points. See _Point_. - -=Alignment= (_c_).--The arrangement of type in straight lines, also -the adjustment of the lines of type so that their ends appear in line, -vertically. - -=All-along= (_b_).--In sewing a book, when the thread is passed from -kettle-stitch to kettle-stitch, or from end to end in each sheet, it is -sewed all-along. - -=Alley= (_c_).--The floor space between stands where compositors work. - -=American Russia= (_b_).--See _Cowhide_. - -=Antique Type= (_c_).--Fonts of type of an old or medieval character. -The lines of all the characters are nearly uniform as to thickness; the -corners square and bold. - -=Aquatint= (_e_).--A peculiar style of etching on copper or steel in -imitation of drawings in sepia or India ink. - -=Arabic Numbers= (_c_).--The numeral figures as distinguished from -Roman characters. - -=Art Canvas= (_b_).--A book cloth known both as Art Canvas and Buckram. - -=Art Work= (_e_).--See _Retouching_. - -=Ascending Letters= (_c_).--Letters that ascend to the upper shoulder -of the type body; as, _b_, _d_, _f_, _h_, _l_, etc. - -=Author's Proof= (_c_).--Proof sent to the author for inspection and -approval. - -=Azure Tools= (_b_).--Used in binding, where the heavy and wide marks, -instead of being a solid mass, are made with horizontal lines. - - -=Backing= (_b_).--The process of forming the back in preparing the -book for the cover or case, commonly called Rounding and Backing. -It is done in three ways; viz. (1) by hand with a hammer, (2) by a -hand rounding-and-backing machine, (3) by a steam- or electric-driven -machine. - -=Backing Up= (_p_).--Printing the second side of a sheet. - -=Band Driver and Nippers= (_b_).--Tools used in forwarding, to correct -irregularities in the bands of flexible backs. - -=Bands= (_b_).--The cords on which the sheets of a volume are sewed. -When sewed "flexible," the bands show on the back of the book; when -bands are let in the back by sawing grooves, narrow strips of leather -are glued across the back to look like raised bands. - -=Bank= (_c_).--A high table or bench with a sloping top; when used for -type only it is called a _standing galley_. - -=Basket Cloth= (_b_).--This is a fancy weave of cloth, of construction -similar to the weaving of wickerwork baskets. It is a novelty binding. - -=Bastard-Title= (_c_).--The title of a book printed upon a page by -itself and preceding the regular title-page. - -=Battered= (_c_).--Type, electrotype, or engraving accidentally injured. - -=Bead= (_b_).--An old-time term meaning the head-band, _q. v._ - -=Bearers= (_p_).--Strips of metal or wood, type-high, made up with type -to sustain impression while proving, or to bear off the impression on -light parts, and to carry the rollers evenly over a form in printing. - - (_c_).--Type-high pieces of metal placed around pages or forms to - be electrotyped, to prevent injury to the face of the type or the - plates in the subsequent processes, and cut away from the plates - before printing. - -=Bed= (_p_).--The flat part of a press upon which the type or form is -placed. The part on which the sheet is placed is called the platen, or -the cylinder. - -=Benday Plates= (_e_).--Plates made by laying shaded tints on copper or -zinc, and etching them to produce colors or combination of colors when -printed. - -=Beveled Sticks= (_c_).--Strips of furniture wider at one end than the -other; they are used with wooden quoins in locking up on galleys and in -chases. - -=Bible India Paper= (_g_).--The thinnest paper made for books, formerly -only made in England and Italy; now made in America. A very high-grade -stock. See _Oxford Bible Paper_. - -=Binder= (_b_).--A temporary cover for periodicals and pamphlets, -usually arranged so that it may be taken off and attached to subsequent -copies of a publication. A bookbinder. - -=Black Letters= (_c_).--A style of letter or type characterized by -black face and angular outlines. It was designed by the early printers -from a current form of manuscript letter. - -=Blank= (_g_).--A page upon which no printing appears. - -=Blank Books= (_b_).--Applied to a large variety of books which are -bound with blank leaves, or leaves having ruled lines and little or no -printing: account books, memorandum books, ledgers, etc. - -=Blanking= (_b_).--Term employed in reference to stamping. Impression -made on cloth or leather by heated brass die. - -=Bleed= (_b_).--When the margins of a book or a pad of printed sheets -have been trimmed so as to cut into the printing, they are said to -bleed. - -=Blind Tooling or Stamping= (_b_).--Impressions of finisher's tools or -book-dies without ink or gold-leaf. Sometimes called _antique_. - -=Blocking Press= (_b_).--A stamping press for impressing blocks or dies -on covers. - -=Blocks= (_c_).--The wood or metal bases on which electrotypes and -engravings are mounted. - - (_p_).--Mechanical devices used on printing-presses for the purpose - of holding plates in their proper positions in the form. - -=Board Papers= (_b_).--The part of the end-papers pasted on the board -covers. - -=Boards= (_b_).--Applied generally to many kinds of heavy cardboard. -A book with stiff sides covered with paper of any color is said to be -bound in paper boards. - -=Bock Morocco= (_b_).--A term given to a leather made of Persian -sheepskin, finished in imitation of morocco. - -=Bodkin= (_c_).--A sharp tool, like an awl, used for picking out -letters from a body of set type, when making corrections. - -=Body= (_c_).--The shank of a type as determining its size. - -=Bold-face= (_c_).--A heavy-faced type, used for contrast. It is also -known as _Full-face_. - -=Bolt= (_b_).--The closed ends of leaves of an uncut book which -presents a double or quadruple fold. - -=Book Cloth= (_b_).--Cloth used for making covers or cases for books. -It is made by special processes and in many different grades and -patterns. See also _Cloths_. - -=Borders= (_c_).--Ornamental characters cast in type, the pieces being -adjustable in lines, or designs to surround pages, panels, etc. - -=Bourgeois= (_c_).--The old-style name of a size of type equal to -9-point. - -=Boxes= (_c_).--The small compartments of a type case. - -=Box-head= (_c_).--A column heading in a ruled table. Any heading -enclosed in rules. - -=Brass Rule= (_c_).--Thin strips of brass, type-high, of different -thicknesses and many styles of face--used for straight lines, column -rules, etc. - -=Brasses or Brass Boards= (_b_).--Boards made for pressing books, -called by these names because of the narrow brass strips on the edges -by which the grooves are formed at the joints or hinges of the cases. - -=Brayer Roller= (_c_).--A small hand roller for distributing ink. - -=Break-line= (_c_).--A short line--the last line of a paragraph. - -=Brevier= (_c_).--The old-style name of a size of type equal to 8-point. - -=Brochure= (_b_).--A pamphlet, an unbound book of which the sheets are -held together by sewing only. - -=Buckrams= (_b_).--These are the heavier weaves of cloth finished like -Linens. They should be used whenever the books will receive more than -ordinary wear. - -=Buffing= (_b_).--The layer of cowhide taken off in buffing or -splitting the hide. - -=Bulk= (_g_).--The thickness of a book before the covers are put on. - -=Bundling= (_b_).--The process of pressing and tying together -signatures or folded-and-gathered books for the purpose of (1) ejecting -air and making them solid, (2) for convenience in handling. - -=Burnished Edges= (_b_).--Edges which, after being colored, are made -smooth and bright by a tool especially made for polishing the surface. - -=C Pattern= (_b_).--Embossing on book cloth of small, pebble-shaped -figures, scarcely larger than the head of a pin. - -=Cabinet= (_c_).--A frame for holding type cases. - -=Calendered Paper= (_g_).--See _Super-calendered Paper_. - -=Calf= (_b_).--Leather made of the skin of a calf. It has a smooth, -uniform surface. - -=Cameo Paper= (_p_).--A dull-surface coated paper on which most -artistic effects may be secured in printing from halftone plates. - -=Canceled Matter= (_c_).--Set-up type or plates which have been -suppressed or _killed_. - -=Cancels= (_b_).--Printed leaves containing errors, which have to be -cut out and replaced with corrected pages. - -=Cap= (_c_).--An abbreviation of Capital. Caps and Small Caps are -contained in the upper case, and are called upper-case letters. - -=Caps= (_b_).--Paper coverings used to protect the edges while a book -is being covered and finished. Also the leather covering the headband. - -=Caption= (_g_).--The title-line placed below an illustration. - -=Caret= (_c_).--A sign or mark used in proofreading and writing to show -that a letter or word has been omitted. - -=Case= (_b_).--The cover of a cloth-bound book. - - (_c_).--A shallow, open wooden tray, divided into small - compartments, in which the types are placed. - -=Case Binding= (_b_).--A method of binding books in which the case or -cover is made separately and afterwards fastened upon the book. - -=Cast Proof= (_c_).--See _Foundry Proof_. - -=Catch Word= (_c_).--A word placed under the end of the last line on -the page of some old-time books, the word being the same as the first -word on the next page; a "carry over" or direction word. - -=Center Tools= (_b_).--Tools cut for ornamentation of center of panels -and sides of book covers. - -=Chase= (_c_).--The iron frame in which type and other matter is locked -up for the press, or for sending to foundry. - -=Chased Edges= (_b_).--See _Goffered Edges_. - -=Circuit Edges= (_b_).--Bibles and prayer-books are sometimes bound -with projecting covers turned over to protect the edges. These are -circuit or divinity edges. - -=Clarendon Type= (_c_).--A bold-faced, condensed antique with a bold -bracketed serif, used in display work. - -=Clasp= (_b_).--A hook or catch for fastening the covers of a book -together, usually at the fore-edge. - -=Cloth= (_b_).--A stiffly sized and glazed variety of cotton or linen -cloth--usually colored and decoratively embossed. - -=Cloth Boards= (_b_).--Stiff cloth covers. - -=Coated Paper= (_p_).--An art paper coated or covered with some mineral -substance such as china clay, etc., on which halftone cuts are printed. - -=Collating= (_b_).--Examining the signatures after a book is gathered, -to see that they are arranged in correct order. - -=Colophon= (_g_).--An emblematic device, or a note, especially one -relating to the circumstances of production, as the printer's or -scribe's name, place, and date, put at the conclusion of a book or -manuscript. - -=Column Rules= (_c_).--Strips of brass rule used to divide columns of -type. - -=Combination Plates= (_e_).--_Black only_--Plates made by the use of -two or more halftone or line negatives, the films stripped together and -printed and etched on one copper or zinc plate. _Color_--Plates made by -the use of a key-plate and color plates, either halftone or line, to be -printed in two or more colors. - -=Combs= (_b_).--Instruments with wire teeth used in marbling. The -colors being upon the surface, the comb is drawn across a portion in -such a way that a new pattern is developed. - -=Common Cloths= (_b_).--Before receiving the final coat of color -this cloth is dyed. The thready appearance so noticeable in the -linen-finished cloths is less apparent in Commons on account of the dye -and extra coloring. - -=Composing Stick= (_c_).--A flat, oblong tool, made of polished steel, -in which the compositor places the type as he takes it from the case. - -=Composition= (_c_).--That part of the work of printing which relates -to typesetting, and making up. - -=Compositor= (_c_).--One who sets type. - -=Copper-thin Spaces= (_c_).--Very thin spaces made of copper, used in -the spacing and the justification of type. - -=Copy= (_c_).--The matter or manuscript to be set up in type by the -printer. - - (_e_).--Subjects to be reproduced by the engraver. - -=Corners= (_b_).--(1) The material covering the corners of "half-bound" -books, (2) the triangular tools used in gold- or blind-tooling. - -=Correcting= (_c_).--Changing wrong words, letters, types, etc., or -adding new matter in type that has been set. - -=Cowhide= (_b_).--A thick, coarse leather made from the skin of a cow, -commonly known as "American Russia" or "imitation Russia." It has a -slight grain, and is tough and strong. - -=Cropped= (_b_).--When a book has been trimmed down too much, it is -said to be cropped. - -=Cross-bars= (_c_).--The bars which divide a large chase into sections. - - -=Crushed Levant= (_b_).--Levant morocco with the grain crushed down -till the surface is smooth and polished. - -=Cut= (_g_).--An obsolete term for an engraving. See _Engraving_. - -=Cut-in Side Note= (_c_).--A note set into the side of a page of -printed matter. - -=Cylinder Press= (_p_).--A printing-machine which gives the impression -by means of a cylinder instead of a platen. - - -=Dandy= (_g_).--A roller affixed to paper-making machines. The wet web -of paper carried on the endless wire of the machine passes under this -roller and is pressed by it. It gives the laid or wove appearance to -the sheet, and when letters, figures, or other devices are worked in -fine wire on its surface it produces the effect known as water-marking. - -=De Luxe= (_g_).--A term applied to books manufactured with superior -materials, and with unusual care and expense. - -=Dead Matter= (_g_).--Type or plates for which there is no further use. - -=Deckle-edges= (_g_).--The rough, natural edges of hand-made paper. -Deckle-edges are also formed on two edges of machine-made paper. They -are poorly imitated by cutting or tearing paper. - -=Dedication= (_g_).--An address prefixed to a literary composition, -inscribed to a patron or a friend as a mark of respect or affection. - -=Deep Etching= (_e_).--Additional etching made necessary to secure -proper printing depth where this cannot be accomplished by routing, and -usually caused by the use of dense black lines, or line negatives and -halftone negatives being combined in one plate. - -=Dentelle= (_b_).--A fine, tooled border resembling lacework. - -=Descending Letters= (_c_).--Letters that descend below the type body, -as _g, p, q_, etc. - -=Devil= (_g_).--The printer's errand boy or apprentice. - -=Dies= (_b_).--Brass, zinc, or heavy electro plates used for embossing -or stamping on covers the lettering and ornamental designs. - -=Display= (_c_).--Composition in which different styles or sizes of -type are used, such as on a title-page. - -=Distributing= (_c_).--Returning types to their respective boxes. - -=Divinity Calf= (_b_).--A dark-brown calf binding, decorated with -blind-stamping and without gilding. - -=Divinity Edges= (_b_).--See _Circuit Edges_. - -=Doublé= (_b_).--The ornamented inside of the cover of a book, made -with tooled leather, silk, or other material. Also termed _doublure_. - -=Doubletone Ink= (_p_).--An ink in which the linseed oil medium, -ordinarily transparent, is tinted with a lighter shade of the color. -When this sinks into the paper, it automatically prints a second shade. - -=Drop-folio= (_c_).--A page number, placed at the bottom of a page. - -=Duck= (_b_).--Often called Canvas. A heavy cotton cloth, firmly woven -and smooth. It is a desirable cloth for heavy books. - -=Dummy= (_g_).--Pages of a book put together so as to show the general -format of the finished book. - -=Duodecimo= (_g_).--When a sheet of book paper is folded in twelve -leaves it is called a duodecimo or 12mo. - -=Duograph= (_e_).--Two halftone plates made from one copy, and usually -printed in black and one tint, or two shades of the same color, the two -plates made with different screen angles. - -=Duotype= (_e_).--Two halftone plates made from one copy, both from the -same negative and etched differently. - - -=Edition Work= (_b_).--Books bound in large numbers, as distinguished -from single books or jobbing. - -=Electrotype= (_el_).--A replica of composed type, plates, etc., -forming a printing surface. This is produced by covering an impression -made from the set type, etc., in wax or similar substance, with a -galvanic coating of copper which is afterwards backed up by an alloy. - -=Em= (_c_).--The square of any type body. - -=Embossing= (_g_).--The process of stamping leather, cloth, or paper -with a plate for the purpose of producing a raised or relief effect. - -=Embossing Plate= (_e_).--A plate cut or etched below the surface for -the purpose of raising the image of the printed surface. - -=En= (_c_).--One half the width of an em body. - -=Enameled Paper= (_g_).--See _Super-calendered Paper_. - -=End-papers= (_b_).--Usually known to the public as _fly-leaves_. The -white or colored sheets placed by the binder at the beginning and end -of a volume, one-half being pasted down upon the inside of the cover. - -=English= (_c_).--The old-style name of a size of type equal to -14-point. - -=English Finish Paper= (_g_).--A finished-surface paper, with a duller -surface than super-calendered. - -=English Linen or Low Buckram= (_b_).--A linen cloth, highly polished, -well colored and durable. - -=Engraving= (_g_).--A picture or design cut or etched on metal or wood. - -=Etching= (_e_).--A process of engraving in which the plate after being -varnished is smoked, and the design or drawing is then cut through the -varnish, afterwards being treated with acid which eats into the exposed -parts of the metal. - -=Extra Binding= (_b_).--A trade name for the hand-sewed and hand-bound -book. - -=Extra Cloths= (_b_).--These in the plain finish and the various -patterns are largely used for binding works of fiction, and are among -the most expensive grades of book cloth. The fabric is heavily coated -with color, entirely concealing the weave, producing a solid color -surface. - -=Extract= (_g_).--A passage taken from a book or work; a quotation, -excerpt, citation. - - -=Fanfare= (_b_).--A style of binding in which there is great profusion -and repetition of flowers, foliage, and other small ornaments. - -=Figure= (_b_).--A cut or diagram inserted in printed text. - -=Fillet= (_b_).--A cylindrical instrument upon which simple lines are -engraved, used in finishing. - - (_c_).--A rule with broad or broad and narrow lines. - -=Finisher= (_el_).--A workman who performs the final operations in -plate-making. - - (_b_).--The workman who does hand-tooling, and performs the final - operation or finishing on extra-bound books. - -=Finishing= (_b_).--The part of a binder's work which consists in -lettering and ornamenting the cover. - -=FL Pattern= (_b_).--Embossing known as Fancy Line. A special design -and very popular for diaries, blank books, and other similar lines. - -=Flexible= (_b_).--When a book is sewed on raised bands and the sewing -thread passed entirely around each band. A term applied also to the -covers of the book, as for example, _full flexible_ or entirely _limp_ -or _semi-flexible_, when a thin board or heavy paper is used in making -the cover. - -=Floret= (_c_).--A flower or leaf-shaped ornament. - -=Fly-Leaves= (_b_).--The leaves at the beginning and end of a book. See -_End-papers_. - -=Foil= (_b_).--A special product, neither gold nor ink, used in -stamping the lettering and ornamentation on covers. - -=Folder= (_b_).--A mechanism for folding book and periodical sheets. A -small flat piece of bone or ivory used in folding and in other ways. -The first is more properly called a folding machine. - -=Folio= (_g_).--A sheet of book paper of approximately 18 × 24 inches -size when folded in two leaves is called a folio. - - (_c_).--A page number. - -=Follow Copy= (_c_).--Means that the compositor should follow exactly -the copy supplied by the author or publisher as regards punctuation, -capitals, etc. - -=Font= (_c_).--A complete assortment of types of one size. - -=Footnote= (_g_).--A reference or explanation at the bottom of a page. -As a rule this is set in type several sizes smaller than that of the -text. - -=Fore-Edge= (_b_).--The outer side of a book. - -=Form= (_g_).--A page or number of pages or plates locked up in a chase -ready for the press. - -=Format= (_g_).--The bibliographical term for the physical size, shape, -and appearance of a book. - -=Forwarding= (_b_)--An expression covering the operations performed in -binding a book by hand up to the time when it is sent to the finisher -for tooling, etc. - -=Foul Case= (_c_).--When the type is badly mixed up in the case by -distributing, the case is called _foul_ or _dirty_. - -=Foul Proof= (_c_).--A proof-sheet containing the author's corrections. - -=Foundry= (_el_).--The department where the electrotypes are made from -the types set in page form. - -=Foundry Proof= (_c_).--A proof of the type page after it has been -corrected and is ready for an electrotype cast to be made from it. -Sometimes called _Cast Proof_. - -=Four-color Process Plates= (_e_).--Same as the three-color process -(_q.v._), with the addition of a gray or black plate. - -=Frame= (_c_).--A stand to support the type cases when used by the -compositor. - -=French Morocco= (_b_).--A quality of Levant Morocco, having usually a -less prominent grain. - -=Front Matter= (_g_).--That which precedes the main text of a printed -book; e.g., Bastard-title, title-page, contents, preface, etc. - -=Full Binding= (_b_).--A book which is entirely covered with leather is -said to be full-bound. - -=Full Face= (_c_).--See _Bold Face_. - -=Full Gilt= (_b_).--A book having the edges of the leaves gilded on -head, front, and tail is said to be _full gilt_. - -=Furniture= (_g_).--Pieces of wood and metal for filling blank spaces -in pages, and between and around pages in a form, etc. - - -=Galley= (_c_).--The shallow tray, either all brass, or wood, brass, or -zinc, made in many sizes, used to hold type after the lines have been -taken from the composing stick; usually has a thin brass bottom with -three perpendicular sides a little more than half an inch high. - -=Galley Press= (_c_).--A roller apparatus for taking proofs of type -while on the galley. - -=Galley Proof= (_c_).--An impression from the type while still in the -galley. - -=Galley Rack= (_c_).--A receptacle for galleys when filled with set -type. - -=Gathering= (_b_).--Collecting the folded sheets of a book according to -the order of the signatures and pagination. - -=Gauge= (_c_).--A piece of wood or metal to determine the length of -pages. Also a piece of wood, card, or metal (usually a quad) pasted to -the tympan sheet as a guide to feed sheets to; a feed-guide. - -=Get In= (_c_).--To take a word or syllable into the line by -thin-spacing. - -=Glair= (_b_).--The whites of eggs beaten up and used in finishing and -gilding the edges of the leaves. - -=Goffered Edge= (_b_).--An indented, decorative design on the edges of -a book. An old fashion in bookbinding, applied to gilded or silvered -edges. - -=Gordon Press= (_p_).--A small, platen printing-machine used for job -printing. - -=Gothic= (_c_).--The simplest of all styles of type. It is without -serif and evidently an imitation of the old lapidary characters of the -Greeks and Romans. - -=Grain= (_b_).--The outer side of a piece of leather from which the -hair has been removed. - -=Great Primer= (_c_).--The old-style name of a size of type equal to -18-point. - -=Grippers= (_p_).--On a job press, the iron fingers attached to the -platen which take the sheet off the form after each impression; on -printing cylinders, the apparatus which catches and carries the sheet -around to the impression. - -=Guarded Signatures= (_b_).--Signatures with cambric pasted around -the outside back edge for the purpose of strengthening the paper and -binding. Often done on the first and last signatures of a book because -of the extra strain at those points. - -=Guard-line Proof= (_c_).--See _Foundry Proof_. - -=Guinea Edge= (_b_).--The edge of a book rolled with a pattern similar -to the milled edge of an old guinea coin. - -=Gutters= (_p_).--The inside back margin of a book; opposite of front -margin. - - -=H Pattern= (_b_).--Embossing on book cloth of small diamond-shaped -figures. - -=Hair-space= (_c_).--Any space thinner than one-fifth of an em. - -=Half-binding= (_b_).--When a book is covered with leather on the back -and corners, and the sides covered with cloth or paper, it is said to -be half-bound, half-morocco, half-russia, half-calf, etc. - -=Half-leather Binding=.--A binding which consists of leather back and -paper sides. - -=Half-title= (_g_).--The title of a volume, appearing above the text on -the first page, or on a separate leaf immediately preceding the first -page of text. Sometimes wrongly used synonymously with _Bastard-title_ -(_q.v._). - -=Half-tone= (_e_).--A style of engraving, made by etching a plate of -polished copper. - -=Halftone, Direct= (_e_).--A halftone to produce which the screen -negative is made by direct exposure from the article itself, and not -from a photograph or drawing. - -=Halftone, Highlight= (_e_).--A halftone plate in which the elimination -of the dots in the highlights is accomplished by a photo-chemical -process instead of by cutting them out with a tool. - -=Halftone, Outlined= (_e_).--A halftone with the background outside of -the object entirely cut away, leaving a definite edge without shading -or vignetting. - -=Halftone, Outlined and Vignetted= (_e_).--A halftone in which part of -the background is cut away and part vignetted. - -=Halftone, Square Plate= (_e_).--A halftone in which the outside edges -are rectangular and parallel, may be with or without single black line -border. - -=Halftone, Two-color= (_e_).--Two halftone plates, either or both -plates an etched plate containing parts or all of the design, to be -printed in two contrasting colors. - -=Halftone, Vignetted= (_e_).--A halftone in which one or more of the -edges of the object are shaded from dark tones to pure white. - -=Hand Letters= (_b_).--Letters made usually of brass, so that they may -be heated, and affixed singly in a handle, for lettering covers, etc. - -=Hand-Tooling= (_e_).--Any work done by use of a tool upon the plate to -increase the contrast of the etched plate. - -=Hanging Indention= (_c_).--Where the first line of the matter is the -full width of the measure, and indents one or more ems on the left all -the lines following. Sometimes called "Reverse Indention." - -=Head and Tail= (_b_).--Top and bottom of a book. - -=Head-band= (_b_).--A small ornamental accessory fixed to the head and -tail of a volume inside the back to give it greater strength and a more -finished appearance. It was originally part of the sewing. - -=Head-piece= (_g_).--A decorative engraving placed at the top of the -first page of text in a book, or at beginning of each chapter. - -=Height to Paper= (_c_).--The extreme length of a type from its face to -its foot. - -=Hub= (_b_).--A thick band on the back of a large blank book. - - -=Imitation Russia= (_b_).--See _Cowhide_. - -=Imposing Stone= (_c_).--The flat surface upon which forms are locked -up for the press; usually of polished stone, but now often made of iron. - -=Imposition= (_c_).--Arranging pages in a chase and preparing them in a -form for the press. - -=Imprint= (_g_).--The name of the printer or publisher affixed to his -work. - -=In Boards= (_b_).--When a book is cut after the boards are in place to -form the sides, it is cut _in boards_. When cut before the boards are -affixed it is _out of boards_, with projecting covers. Most books are -bound in the latter manner. - -=Indent= (_c_).--To put a quad at the beginning of a line, as at the -first line of a paragraph. - -=Indention= (_c_).--Indention is the leaving of a blank space at the -beginning of a line to mark a change in the subject, or the importance -of a particular portion of the matter, thus forming a paragraph. - -=India Paper= (_g_).--A thin, soft, absorbent paper, made in China and -Japan, and imitated in England and the United States, used for the -finest impressions of engravings. See also _Bible India Paper_. - -=India Proof= (_e_).--An early choice impression of an engraving taken -on India Paper. - -=Inferior Letters or Figures= (_c_).--Small characters cast on the -bottom of the line or for footnote references. - -=Ink Fountain= (_p_).--A reservoir for holding ink, and attached to the -press. - -=Inlay= (_b_).--Cloth, paper, or leather set into the cover of a book -flush with the surface. - -=Insert= (_g_).--An illustration or map, printed separately from the -text, but pasted in the book. - -=Inset= (_b_).--When one sheet is placed inside of another, both being -folded, the first sheet is said to be inset. Also, a picture set into -the front cover of a book is said to be an _inset_. - -=Intaglio= (_g_).--A word adapted from the Italian, signifying an image -engraved into and sunken below the surface containing it; for example, -a seal, having its design cut into its surface so that, when impressed -in wax, the design will be in relief. - -=Italic= (_c_).--A style of type, designed by Aldus Manutius, said to -be in imitation of the handwriting of Petrarch. - - -=J Pattern= (_b_).--Embossing on book cloth of pebble design larger -than C pattern. The figure is slightly elongated. - -=Jackets= (_g_).--The printed or unprinted wrappers folded around a -bound book for protection. - -=Jansen= (_b_).--Without line or ornament in blank or gold. -Ornamentation is allowed on the inside of the cover, but absolute -plainness is demanded on the outside, except lettering. - -=Japan Paper= (_g_).--Paper made in Japan from the bark of the -paper-mulberry. - -=Jogger= (_p_).--An attachment to the delivery table of a press to -straighten up sheets as they are printed. To jog up sheets is to -straighten them up in an even pile. - -=Joints= (_b_).--The part of the cover where it joins the back on the -inside, forming a kind of hinge. - -=Justify= (_c_).--To space out lines to the proper length and tightness. - - -=Keratol or Buffinette= (_b_).--A water-proof cloth made in imitation -of leather. It is excellent for the sides of books when there is much -wear, as it does not show water or finger marks. It outwears the -majority of cloths. - -=Kerned Letters= (_c_).--Those which have part of the face projecting -over the body. - -=Kettle-stitch= (_b_).--The stitch made at the head and tail of a book, -a chain-stitch. - -=Kip Calf= (_b_).--Made from the skin of a heifer, and stronger than -ordinary calf. - - -=L Pattern= (_b_).--Embossing on book cloth known as Levant and -somewhat resembling Leather. - -=Laced In= (_b_).--When the boards are fastened in a book by means of -the bands being passed through holes in the boards, they are laced in. - -=Laid Paper= (_g_).--A book paper having lines water-marked or running -through it at equal distances, the lines being made by the pressure of -the wire screen during manufacture. - -=Law Binding= (_b_).--A plain style of leather binding used for law -books; also called law calf. - -=Law Calf= (_b_).--Calf leather that is uncolored, in the natural -state, pale brown. - -=Law Sheep= (_b_).--Sheepskin left wholly uncolored, used for binding -law books. - -=Leaders= (_c_).--Dots or short dashes set at intervals in lines to -guide the eye across to figures, etc., as in a table of contents. - -=Leads= (_c_).--Thin strips of metal, cast in various thicknesses -(2-point is most common) and less than the height of type, to separate -lines, etc. - -=Leatherette= (_b_).--Cloth or paper prepared in imitation of leather. - -=Legend= (_g_).--See _Caption_. - -=Letterpress Printing= (_p_).--That done from type, as distinguished -from presswork from plates, engravings, etc. - -=Levant Morocco= (_b_).--Morocco leather made from the skin of the -Levant goat, having a larger grain than Turkish morocco leather. See -_Morocco_. - -=Library Buckram= (_b_).--Is a special heavy weave suitable for law -book and library bookbinding. It is dyed and covered with a light coat -of color. - -=Ligatures= (_c_).--Two letters tied together and cast on one body, fi, -fl, ff, etc. - -=Limit Page= (_g_).--A special page to indicate that the edition is -limited. - -=Limp= (_b_).--Leather or cloth bindings which are flexible and bend -easily, in distinction from boards or stiff covers. - -=Line-plates= (_g_).--Etchings in relief on plates of zinc or copper, -reproduced from pen-and-ink drawings by photo-mechanical process. - -=Linen Cloths= (_b_).--Styles X and B are known as Linens. The fabric -receives a light coat of color, not enough to conceal the weave. Their -popularity is largely due to the thready appearance. - -=Lining= (_b_).--A term applied to cased books to indicate the -re-enforcement of head-band, super or crash, and paper which are -applied with glue and paste to the back of books before they are put -into covers. - -=Linotype= (_c_).--A machine for setting type, casting it in lines -instead of single characters. - -=Lithograph= (_c_).--A print from a lithographic stone. - -=Live Matter= (_c_).--Type or other matter in preparation or ready for -printing. - -=Locking Up= (_c_) (_p_).--Tightening, by means of quoins, the type and -material in a form, so that it will lift in a solid mass. - -=Logotypes= (_c_).--Two or more separate letters or a complete word -cast as one piece. - -=Long Primer= (_c_).--The old-style name of a size of type equal to -10-point. - -=Lower Case= (_c_).--The case that contains the small letters, figures, -points, and spaces. - - -=Maiole= (_b_).--A binding generally composed of a framework of shields -or medallions with a scroll design flowing through it. - -=Make-up= (_g_).--(1) The quantity of signatures or illustrations or -books needed to complete an order or edition. (2) The layout of the -book showing the order of pages and illustrations. - - (_c_).--To arrange lines of type into pages of proper length, with - page numbers, head-lines, etc. - -=Making Margins= (_p_).--Putting furniture and other material around -and between pages in a form, so that when printed they will be properly -imposed upon the sheet. - -=Making Ready= (_p_).--Preparing a form on the press for printing, -by giving each part the proper impression, making overlays, setting -gauges, etc. - -=Marbled Calf= (_b_).--Calfskin so treated with acid that it resembles -marble. - -=Marbling= (_b_).--A process of decorating sheets of paper and edges of -books with variegated colors in irregular patterns. - -=Matrix= (_c_).--A plate of metal, usually of copper, suitably formed -to mold the face of a type. - -=Matter= (_c_).--Composed type. Open matter is wide-leaded, or has many -break-lines; when set by piecework it is _fat_. Solid matter is without -leads; with few or no break-lines is _lean_ in piecework. - -=Measure= (_c_).--The length of the type line; the width to which the -composing stick is set. - -=Metzograph= (_e_).--A halftone made by the use of a grained screen -instead of a cross-line screen. - -=Mezzotint= (_g_).--A copperplate engraving in which the entire -surface of the plate is slightly roughened, after which the drawing -is traced, and then the portions intended to show the high-lights -and middle-lights are scraped and burnished, while the shadows are -strengthened. - -=Mill Board= (_b_).--A thick, heavy card, used for making book covers. - -=Minion=.--The old-style name of a size of type equal to 7-point. - -=Miter= (_c_).--To chamfer or bevel the ends of rules in order that -they may join closely in forming a border. - -=Mitered= (_b_).--When the cover of a book is ornamented with straight -lines which meet each other without overrunning, it is said to be -mitered. - -=Modern Type= (_c_).--A class of Roman type, of which the leading forms -are: broad-face, Scotch-face, French-face, thin-face, bold-face. - -=Molders= (_p_).--The set of electrotype plates kept in reserve, from -which to mold new plates as the _workers_ become worn on press. - -=Monotype Caster= (_c_).--A machine for automatically casting type in -single characters. - -=Monotype Keyboard= (_c_).--A machine for setting type. - -=Morocco= (_b_).--A leather made from goatskins; it is tanned with -sumac. The texture is very firm though flexible. The grain, of which -there are many varieties, is produced by rolling and folding; this -process is called _graining_; genuine morocco makes the most durable -bookbinding. - -=Mosaic= (_b_).--A design inlaid with different colors. - -=Mottled Calf= (_b_).--A light-brown calfskin, mottled by treatment -with acid. - - -=Negative Etching= (_e_).--A plate from which the blacks of the -original copy will print white and the whites will print black. - -=News-tone= (_e_).--A name sometimes given to coarse-screen halftones, -always etched on zinc and used mostly for newspaper work. Also known as -"quartertone." - -=Nonpareil= (_c_).--The old-style name of a size of type equal to -6-point. - - -=Octavo= (_g_).--A sheet of book paper about 18 × 24 when folded in -eight leaves is an octavo or 8vo. - -=Off= (_p_).--Signifies that all the sheets for a form have been -printed. - -=Off its Feet= (_c_).--When type does not stand squarely on its base. - -=Offset= (_g_).--A transfer of ink or color to another page or sheet of -paper. - -=Offset Printing= (_g_).--A method of putting ink on paper through -the process of chemical or surface printing, rather than through -the process of relief or impressional printing. It is based, like -lithography, upon the principle that oil and water will not mix. The -design is transferred to a thin zinc or aluminum plate, which takes -the place of the stone in lithography. The transfer ink is of a greasy -consistency, having an affinity for zinc or aluminum, and a repellent -attitude toward water. In the operation of the press, the plate is -clamped around the cylinder, and two sets of rollers pass over it. -The first set is moistened with water, and its function is to dampen -the entire surface of the plate except where the design appears, the -greasy consistency of which repels the water. Inking rollers pass over -the plate immediately following the water rollers. The dampness on -all parts of the plate except at the design points repels the greasy -consistency of the ink, and allows a deposit of surplus ink upon the -design, due to the similar consistency of the two ingredients. The -design is then printed onto a rubber blanket, which is clamped around -a second cylinder, and is reprinted or "offset" onto the paper, which -passes between this second cylinder and a third cylinder. - -=Old-style Type= (_c_).--Reproductions of the styles of early printers: -the Caslon, Baskerville, French, Elzevir and Basle. - -=Out= (_c_).--A word or more omitted by mistake in composing. - -=Out of Boards= (_b_).--See _In Boards_. - -=Out Page= (_b_).--The first or signature page of a sheet. - -=Outset= (_b_).--A four-page sheet folded round a signature. - -=Overlay= (_p_).--A piece of paper put on the tympan to give more -impression to a letter, line, or part of an engraving. - -=Overrun= (_c_).--To take words backward or forward from one line to -another in correcting. - - (_p_).--To print beyond the number ordered. - -=Oversheets= (_g_).--The signatures or sheets remaining after an -edition is completely bound. - -=Oxford Bible Paper= (_g_).--A thin, strong, opaque printing paper, -made in England, on which Bibles and other large volumes are printed -when a small bulk is desired. See also _Bible India Paper_. - - -=Packing= (_p_).--The sheets of paper, card, etc., used to make the -tympan; this term is applied to the covering for cylinders. - -=Page= (_g_).--One side of a written or printed leaf. - - (_c_).--Type, or type and illustration properly arranged for - printing on one side of the leaf of a book. - -=Page-cord= (_c_).--Twine used to tie up pages. - -=Page-Proof= (_c_).--An impression of the type after it has been made -up into page form. - -=Parchment= (_g_).--A paper-like sheet made from the skins of sheep or -goat. The skins are first soaked in lime to remove the hair, and then -are shaved, washed, dried, stretched, and ground with fine chalk, or -lime and pumice-stone. Paper parchment, or vegetable parchment, is made -by chemically treating ordinary paper. See also _Vellum_. - -=Persian Morocco= (_b_).--A kind of morocco made from the skins of -hairy sheep called Persian goats. - -=Photo-engraving= (_g_).--The reproduction of engraved plates by means -of photography, for use in printing. - -=Photogravure= (_g_).--Intaglio plates on copper for the reproduction -of paintings, etc., in monochrome. "Photo-Intaglio" and "Photogravure" -are essentially synonymous terms, the latter being the French -equivalent of the former. Technically, however, "photo-intaglio" means -a halftone engraving, the design of which is etched into the plate, -leaving the ground (i.e., the whites) of the picture on the surface, -instead of in relief with the whites etched down below the surface. -The term "photogravure" is applied to a similar engraving in which -the effects of light and shade are produced not by dots and stipples -produced through a halftone screen, but by variations in depth of the -depressions in the form of grain. In printing these plates the ink is -run into the depressions, and the surface then wiped clean before being -impressed upon the paper. - -=Pi= (_c_).--Type mixed up and in confusion. - -=Pica= (_c_).--A size of type equal to 12-point. It is the standard of -measurement for leads, rules, furniture, and also for width and length -of pages. Six picas equal, approximately, one inch. - -=Picking for Sorts= (_c_).--Taking type out of one page to use in -another, when type is scarce. - -=Pigskin= (_b_).--Leather made from the skin of the pig. It is very -tough and wears well. - -=Planer= (_p_).--The smooth-faced block used to level down the face of -a form. - -=Planogravure= (_e_).--A form of engraving printed from a flat surface. - -=Plate= (_b_).--Any full-page illustration printed on paper different -from the book is termed a plate. - - (_el_).--An electrotype. - -=Platen Press= (_p_).--That style of press which gives the impression -from a flat surface--the hand press, Adams press, and nearly all small -job presses; distinctive from the cylinder machine. - -=Point= (_c_).--The unit of measurement of type, approximately 1/72 of -an inch. - -=Point Folder= (_b_).--A machine for folding sheets. The accuracy of -the register is obtained by placing the perforated point holder of the -printed sheet on the projecting pins of the folding machine. - -=Points= (_p_).--Small holes made in the sheets by the printer, which -serve as guides in registering and folding. - - (_p_).--Sharp metal pins placed in the form when it is imposed, to - pierce the sheets as they are printed so that they can be folded on - the point-folding machine. - -=Polished Buckram= (_b_).--Its special qualities are uniformity of -color, finish, and fabric, tensile strength and easy application of -decoration. - -=Press Proof= (_p_).--The final proof passed for press. - -=Publisher's Binding= (_b_).--Commonly understood as ordinary cloth -binding. - - -=Quadruple Imposition= (_p_).--The imposition of the plates for -printing so that when folded on the Quadruple Folding Machine the pages -will follow in rotation. - -=Quads= (_c_).--Brief form of _quadrat_; large metal blanks used to -fill lines and other spaces. - -=Quarter-binding= (_b_).--A binding in leather or cloth backs, with -board sides cut flush. - -=Quarto= (_g_).--A sheet of book paper approximately 18 × 24 inches in -size, when folded in four leaves, is called a quarto or 4to. - -=Quoins= (_c_) (_p_).--Wedges used in locking up forms; formerly made -of wood and used with beveled sidesticks, but now made of iron in -several styles. - -=Quotations= (_c_).--Large hollow quads for filling blank spaces; -hollow metal furniture. - - -=Recto= (_b_).--The right-hand page of a book. The _recto_ of a cover -is the front. - -=Register= (_p_).--To adjust the form, feed-guides, etc., so that the -printing will be properly located on the sheet; to strike the different -forms of a colored job; to make pages on both sides of a sheet back -each other. - - (_c_).--The exact imposition of the type pages of a book so that - when printed they back one another precisely, and are truly square. - - (_b_).--When two or more adjacent colors meet without infringing, - they are said to be _in register_, otherwise _out of register_. - -=Reglet= (_c_).--Thin strips of wood similar to leads, 6-point and -thicker, used as substitute for leads and slugs in large spaces. - -=Relief= (_e_).--Processes of engraving in which the dots or lines of -the design are made to stand out so that it can be used for printing as -if from type. - -=Retouching= (_e_).--(1) The act of going over a plate with a graver, -deepening the lines which have become worn. (2) The correcting of -defects on a photographic negative or print by means of a pencil or -fine camel's-hair brush. - -=Reverse Indention= (_c_).--See _Hanging Indention_. - -=Revise= (_c_).--A proof taken after corrections have been made; to -compare a proof so taken to see that the marked errors have been -corrected. - -=Ribbon Marker= (_b_).--A small ribbon placed in a book as a marker. - -=Roan= (_b_).--Unsplit sheepskin. - -=Roller= (_p_).--An iron rod covered with an elastic composition, to -spread ink on the type or other printing surface. - -=Roman= (_c_).--The class of type in general use as distinguished from -_italic_ or _fancy_ types. - -=Roman Figures= (_g_).--Numerals expressed by letters as distinguished -from those expressed by Arabic characters, e.g., I, II, III, etc. - -=Rotary Press= (_p_).--A printing press in which the types or plates -are fastened on a rotating cylinder, and are impressed on a continuous -roll of paper. - -=Rotogravure= (_g_).--A recent photo-intaglio process, now coming into -use for illustrations in newspaper magazines. It is a combination of -the intaglio and the gravure processes, producing sunken engravings on -copper rollers, which are then printed from on the principle of calico -printing. - -=Rounding= (_b_).--See _Backing_. - -=Routing= (_e_).--The operation of gouging out from an electrotype -plate that portion of the metal which is not required. - -=Roxburgh Binding= (_b_) (_pronounced Roxboro_).--A book bound with -leather back, cloth or paper sides, no leather corners, with gold -stamping on the shelf back, with gilt top, is said to be bound in -Roxburgh binding. - -=Rule= (_c_).--A plain strip of metal type-high, used for printing -rules and lines. - -=Running Head or Title= (_g_).--The title of a book or subject placed -at top of each page. - -=Russia Leather= (_b_).--A fine leather prepared in Russia. Its -preparation consists in carefully tanning with willow-bark, dyeing with -sandal wood, and soaking in birch oil. It is of a brownish red color -and has a characteristic odor. - - -=S Pattern= (_b_).--Embossing of small diagonal lines finer than T -pattern, giving the cloth a silky appearance, commonly known as Silk -Pattern. - -=Score= (_g_).--To crease cardboard or heavy paper so that it will fold -neatly at the desired place. This is often done with rules locked in -the form, or put on afterward, running the sheets through the press -without ink. - -=Script= (_c_).--A style of type in imitation of handwriting. - -=Sheepskin= (_b_).--Leather made from the skin of a sheep. - -=Sheet= (_g_).--A separate piece of paper of definite size; a -twenty-fourth part of a quire. In printing, a _sheet_ is defined by -its size; in binding, by its fold. - -=Sheet-wise= (_p_).--Presswork in which the two sides of the sheets are -printed from different forms. - -=Shooting Stick= (_c_).--An implement made of wood, steel, or other -hard material, used with a mallet, to tighten up the wooden quoins. - -=Shoulder= (_c_).--The blank space above and below the face of a letter -on the end of a type. - -=Signature= (_b_).--A sheet after it has been folded and is ready to be -gathered. It usually consists of 16 pages, but may comprise 4, 8, 16, -32, or 64 pages. - -=Silk Pattern= (_b_).--See _S Pattern_. - -=Skiver= (_b_).--The outer or grainside of sheepskin which has been -split; much used for binding. - -=Slug= (_c_).--A thick lead. - -=Slur= (_p_).--A blurred impression. - -=Small Caps= (_c_).--Capitals of a smaller size than the regular -capitals of a font. - -=Small Pica= (_c_).--The old name of a size of type equal to 11-point. - -=Smooth Calf= (_b_).--Plain or undecorated calf. - -=Sorts= (_c_).--The letters in the boxes of a case; _out of sorts_, to -be out of any needed letter or character; _runs on sorts_, when copy -calls for more than the usual number of any particular letter. - -=Spaces= (_c_).--The small blanks used to separate words, etc. - -=Split Leather= (_b_).--Leather split by machinery. - -=Sprinkled Calf= (_b_).--Calfskin treated with acid so as to look as if -it had been sprinkled with a dye. - -=Sprinkled Edges= (_b_).--Edges of books that are decorated with small -dots or specks of color, sprinkled on from a brush. - -=Stained Edges= (_b_).--Edges which are colored by a process of coating -or covering which combines with the paper to be colored. - -=Stamping Die= (_e_).--A relief plate engraved on brass or zinc for -stamping book covers or similar surfaces. - -=Stand= (_c_).--The common wooden frame with sloping top upon which -type cases are placed; the lower part usually has a rack for holding -extra cases. - -=Steel or Copperplate Engraving= (_c_).--A method of making plates for -printing by cutting, scratching or corroding a plate. - -=Stereotype= (_g_).--The duplicate, cast in one piece of type metal, -of the face of types or cuts composed for printing. There are three -processes: (_a_) The plaster process; (_b_) the clay process; (_c_) the -papier-maché process. - -=Stipple= (_e_).--A method of engraving by which dots or punctures are -used instead of lines. - -=Stone Hand= (_c_).--One who is chiefly employed in imposing, and other -work done on the stone. - -=Stone Proof= (_e_).--(1) An impression taken from an engraved plate -or lithographic stone, to prove the condition and progress of the -engraving. (2) An impression taken from types or cuts, made up for -electrotyping. - -=Super= (_b_).--A thin, loosely woven cotton cloth, glued and starched, -which is used for gluing onto the backs of books, to hold the -signatures by extending over to the inside of the cover, to hold the -book and cover together. - -=Super-calendered Paper= (_g_).--A class of paper to which a glazed -surface is given by rolling or calendering. - -=Superior Letters or Figures= (_c_).--Small characters cast on the top -of the line, used for footnote references, etc. - -=Swash Letters= (_c_).--The name given to a style of italic capital -letters with tails and flourishes, much used in the seventeenth century. - - -=T Pattern= (_b_).--Embossing of transverse parallel lines. This is a -favorite pattern, and is used more than any other. - -=Tail-piece= (_c_).--An ornament placed in a short page at the end of a -chapter, article, or volume. - -=Take= (_c_).--When copy is divided among several compositors, each -part is a _take_. - -=Tapes= (_b_).--Strips of tape extending over the back and onto the -boards to strengthen the binding. (2) Strips of cloth placed between -the covers and ends of a stitched book to strengthen the book and give -it flexibility. - -=Text= (_c_).--The type used in the main part of a page; also applied -to some kinds of black-letter. The main body of matter in a book or -manuscript in distinction from notes or other matter associated with it. - -=Three-color Process Plates= (_e_).--Printing plates, produced from -colored copy or objects, to reproduce the picture or object in its -original colors by a photo-chemical separation of the primary colors, -and etched halftone plates to reproduce each separate color, usually -printed in yellow, red, and blue. An approximate result may be obtained -from one-color copy by using the skill of the workman in securing the -color-values on the etched plates. - -=Three-quarter Leather Binding= (_b_).--A binding which consists of a -leather back of extra width, with leather corners and paper or cloth -sides. - -=Three to Em= (_c_).--A space one-third of an em in thickness. - -=Token= (_p_).--A measure or unit of presswork. The New York token is -250 impressions of one form; the Boston token is 500 impressions. - -=Tooled Edges= (_b_).--See _Goffered Edges_. - -=Tooling= (_b_).--To ornament or give a final shape by means of a -special tool, especially when the mark of the tool is intentionally -left visible. - -=Tree Calf= (_b_).--Calfskin so treated as to resemble the trunk and -branches of a tree. - -=Turkey Morocco= (_b_).--Made of goatskin from Turkey. Strong, durable, -and expensive. - -=Turn for Sorts= (_c_).--To put another type of the same size face -downward (so that its foot will show a black spot on proof) in the -place of a character that is missing. - -=Two to Em= (_c_).--The half of an em quad, known as the en quad. - -=Tympan= (_p_).--The sheets, cards, etc., that cover the platen or -cylinder, on which the paper is placed for printing. The cloth-covered -frame attached to the bed of a hand-press. - -=Type-high= (_e_).--Type of the standard of height. - -=Type-high to Paper= (_c_).--Type above the standard of height. - - -=Underlay= (_p_).--A piece of paper or card placed under the type, -electro, or engraved block, to increase the impression. - -=Upper Case= (_c_).--The case in which the capitals, small capitals, -signs, and "peculiars" are placed. - -=Uterine Vellum= (_g_).--A vellum made from the very thin skins of -still-born or unborn calves. - - -=Vellum= (_g_).--The skins of calves prepared by long exposure in -a lime-bath and by repeated rubbings with a burnisher. See also -_Parchment_. - -=Vellum Finish= (_b_).--The smooth natural surface of an unembossed -cloth. - -=Verso= (_b_).--The left-hand page of a book. Of a cover, the back or -reverse side. - -=Vignette= (_g_).--(1) In old manuscripts an initial letter decorated -with leaves. (2) A head-or tail-piece of a book. (3) (_e_).--A drawing -or other illustration having a background that gradually shades off and -merges into the ground on which the print is made. - - -=Water-mark= (_p_).--See _Dandy_. - -=Web Machine= (_p_).--(1) A cylindrical printing-press in which the -paper is carried forward to the impression cylinder by means of tapes. -(2) A printing-machine in which the paper is carried forward in a -continuous roll or _web_. - -=Whipstitch= (_b_).--To sew with an over-and-over stitch. - -=Work-and-Turn= (_p_).--When all the pages on a sheet are imposed in -one form, or half-sheetwise, the sheet is turned and printed on the -second side, thus giving two copies of the work when the sheet is cut. - -=Workers= (_p_).--The set of electrotype plates from which editions are -printed. - -=Wove Paper= (_g_).--Paper which does not show the wire mark as in -_laid paper_. The screen is woven in like cloth. - -=Wrappers= (_g_).--See _Jackets_. - -=Wrong-font= (_c_).--A letter or character of wrong size or style used -in composition; in proofreading written _w.f._ - - -=Zinc Plate= (_g_).--A style of engraving etched with strong acid on a -sheet of polished zinc. - - - - -INDEX - - -[_In this index no reference is entered from the_ Glossary of Terms, -_the alphabetical arrangement of which renders such reference -superfluous_.] - -_A'_, rule for indexing, 115. - -Abbreviations, rule for indexing, 130. - -_Abu_, (Arabic), rule for indexing, 108. - -Academies, learned, rule for indexing, 121. - -Addenda, method of attaching to manuscript, 11. - -Addresses: subject to copyright, 32, 36; copyright application form -for, 47; rule for indexing, 118. - -_Ad Interim_ Copyright: 42, 43; application form for, 47. - -Advance orders, publisher's dependence upon, 8. - -Advertising: its amount dependent on continued relations of author and -publisher, 5, 18; its part in selling books, 8, 9; exchanged for second -serial rights, 15; in exclusive control of publisher, 21. - -Advertising card, 88, 89. - -Affidavit: required for copyright of books, 35; not required for -copyright of periodicals, 36. - -_Ahu_, (Arabic), rule for indexing, 108. - -Alphabetical arrangement, of index, 124-130. - -Alterations, author's. See _Author's Alterations_. - -Alumni associations, rule for indexing, 119. - -_Am_, rule for indexing, 115. - -_Ap_, rules for indexing, 115, 127. - -Appellatives, Latin, rule for indexing, 117. - -Appendix, 88. - -Application forms for copyright, 8, 40, 41, 46-49, 51. - -Arabic names, rules for indexing, 108. - -Arbitration, between author and publisher, 23. - -Art, works of: subject to copyright, 32; must bear notice of copyright, -34; copyright application form for, 48. - -Assignment, of copyright, 43-45, 52. - -Atlas, English paper size, 96. - -_Auf_, (_Auf'm_), rule for indexing, 115. - -_Aus_, (_Aus'm_), rule for indexing, 115. - -Austria, copyright relations between U. S. and, 33, 53. - -Author, the: relations to publisher of, 3; relations to literary -agents of, 4, 63, 64; value of publisher's advice to, 5; advantage -of remaining with one publisher, 5, 18; value of reputation, 5, 9, -16; advised against publishing fiction at own expense, 11; making -contract with publisher, 12-24; retention of rights: dramatic, 13, -moving-picture, 14, serial, 14, English and Colonial, 16, 17; rates of -royalty paid to, 16; gives option on subsequent books to publisher, -18; form of contract with publisher, 19-24; guarantees his authorship, -20; must pay for excessive alterations, 20; agrees to effect renewals -of copyright, 21; terms for purchase of copies of his own books, 22; -division of profits from sale of rights, 22; terms for dissolution -of contract, 23; agrees to arbitrate differences with publisher, 23; -rendering of royalty accounts by publisher to, 22, 23, 28-30; "don'ts" -for moving-picture writers, 28; copyright protection for alien, 33; -relation to magazines of, 58-63; importance of copyright notice on -magazine articles to, 58-61; commission paid to literary agent by, -64; advantage of knowledge of printing to, 65; expense of author's -alterations to, 65, 66, 68, 76, 77; reading proofs by, 67, 69, 77-80; -preparation of manuscript by, 67, 68; index should be made by, 98, or -examined in manuscript by, 99. - -Author's alterations: clause in contract about, 15, 20; expense of, 65, -66, 76; way to avoid, 66, 68, 77. - -Authors' League, the: advice to authors on moving-pictures, 25-27; on -magazine contributions, 58-61. - - -_Babu_, rule for indexing, 109. - -Banks, rule for indexing, 123. - -Baroness, rule for indexing, 112. - -Bastard-title: may be omitted, 70; place in volume, 88; described, 89, -93. - -Belgium, copyright relations between U. S. and, 33, 53. - -Berne, the convention of, 53. - -_Bey_, rule for indexing, 109. - -Bibliography, 88. - -_Bin_, (Arabic), rule for indexing, 108. - -Binding, 87. - -Bishops, rules for indexing, 109, 125, 126. - -Blind, works for the, 36. - -Bodleian Library, Oxford: British copyright depository, 55; rule for -indexing, 119. - -Book, the: requirements for acceptance by "reader," 6; by publisher, 7; -published at author's expense, 11, 12; subject to copyright, 32; must -bear notice of copyright, 34; copyright application form for, 46, 47; -mechanics of, 65-87; arrangement of, 88-97; layout of, 88-93; basic -sizes of, 94; margins of, 96, 97; titles of, to be indexed, 100. - -Breviaries, rule for indexing, 118. - -British Museum, the: British copyright depository, 55, 56; rules of, -for indexing noblemen, 110 _n_. - -Buildings, rule for indexing, 123. - - -Cambridge, Eng., University Library of, British copyright depository, -55. - -Canada: copyright in, 54; public holidays in, 55. - -Canons, rule for indexing, 109. - -Capes, rule for indexing, 115. - -Catechisms, rule for indexing, 118. - -Cathedrals, rule for indexing, 123. - -Chile, copyright relations between U. S. and, 33, 53. - -China, copyright relations between U. S. and, 33, 53. - -Churches, rule for indexing, 122. - -Cinemetograph. See _Moving-pictures_. - -Cities, rule for indexing ancient and modern names of, 116. - -Cobden-Sanderson, T. J., quoted, 90. - -College textbooks, rate of royalty paid on, 17. - -Colleges: rules for indexing, 119, 121; local societies of, rule for -indexing, 119. - -Colophon, 90. - -Columbia, English paper size, 96. - -Common-school books: rate of royalty paid on, 17. - -Compilations, subject to copyright, 32, 33. - -Composite works, subject to copyright, 32. - -Composition, of type, 76. - -Compound names, rules for indexing, 113, 114, 127, 128. - -Confessions of faith, rule for indexing, 118. - -Congresses, of nations, rule for indexing, 117. - -Contents, table of: place in volume, 88; described, 92; compared with -index, 98. - -Contract (between author and publisher): difference in terms, 9; new -elements in making, 12-14; blank form of, 19-24; clauses in, relating -to: dramatic rights, 13, 20, moving-picture rights, 14, first serial -rights, 14, second serial rights, 15, author's alterations, 15, 16, -20, 21, rates of royalty, 16, British and Colonial rights, 17, "option -clause," 18, 21; payment of royalty, 21, 22, account of royalties, 22, -23, terms for dissolution of, 23, arbitration clause, 23. - -Contributions, to periodicals: subject to copyright, 36; copyright -application form for, 47. - -Contributor. See _Author_. - -Convents, rule for indexing, 123. - -"Copy." See _Manuscript_. - -Copyright: mentioned in contract between author and publisher, -19-21, 23; author agrees to effect renewal of, 21; duty of publisher -to secure protection of, 21, 31; duty of publisher to effect renewals -of, 31; definition of, 31; usually taken out in name of publisher, -31; work must belong to certain classes to secure, 32, 33; relations -with foreign countries regarding, 33, 53; notice of, as required -by U. S. law, 34, 88, 91; notice of, not required in England, 56; -how to secure in U. S., 34-42; deposit of copies required for, 35; -manufacturing requirements to secure, 35, 36, 43; fees for, 35, 37, -38, 40, 41; remittances of fees for, 39; _ad interim_ protection, 42, -43; assignment of 43-45; duration of, 45, 46; application forms for, -38, 40, 41, 46-49; renewal of, 45, 46, 49; practical procedure to -effect, 49-53; international, 53, 54; in Great Britain, 53-56; special -registration in foreign countries, not required for, 54 _n._; avoid -publication on public holidays, 55; deposit of copies of work to secure -British, 55, 56; publication in England must be bona fide, 56; of -magazine articles, 59-61. - -Copyright office, only for registration, 31. - -Copyright notice: must appear on American books, 34, 37, 44, 50; -location of, 34, 60, 88, 91; not necessary on English books, 56. - -Corporations, rule for indexing, 118, 120, 121. - -Costa Rica, copyright relations between U. S. and, 33, 53. - -Countries, rule for indexing, 117. - -Creeds, rule for indexing, 118. - -Cross-reference, to be indexed in case of: saints and friars, 108; -East Indian names, 109; married women, 110; noblemen, 110; foreign -compound names, 113, 114; places in foreign languages or vernacular, -115; events, 117; congresses of nations, 117; treaties, 117, 118; local -religious bodies, 118; university names and societies, 121; learned -societies, 121; observatories, 122; expositions, 122; state societies, -122; buildings, 123; similar headings, 124, 125. - -Crown, English paper size, 95, 96. - -Cuba, copyright relations between U. S. and, 33, 53. - -Cutter's Rules for a Dictionary Catalogue, mentioned, 104. - -Cyclopaedic works, subject to copyright, 32. - - -_Da_, (_Dagli, Dai, Dal, Dalla, Dalle_), rules for indexing, 114, 115. - -_Das_, rule for indexing, 115. - -_De_, (_D', Des_), rules for indexing, 114, 115, 127, 129. - -_De La_, rule for indexing, 114. - -Dedication: place of, in book, 88; described, 92. - -Definitions, to be indexed, 100. - -Degrees, collegiate, place in indexed heading, 116. - -_Del_, (_Degli, Dei, Dé, Della, Delle_), rules for indexing, 114, 115. - -Demy, English paper size, 95, 96. - -Denmark, copyright relations between U. S. and, 33, 53. - -Deposit, of works for copyright: in the U. S., 35, 36, 38-42, 52, 60; -in England, 55, 56. - -Designs: subject to copyright, 32; must bear notice of copyright, 34; -copyright application form for, 48; for book covers, 80. - -Dies, for stamping book covers, 85. - -Directories, subject to copyright, 32. - -_Dr._, rule for indexing, 130. - -_Dos_, rule for indexing, 115. - -Double Crown, English paper size, 96. - -Double Foolscap, English paper size, 96. - -Double Post, English paper size, 96. - -Double Pott, English paper size, 96. - -Dramatic rights: reservation of, by author, 13; division of profits -from, 13. - -Dramatic works: subject to copyright, 32, 33, 36; copyright application -form for, 47. - -Dramatization, of novels, 13. - -Drawings: subject to copyright, 32, 36; must bear notice of copyright, -34; copyright application form for, 48. - -_Du_, rules for indexing, 114, 115, 127. - -Dummies, traveler's, 8. - -Duration, of copyright, 45, 46, 52, 53. - -Dutch prefixes to surnames, rules for indexing, 114, 115. - - -East Indian names, rules for indexing, 109. - -Ecclesiastical dignitaries, rules for indexing, 109. - -Edinburgh, Library of the Faculty of Advocates, British copyright -depository, 56. - -Edition de luxe, must be deposited for British copyright, 56. - -Editor the: advice to author from, 5; dealings with, 62, 63. - -Elisions, rule for indexing, 130. - -_Emir_, rule for indexing, 109. - -Emperors, rules for indexing, 108, 124. - -England: sale of American books in, 17; copyright of American books in, -54-56; recent copyright legislation in, 54-56; public holidays in, 55; -printed sheets shipped from U. S. to, 91 _n._; paper sizes in, 95, 96. -See also _Great Britain_. - -English rights, 17. - -Englishwomen, indexing titles of honor of, 111-113. - -Engraving, methods and processes explained, 81-85. - -Epithets, distinctive, rule for indexing, 116. - -Estimating, number of words in manuscript, 10, 69-71. - -Events, rules for indexing, 100, 117. - -Expositions, rule for indexing, 122. - -Extension, of copyright, application form for, 49. - - -False-title. See _Bastard-title_. - -Family name. See _Surname_. - -"Feature films," 26, 27. - -Fees, for copyright, 35, 37, 38-41, 45, 52, 60. - -Feigl, Dr., quoted, 109. - -Fiction, rates of royalty on, 16. - -Figures, rule for indexing, 130. - -Firms, business, rules for indexing names of, 120. - -_Fitz_, rules for indexing, 115, 127. - -Foolscap, English paper size, 95, 96. - -Forename, rules for indexing, 108, 109, 115, 120, 121, 125. - -Forts, rule for indexing, 115. - -Foundry proofs. See _Proofs_. - -France, copyright relations between U. S. and, 33, 53. - -Franking, of copies for copyright, 35, 52. - -Fraternities, Greek letter, rule for indexing, 119. - -Freemasons, rule for indexing, 119. - -French names, rules for indexing, 113, 114, 115. - -French prefixes to surnames, rules for indexing, 114, 115. - -Friars, rule for indexing, 108. - -Front matter, of book: estimating, 69; described, 88-94. - - -Galleries, rules for indexing: national or local, 121; private, 123. - -Galleys. See _Proofs_. - -Gazetteers, subject to copyright, 32. - -German prefixes to surnames, rules for indexing, 114, 115. - -Germany, copyright relations between U. S. and, 33, 53. - -Glossary, 88. - -Göttingen, Academy of, rule for indexing, 121. - -Great Britain: copyright relations with U. S., 33, 53-57; public -holidays in, 55. See also _England_. - -Greek, personal names, arrangement of in index, 126. - -Guatemala, copyright relations between U. S. and, 33, 53. - -Guilds, rule for indexing, 120. - - -Half-title: place in volume, 88; described, 93. See also -_Bastard-title_. - -High-school books, rate of royalty paid on, 17. - -Historical Societies, state, rule for indexing, 122. - -Hoernen, Arnold Ther, first use of title-page by, 90. - -Holiday, publication must not take place on public, 55. See _Canada_ -and _England_. - -Honduras, copyright relations between U. S. and, 33, 53. - -Hours, religious, rule for indexing, 118. - -Hungary, copyright relations between U. S. and, 33, 53. - -Hyphened words, rule for indexing, 128. - - -_Ibn_, (Arabic), rule for indexing, 108. - -Illustrations: for book, usually made for publisher, 80, 81; place in -book for list of, 88, 92. - -Imperial, English paper size, 96. - -_In_ (_Im_), rule for indexing, 115. - -Incomplete names, rule for indexing, 128. - -Index: place in book of, 88; importance of, 98; author should prepare -or examine manuscript of, 98, 99; qualifications of indexer, 98, 99; -what to index, 100; plan of work to be made before starting to make, -101, 102; procedure, 102, 103; arrangement of references under entries, -104; arrangement of entries, 104, 105; specimens of, 106, 107; rules -for indexing adjective headings, 105; Christian names, 108; surnames, -109-113; titles, 110-113; compound names, 113; surnames preceded by -prefixes, 114, 115; geographical names, 115-117; epithets, 116; titles -and degrees, 116, 117; parties and sects, 118; corporations, 118, -120; orders of knighthood, 118; colleges and professional schools, -119; libraries, 119; societies, 119, 128; alumni associations, 119; -schools, 119, 120, 123; universities, 121, 122; libraries, museums, and -galleries, 121-123; observatories, 121, 122; expositions, 122; state -societies, 122; churches and religious bodies, 122, 123; monasteries -and convents, 123; cathedrals, 123; banks, 123; associations, 123; -buildings, 123; pseudonyms, 128; incomplete names, 128; numerals, 130; -abbreviations, 130; arrangement of numerous similar headings, 124-130; -alphabetical arrangement, 124-130. - -International copyright, 53-57. - -Introduction, place in book of, 88, 93. - -Islands, rule for indexing, 115. - -Isle, rule for indexing, 115. - -Irish prefixes to surnames, rule for indexing, 115. - -Italian prefixes to surnames, rules for indexing, 114, 115. - -Italy, copyright relations between U. S. and, 33, 53. - - -Japan, copyright relations between U. S. and, 33, 53. - - -Kings, rules for indexing: names of, 108, 124; consorts of, 117. - -Knight, rule for indexing wife of, 112. - -Knighthood, orders of, rules for indexing, 118, 119. - -Korea, copyright relations between U. S. and, 33, 53. - - -Lakes, rule for indexing, 115. - -_La_, rules for indexing, 114, 115, 127. - -Latin, personal names, arrangement of in index, 126. - -_Le_, (_L'_, _Les_), rules for indexing, 114, 115, 127, 129. - -League, the Authors'. See _Authors' League, the_. - -Lectures: subject to copyright, 32, 36; copyright application form for, -47. - -Leipzig, Academy of, rule for indexing, 121. - -Libraries, rules for indexing: of colleges, 119, 121; national or -local, 121; private, 123. - -Library of the Faculty of Advocates, Edinburgh, British copyright -depository, 55. - -Limit notice: place in volume of, 88; described, 93. - -Lisbon, Academy of, rule for indexing, 121. - -Literary agent, the, value of services to author, 4, 63, 64. - -Liturgies, rule for indexing, 118. - -Luxemburg, copyright relations between U. S. and, 33, 53. - - - _Mac_, (_M'_, _Mc_), rules for indexing, 115, 127. - -_Mme._, rule for indexing, 130. - -_Mlle._, rule for indexing, 130. - -Madrid, Academy of, rule for indexing, 121. - -Magazine, the, relations with contributors, 58-63. - -Maid of honor, rule for indexing, 112. - -Manifestoes, rule for indexing, 118. - -Manuscript: offered competitively, 4; decision of "readers" upon, 6; -requirements of publisher, 7; advice about submitting, 10, 61, 62; -estimating number of words in, 10, 61, 67; postage rates on, 11, 61; -delivery of, mentioned in contract, 20; preparation by author of, 67, -68. - -Maps: subject to copyright, 32; must bear notice of copyright, 34; -copyright application form for, 48. - -Marchioness, rule for indexing, 112. - -Margins, of book, comments on, 71, 72, 96, 97. - -Masonic orders, rule for indexing, 119. - -Medium, English paper size, 95, 96. - -Mexico, copyright relations between U. S. and, 33, 53. - -Missals, rule for indexing, 118. - -_Mr._, rule for indexing, 130. - -_Mrs._, rule for indexing, 130. - -Models: subject to copyright, 32; must bear notice of copyright, 34; -copyright application form for, 48. - -Monasteries, rule for indexing, 123. - -_M._, rule for indexing, 130. - -Motion-pictures. See _Moving-pictures_. - -Moving-pictures: add new problems for publisher and author, 14, 24; -rights, 14, 22, 24-28; returns from, 25; royalty basis advised for, 25, -26, 28; exchanges, 26, 27; trade conditions, 27; subject to copyright, -32, 37; how to secure copyright of, 40-42; copyright application form -for, 48. - -Mountains, rule for indexing, 115. - -Museums, rules for indexing: national or local, 121; private, 123. - -Munich, Academy of, rule for indexing, 121. - -Musical compositions: subject to copyright, 32, 36; must bear notice of -copyright, 34; copyright application form for, 48. - - -Netherlands, the, copyright relations between U. S. and, 33, 53. - -Newspapers: secure second serial rights, 15; subject to copyright, 32; -must bear notice of copyright, 34; copyright application form for, 37. - -Nicaragua, copyright relations between U. S. and, 33, 53. - -Noblemen, rules for indexing: British, 110-113, 116, 117; foreign, 116; -in general, 124, 125. - -Norway, copyright relations between U. S. and, 33, 53. - -Numeral figures, rule for indexing, 130. - - -_O'_, rules for indexing, 115, 127. - -Observatories, rule for indexing, 121, 122. - -Offices, religious, rule for indexing, 118. - -"Option clause" in contract, 18. - -Oriental names, rules for indexing, 108, 109. - -Oxford, Bodleian Library, British copyright depository, 55. - - -Page proofs. See _Proofs_. - -Paintings: subject to copyright, 36; copyright application form for, 48. - -Paper: comments on, 85, 86; English sizes of, 95, 96. - -Parishes, rule for indexing, 122, 123. - -Parties, rules for indexing, 118. - -_Pasha_, rule for indexing, 109. - -Patronymics, rule for indexing, 116, 117, 126. - -Periodicals: subject to copyright, 32; must bear notice of copyright, -34; contributions to, 36, 39; how to secure registration of copyright -of, 37-39; copyright application form for, 47. - -Photographs: subject to copyright, 32, 36, 37; must bear notice of -copyright, 34; copyright application form for, 48. - -Photoplays, motion-picture, subject to copyright, 32, 37; copyright -application form for, 48. - -Pictorial illustrations: subject to copyright, 32; must bear notice of -copyright, 34; copyright application form for, 48. - -Places, rule for indexing, 117. - -Plastic works: subject to copyright, 32, 36; must bear notice of -copyright, 34; copyright application form for, 48. - -Plates, electrotype, described, 80. - -Platforms, political, rule for indexing, 118. - -Popes, rules for indexing, 108, 124. - -Portugal, copyright relations between U. S. and, 33, 53. - -Portuguese prefixes to surnames, rules for indexing, 114, 115. - -Possessive case, rule for arrangement in index of, 126. - -Post, English paper size, 95, 96. - -Pott, English paper size, 95, 96. - -Prayer-books, rule for indexing, 118. - -Preface: place in book of, 88; described, 92. - -Prefixes, to surnames, rules for indexing, 114, 115, 125-127. - -Presswork, comments on, 70, 86. - -Princes, and Princesses, rules for indexing, 108, 124. - -Prints: subject to copyright, 32; must bear notice of copyright, 34; -copyright application form for, 48. - -Professional schools, rule for indexing, 119. - -Progressive royalty. See _Royalty_. - -Proofreader, duties of, 77, 78, 80. - -Proofs: mentioned in contract, 20; number usually furnished by printer, -67, 77-80; proof marks, 79. - -Proper names, rule for indexing, 100. - -Pseudonyms, rule for indexing, 128. - -Publication: act of, 50; simultaneous, necessary in Great Britain, 54, -55; must avoid public holidays, 55; in England must be bona fide, 56. - -Publications, rule for indexing, 118. - -Publisher: relations with author, 3; personality of, 6; decision on -merits of manuscript, 7; creates advance demand for book, 8; handling -of subsidized books, 11, 12; making contract with author, 12-24; -reservation of rights by: dramatic, 13, moving-picture, 14, serial, -14, 15, English and Colonial, 16, 17; securing option on author's -subsequent work, 18; form of contract with author, 19-24; protected -against infringement, 20; division of profits from sale of rights, 22; -rendering account of royalties, 22, 23, 28-30; terms for dissolution of -contract, 23; agreement to arbitrate differences with author, 23; duty -of, to secure copyright protection, 21, 31. - -Publishing: at author's expense, 11, 12; subsidized, 11. - -_Pundit_, rule for indexing, 109. - - -Queens, rules for indexing, 108, 117 - - -Rabbis, Jewish, rules for indexing, 108. - -Raised characters, works in, 36. - -"Readers": judgment of, on manuscripts of books, 6; may be prejudiced -by poor copy, 10. - -Refusal, on subsequent books given to publisher, 18. - -Register of Copyrights, mentioned, 39, 42, 52, 60. - -Registration, of copyright not required in foreign countries, 54 _n._ - -Religious denominations, rule for indexing, 118. - -Renewal, of copyright, 45, 46, 52, 53; copyright application form for, -49. - -Retail price, of book, basis of royalty, 16, 17, 21. - -Rights: dramatic, 13, 20, 22; moving-picture, 14, 20, 22, 24-28; first -serial, 14, 22; second serial, 14; English and Colonial, 17; given to -publisher by contract, 19, 20; of translation, 19, 22; notice regarding -reservation of, 57; magazine, 59-61. - -Rivers, rule for indexing, 115. - -Royal, English paper size, 95, 96. - -Royalty: effect of sale of serial rights upon, 15; rates of, on -fiction, 16; rates of, on text-books, 17; "progressive," 17; terms of, -in contract, 21, 22; advance payment of, 22; basis of, advised for -moving-picture writers, 25, 26; reports on, 22, 23, 28-30. - - -_St._ and _Ste._, rules for indexing, 115, 127, 130. - -St. Petersburg, Academy of, rule for indexing, 121. - -Saints, rules for indexing, 108, 124. - -Salvador, copyright relations between U. S. and, 33, 53. - -Sample page, preliminary to setting book in type, 69, 71. - -Schoolbooks, rates of royalty on, 17. - -Schools, rules for indexing: public, 119, 120; professional, 119; -private, 123. - -Scotch prefixes to surnames, rules for indexing, 115. - -Sculpture: subject to copyright, 32; must bear notice of copyright, 34; -copyright application form for, 48. - -Sects, rules for indexing, 118. - -Serial rights, first, 14, 22; second, 14, 15. - -Sermons: subject to copyright, - -32; copyright application form for, 47. - -Short-story writer, the, relation to magazine of, 58-63. - -Sobriquet, rule for indexing, 109. - -Societies, rules for indexing: local college, 119; inter-collegiate, -119; alphabetical arrangement of, 128. - -Sovereigns, rules for indexing, 108, 124. - -Spain, copyright relations between U. S. and 33, 53. - -_Sri_, rule for indexing, 109. - -Subsidized publications, 11, 12. - -Suffixes (titles), to names, place in indexed heading, 116. - -Super Royal, English paper size, 96. - -Surnames, rules for indexing: in general, 109, 110, 120, 121; of -noblemen, 110, 111; preceded by prefix, 114, 115, 126, 127. - -Sweden, copyright relations between U. S. and, 33, 53. - -Switzerland, copyright relations between U. S. and, 33, 53. - - -_Ten_, rule for indexing, 115. - -_Ter_, rule for indexing, 115. - -Textbooks, rates of royalty on, 17. - -_The_, rule for arrangement of, in index, 129. - -_Thor_, rule for indexing, 115. - -Title-entries, rules for arrangement of, in index, 129. - -Title-page, 88, 90, 91; first used by Arnold Ther Hoernen, 90. - -Titles: of nobility, rules for indexing, 110-113, 116, 117, 125; -prefixes to names, place in indexed headings, 116, 125. - -Titles, of books, stories, and periodicals, not subject to copyright -protection, 39, 46. - -Translation: right of, retained, 19, 22; notice of reservation, 57. - -Traveling salesmen, method of selling books by, 8. - -Treaties, rule for indexing, 117, 118. - -Trinity College, Dublin, Library of, British copyright depository, 56. - -Tunis, copyright relations between U. S. and, 33, 53. - -Type: names and samples of, 72-76; number of words in different sizes -of, 70, 71; setting of, 76. - - -_Umm_, (Arabic), rule for indexing, 108. - -Union, International Copyright, 53, 54. - -United States, the: reciprocal copyright relations with foreign -nations, 33, 53; not a member of International Copyright Union, 53, -54; simultaneous publication in, 54, 55. - -Universities, rules for indexing: of Europe, and Central and South -America, 121; of the United States, 122. - - -_Van_, rules for indexing, 114, 115, 127. - -_Vander_, rule for indexing, 115. - -_Van't_, rule for indexing, 115. - -_Ver_, rule for indexing, 115. - -Vienna, Academy of, rule for indexing, 121. - -Viscountess, rule for indexing, 112. - -_Von_, (_Vom_), rules for indexing, 114, 115. - - -Wales, National Library of, British copyright depository, 56. - -Welsh prefixes to surnames, rule for indexing, 115. - -Women, married, rules for indexing, 109, 110. - -Words, number of, in different sizes of type, 70, 71. - - -Young Men's Christian Associations, rule for indexing, 123. - - -_Zu_ (_Zum_, _Zur_), rule for indexing, 115. - - -FOOTNOTES: - -[1] See page 63. - -[2] See page 69. - -[3] See Contract Form, page 22. - -[4] See Contract Form, page 22. - -[5] See Contract Form, page 20. - -[6] See comments on page 65. - -[7] See Contract Form, page 21. - -[8] See Contract Form, page 22. - -[9] See Contract Form, page 21. - -[10] See qualifications later. - -[11] See comments on page 17. - -[12] See comments on page 15. - -[13] See comments on page 18. - -[14] See comments on page 31. - -[15] See comments on page 16. - -[16] See comments on page 17. - -[17] This varies from five to twelve copies. - -[18] Usually one-third discount from retail price. - -[19] See comments on pages 13-14. - -[20] See comments on page 13. - -[21] The bracketed words show the alternative arrangement on basis of -semi-annual royalty accounting. See comments on page 29. - -[22] See Contract Form, page 21, §4, I. - -[23] The notice of copyright must consist either of the word -"Copyright" or the abbreviation "Copr." accompanied by the name of the -copyright proprietor, and if the work be a printed literary, musical, -or dramatic work, the notice shall include also the year in which the -copyright was secured by publication. In case, however, of copies of -(_f_) Maps; (_g_) Works of art; models or designs for works of art; -(_h_) Reproductions of a work of art; (_i_) Drawings or plastic works -of a scientific or technical character; (_j_) Photographs; (_k_) Prints -and pictorial illustrations, the notice may consist of the letter -C inclosed within a circle, thus: ©, accompanied by the initials, -monogram, mark or symbol of the copyright proprietor: _Provided_, that -on some accessible portion of such copies or of the margin, back, -permanent base or pedestal, or of the substance on which such copies -shall be mounted, his name shall appear. - -The notice of copyright must be applied in the case of a book or other -printed publication, upon its title-page or the page immediately -following [the back of the title-page], or if a periodical either -upon the title-page or upon the first page of text of each separate -number or under the title heading, or if a musical work either upon its -title-page or the first page of music; but one notice of copyright in -each volume or in each number of a newspaper or periodical published is -sufficient. - -[24] See page 38 for advice about procedure in case of periodicals -themselves. - -[25] On the following page is given a reduced facsimile of both sides -of the Application Blank filled out ready to be sworn to. - -[26] See page 43. - -[27] No special registration beyond that to secure the American and the -English copyright is required in countries with whom the United States -has copyright treaties. - -[28] See page 34. - -[29] See page 10. - -[30] For estimating, see page 69. - -[31] See page 4. - -[32] See page 10. - -[33] See page 88. - -[34] A chapter usually begins with a sinkage of one-quarter page from -the top, and the last page of a chapter is usually but partially filled -with printed matter. - -[35] The word "leaded" is used here to indicate a six-to-pica or -2-point lead. See page 62. - -[36] See Glossary of Terms. - -[37] See Glossary of Terms. - -[38] See Glossary of Terms. - -[39] See Glossary of Terms. - -[40] See Glossary of Terms. - -[41] See Glossary of Terms. - -[42] See Glossary of Terms. - -[43] See page 70. - -[44] When a volume is left with uncut edges it is to be assumed that -its binding is of a temporary nature, and that the purchaser will -rebind it to suit his taste. - -[45] See Glossary of Terms. - -[46] For the form and location of this notice as required by law see -page 34. - -[47] This is often an important matter in the case of unbound sheets -shipped to England, as the "country of origin" must be printed on all -such sheets, and the printer's imprint must contain the letters "U.S.A." - -[48] These can be purchased at such stores as the Dennison Mfg. Co. at -a small price. - -[49] This pamphlet is issued by the Government, and copies may be -secured from the Superintendent of Documents, Government Printing -Office, Washington, D.C., at twenty cents a copy. - -[50] The British Museum enters British noblemen under the family -name. The reasons for entry under the title are that British noblemen -are always so spoken of, and always sign by their titles only. The -reasons against it are that the founders of noble families are often -as well known--sometimes even better--by their family name as by -their titles (e.g., _Charles Jenkinson_ afterwards _Lord Liverpool_, -_Sir Robert Walpole_, afterwards _Earl of Oxford_); that the same man -bears different titles in different parts of his life thus Philip -Stanhope published his "History of England from the Peace of Utrecht" -as Lord Mahon, and his "Reign of Queen Anne" as Earl Stanhope; that it -separates members of the same family (Lord Chancellor Eldon would be -under _Eldon_ and his father and all his brothers and sisters under the -family name _Scott_), and brings together members of different families -(thus the earldom of Bath has been held by members of the families of -Shaunde, Bourchier, Granville, and Pulteney, and the family name of the -present Marquis of Bath is Thynne), which last argument would be more -to the point in planning a family history. The same objections apply to -the entry of French noblemen under their titles, about which there can -be no hesitation. The strongest argument in favor of the Museum rule is -that it is well-established, and that it is desirable that there should -be some uniform rule. - -[51] See page 109. - -[52] So that _Thomas de Insula_ and _Thomas Insulanus_ may not be -separated. - -[53] Here the transposed _The_ is non-existent for the arranger. - - - - -Transcriber's Note: - - -Variable spelling and hyphenation have been retained. Minor punctuation -inconsistencies have been silently repaired. - -Corrections. - -The first line indicates the original, the second the correction. - -p. 19: - - the the parties hereto do covenant and agree as follows - the parties hereto do covenant and agree as follows - - thereof in the United States of America and in the Dominion of Canada - and elsewhere[11] - thereof in the United States of America and in the Dominion of Canada - and elsewhere[10] - -p. 162: - - to secure coypright protection, 21, 31 - to secure copyright protection, 21, 31 - - -Errata. - -The first line indicates the original, the second how it should read. - -p. 140: - - =Half-leather Binding=.--A binding which consists of leather back and - paper sides. - =Half-leather Binding= (_b_).--A binding which consists of leather - back and paper sides. - -p. 144: - - =Minion=.--The old-style name of a size of type equal to 7-point. - =Minion=(_c_).--The old-style name of a size of type equal to 7-point. - -p. 150: - - =Tapes= (_b_).--Strips of tape extending - =Tapes= (_b_).--(1)Strips of tape extending - - - - - -End of Project Gutenberg's The Author's Desk Book, by William Dana Orcutt - -*** END OF THIS PROJECT GUTENBERG EBOOK THE AUTHOR'S DESK BOOK *** - -***** This file should be named 53520-0.txt or 53520-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/5/2/53520/ - -Produced by MWS, Eleni Christofaki and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Author's Desk Book - Being a Reference Volume upon Questions of the Relations - of the Author to the Publisher, Copyright, The Relation - of the Contributor to the Magazine, Mechanics of the Book, - Arrangement of the Book, Making of the Index - -Author: William Dana Orcutt - -Release Date: November 13, 2016 [EBook #53520] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE AUTHOR'S DESK BOOK *** - - - - -Produced by MWS, Eleni Christofaki and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - -</pre> - - -<div class="transnote"> -<h3>Transcriber's Note.</h3> - -<p>A <a href="#Transcribers_Note">list</a> of the changes made can be found at the end of the book. -</p> -</div> -<div class="figcenter"> -<img src="images/i_cover.jpg" width="500" height="719" alt="cover" /> -</div> -<hr class="full" /> -<h1>THE AUTHOR'S DESK BOOK</h1> - -<hr class="chap" /> - - <div class="bboxsimple"> -<p class="center">OTHER BOOKS BY MR. ORCUTT</p> - -<hr class="small" /> - -<div class="hang"> -<p class="p2"><span class="smcap">Good Old Dorchester.</span> <i>A Narrative -History</i></p> - -<p><span class="smcap">Princess Kallisto</span>, <i>and other Tales of -the Fairies</i></p> - -<p><span class="smcap">Robert Cavelier.</span> <i>A Novel</i></p> - -<p><span class="smcap">The Flower of Destiny.</span> <i>A Novel</i></p> - -<p><span class="smcap">The Spell.</span> <i>A Novel</i></p> - -<p><span class="smcap">The Lever.</span> <i>A Novel</i></p> - -<p><span class="smcap">The Moth.</span> <i>A Novel</i></p> - -<p><span class="smcap">The Madonna of Sacrifice.</span> <i>A Story -of Florence</i></p> - -<p><span class="smcap">The Writer's Desk Book.</span> <i>A Companion -Volume to "The Author's -Desk Book"</i></p></div> -</div> - -<hr class="chap" /> -<div class="figcenter"> -<img src="images/i_titlepage.jpg" width="400" height="685" alt="" /> -</div> -<hr class="chap" /> -<div class="bbox"> -<div class="bboxsecond"> -<p class="center"> -<span class="large">The Author's</span><br /> -<em class="gesperrt"><span class="large">Desk Book</span></em></p> -</div> -<p class="pbox"> </p> -<div class="bboxsecond"> -<p class="left"> -<i>Being a reference volume upon -questions of the</i> <span class="smcap">Relations of -the Author to the Publisher · -Copyright · The Relation -of the Contributor -to the Magazine · Mechanics -of the Book · Arrangement -of the Book · -Making of the Index</span> · <i>Etc</i></p> -</div> -<p class="pbox"> </p> -<div class="bboxsecond"> -<p class="left"> -<i>By</i> WILLIAM DANA ORCUTT -<i>for many years Head of The University -Press · Cambridge · Now associated with</i> -<span class="smcap">The Plimpton Press</span> · <i>Norwood Mass</i></p> -</div> -<p class="pbox"> </p> -<div class="bboxsecond"> -<p class="left"> -<i>New York</i> · FREDERICK A STOKES -COMPANY · <i>Publishers</i> · MCMXIV -</p> -</div> -</div> -<hr class="chap" /> - -<p class="p6 center"> -<i>Copyright, 1914, by</i><br /> -<span class="smcap">Frederick A. Stokes Co.</span> -</p> - - <div class="figcenter"> -<img src="images/004.jpg" width="300" height="78" alt="Fasco August, 1914" /> -</div> - -<p class="center"> -THE·PLIMPTON·PRESS<br /> -NORWOOD·MASS·U·S·A -</p> - -<hr class="chap" /> - -<h2>CONTENTS</h2> - -<table summary="contents"> - -<tr><td> </td><td class="center">PAGE</td></tr> - -<tr><td class="hang"><span class="smcap">Relations of the Author to the Publisher</span> </td> -<td class="tdr"><a href="#RELATIONS_OF_THE_AUTHOR_TO_THE_PUBLISHER">3</a></td> -</tr> -<tr><td class="hangsub">Submitting the Manuscript—Publishing at the -Author's Expense—Making the Contract—Contract -Form—Moving-Picture Rights—Reports -on Royalties.</td></tr> - -<tr> -<td class="hang"><span class="smcap">The Copyright</span></td> -<td class="tdr"><a href="#THE_COPYRIGHT">31</a></td></tr> - -<tr><td class="hangsub">How to Secure Copyright Registration in the -United States—How to Secure Copyright -Registration of Periodicals—How to Secure -Copyright Registration of Motion-Pictures—<i>Ad -Interim</i> Protection—Assignment of Copyright—Fees—The -Duration of Copyright—The -Protection of Titles—Application -Forms—Practical Procedure—International -Copyright.</td></tr> - -<tr> -<td class="hang"><span class="smcap">Relations of the Short-Story Writer to -the Magazines</span></td> -<td class="tdr"><a href="#RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES">58</a></td></tr> -<tr> -<td class="hangsub">Copyright—Practical Suggestions—Dealings -with the Editor—The Literary Agent.</td> - -</tr> -<tr><td class="hang"><span class="smcap">Mechanics of the Book</span> </td> -<td class="tdr"><a href="#THE_MECHANICS_OF_THE_BOOK">65</a></td></tr> -<tr> -<td class="hangsub">Estimating the Manuscript—The Sample -Page—The Typesetting—The Proofs—Proof -Marks—The Plates—The Cover Design -and the Illustrations—The Engraving—The -Die Cutting—The Paper—The -Presswork—The Binding.</td> -</tr> - -<tr><td class="hang"><span class="smcap">Arrangement of the Book</span></td> -<td class="tdr"><a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a></td></tr> -<tr> -<td class="hangsub">The Layout—Bastard-Title—Advertising -Card—Title-Page—Copyright—Dedication—Preface—Table -of Contents—List of -Illustrations—Introduction—Half-Title—Limit -Notice—In General—Basic Sizes of -Books—English Paper Sizes—Margins.</td> -</tr> -<tr><td class="hang"> -<span class="pagenum"><a name="Page_vi" id="Page_vi">vi</a></span> -<span class="smcap">Making the Index</span></td> -<td class="tdr"><a href="#MAKING_THE_INDEX">98</a></td></tr> -<tr> -<td class="hangsub">What to Index—Plan—Definition of Terms—Procedure—Arrangement—Adjective-Headings—Subject-Matter—Rules -and Examples.</td> -</tr> -<tr><td class="hang"><span class="smcap">Glossary of Terms</span></td> -<td class="tdr"><a href="#GLOSSARY_OF_TERMS">131</a></td> -</tr> -<tr> -<td class="hang"> -<span class="smcap">Index</span> </td> -<td class="tdr"><a href="#INDEX">153</a></td></tr> -</table> - -<hr class="chap" /> - -<h2>THE AUTHOR'S DESK BOOK</h2> - -<hr class="chap" /> - -<h2><a id="RELATIONS_OF_THE_AUTHOR_TO_THE_PUBLISHER"></a>RELATIONS OF THE AUTHOR -TO THE PUBLISHER</h2> - -<p class="dropcap">THERE is much which is intangible in the -relations between an author and his publisher. -While it is true that modern commercialism -has invaded this field as it has all others, there -are probably no actual business relations more -dependent upon mutual confidence than those -which exist between the writer who produces -a manuscript which he wishes to have published, -and a publisher who wishes to secure -for the purpose of publication a manuscript which -he believes to contain elements of probable success. -This is due to many reasons, the first -and most important of all being that each is -in a position to add to his reputation and success -by the efforts of the other. Many a -publisher has by legitimate and judicious -business sagacity established the reputation -of a previously-unknown author; many an -author has placed a small publishing-house in -a position of importance, or added to the fame -of a house already established.</p> - -<p>Another reason for these closely-identified -interests is the fact that the average writer is -not experienced in business matters, but relies -largely upon the integrity of the publisher to -whom he intrusts himself. For the same -<span class="pagenum"><a name="Page_4" id="Page_4">4</a></span> -reason, the publisher feels an added responsibility -to protect the interests of the author, -realizing the fact that he has been placed in -the position of agent, to conduct affairs in the -joint interests of both. Even if there have -been cases where this confidence has been misplaced, -they are exceptions which do not affect -the general statement.</p> - -<p>The fact that the average author is not versed -in business detail has brought into being the -literary agent,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> who offers to stand between -the author and his so-called natural enemy, -the publisher. There is no doubt that frequently -the efforts of these literary agents -result in temporary pecuniary advantage to -the author, but the common consensus of -opinion is that in the long run the author will -best serve his own ends by co-operating with -his publisher, rather than by employing any -intermediary. Confidence begets confidence, -and fair play invites a personal interest which -is an asset, the value of which cannot be -over-estimated. When a manuscript has been -offered competitively, and is finally secured by -the highest-bidding publisher, it by no means -follows that the net returns from this contract -will exceed or equal what the author might -have received through some other publisher, -better equipped to sell it, who would have -taken a pride far beyond mere commercial -advantage in making it a successful venture.</p> -<p><span class="pagenum"><a name="Page_5" id="Page_5">5</a></span> -Take, for example, the question of advertising. -If a publisher issues a volume written by -an author whose later work is likely to be given -to another house, he realizes that whatever -investment he makes must be charged off -against this particular book. On the other -hand, if he feels that the author's relations are -such as to make it probable that the present -publisher will have an opportunity to share in -his later success, then it is good business for -him to invest a larger sum in advertising the -<i>author</i> than he could possibly afford to expend -upon any single <i>book</i>. Here again is the -mutual interest. The author's reputation rests -in a large measure in the hands of his publisher, -and he shares equally in any advantage which -accrues to the publisher from the publicity -which comes to both.</p> - -<p>From still another standpoint, the author -can secure material assistance from intimate -relations with his publisher. Many a novel -owes its success to the advice given by the -editorial staff of the publishing-house. Many -a strong story would never have reached its -audience because of mechanical or structural -defects, which the publisher helped to overcome. -There have been instances of unwise -editorial advice, and of undue pressure brought -to bear upon the author to the detriment of -his literary production, but these cases are -rare compared with those of helpful assistance, -which every successful writer will gratefully<span class="pagenum"><a name="Page_6" id="Page_6">6</a></span> -acknowledge he has received from his publisher. -In general, the publisher is a wise person in his -own field, and as the ultimate success of a book -depends upon its sale, his advice is usually -based upon a knowledge and an experience -which the author cannot possess. To make -his business a success, the publisher, as well -as the author, must interject his own personality, -this expression taking the form of personal -suggestions, of determining the physical -aspect of the volume, of selecting the artist, -of arranging methods of publicity, and of making -plans for interesting the retail booksellers.</p> - -<p>Few publishers depend upon the judgment -of their "readers" to the extent of accepting -or declining manuscripts wholly upon their -opinions. It is inevitable that a large proportion -of the manuscripts submitted should be -culled out and discarded by the professional -reader without ever reaching the final court of -appeal. These readers consider each story -from two distinct standpoints: (1) Has the -author a real story to tell? and (2) How well -has the story been told? If the manuscript -fails to stand the test of the first question, its -doom is sealed at that point; if it passes -through this test, even though it fails in the -second, it will be referred to the publisher for -a final reading, with the critic's comments -affixed to it.</p> - -<p>It is remarkable how many manuscripts in -this state are actually read by the publisher<span class="pagenum"><a name="Page_7" id="Page_7">7</a></span> -himself, in view of the countless other details -which naturally devolve upon him; but here -is where he recognizes the first claim upon his -personality. His viewpoint differs from that -of his reader only in that it has narrowed down -to three main questions which he demands of -each manuscript: (1) Does it conform to the -standards of the house? (2) To what and how -large an audience will it appeal? (3) Will the -probable returns warrant the initial investment?</p> - -<p>Having settled these points in his mind, the -publisher will further consider the literary -value of the story. If the plot is strong and -original but clumsily constructed, he will discuss -the situation frankly with the author, -and will advise him to rewrite such portions -as demand revision. Many a successful author -has learned how to tell his story through his -publisher's assistance, and owes his present -reputation to the fact that some publisher -discovered in his early, amateurish efforts -the germs of strength and originality, almost -smothered by structural faults.</p> - -<p>After the manuscript is ready for the printer, -it is the publisher's function to decide upon its -physical aspect, combining business judgment -and personal taste in producing a volume in -keeping with its content, and in such a dress -as to attract to it that class of bookbuyers who -are influenced by its attractiveness. Nowhere, -perhaps, is the fickleness of the public shown -more than in the taste displayed by this class<span class="pagenum"><a name="Page_8" id="Page_8">8</a></span> -of buyers, and styles obtain in this as much as -in millinery or in dress.</p> - -<p>With the plan of the building of the book -determined, the publisher undertakes to create -a demand, first from the booksellers and later -from the public. The traveling salesman is -the usual means to accomplish the first end. -He makes his regular trips at stated seasons, -covering the entire country, carrying with him -"traveler's dummies," which usually consist -of a stamped cover of each book, inside of which -are fastened representative pages and proofs -of illustrations. From these samples, the salesmen -take their "advance orders," and the -publisher usually awaits the tabulation of -these before deciding upon the size of his first -edition.</p> - -<p>Other methods are employed in addition to -these, varying with the ingenuity of each publisher: -such as the sending out to the booksellers -of advance copies or sheets, writing special -letters, giving synopses of the stories, etc., all -of which advance preparation requires time -and thought. Authors sometimes become impatient -over what seems to them to be unwarranted -delays, when in reality the publisher is -serving their interests as well as his own by -creating a market before actually placing the -book on sale.</p> - -<p>To create a demand on the part of the public -is as difficult in marketing books as any other -commodity. Advertising helps, of course, but<span class="pagenum"><a name="Page_9" id="Page_9">9</a></span> -as to the amount, nature, and method of advertising, -each publisher has his own ideas. Each -author naturally regards his own work as -deserving of the maximum publicity, but the -publisher is obliged to consider his list as a -whole. If he thinks it wise to invest a large -sum in advertising a particular story, it is -because he believes that story to possess an -appeal to the public sufficient to warrant this -investment. His judgment may be wrong, -and often is. The book he depends upon does -not respond as he expects, and some other book, -in which he did not have as much confidence, -for some unknown reason suddenly shows -unexpected strength. But the publisher has -been honest in his attempt, even though -faulty in his judgment, and the author who -recognizes this in his attitude to his publisher -will go far toward cementing the bonds of -co-operation which inevitably bring success -to those writers who actually possess, the -genius to demand it.</p> - -<p>The fact that one author's contract differs -from another's cannot be taken as evidence -that the publisher has not fulfilled his entire -responsibility to both. An author without an -established reputation has no right to expect -as attractive a contract as one whose name is -of known value to the publisher's list.</p> - -<h3>SUBMITTING THE MANUSCRIPT -<span class="pagenum"><a name="Page_10" id="Page_10">10</a></span> -</h3> - -<p>The enormous number of manuscripts with -which the publisher is deluged makes it absolutely -necessary, for self-interest, to submit -typewritten copy. Some houses make it a rule -to return handwritten manuscripts unread.</p> - -<p>The manuscript should not be bound together -in any way, but the pages should be carefully -numbered consecutively.</p> - -<p>The best size of paper is the standard 8½ by -11, and the sheets should be uniform in size.</p> - -<p>The paper should not be shiny or slippery, -as this affects the eyes of the reader unpleasantly.</p> - -<p>Each page should contain approximately the -same number of lines, as this assists the publisher -in estimating the number of words, and -in determining the probable size of the printed -volume.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> - -<p>Always retain a duplicate copy of a manuscript, -to prevent loss by fire, theft or other -accident. It is an undue responsibility for -an author to place upon a publisher to submit -to him the only copy of a manuscript in existence. -If the manuscript be accepted, it is -also an advantage to have a copy for the use -of the artist, etc.</p> - -<p>Write on one side of the paper only.</p> - -<p>Deliver the manuscript to the publisher flat -rather than rolled or folded.</p> -<p><span class="pagenum"><a name="Page_11" id="Page_11">11</a></span> -Manuscript copy costs two cents an ounce -for mailing; when mailed with proof it costs -one-half cent an ounce.</p> - -<p>In fastening one piece of paper to another, -or in fastening addenda upon pages already -written, use mucilage rather than pins or clips.</p> - -<p>Be sure that the author's name and address -are plainly marked upon the manuscript. The -usual location for this is the upper left-hand -corner of the first page.</p> - -<h3>PUBLISHING AT THE AUTHOR'S EXPENSE</h3> - -<p>It may be taken as a general statement that -if a book possesses sufficient merit to warrant -its publication at all, a publisher can be found -who is willing to assume the entire risk of the -expense of publication. This statement does -not apply to scientific, technical, or special -works which publishers are glad to have upon -their lists, but which must be subsidized from -some source in order to make publication -financially possible. In the case of a novel, -the statement has no exceptions. No first-class -publishing-house will issue with its imprint, -at the author's expense, a novel in which -it cannot have sufficient confidence to warrant -it in assuming the entire expense.</p> - -<p>Frequently the unknown author, eager to -secure the publication of his work, is willing -to make any sacrifice, or any terms, with almost -any house which is willing to assist him -in accomplishing the desired result. In fact,<span class="pagenum"><a name="Page_12" id="Page_12">12</a></span> -there are publishing firms who confine their -operations to the publication of manuscripts -to be paid for entirely by the writer. The -general proposition is that the author assumes -the cost of publication, the publisher places -against this his expense of doing business, and -the value—such as it is—of his imprint; -and then author and publisher divide the -profits.</p> - -<p>Unfortunately, it is the rarest thing that -there are any profits to divide; and the part -of the whole transaction which is deplorable -is that the publisher must know in advance -that he has, to a certain extent, played upon -the vanity of the author,—not so much, -perhaps, in what he has actually said to him, -as in the fact that he has shown an enthusiasm -which leads the author to think that he has -really produced a "best seller." There is a -legitimate fee for privately-printed books if -the author goes into the transaction with his -eyes open, and accepts the services of the -publisher as an agent, allowing the publisher's -profit to stand as a return for services rendered.</p> - -<p>Authors should be particularly wary of heeding -solicitations from publishing-houses for -manuscripts to be published in this way.</p> - -<h3>MAKING THE CONTRACT</h3> - -<p>There have been several new elements, in -recent years, entering into the contract between -author and publisher, which have made it a<span class="pagenum"><a name="Page_13" id="Page_13">13</a></span> -more complicated business-partnership than in -the past. It was not so long ago, for instance, -that neither author nor publisher would spend -much time discussing the clause relating to -dramatization; for few novels were then -dramatized, and the chance of having this -clause become of importance was remote. To-day, -however, nearly every author considers his -work teeming with potential dramatic probabilities, -and the fact that so many plays have -been produced, based upon successful novels, -naturally leads the publisher to wish, if possible, -a share in this supplementary reward. In -considering this clause, therefore, the author -must take into account the part which his -publisher is likely to play in advancing the -interests of both along these lines.</p> - -<p>The present stock contract of most publishing -houses assigns the dramatic rights to the -publisher, but provides that the author shall -share in such profits as may accrue from the -dramatization.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> Just where the division shall -occur is a subject for discussion. It seems a -fair contention on the publisher's part that -any interest in dramatization comes from the -popularity which a novel attains, and that -this attainment results from his energy and -ability in placing the book before the public -as much as from the merit of the story itself. -If the author feels this position to be warranted, -<span class="pagenum"><a name="Page_14" id="Page_14">14</a></span> -he will undoubtedly accept an equal -division; if not, he will insist that the clause -be stricken out.</p> - -<p>The moving-picture rights<a name="FNanchor_4a_4a" id="FNanchor_4a_4a"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> add a still more -recent factor to the consideration of the contract. -The development of the moving-picture -business has been so rapid that the demand -found both publishers and authors unprepared -for the unexpected, but no less welcome market -for what must be considered a by-product. -And the possibilities of its further extension are -so unlimited that the returns from this single -source alone may easily prove of greater value -than the original right to publish the novel. -Here, then, is a point which could never have -appeared in the old-time contract, yet which -now warrants the most careful consideration.</p> - -<p>The serial rights<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> have long formed a definite -clause to be included or omitted. Often the -publisher's contract is not made until after -the serial publication of the story has been -arranged, in which case it is naturally an entirely -independent business transaction. Frequently, -however, the publisher places the story -serially for the author, arranging his own date -of publication to conform. Obviously, under -these conditions, the publisher is entitled to -share in the returns from the serialization.</p> - -<p>The "second serial rights" represent still -another phase. It is the custom for publishers -<span class="pagenum"><a name="Page_15" id="Page_15">15</a></span>to sell these rights to newspapers, and to receive -their pay not in cash but in advertising -space, since by so doing they receive more -than they could get for a fair equivalent in -cash. This second serialization does not ordinarily -take place until a story has had its sale, -and its appearance in this cheaper form is -not supposed to affect the author's royalties -one way or the other. The advertising space -thus secured is used not to advertise the story -so serialized, but other, later books issued by -the same house. The publisher usually credits -the author's royalty account with an arbitrary -sum, equivalent in his estimation to the value -of the transaction. Few contracts contain -any clause covering this point. The publisher -argues that the author, in all probability, -could not have disposed of these rights at any -price, and that whatever amount he receives -is clear gain.</p> - -<p>The contracts of various publishing-houses -differ in their clauses covering "author's -alterations," which include all changes made -from the original manuscript as delivered to -the printer. Some publishers allow a flat -sum of $25<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>; others allow 10% of the printer's -bill for composition and electrotyping. The -average author cannot understand the expense -of making changes after the manuscript has -been put in type, and this point is one of the -<span class="pagenum"><a name="Page_16" id="Page_16">16</a></span>most disagreeable features which creep into -the relations between author and publisher. -It is inevitable that certain changes should be -required when the author sees his work reduced -to the rigidity of type, but the publisher should -certainly not be expected to pay the penalty -for elaborate changes which are the results of -the author's carelessness or change of heart.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> - -<p>The rate of royalty depends upon the value -of the author's name to the publisher's list, -but the normal rate is 10% of the retail price.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> -Some publishers demand that the first thousand -copies shall be exempt from royalty, but this -is looked upon to a certain extent as taking -advantage of the author's lack of reputation. -The best houses, if they are willing to publish -a book at all, are willing to take the whole risk, -allowing the author returns on every copy sold.</p> - -<p>On fiction, the rate goes up from 10% to -33⅓%, but at this latter rate the publisher is -giving the author more than he can afford, -hoping to make up for his plunge by the impetus -which this fortunate author's name will give -to the balance of the list. Broadly speaking, -20% is the maximum a publisher can afford to -pay, and then only on a book which is practically -certain to win a place among the best -sellers. A method which seems fair to all -concerned is what is called the "progressive -<span class="pagenum"><a name="Page_17" id="Page_17">17</a></span>royalty." This gives the author say 10% on -the first ten thousand copies, 15% upon the -next ten thousand, and 20% upon all copies -sold over twenty thousand. An arrangement -such as this gives the publisher an opportunity -to charge off all his initial expenses of manufacture, -and to be liberal in his advertising -appropriations in extending and continuing the -sale of the book.</p> - -<p>The royalty upon common-and high-school -textbooks is normally 7½% to 10%, but as -the publisher frequently makes special prices -to secure large adoptions, the rate may be less. -Special clauses are usually inserted into contracts -made with authors of books of this -nature, to cover these contingencies. College -textbooks command 10% to 15%.</p> - -<p>The clause relating to English rights<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> is -unimportant to the average American author, -for American stories do not as a rule sell well -in England. As a leading English publisher -once jocosely told the writer: "The average -American novel deals either with society or -sport, and we in England don't think you know -much about either in America." If, however, -the author believes his book has a chance, in -all probability the publisher will strike out the -clause, and give him a free hand to make his -arrangements direct. The question of Colonial -rights should not be overlooked, as these sometimes -<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span> -prove to be of greater value than the -English rights themselves.</p> - -<p>The "option" clause,<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> giving the publisher -the refusal of subsequent books, is one which -every publisher is glad to have, as it binds him -to nothing and may prove of value if the -earlier story of the author is successful. On -general principles, it is the part of wisdom, -in any contract, to make no agreement which -does not bind both parties. An author should -consider the probable advantage to himself -in having the publisher feel sufficiently certain -of retaining him upon his list to warrant the -expenditure of larger sums, in advertising and -in pushing the book in hand, than would be -safe if the author were free to take his next -manuscript to another publisher.</p> - -<p>The present writer is a strong believer in -the advantage to the author of remaining -on a single publisher's list, provided the publisher -has shown himself to be enterprising, -and inclined to advance the author's interests -simultaneously with his own. There are -unquestionably many instances where an author -can secure larger royalties by "shopping -around," but in the long run better results will -come from a consideration of the bonds between -author and publisher in the light of a business -partnership, not to be broken while relations -remain amicable.</p> -<p><span class="pagenum"><a name="Page_19" id="Page_19">19</a></span> -At present there is no uniform book contract -used by all publishers. The blank contract -form here given is that used by a reputable -publishing-house. As a matter of fact, no -present contract of any publisher is wholly -satisfactory, and it is interesting to note that -the subject of contract is one which the leading -houses are taking up seriously with a view to -standardization and improvement.</p> - -<blockquote> -<h4>Contract form:</h4> - -<p>MEMORANDUM OF AGREEMENT made this -... day of ..., 19..., between ..., -party of the first part (hereinafter called -the Author), and ... of ..., party of the -second part (hereinafter called the Publishers), WITNESSETH: -That</p> - -<p>WHEREAS the said ... is the author -and proprietor of a work entitled ... (hereinafter -called "the Work"), and desires that the same -be published and put on the market by the said ...,</p> - -<p>NOW, THEREFORE, in consideration of the -premises and of One Dollar to each in hand paid by -other, the receipt whereof is hereby acknowledged, -<span class="err" title="original: the the">the</span> parties hereto do covenant and agree as follows:—</p> - -<p>FIRST: The Author hereby bargains, sells, grants, -conveys, transfers and sets over unto the said ... -the sole and exclusive<a name="FNanchor_10b_10b" id="FNanchor_10b_10b"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> right and privilege to print, -publish and put on the market the said Work, during -the whole term of its copyright and all the renewals -thereof in the United States of America and in the -Dominion of Canada and elsewhere<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor"><span class="err" title="original: 11">[10]</span></a>; the Publishers -shall also have all rights of translation, abridgment, -<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span>dramatization, moving-picture rights, selection, and -other rights of, in, or to said Work in the United States -of America and in the Dominion of Canada and elsewhere.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> - -<p>SECOND: The Author hereby guarantees</p> - -<p>I. That he is the legal author and sole proprietor of -the said Work hereinabove mentioned, and that he has -the sole and exclusive right to dispose of the same.</p> - -<p>II. That the said Work has not heretofore been published, -and that it is in no way a violation of any existing -copyright, either in whole or in part, and that it contains -nothing of a scandalous, an immoral or libelous -nature.</p> - -<p>THIRD: The Author covenants and agrees</p> - -<p>(<i>a</i>) That he will keep the Publishers safe, whole and -harmless from all damage, hurt and expense of every -nature, kind, and description whatsoever arising from -any claims of infringement of copyright or from any -matter or thing contained in said Work.</p> - -<p>(<i>b</i>) That he will deliver to the Publishers full and -complete manuscript of said Work, on or before the -... day of ..., and that he will pay -all expenses for corrections<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> in plates after last proof -from type, whether page or galley, has been corrected -by him and such corrections carried out by the compositors. -The manuscript thus given to the Publishers -shall be final revised "copy." In this regard it is -understood that in case, because of danger of serious -delay in publication or of the loss of copyright, opportunity -is not given the Author to read proof as hereinbefore -provided, the cost of plate corrections not -necessitated by typographical errors shall still be borne -by the Author, unless delay in sending proofs from type -is due to gross negligence on the part of the Publishers. -If the Publishers are required by the Author to make -corrections or alterations in the type (not necessitated -<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> -by typographical errors) costing in excess of twenty-five -dollars, the Author agrees to pay the excess of cost.</p> - -<p>(<i>c</i>) That he will give to the Publishers the first -refusal of the next<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> ... to be written by him, -hereby granting to the said Publishers, on the same -terms as those of this contract, an option on the publication -thereof for ... days after the manuscript -shall have been delivered to them.</p> - -<p>(<i>d</i>) That he will take or cause to be taken all necessary -steps to effect renewals of copyright as provided -for by law.</p> - -<p>FOURTH: The Publishers hereby covenant and -agree</p> - -<p>I. To copyright<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> -the said Work in the United States -of America in the name of the Publishers, and to take -all usual precautions to protect the same.</p> - -<p>II. To publish said Work and put the same on the -market at their own expense, in such style and manner -as they shall deem expedient, and at such time or times -as they shall see fit, it being understood that the advertising, -the number and destination of free copies, and -each and every detail as to manufacture and publication -shall be in the exclusive control of the Publishers.</p> - -<p>III. To pay to the Author<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> ... -per cent. on the -catalogue (retail) price, regular cloth style, for all -copies of said Work actually sold by them, which shall -be construed as not including copies given to the Author, -travelers' samples, damaged copies, copies given away -for the purpose of aiding the sale of the Work, copies -sold at or below cost, where falling off in profitable -sales in any style of binding requires this, or copies -sold at a catalogue (retail) price of fifty cents or less, -or copies sold in foreign countries.<a name="FNanchor_13b_13b" id="FNanchor_13b_13b"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p> - -<p>IV. To pay upon all copies of the said Work sold -and paid for at a catalogue (retail) price of fifty cents -<span class="pagenum"><a name="Page_22" id="Page_22">22</a></span>or less, or copies sold in foreign countries, one-half of -the first above-mentioned royalty or percentage on -the foreign<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> -catalogue (retail) price of the same.</p> - -<p>V. To pay upon all copies of the said Work sold at -"remainder" prices (except when sold at or below cost) -ten per cent. of the actual net price received. Such -"remainder" prices shall not exceed one-third of the -retail price of the Work.</p> - -<p>VI. To pay to the Author the sum of ... on the -... day of ... in advance and on account of the -royalty or percentage to accrue to the Author as hereinbefore -specified.</p> - -<p>VII. To give to the Author<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> ... copies of said -Work, and to sell to him further copies for his personal -use at the trade<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> price.</p> - -<p>VIII. No payment shall be made by the Publishers -for permission gratuitously given to publish extracts -from said Work to benefit the sale thereof; but if the -Publishers receive any compensation for the publication -of extracts therefrom, or for serial use after publication -in book form, or for translations, or abridgments, such -compensation shall be equally divided between the -parties hereto.</p> - -<p>IX. If the publishers receive any compensation for -rights of dramatization, moving-picture rights,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> or first -serial rights, such compensation shall be divided in -the proportion of<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> ... to the Author, and ... -to the Publishers.</p> - -<p>X. To submit statements of sales as of the second -Monday in January [and the first Monday in July],<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> -<span class="pagenum"><a name="Page_23" id="Page_23">23</a></span>on April 1st (and October 1st respectively) in each and -every year, and to settle for the same in cash on the -first of every May (and the first of every November), -respectively following.</p> - -<p>FIFTH: It is further covenanted and agreed by -and between the parties hereto as follows:</p> - -<p><i>A.</i> If at any time during the continuance of this -agreement the Publishers wish permanently to discontinue -the publication of said Work, they shall notify -the Author in writing, mailed to his latest-known -address, and for thirty days thereafter he shall have -the option or right to buy from the Publishers all -copies on hand at the cost of manufacture, and (should -these not have been destroyed by fire or otherwise) -stamps and electrotype plates if any, at one-third their -cost to the Publishers, paying in addition for engravings -of the illustrations, if any, twenty-five cents per square -inch of each plate, and upon the failure of said Author -to exercise this right or option, by paying for the same -in cash within said time, said Publishers shall dispose -of the same as they may see fit without any commission -or percentage whatsoever, and this contract shall forthwith -cease and determine.</p> - -<p><i>B.</i> If, after the publication of any edition of said -Work, the plates be rendered useless by fire or otherwise, -the Publishers shall have the option of reproducing -them or not; and if they shall decline to reproduce -them, then, after the sale of all copies remaining on -hand, they shall, upon written request, reconvey to the -Author the copyright and all rights herein granted, -and this contract shall terminate. No insurance shall -be effected by the Publishers for the Author.</p> - -<p><i>C.</i> The parties hereto hereby agree to settle all disputes -and differences under this contract by arbitration. -One arbitrator shall be chosen by each party to -this agreement, and these two arbitrators shall select -a third, and the decision of a majority of the arbitrators -shall be final and shall be binding upon the parties -hereto.</p> - -<p><span class="pagenum"><a name="Page_24" id="Page_24">24</a></span> - -<i>D.</i> It is understood and agreed that the Publishers -are not insurers of manuscripts or drawings placed in -their possession, and that they shall be liable for gross -negligence only in the care of the same.</p> - -<p class="p2">It is understood and agreed that this instrument -shall bind the parties hereto, their heirs, executors, -administrators, successor, successors or assigns.</p> - -<p>IN WITNESS WHEREOF the parties hereto have -hereunto interchangedly set their hands and seals the -day and year first above written.</p> - -<p>IN THE PRESENCE OF</p> - -<p>As to the Author</p> - -<p>As to ...</p> - -</blockquote> -<h3>MOVING-PICTURE RIGHTS</h3> - -<p>The tremendous development in the moving-picture -business has created a demand for -dramatic films taken from long stories, or for -a reproduction entire of short stories, which -offers an entirely new and unexpected revenue -to both publisher and author. Moving-pictures -have passed from the experimental -period into an institution. The reproduction -entire of certain famous stories has given to -the enterprise a dignity which no one could -have predicted, and the outlet they offer for -a by-product is considered perfectly legitimate.</p> - -<p>All this produces new conditions in the relations -between author and publisher, and many -new questions have arisen which neither one -may have anticipated at the time the contract -was drawn. It is still necessary to have<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span> -interpretations of the laws governing dramatic -regulations, and of the rights involved.</p> - -<p>It has been the practice of the moving-picture -producer to buy his plots outright, but with the -new knowledge which has come to the writers -of scenarios and plots of the real value of these -when once assured of success, has also come a -realization of the advantages of making royalty -arrangements instead of selling outright.</p> - -<p>As far as the future is concerned, authors -should familiarize themselves with the various -intricacies of this particular field before signing -contracts, making sure that the contract clearly -defines the exact basis of what they part with -and what they retain, or the percentage of -ownership which the author holds in any one -of the various rights.</p> - -<p>The following excellent summary is supplied -by the "Authors' League" to its members:</p> - -<blockquote> - -<p>"While the business of motion photography is by -no means new, it is only within comparatively recent -times that there has been a general demand for scenarios -and plots. Within the last two or three years -authors have found a new and unsuspected source of -revenue in the sale of 'Cinema' rights to their short -stories, and, although the returns were usually small, -they formed a welcome addition to the writer's income. -Prices frequently depended more upon the advertising -value of the author's name than upon the character of -the material, and ranged from $15 to $150; nevertheless, -many persons not engaged in the usual forms of -literary work have reaped a substantial harvest from -that source. Until recently, subjects have been commonly -confined to one reel of 1000 feet in length, but -<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span>owing to the rapid development of the motion-picture -business there has arisen a demand for more pretentious -photoplays, for 'feature films' of multiple reel -length, and, in consequence, many famous books and -dramas have been, and are being, photographed.</p> - -<p>The demand is logical and promises to be permanent, -hence the producer finds himself in need of good -subjects, and the author is beginning to recognize his -photoplay rights as something more than an insignificant -by-product of his labor.</p> - -<p>It has been the picture-producer's practice to pay -cash for his plots, but royalty arrangements covering -'feature films' are now being made. The latter method -has its drawbacks, for, owing to the existence of a -middle-man, it is more difficult for the photo-playwright -to share in the full returns of his work than it is for the -author of a book or play. The book-publisher or -theatrical-producer distributes his goods directly to -the public, and the author receives a royalty on the -retail price of the book in the one instance, and on the -box-office receipts in the other. The motion-picture -manufacturer, on the contrary, does not sell his films -to the theater or to the public, except in certain cases -noted later, but to an 'exchange' or series of exchanges, -which in turn leases to the exhibitor. Under this -practice, therefore, the author receives a percentage -only upon the rental or purchase price paid by the -exchange to the manufacturer.</p> - -<p>The exceptions above referred to, under which the -author may more nearly share in the full returns from -his photoplay, is when state rights, foreign rights, etc., -to 'feature films' are sold or leased for cash, without -passing through the hands of the exchanges, or when -the producer elects to exhibit his films in his own or -leased theaters. It may be seen, therefore, that while -a sale on a royalty basis is in some ways unsatisfactory -from the author's standpoint, it is on the whole -preferable to a cash sale.</p> - -<p>The exchanges are, in effect, circulating libraries, -<span class="pagenum"><a name="Page_27" id="Page_27">27</a></span>which distribute reels of film instead of books. The -results are similar to those arising from the English -library system, under which large book sales are almost -impossible, and under which neither author nor publisher -profits greatly from a book's popularity. There -is this difference, however: the publishers of Great -Britain do not own the libraries, while in this country -the exchanges—at least to a great extent—are -owned by the manufacturers.</p> - -<p>Since many writers are totally unfamiliar with the -conditions of the trade, a word of explanation may be -of value and avoid bewilderment. Broadly speaking, -the motion-picture field is occupied by two factions—the -'licensed' manufacturers, with their own exchanges -and exhibitors, and the 'independents.' The former -are composed of ten producing firms, the patents and -rights under which they operate being vested in a holding -company—The General Film Company—which -is the sales-agent for all regularly released films of the -coalition, and has about fifty branches. These manufacturers -make only 'licensed' films, and distribute -their regular releases only through the general film -company, which in turn leases exclusively to licensed -theaters, of which there are about 10,000 in this country.</p> - -<p>The remaining producers, exchanges and exhibitors -comprise the independents.</p> - -<p>When an ordinary film of 1000 feet is made, it is -released for exhibition on a given date, and is then -termed a 'first-run picture.' As it gradually wears -out, this rental grows less, and in about six months it -is called in and destroyed. If the subject is popular, -reprints are made, and distributed as before. 'Feature -films' comprising several reels are sometimes handled -as previously noted. Foreign rights are most frequently -sold outright."</p> - -<p class="center"><span class="pagenum"><a name="Page_28" id="Page_28">28</a></span> - -<b>Don'ts for Authors</b></p> - -<p>"Don't give away your photoplay rights in selling -a story for magazine or book publication.</p> - -<p>Don't include them in a dramatic contract without -some clause similar to that governing stock rights.</p> - -<p>Don't sell them to the first bidder.</p> - -<p>Don't sell them for cash if you can secure a continuing -interest in the film. It may be of value ten -years hence.</p> - -<p>Don't decide that your story will not make a -motion-picture. It may contain values which you do -not see.</p> - -<p>Don't decide that your story will make a good -photoplay until you understand something about the -requirements and limitations of the business. Remember, -every film must be passed by the National Board -of Censors.</p> - -<p>Don't forget that your story must be told in pantomime.</p> - -<p>Don't turn your photoplay rights over to the -stranger who offers to adapt and handle your stories -for one-half the proceeds.</p> - -<p>Don't forget that you probably sold 'all rights' -to your story when you signed that receipt.</p> - -<p>Don't sell the producer a right which you don't -own, and make him buy it over again from the present -owner. He won't like it."</p></blockquote> - -<h3>REPORTS ON ROYALTIES</h3> - -<p>The methods employed by the various publishing-houses -in keeping and rendering their -accounts with authors vary with each house, -but all publishers are alike to the extent of -realizing that this end of the business must be -absolutely above suspicion. An unwarranted -<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span> -rumor, or a clerical error, would raise a question -which might affect the standing of the -house more than any other one thing. For -this reason, the royalty records of all reputable -publishing firms are so kept that they may be -easily inspected if any question arises, and no -objection would ever be made to a request from -an author to make an examination should he -feel that circumstances justified it.</p> - -<p>The publisher recognizes that each author is, -in a sense, his partner in the production of a -book, and as such is entitled to intimate information -regarding the progress of their joint -enterprise. Semi-annual statements are rendered, -which are often verified by certified -reports from the publisher's printers and -binders, covering the number of copies manufactured -and sold during each period. Some -publishers include a report of the number of -copies distributed for review or other advertising -purposes; some do not. Some have these -reports checked by public accountants, who -compare the statements of sales with the bills -for printing and binding and the inventories -for paper. But all these varying methods are -based upon accurate, detailed records, which -are carried forward regularly to the author's -account.</p> - -<p>Payments upon these semi-annual statements -are usually made four months after they -are rendered, making an average date of seven -months which the publisher takes upon his -royalty account. On the face of it, this seems -<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span> -too long a time, but those authors who are -familiar with the customs of the trade realize -that the publisher is obliged to sell to the -jobbers and retailers on time, so that in this, -as in other portions of the undertaking, they -are simply sharing the financial necessities.</p> - -<hr class="chap" /> - -<h2><a id="THE_COPYRIGHT"></a>THE COPYRIGHT</h2> - -<p class="dropcap">THE matter of copyright is one which admittedly -requires thorough revision. No one -seems able to explain why it is that in spite of -conferences and delegations, congresses and -discussions, the product of a man's brain is -still at the mercy of regulations which even -those in authority are unable to define. As a -matter of fact, the copyright itself is merely -a registration, which protects only in case the -claimant of the copyright possesses the rights -he claims. The Copyright Office does not -undertake to pass upon his rights, leaving the -question to the courts in case of dispute. It -simply records his claims, and by this recording -gives him certain rights provided his claims -can be substantiated. The statements here -made, therefore, cannot be taken as definitive, -but are based upon information given out -by the Copyright Office, and upon the usage -of the best publishing-houses.</p> - -<p>When a publisher has accepted a manuscript, -it becomes a part of his duty to secure the copyright. -Usually, this is taken out in the name -of the publisher rather than of the author, as -the contract itself is really a license to sell -from the author to the publisher. It is also -the duty of the publisher to take all necessary -<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> -steps to effect renewals of copyright as provided -for by law.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p> - -<p>For those who find it necessary to take out -their own copyrights, the following information -is of value:</p> - -<p>The copyright law provides that the application -for registration of any work "shall specify -to which of the following classes the work in -which copyright is claimed belongs":</p> -<ul> -<li>(<i>a</i>) Books, including composite and cyclopaedic -works, directories, gazetteers, and other -compilations.</li> - -<li>(<i>b</i>) Periodicals, newspapers.</li> - -<li>(<i>c</i>) Lectures, sermons, addresses, prepared -for oral delivery.</li> - -<li>(<i>d</i>) Dramatic or dramatico-musical compositions.</li> - -<li>(<i>e</i>) Musical compositions.</li> - -<li>(<i>f</i>) Maps.</li> - -<li>(<i>g</i>) Works of art; models or designs for -works of art.</li> - -<li>(<i>h</i>) Reproductions of a work of art.</li> - -<li>(<i>i</i>) Drawings or plastic works of a scientific -or technical character.</li> - -<li>(<i>j</i>) Photographs.</li> - -<li>(<i>k</i>) Prints and pictorial illustrations.</li> -</ul> -<p>The Amendatory act, approved August 24, -1912, added the following two new classes of -works as subject to copyright:</p> -<ul> -<li>(<i>l</i>) Motion-picture photoplays.</li> - -<li>(<i>m</i>) Motion pictures other than photoplays.</li> -</ul> -<p><span class="pagenum"><a name="Page_33" id="Page_33">33</a></span> -A work is not entitled to registration unless -it is reasonably possible to classify it under -one or the other of the above designations -named in the statute.</p> - -<blockquote> - -<p>¶Compilations, abridgments, adaptations, dramatizations, -translations or other versions of works produced -with the consent of the proprietor of such works, -or works republished with new matter, are regarded -as new works subject to copyright.</p></blockquote> - -<p>An alien author or proprietor can be protected -by our law only in case he be domiciled -within the United States at the time of the -first publication of his work; or when the -foreign state or nation of which he is a citizen -or subject grants to citizens of the United -States the benefit of copyright on substantially -the same basis as to its own citizens; or when -such foreign state or nation is a party to an -international agreement which provides for -reciprocity in the granting of copyright by -the terms of which the United States may -become a party thereto.</p> - -<blockquote> - -<p>¶Copyright protection is at present granted in the -United States to works of authors who are citizens or -subjects of the following countries: Belgium, France, -Great Britain and her possessions, Switzerland, Germany, -Italy, Denmark, Portugal, Spain, Mexico, Chile, -Costa Rica, Netherlands and her possessions, Cuba, -China, Norway, Japan (and Korea), Austria, Guatemala, -Salvador, Honduras, Nicaragua, Luxemburg, -Sweden, Tunis and Hungary.</p></blockquote> -<p><span class="pagenum"><a name="Page_34" id="Page_34">34</a></span></p> -<h3> - -HOW TO SECURE COPYRIGHT REGISTRATION -IN THE UNITED STATES</h3> - -<h4>For works reproduced in copies for sale:</h4> - -<p>1. Publish the work with the copyright -notice. The notice may be in the form -"Copyright, 19... (year date of publication) -by ... (name of copyright proprietor)."<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> -The date in the copyright notice -should agree with the year date of publication.</p> -<p><span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> -2. Promptly after publication, send to the -Copyright Office two copies of the best edition -of the work, with an application for registration -and a money-order payable to the Register -of Copyrights for the statutory registration -fee of $1.00. (As to special fee for registration -of photographs, see below.) The law -provides "that of the printed book or periodical -the text shall be printed from type set -within the limits of the United States, either -by hand or by the aid of any kind of typesetting -machine, or from plates made within -the limits of the United States from type set -therein, or, if the text be produced by lithographic -process, or photo-engraving process, -then by a process wholly performed within -the limits of the United States."</p> - -<p>The law requires also that the postmaster -to whom are delivered the articles to be deposited -in the Copyright Office shall, if requested, -give a receipt therefor, and shall mail -them to their destination without cost to the -copyright claimant.</p> - -<p>In the case of books, the copies deposited -must be accompanied by an affidavit, under the -official seal of an officer authorized to administer -oaths, stating that the type-setting, -printing, and binding of the book have been -performed within the United States. Affidavit -and application forms are supplied by the -Copyright Office on request. This affidavit -is not required in the case of works in raised<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span> -characters for the use of the blind, or in the -case of a book of foreign origin in a language -or languages other than English, or in the case -of a printed play in any language; as such -works are not required to be manufactured -in the United States.</p> - -<p>In the case of <i>contributions</i> to periodicals, -send one complete copy of the periodical containing -the contribution with application and -fee. No affidavit is required.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p> - -<h4>For works not reproduced in copies for sale:</h4> - -<p>Copyright may also be had of certain classes -of works (see <i>a</i>—<i>e</i> below) of which copies are -not reproduced for sale, by filing in the Copyright -Office an application for registration with -the statutory fee of $1.00, sending therewith:</p> - -<p>(<i>a</i>) In the case of lectures or other oral -addresses, or of dramatic or musical compositions, -one complete manuscript or typewritten -copy of the work.</p> - -<p>(<i>b</i>) In the case of photographs not intended -for general circulation, one photographic print. -(As to special fee, see next page.)</p> - -<p>(<i>c</i>) In the case of works of art (paintings, -drawings, sculpture), or of drawings or plastic -works of a scientific or technical character, one -photograph or other identifying reproduction -of the work.</p> -<p><span class="pagenum"><a name="Page_37" id="Page_37">37</a></span> -(<i>d</i>) In the case of motion-picture photoplays, -a title and description, with one print -taken from each scene or act.</p> - -<p>(<i>e</i>) In the case of motion-pictures other than -photoplays, a title and description, with not -less than two prints taken from different -sections of a complete motion-picture.</p> - -<p>In the case of each of the works above noted, -not reproduced in copies for sale, the law -expressly requires that a second deposit of -printed copies for registration and the payment -of a second fee must be made upon -publication.</p> - -<h4>Fees:</h4> - -<p>The statutory fee for registration of any -work, except a photograph, is $1.00, including -a certificate of registration under seal. In -the case of a photograph, if a certificate is not -demanded, the fee is fifty cents. In the case -of several volumes of the same <i>book</i> deposited -at the same time, only one registration and -one fee is required.</p> - -<h3>HOW TO SECURE COPYRIGHT REGISTRATION -OF PERIODICALS</h3> - -<p>1. Publish the issue upon which copyright -protection is desired, printing therein the required -copyright notice, before making any -application to the Copyright Office for registration. -(As to the form and position of the -notice, see page <a href="#Page_34">34</a>.)</p> - -<p><span class="pagenum"><a name="Page_38" id="Page_38">38</a></span> - -2. Promptly after the publication of each -issue, send two copies thereof to the Copyright -Office, Washington, D.C., with an application -for registration (upon Form "B 1") and a remittance -for the statutory fee of $1.00, which -sum includes the cost of a certificate under -seal. Such certificate "shall be admitted in -any court as prima facie evidence of the -facts stated therein."</p> - -<blockquote> - -<p>¶Publishers who desire to avoid the trouble of filling -out a separate application form, and of making a separate -remittance for each issue, may send in advance a -sum to be placed to their credit, accompanied by a -general application (upon Form "B 2"), requesting registrations -to be made thereafter upon the prompt deposit -in the Copyright Office of the copies of the successive -issues, from time to time, as they are published. -After this has been done, two copies of each issue -should be mailed to the Copyright Office promptly after -publication, with a slip (supplied in blank by the Copyright -Office) giving the exact date of publication of the -issue (i.e. "the earliest date when copies of the first -authorized edition were placed on sale, or sold, or -publicly distributed by the proprietor of the copyright -or under his authority").</p></blockquote> - -<p>The statutory fee for the registration of any -one issue of a periodical is one dollar, including -a certificate under seal as already explained. -Non-certificate, fifty-cent, entries are not permissible -under the present law. Each issue -of a copyright periodical requires the payment -of its own registration fee of one -dollar.</p> - -<h4><span class="pagenum"><a name="Page_39" id="Page_39">39</a></span> - -Contributions to periodicals:</h4> - -<p>Section 3 of the new law provides "that the -copyright provided by this Act shall protect -all the copyrightable component parts of the -work copyrighted, and all matter therein in -which copyright is already subsisting, but -without extending the duration or scope of -such copyright. The copyright upon composite -works or periodicals shall give to the proprietor -thereof all the rights in respect thereto -which he would have if each part were individually -copyrighted under this Act." For -regulations regarding <i>contributions</i> to periodicals -see page <a href="#Page_36">36</a>.</p> - -<h4>Titles:</h4> - -<p>The general title of a newspaper, magazine, -or other periodical cannot be recorded under -the copyright law. The requirement of the -former law, that a printed title be deposited -on or before the day of publication, has been -abrogated, and the deposit of the title in advance -of publication is no longer authorized. -What the law now requires is that there be -deposited two complete copies of each issue, -promptly after publication.</p> - -<h4>Remittances:</h4> - -<p>All remittances to the Copyright Office -should be made by money-order, payable to -<span class="pagenum"><a name="Page_40" id="Page_40">40</a></span> -the Register of Copyrights. No money (currency -or coin) should be placed in any letter -or other matter sent to the Copyright Office. -Postage stamps should not be sent as fees. -Private checks will not be accepted unless -certified.</p> - -<h3>HOW TO SECURE COPYRIGHT REGISTRATION -OF MOTION-PICTURES</h3> - -<p>In order to secure registration of claims to -copyright for such works the following steps -should be taken:</p> - -<h4>Motion-picture photoplays:</h4> - -<p>I. <i>Motion-picture photoplays not reproduced in -copies for sale</i>: Deposit in the Copyright Office, -Washington, D.C., (1) the title of the motion-picture -photoplay; (2) a description of the -work, preferably either printed or typewritten; -(3) a photograph taken from each scene of -every act. These deposits should be accompanied -by an application for recording the -claim to copyright. For this purpose use -Application Form "L 2," which is furnished -by the Copyright Office upon request. Also -send with the application the statutory registration -fee of $1.00.</p> - -<p>II. <i>Motion-picture photoplays reproduced in copies -for sale</i>: When the motion-picture photoplay -has been published (i.e., placed on sale, -sold, or publicly distributed) with the required -notice of copyright upon each copy, promptly<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span> -after such publication deposit in the Copyright -Office two complete copies of the work, -accompanied by an application for recording -the claim to copyright in the published -work. For this purpose use Application Form -"L 1," which is furnished by the Copyright -Office upon request. Also send with the application -the statutory registration fee of $1.00.</p> - -<h4>Motion-pictures other than photoplays:</h4> - -<p>I. <i>Motion-pictures other than photoplays not reproduced -in copies for sale</i>: Deposit in the Copyright -Office, Washington, D.C., (1) the title -of the motion-picture; (2) a description of -the work, preferably either printed or typewritten; -(3) two or more photographs taken -from different sections of the complete motion-picture. -These deposits should be accompanied -by an application for recording the -claim to copyright. For this purpose use -Application Form "M 2," which is furnished -by the Copyright Office upon request. Also -send with the application the statutory fee -of $1.00.</p> - -<p>II. <i>Motion-pictures other than photoplays reproduced -in copies for sale</i>: When the work has -been published (i.e., placed on sale, sold, or -publicly distributed) with the required notice -of copyright upon each copy, promptly -after such publication deposit in the Copyright -Office two complete copies of the work, -accompanied by an application for recording<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span> -the claim to copyright in the published work. -For this purpose use Application Form "M 1," -which is furnished by the Copyright Office -upon request. Also send with the application -the statutory fee of $1.00.</p> - -<p>In all cases, the money order remitting the -registration fee should be made payable to -the "Register of Copyrights." Send the title, -description, prints, copies, application and fee in -one parcel, addressed to the Register of Copyrights, -Washington, D.C.</p> - -<p>If any motion-picture has been registered -as a work "not reproduced in copies for sale," -it must nevertheless be registered a second -time if it has been afterward published.</p> - -<h3>AD INTERIM PROTECTION</h3> - -<p>In the case of a book published abroad in -the English language before publication in -the United States, the deposit in the Copyright -Office at Washington, not later than thirty -days after its publication abroad, of one complete -copy of the foreign edition, with a request -for the reservation of the copyright, and a -statement of the name and nationality of the -author and of the copyright proprietor, and -of the date of the publication of the book, -secures to the author or proprietor an <i>ad -interim</i> copyright, which has all the force and -effect given by copyright, and extends until -the expiration of thirty days after such -deposit in the Copyright Office. Whenever,<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span> -within the period of this <i>ad interim</i> publication, -an authorized edition of the book is published -within the United States in accordance -with the manufacturing provisions specified -in the American copyright law, and when the -provisions of the American law as to deposit -of copies, registration, filing of affidavit, and -the printing of the copyright notice have been -duly complied with, the protection is then -extended over the full term.</p> - -<h3>ASSIGNMENT OF COPYRIGHT</h3> - -<p>A copyright may be assigned, granted, or -mortgaged by an instrument in writing signed -by the proprietor of the copyright. No special -blank form for assignment is issued by the -Copyright Office.</p> - -<h4>Recording assignments:</h4> - -<p>Every assignment of copyright should be -recorded in the Copyright Office within three -calendar months after its execution in the -United States, or within six calendar months -after its execution without the limits of the -United States, "in default of which it shall -be void as against any subsequent purchaser or -mortgagee for a valuable consideration, without -notice, whose assignment has been duly -recorded."</p> - -<p>The original instrument of assignment should -be sent to the Copyright Office to be placed<span class="pagenum"><a name="Page_44" id="Page_44">44</a></span> -on record. A valuable document of this kind -should be forwarded by registered post.</p> - -<p>After having been recorded, a certificate of -record under seal of the Copyright Office is -attached, and it is then returned by post. If -the sender desires to have it returned by registered -post, ten cents postage for the post-office -registry fee should be sent in addition -to the recording fees as stated below.</p> - -<h4>Notice in assignee's name:</h4> - -<p>When an assignment of the copyright in a -specified book or other work has been recorded, -the assignee may substitute his name for that -of the assignor in the copyright notice. In -order that this transfer of proprietorship may -properly appear upon the index of the Copyright -Office, a fee of ten cents (prescribed by -law) for each title of a book or other article -transferred is required for indexing, and this -fee should be remitted in addition to the fee -prescribed for recording the instrument as -explained below.</p> - -<h4>Foreign assignments:</h4> - -<p>Every assignment of copyright executed in -a foreign country must be acknowledged by -the assignor before a consular officer or secretary -of legation of the United States, authorized -by law to administer oaths or perform notarial -acts. The certificate of such acknowledgment -<span class="pagenum"><a name="Page_45" id="Page_45">45</a></span> -under the hand and official seal of such consular -officer or secretary of legation is prima -facie evidence of the execution of the instrument.</p> - -<h3>FEES</h3> - -<p>The following schedule of fees, in addition to -those already given, is fixed by the statute:</p> - -<p>1. For recording and certifying any instrument -in writing for the assignment of copyright, -or any license to make use of copyright -material, or for any copy of such assignment or -license, duly certified, if not over three hundred -words in length, one dollar; if more than three -hundred and less than one thousand words -in length, two dollars; if more than one -thousand words in length, one dollar additional -for each additional one thousand words -or fraction thereof over three hundred words.</p> - -<p>2. For comparing any copy of an assignment -with the record of such document in the -Copyright Office and certifying the same under -seal, one dollar.</p> - -<p>3. For recording the transfer of the proprietorship -of copyrighted articles, ten cents for -each title of a book or other article, in addition -to the fee prescribed for recording the -instrument of assignment.</p> - -<h3>THE DURATION OF COPYRIGHT</h3> - -<p>The duration of the term of copyright is -twenty-eight years. This term may be extended -for a further term of twenty-eight<span class="pagenum"><a name="Page_46" id="Page_46">46</a></span> -years by the author of the work, if living, or -by the widow, widower, or children, or, if -they be not living, then by the author's executors, -or in absence of a will, by his next of kin.</p> - -<blockquote> - -<p>¶Application for this extension must be made to the -Copyright Office and duly registered there within one -year prior to the expiration of the original term.</p></blockquote> - -<h3>THE PROTECTION OF TITLES</h3> - -<p>The cases which have thus far been settled -in litigation indicate that there is nothing at -present in the copyright law which gives to -the author the exclusive right to the title of -his particular work. There may be any number -of books or stories brought out by different -authors bearing the same title so long as each -one is distinct and original.</p> - -<h3>APPLICATION FORMS</h3> - -<p>Applicants for copyright registration should -use the application forms furnished on request -by the Copyright Office. A separate -form should be used for each work to be -entered.</p> - -<p><i>Books</i>: For any new book printed and published -for the first time in the United States, -use Application Form and Affidavit Form -"A 1" if the book is to be printed from type -or plates made from type; if it is to be -produced by lithographic or photo-engraving -process use Application Form and Affidavit -Form "A 2."</p> - -<p><span class="pagenum"><a name="Page_47" id="Page_47">47</a></span> - -For a book reprinted in the United States, -with new copyright matter, use Application -Form "A 2."</p> - -<p>For a book of foreign origin in a language or -languages other than English, use Application -Form "A 3."</p> - -<p>For <i>ad interim</i> copyright in a book published -abroad in the English language, use Application -Form "A 4."</p> - -<p>For the American edition of a book in the -English language on which <i>ad interim</i> copyright -has been previously secured, use Application -Form and Affidavit Form "A 1."</p> - -<p>For a <i>contribution</i> to a newspaper or periodical, -use Application Form "A 5."</p> - -<p><i>Periodicals</i>: For a periodical, if it is desired -to make a separate application and remittance -as each issue appears, use Application Form -"B 1." If it is desired to file a general application -in advance, and to deposit therewith a -sum to cover the fees for several issues, use -Application Form "B 2."</p> - -<p><i>Oral Works</i>: For a Lecture, Sermon, or Address -for oral delivery, use Application Form -"C."</p> - -<p><i>Dramas</i>: For a published Dramatic Composition, -use Application Form "D 1."</p> - -<p>For a Dramatic Composition of which copies -are not reproduced for sale, use Application -Form "D 2."</p> - -<p>For a published Dramatico-Musical Composition, -use Application Form "D 3."</p> - -<p><span class="pagenum"><a name="Page_48" id="Page_48">48</a></span> - -<i>Music</i>: For a Musical Composition published -for the first time, use Application Form "E."</p> - -<p>For a Musical Composition, republished with -new copyright matter, use Application Form -"E 1."</p> - -<p>For a Musical Composition of which copies -are not reproduced for sale, use Application -Form "E 2."</p> - -<p><i>Maps</i>: For a published map, use Application -Form "F."</p> - -<p><i>Works of Art</i>: For a Work of Art (Painting, -Drawing, or Sculpture); or for Model or Design -for a Work of Art, use Application Form "G."</p> - -<p><i>Drawing or Plastic Work</i>: For a published -Drawing or Plastic Work of a scientific or technical -character, use Application Form "I 1."</p> - -<p>For an unpublished Drawing or Plastic -Work of a scientific or technical character, use -Application Form "I 2."</p> - -<p><i>Photographs</i>: For a Photograph published -for sale, use Application Form "J 1."</p> - -<p>For a Photograph of which copies are not -reproduced for sale, use Application Form -"J 2."</p> - -<p><i>Prints or Pictorial Illustrations</i>: For the -registration of any "Print" or "Pictorial Illustration," -which is a printed picture, complete -in itself and having artistic quality, use Application -Form "K."</p> - -<p><i>Motion-Pictures</i>: For the registration of a -Motion-Picture Photoplay reproduced in copies -for sale, use Application Form "L 1."</p> - -<p><span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> - -For a Motion-Picture Photoplay of which -copies are not reproduced for sale, use Application -Form "L 2."</p> - -<p>For a Motion-Picture, not a Photoplay, reproduced -in copies for sale, use Application -Form "M 1."</p> - -<p>For a Motion-Picture, not a Photoplay, not -reproduced in copies for sale, use Application -Form "M 2."</p> - -<h4>Renewal or extension:</h4> - -<p>For the renewal of copyright subsisting in -any work for the new renewal term of twenty-eight -years as provided by the present law, use -Renewal Form "R 1."</p> - -<p>For the extension of an existing renewal term -from fourteen years as provided under the old -law, to twenty-eight years granted by the -present law, use Extension Form "R 2."</p> - -<blockquote> - -<p>¶These renewal forms can only be used within -a period of one year prior to the expiration of the -existing term.</p></blockquote> - -<h4>Assignments:</h4> - -<p>No forms are issued by the Copyright Office -for assignments, or licenses, nor for Postmaster's -receipts for articles deposited.</p> - -<h3>PRACTICAL PROCEDURE</h3> - -<p>The methods of each publisher in the various -steps toward registration of copyright may -vary in details, but the following method may<span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> -be taken as typical and sufficient for the average -American book copyrighted in the United -States:</p> - -<p>1. The type must be set up in the United -States, and, if the book is printed from plates, -the plates be made therefrom;</p> - -<p>2. The book must be printed and bound in -the United States;</p> - -<p>3. The book must bear the copyright notice.</p> - -<p>4. On the date set for publication, copies -are for the first time offered to the public, -sold or publicly distributed by the publisher -or his authorized agents. This constitutes the -"act of publication," on which the registration -of copyright depends. The sale of these copies -is recorded on the publisher's books in the -same manner as the sale of any of his books, -and this dating of the sale on his books is often -deemed sufficient record of the first publication. -In case books are to be distributed for sale by -various booksellers as well as by the publisher -himself, the booksellers must be notified in advance -in order that no copies may be sold -previous to the date set for first publication.</p> - -<div class="figcenter"> -<img src="images/i_051.jpg" width="500" height="281" alt="facsimilie" /> -<div class="caption"> -<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span> -<span class="smcap">Facsimile</span> (reduced) <span class="smcap">of a Copyright Application Blank</span></div> -<p class="center"> -<a href="images/i_051large.jpg"> -larger image</a></p> -</div> - -<p>5. Either on the same day as the book is -first published or promptly thereafter (but -not before), blank Application and Affidavit -Form "A 1" is filled out and sworn to.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> Two -<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span>copies of the book for deposit with the Copyright -Office, together with this completed -Application Form and a post-office money-order -for the required fee of $1.00 made payable -to the Register of Copyrights, are made -up into one package, and the package addressed -to: <i>The Register of Copyrights, Washington, -D.C.</i> On the outside of the package is -marked: "Books for Copyright Registration." -The package is then delivered to the post-office, -and the postmaster, if requested, will sign a -receipt for the package which the publisher -makes out. This receipt should contain the -name of the book, the date, and the fact that -the copies are to be transmitted to the Register -of Copyrights in Washington for purpose of -registration of copyright. The postmaster is -required by law to forward these copies to the -Copyright Office without expense to the sender.</p> - -<p>6. After a few days a receipt under seal will -come from the Copyright Office, certifying -that the books have been received, with the -remittance and application, and that the copyright -has been duly recorded.</p> - -<p>This is all that needs to be done for twenty-seven -years, in case the copyright has not in -the meantime been assigned. In case of assignment -this fact should be recorded in the -Copyright Office in accord with the methods -specified.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p> -<p><span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> -After twenty-seven years have passed, and -within one year of the expiration of the copyright, -the owner may renew it for twenty-eight -years more upon application to the Copyright -Office.</p> - -<h3>INTERNATIONAL COPYRIGHT</h3> - -<p>In America, with the general lack of definite -knowledge concerning all matters relating to -copyright, the so-called "International Copyright" -is equally shrouded in uncertainty. -As the United States is not yet a member of -the International Copyright Union as established -in the convention of Berne, and cannot -join this Union so long as the present clause in -the American copyright law exists requiring -all books to be completely manufactured within -the United States in order to secure copyright, -it will be evident that registration at Washington -does not secure protection abroad. -Mutual copyright protection has been arranged, -however, by special treaties with foreign -nations. The countries with which these -treaty relations exist at present include: Belgium, -France, Great Britain and her possessions, -Switzerland, Germany, Italy, Denmark, -Portugal, Spain, Mexico, Chile, Costa Rica, -Netherlands and her possessions, Cuba, China, -Norway, Japan (and Korea), Austria, Guatemala, -Salvador, Honduras, Nicaragua, Luxemburg, -Sweden, Tunis and Hungary. Inasmuch -as we are not yet members of the International<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> -Copyright Union it is, strictly speaking, impossible -for a citizen of the United States to -secure "International Copyright" on his book, -though a book can be protected in most of the -countries where protection is desirable.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> Many -publishers secure copyright in Great Britain -and her dependencies by publishing in England -simultaneously with the American publication, -and by conforming to the other requirements -of the British law. A few publishers -are of the opinion that protection in Great -Britain and her colonies can be secured by -publishing simultaneously in Canada instead -of in England. Whether or not this is equally -binding cannot be definitely determined, as -no test case has as yet been made to establish -or dispute the fact.</p> - -<p>Recent copyright legislation in England has -been pointed in the direction of more strict -regulations regarding bona fide publication in -England of American books on which English -copyright is desired. This is a step in the -right direction, and defines the issue somewhat -more clearly, but even now conditions are not -as well defined as they should be, or as they -must ultimately be. The following statements -may be made:</p> - -<p>(<i>a</i>) Simultaneous publication is necessary in -England and the United States. The English -<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span>agents, therefore, should be supplied with not less -than seven copies of the book at least one week -before the date fixed for American publication.</p> - -<blockquote> - -<p>¶Great care should be taken that the date selected -for publication is not Saturday, Sunday or a public -holiday in England. These public holidays are: Easter -Monday, Monday in Whitsun-week, first Monday in -August, December 26 (or, if Sunday, December 27), -Good Friday and Christmas Day.</p> - -<p>In Canada the public holidays are: New Year's, -Good Friday, Easter Monday, Empire Day (May 24), -Dominion Day (July 1), first Mondays in August and -September (Labor Day), Thanksgiving and Christmas -Day.</p></blockquote> - -<p>The publication is accepted in England as -being simultaneous if the time between publication -in England and in America does not -exceed fourteen days. It is important to note -that when the case is reversed the "simultaneous" -publication of an American book in -England must be made on the exact day of its -publication in America.</p> - -<p>(<i>b</i>) The so-called English agent must be an -English publisher. On the day appointed for -publication, the English agent must make -formal sale of at least one copy of the volume, -and the entry of such sale must appear upon -his books. Six copies are delivered by the -agent to the following libraries:</p> - -<ul> -<li><i>British Museum</i></li> -<li><i>Bodleian Library, Oxford</i></li> -<li><i>University Library, Cambridge</i></li> -<li><span class="pagenum"><a name="Page_56" id="Page_56">56</a></span> -<i>Library of the Faculty of Advocates, Edinburgh</i></li> -<li><i>Library of Trinity College, Dublin</i></li> -<li><i>National Library of Wales</i></li> -</ul> - -<blockquote> - -<p>¶It is not obligatory that five of these six copies be -delivered unless demand is formally made within twelve -months after publication, but if the books are not in -stock for delivery then the agent may be fined £5 plus -the cost of the volume. The copy for the British -Museum must be delivered within one month after -publication.</p> - -<p>If an edition de luxe is issued, the copy sent to the -British Museum must be of this edition.</p></blockquote> - -<p>Points which are still to be settled in the -new English copyright law are, whether or -not, in order to make a bona fide publication, -copies should be sent out for review, and -advertised or offered for sale by the traveling -salesmen of the English publisher. It is -probable that these points will be definitely -determined within the next few months. The -English act requires a genuine publication to -satisfy public demand, and not merely a "colourable" -formality. What "public demand" -may be has not yet been defined.</p> - -<p>There is no necessity for printing any notice -of English copyright, as the English law does -not require it; but it is customary, on American -books copyrighted in England, to use the -words, "Copyright in England," to give warning -that copyright is claimed on the book. -It is not considered necessary to have the -English publisher's imprint on the title-page -of such books.</p> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">57</a></span> - -The expression sometimes seen on the copyright -page, "All rights reserved including that -of translation into foreign languages including -the Scandinavian," is now valueless. The -American and English copyrights protect the -book in all countries with which the United -States has copyright relations, and the notice -would not prevent appropriation in any country -with which the United States has no copyright -relations. The expression came into use -during the years preceding our present reciprocal -copyright arrangements, and is now discontinued -by those familiar with its original -significance.</p> - -<hr class="chap" /> - -<h2><a id="RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES"></a>RELATIONS OF THE SHORT-STORY -WRITER TO THE MAGAZINES</h2> - -<p class="dropcap">THE contributor to the magazines stands in -a relation entirely different from that of the -novelist to his publisher. In this case, the -author has no joint interest with the publisher, -being but one of many contributors to -the magazine as a whole. In an article in -their "Bulletin," the Authors' League refers -to these dealings as follows:</p> - -<blockquote> - -<p>"In his relations with the magazine publisher, the -short-story writer may be considered either as an -independent merchant, peddling his wares, or as an -employee,—on the same plane with the ink-dealer -and the paper-house, say, or on the same plane with the -sub-editor and the cashier. The magazine publisher, -for selfish reasons, generally prefers to consider him -as a merchant. Your committee, for reasons equally -selfish but perhaps better founded, considers him rather -in the light of an employee. First, and most importantly, -the ink-dealer and the paper-house have capital; -the magazine writer brings nothing to his business but -his brain and his two hands. In the second place, a -great deal of the writing for our periodicals is done by -men and women employed on salary, and economically -in the same category as the cashier or the sub-editor. -The man or woman who writes 'on the outside,' either -on speculation or on order, it seems to us, is no less a -temporary employee of the magazine.</p> - -<p>This consideration enters into the first grievance -<span class="pagenum"><a name="Page_59" id="Page_59">59</a></span>which has been urged by many of our members against -certain of our magazines,—the deferring of payments -after the acceptance of the article or story. As every -one knows, the custom of our leading periodicals varies -greatly in this regard. Some pay upon acceptance, -not nominally but really. Certain others pay within -the month. Still others pay just about when the author -can get it. The staff writer receives his regular salary -every week; the free-lance writer, working on order, -temporarily just as much a part of the magazine staff -as any regular employee, often has to wait for weeks and -months. Certain of the magazine publishers interviewed -by your committee have their ready-made -answer to this: 'The ink maker and the paper manufacturer -give us time: they wait one, two, or three -months for their money; why should we be any more -prompt with the author?' This position, on the theory -that the magazine writer is only an outside employee, -is of course untenable."</p></blockquote> - -<h3>COPYRIGHT</h3> - -<p>From the same source comes most valuable -comment regarding the importance of a fuller -knowledge on the part of the short-story writer -of the exact bearing of the copyright law upon his -work, being the statements upon recent opinions -handed down as a result of litigation. Briefly, -these opinions are to the effect that a magazine -copyright covers the matter contained in each -number only to the extent to which such matter -is the property of the magazine. It therefore -follows that in the case of a story, of which -only the magazine rights have been sold by -the author, the magazine copyright leaves him -<span class="pagenum"><a name="Page_60" id="Page_60">60</a></span> -absolutely unprotected in his dramatic and, theoretically -at least, in his book rights. To save -whatever he reserves, he must take copyright, -also, in his own name, fulfilling the necessary -formalities, such as paying a separate fee, depositing -two copies of the book in the Library -of Congress, and seeing that his notice of copyright -appears upon the story when published -in the magazine.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> The attorney for the -Authors' League advises as follows:</p> - -<blockquote> - -<p>"So long as this and similar matters remain in doubt, -both authors and publishers should, for their own -protection, agree on some system whereby the dramatic -and all other rights are thoroughly safeguarded. -This can be accomplished in either of two ways:</p> - -<p>(<i>a</i>) The editor can copyright each story or article -separately in the author's name, printing at the bottom -of the first page thereof a proper copyright notice, -as follows:</p> - -<p class="center"> -'Copyright, 1913, by John Doe' -</p> - -<p>The author should then, immediately on publication, -mail one copy of the magazine to the Register of -Copyrights in Washington, in conformity with the -requirements of the present Act, enclosing the fee of -One Dollar. This is perhaps the simplest way, although -it involves a separate registration of the magazine -for each story or article so copyrighted.</p> - -<p>(<i>b</i>) Or the author can sell his story outright to -the editor or publisher, and safely reserve his equitable -interests in the dramatic or other rights thereto by -attaching to his manuscript a 'rider' or slip somewhat -as follows:</p> - -<p>'This manuscript is submitted with the understanding -that, if accepted for publication, the same -shall be copyrighted by the publishers, and all rights -<span class="pagenum"><a name="Page_61" id="Page_61">61</a></span>under said copyright (except that of magazine publication) -shall be held in trust for the benefit of the -writer or his assigns, and will be reassigned to him upon -demand.'"</p></blockquote> - -<h3>PRACTICAL SUGGESTIONS</h3> - -<p>The general advice under "Submitting the -Manuscript"<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> applies with added force to the -manuscripts of short stories, as the number -of such manuscripts submitted to editors is -naturally greater than in the case of novels -and publishers. In a word, make the reading -of your story as attractive and as easy for the -editor as possible. In addition, these points -are of importance in submitting manuscripts -of short stories:</p> - -<p>Use double space in typewriting.</p> - -<p>Be sure that your typewriting machine is in -good order. Typewritten manuscript possesses -an individuality as well as hand-script, and -inaccurate or slovenly pages prejudice the -reader.</p> - -<p>Always enclose a stamped, addressed envelope, -and be sure that the postage is not -underpaid. Manuscript copy costs two cents -an ounce; when mailed with proof, it costs -one-half cent an ounce.</p> - -<p>Write your name and address in the upper, -left-hand corner of the first page; in the upper, -right-hand corner write the approximate -number of words.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p> - -<p><span class="pagenum"><a name="Page_62" id="Page_62">62</a></span> - -A short story is usually supposed to contain -from 3000 to 6000 words.</p> - -<p>Number your pages consecutively.</p> - -<p>The manuscript may be folded, not more than -twice, but should never be rolled.</p> - -<h3>DEALINGS WITH THE EDITOR</h3> - -<p>The letter accompanying the manuscript -should be brief, business-like, and to the point. -The editor is too busy to concern himself -with anything in connection with the writer -or the story except the story itself.</p> - -<p>Don't call upon the editor, or send him a -letter of introduction; let the merit of your -story be your only sponsor.</p> - -<p>Don't ask the editor to criticize your work; -place the manuscript in the hands of a professional -reader if that is what you desire.</p> - -<p>Be patient. It is reasonable to expect a -decision upon your manuscript within three -months' time, but not sooner.</p> - -<p>Don't be offended by the receipt of a printed -rejection slip. Personal letters are not to be -expected.</p> - -<p>Accept the editor's judgment cheerfully. -Nothing is ever gained, and much is usually -lost, by personal pique.</p> - -<p>Study the spirit and policy which lie behind -each publication. Just as a merchant offers -his wares only in the market where the demand -exists, make sure in your own mind that your -story fits the magazine to which you send it.</p> - -<p><span class="pagenum"><a name="Page_63" id="Page_63">63</a></span> - -Look upon the return of a manuscript as an -opportunity for revision and improvement -before sending it out again. Study it, and try -yourself to discover why it did not succeed.</p> - -<p>Keep a careful record of the peregrinations -of your various manuscripts.</p> - -<p>Be timely, remembering that "seasonable" -stories should be received by the magazines -four to six months before the season arrives.</p> - -<p>The best magazines have a regular rate of -payment, so it is needless to discuss terms in -submitting your manuscript.</p> - -<p>Never give a story away. If it is worth -publishing it is worth being paid for, and to -part with it for nothing injures the literary -market for your fellow-writers as well as for -yourself.</p> - -<p>There is much difference of opinion regarding -the ethics of submitting the same manuscript -to more than one magazine at a time. In -this matter each writer must settle the question -for himself. There is no general custom, but -good taste would seem to argue against the -practice.</p> - -<p>It is seldom wise to submit more than one -story at a time to the same magazine.</p> - -<h3>THE LITERARY AGENT</h3> - -<p>Enlarging upon what has been said in an -earlier chapter,<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> the literary agent may be -<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span>found much more useful in the marketing of -short stories than in novels. The relations of -the author to the publisher are much closer -than those existing between the short-story -writer and the magazine editor, and the personality -of the author is a less important -factor. If the writer of short-stories makes a -study of the market, and possesses ordinary -business ability, he has no more occasion for -an "agent" than a man engaged in any other -profession. On the other hand, it is a fact -that the average writer does not develop -himself along these lines, so that the advice -and co-operation of one who makes a business -of acting as a go-between can be made exceedingly -valuable.</p> - -<p>In placing oneself in the hands of a literary -agent, great care should be exercised to select -one with a reputation for the successful placing -of manuscripts and for prompt financial -dealings.</p> - -<p>The ordinary commission of the literary -agent is 10 per cent. upon all sums received on -account of the author, and it is customary for -him to handle the financial as well as the -literary relations between the writer and the -magazines.</p> - -<hr class="chap" /> - -<h2><a id="THE_MECHANICS_OF_THE_BOOK"></a>THE MECHANICS OF THE BOOK</h2> - -<p class="dropcap">SOME authors have a general idea of how a -book is manufactured, but more have none. -Even in the case of experienced writers, every -printing-office could tell surprising stories to -illustrate the unreasonableness born of a lack -of knowledge of the ordinary mechanics of -manufacture, or of a confidence born of too -little knowledge. And unreasonableness on -the part of the author means extra and unnecessary -expense either to the printer or to -the publisher. One of the most unfortunate -features of the publishing business is that the -exact cost of manufacturing a book can rarely -be estimated in advance: typography, electrotyping, -engraving, designing, presswork, paper, -and binding can be figured closely, but the -"extras," resulting from the author's carelessness, -lack of knowledge of the book's mechanics, -or change of heart as the manuscript -goes into type, in many cases so increase the -cost beyond the publisher's expectations that -the publication can only show a loss instead of -a profit.</p> - -<p>These "extras" result from different causes: -the manuscript may be carelessly prepared, -with poor punctuation and clumsy expressions, -<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span> -which the author corrects in the proof. The -author frequently boasts, "I know nothing -about punctuation," but would an artist admit -that he was ignorant of how to mix his colors? -There is no question that authors sometimes -take advantage of their "temperament," and -lie down upon it in a manner most unfair to -their co-partners in the enterprise.</p> - -<p>Changes in the manuscript cost nothing, -changes in the type cost one dollar per hour. -To correct vital points after the book is in -type is warranted; to correct blunders in -punctuation or expression is needless expense, -and is a reflection upon the intelligence of the -author. Genius may be erratic, but it is more -respected when it is not made to carry the -responsibility of ordinary carelessness or ignorance. -The writer recalls a case where the -author of a story changed the name of one of -the characters after the book was in type; -it cost the publishers over eighty dollars. -Frequently an author changes the name of -his story, necessitating resetting the running-heads, -the title-page, and recutting the brass -dies, all of which adds expense beyond the -publisher's original estimate. Countless other -examples might be cited, but the main point -is that all vital details should be discussed and -settled while the story is still in manuscript, -and after it has been placed in the printer's -hands further changes should be only those -which are of serious moment.</p> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">67</a></span> - -Other "extra" expenses include the cost of -proofs. The publisher usually receives from the -printer two sets of galley-proof, two sets of -page-proof, and two sets of foundry-proof. -All proofs beyond these six sets are charged -for as "extra," the usual rate being one cent -per page.</p> - -<p>If the author retains his proof longer than is -necessary to read and correct it, this delay -frequently forces the printer to work over-time -to meet publication-day; this over-time work -is charged for at double price.</p> - -<p>An author would never have any difficulty -in securing a letter of introduction from his -publisher to some large printing-house, and the -printer would gladly give him every opportunity -to familiarize himself with the mechanical -processes. This knowledge, together with -a study of those elements which go into the -manufacture of a book, would enable the -author to avoid needless cost, or to incur -intelligently such extra expense as became -vitally necessary.</p> - -<p>The following suggestions are important -regarding the relations between the author and -the printer:</p> - -<p>It is always wiser to leave all questions of -typography for the publisher to settle with the -printer, unless there is some specific reason -why the author wishes to accomplish a particular -result by using certain type effects.</p> - -<p>Copy should be typewritten, and revised -<span class="pagenum"><a name="Page_68" id="Page_68">68</a></span> -carefully by the author, before sending it to -the printer, to correct typewriter's errors. -Interlineations and erasures which make the -reading difficult should be avoided. It is -always a simple matter to rewrite such portions -without rewriting the entire chapter.</p> - -<p>If the author has decided preferences regarding -spelling or punctuation, this fact should -be clearly stated on the manuscript; otherwise -the printer follows his office style, which -may or may not conform with the author's -ideas.</p> - -<p>In the preparation of copy, consistency of -spelling and punctuation is strongly urged, -as it not only simplifies the problem for the -printer, but also prevents possible misunderstanding -of copy and consequent necessity for -resetting.</p> - -<p>All paragraphs should be clearly indicated -in the copy.</p> - -<p>All directions written upon the manuscript, -which are not intended as "copy," should be -enclosed in a circle.</p> - -<p>The author should punctuate each sentence -as he writes it, for in this way the marks are -indicative of the natural pauses, and better -express his meaning.</p> - -<p>Foot-notes should always be clearly indicated.</p> - -<p>Unusual words, proper names, and figures -should be written out with the greatest care -and distinctness by the author.</p> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">69</a></span> - -It is for the common advantage of the author, -the publisher, and the printer that the author -or the editor read all proofs promptly.</p> - -<h3>ESTIMATING THE MANUSCRIPT</h3> - -<p>The usual procedure in making a book is -as follows: When the publisher sends the -manuscript to the printer, a request goes with -it for a sample page, set to a size and in a type -which will make a volume of the desired number -of pages. A novel is supposed to run from -320 pages to 400 pages. The first thing to be -done is to estimate the number of words in -the manuscript, and this is accomplished by -averaging the number of words in say thirty -lines, and then multiplying by the number of -lines on a page. No allowance is made for -fractional lines, as these also occur in the -printed page. If the manuscript is carefully -written, each page will contain the same number -of lines, so the total number of words may -be found by multiplying the number of words -on the page, as arrived at above, by the total -number of pages in the manuscript. This -explains the importance of having a standard -number of lines on each page.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> No allowance -is made for fractional pages at the end of chapters, -as there are also fractional pages in the -printed book, and it averages up.</p> - -<p>The front matter has to be estimated separately, -with allowance for the blanks on the -<span class="pagenum"><a name="Page_70" id="Page_70">70</a></span> -reverse of bastard-title, dedication, etc.,<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> but -the usual number of pages is eight. Then, -again, an allowance of half a page for each -chapter sinkage<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> has to be made. Suppose -we have a manuscript of 90,000 words, with 24 -chapters: A type page of 280 words gives us -322 pages, to which we add 8 pages for front -and 12 pages for chapter sinkages, giving us a -volume of about 344 pages. As the presswork -is usually done in forms of 32 pages, an effort is -always made not to exceed even forms by a small -number of pages. Striking out the bastard-title -will often save a form of press-work.</p> - -<p>Various short-cuts have been suggested for -estimating the number of words in a printed -page, but the old-fashioned method of counting -is the safest. Here is a table which is as -accurate as any short-cut can be:</p> - -<table summary="number of words"> -<tr><td> </td> -<td>Words in -sq. in.</td></tr> - -<tr><td>18-Point (Great Primer), solid</td> -<td class="tdr">7</td></tr> - -<tr><td>14-Point (English), solid</td> -<td class="tdr">10</td></tr> -<tr><td>12-Point (Pica), solid</td> -<td class="tdr">14</td></tr> -<tr><td>12-Point (Pica), leaded<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> -</td> -<td class="tdr">11</td></tr> -<tr><td>11-Point (Small Pica), solid</td> -<td class="tdr">17</td></tr> -<tr><td>11-Point (Small Pica), leaded</td> -<td class="tdr">14</td></tr> -<tr><td>10-Point (Long Primer), solid</td> -<td class="tdr">21</td></tr> -<tr><td>10-Point (Long Primer), leaded</td> -<td class="tdr">16</td></tr> -<tr><td><span class="pagenum"><a name="Page_71" id="Page_71">71</a></span> -9-Point (Bourgeois), solid</td> -<td class="tdr">26</td></tr> -<tr><td>9-Point (Bourgeois), leaded</td> -<td class="tdr">20</td></tr> -<tr><td>8-Point (Brevier), solid</td> -<td class="tdr">30</td></tr> -<tr><td>8-Point (Brevier), leaded</td> -<td class="tdr">21</td></tr> -<tr><td>7-Point (Minion), solid</td> -<td class="tdr">38</td></tr> -<tr><td>7-Point (Minion), leaded</td> -<td class="tdr">27</td></tr> -<tr><td>6-Point (Nonpareil), solid</td> -<td class="tdr">47</td></tr> -<tr><td>6-Point (Nonpareil), leaded</td> -<td class="tdr">33</td></tr> -<tr><td>5-Point (Pearl), solid</td> -<td class="tdr">69</td></tr> -<tr><td>5-Point (Pearl), leaded</td> -<td class="tdr">50</td></tr> -</table> - -<p>In cases where the number of lines to the -inch of certain sizes of type is desired, the following -table may be employed up to 18-point -body:</p> - -<table summary="number of lines"> -<tr><td>Size of type</td> -<td>No. lines set solid</td> - -<td>No. lines leaded with 2-point leads</td></tr> - -<tr><td>5-pt.</td> <td class="tdc">14</td> - <td class="tdc">10</td></tr> -<tr><td>5½-pt. (agate)</td> -<td class="tdc">13+</td> - - <td class="tdc">9+</td></tr> -<tr> -<td>6-pt.</td> - <td class="tdc">12</td> - <td class="tdc">9</td></tr> - -<tr><td>8 "</td> <td class="tdc">9</td> - - <td class="tdc">7+</td> </tr> -<tr><td>10 "</td> <td class="tdc">7+</td> - - <td class="tdc">6</td> </tr> -<tr><td>12 "</td> <td class="tdc">6+</td> - - <td class="tdc">5+</td></tr> -<tr><td>14 "</td> <td class="tdc">5+</td> - - <td class="tdc">4+</td></tr> -<tr><td>18 "</td> <td class="tdc">4</td> - - <td class="tdc">3+</td></tr> -</table> - -<h3>THE SAMPLE PAGE</h3> - -<p>With these details settled, the sample page -is next in order. Knowing that the book is -to be a 12mo (size of leaf 5⅛ × 7⅝) or a -10mo (size of leaf 5½ × 8¼), the printer must -"lay out" the page so as to leave margins of -proper size and proportion. A 12mo type -<span class="pagenum"><a name="Page_72" id="Page_72">72</a></span> -page may vary from 3 × 5¼ inches to 4 × 6¾ -inches. Somewhere within this area, in the -given example, the page must contain about -280 words. If the manuscript is long, then -the type page must be large, the type itself -small (never smaller than long primer<a name="FNanchor_36a_36a" id="FNanchor_36a_36a"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> nor -larger than pica<a name="FNanchor_36b_36b" id="FNanchor_36b_36b"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a>), the leads<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> reduced or omitted -altogether. This is where the printer's taste -and skill is given an opportunity for expression: -he is the architect of the book, and must not -combine types or decorations which are inharmonious, -and his proportions must be kept -correct.</p> - -<p>For his sample page for the given novel, the -printer would select from these standard faces:</p> - -<div class="figcenter"> -<div class="caption">PICA OR 12-POINT OLD STYLE</div> -<img src="images/i_072a.jpg" width="500" height="99" alt="" /> - -</div> -<div class="figcenter"> -<div class="caption">PICA OR 12-POINT CASLON OLD STYLE</div> -<img src="images/i_072b.jpg" width="500" height="137" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption"> PICA OR 12-POINT SCOTCH</div> -<img src="images/i_073b.jpg" width="500" height="144" alt="" /> -<span class="pagenum"><a name="Page_73" id="Page_73">73</a></span> -</div> - -<div class="figcenter"> -<div class="caption">PICA OR 12-POINT MODERN</div> -<img src="images/i_073c.jpg" width="500" height="109" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">SMALL PICA OR 11-POINT OLD STYLE</div> -<img src="images/i_073d.jpg" width="500" height="97" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">SMALL PICA OR 11-POINT CASLON OLD STYLE</div> -<img src="images/i_073e.jpg" width="500" height="127" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">SMALL PICA OR 11-POINT SCOTCH</div> -<img src="images/i_073f.jpg" width="500" height="104" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">SMALL PICA OR 11-POINT MODERN</div> -<img src="images/i_073g.jpg" width="500" height="99" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">LONG PRIMER OR 10-POINT OLD STYLE</div> -<span class="pagenum"><a name="Page_74" id="Page_74">74</a></span> -<img src="images/i_074.jpg" width="500" height="88" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">LONG PRIMER OR 10-POINT CASLON OLD STYLE</div> -<img src="images/i_074b.jpg" width="500" height="119" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">LONG PRIMER OR 10-POINT SCOTCH</div> -<img src="images/i_074c.jpg" width="500" height="88" alt="" /> - -</div> - -<div class="figcenter"> -<div class="caption">LONG PRIMER OR 10-POINT MODERN</div> -<img src="images/i_074d.jpg" width="500" height="88" alt="" /> - -</div> - -<p>Type sizes in the present day are determined -by the point system, the fundamental unit of -which is the point. This is obtained by -dividing a length of 13⅘ inches into 996 equal -parts, each one being called a point. One -point is therefore .0138 of an inch or 72.46 -points are equal to 1 inch.</p> - -<p>For purposes of convenience, a point is -expressed as being <span class="fraction"><span class="fnum">1</span><span class="bar">/</span><span class="fden">72</span></span> of an inch. Thus -6-point type occupies <span class="fraction"><span class="fnum">6</span><span class="bar">/</span><span class="fden">72</span></span> -of an inch of space, -<span class="pagenum"><a name="Page_75" id="Page_75">75</a></span> -12-point <span class="fraction"><span class="fnum">12</span><span class="bar">/</span><span class="fden">72</span></span> -and so on. This does not -mean, however, that the actual printed face -occupies six points on the paper, but that it -is six points from the base to the top of the -body carrying the face.</p> - -<p>In other words, one may say that it is 12 -points from the bottom of one line of 12-point -type to the <i>bottom</i> of the next line of 12-point -type, etc.</p> - -<p>The pica is the standard of measurement of -the old system, and is equal to 12 points of the -new system; thus six picas are equal to 1 inch -or 72 points. Printers still estimate the length -and width of a page or a column by the pica; -thus a page 4 inches wide is 24 picas.</p> - -<p>The "em" is the square of a type body. -Thus a "12-point em" is 12 points wide and -12 points long, or 1 pica long and 1 pica wide. -A "10-point em" is a 10 point square, etc. -The em used in measuring newspaper column -widths, magazine columns, etc., is known as -the em pica, which is 12 points square.</p> - -<p>In using larger faces for headings and display, -or smaller faces for footnotes or quoted -matter, the printer will select from the same -family to which the type belongs, or from some -family which combines with it harmoniously. -Old-style faces should not be used with -modern faces, but the Scotch face, which is a -cross between old-style and modern, combines -well with either.</p> - -<p>As to leading, this volume is leaded with a -<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span> -1-point lead; between the first and second lines -of the preceding paragraph there is no leading -(technically, "set solid"); between the second -and third, a 2-point lead, and between the -third and fourth, a 3-point lead.</p> - -<p>In technical volumes and schoolbooks the -Old Style Antique type is largely used for -subject-headings and side-notes:</p> - -<div class="figcenter"> -<div class="caption">LONG PRIMER OR 10-POINT OLD STYLE ANTIQUE</div> -<img src="images/i_076.jpg" width="500" height="59" alt="" /> - -</div> - -<h3>THE TYPESETTING</h3> - -<p>With the sample page accepted by the publisher -or author, or both, the printer is authorized -to proceed with the typesetting. Setting -type by hand is now almost entirely superseded -by machine-composition, except for the display -pages (such as the title) and where the type -itself runs larger than the English (14-point) -size, this being the limit of the machines. -Linotype<a name="FNanchor_37b_37b" id="FNanchor_37b_37b"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> composition is cheaper than monotype,<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> -but as the type is cast all in one line, -instead of in separate characters, the cost of -corrections is much higher. To change even -a mark of punctuation requires recasting the -entire line. If the manuscript is reasonably -final in its form, the publisher is likely to order -linotype composition; otherwise, monotype -<span class="pagenum"><a name="Page_77" id="Page_77">77</a></span>will be selected. Both machines carry the -standard faces and sizes of type.</p> - -<h3>THE PROOFS</h3> - -<p>The first proofs sent out by the printer are -called "galley-slips," or "galleys."<a name="FNanchor_38b_38b" id="FNanchor_38b_38b"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> These -are supposed to give the author opportunity -to make such changes as are absolutely necessary. -When returned to the printer, these -galleys are made up into "page-proofs,"<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> and -frequently go again to the author, or the type -may be "cast" (made into electrotype plates) -at this point. When page-proofs are submitted -to the author, the publisher expects -him to revise them, making sure that all his -galley corrections have been properly made, -rather than to make further corrections, as -changes in the pages are still more expensive -than in the galleys. If changes must be -made, the author should endeavor to have the -correction occupy exactly the same space as -the matter cut out, or to cut out further matter -to make room for the addition. Otherwise, -the page so corrected will contain more than -the standard number of lines, which must be -thrown forward, and the make-up of each page -changed to the end of the chapter.</p> - -<p>Competent proofreaders in the best offices -frequently call the attention of the author to -errors in dates, figures, or proper names, but -<span class="pagenum"><a name="Page_78" id="Page_78">78</a></span> -this should always be regarded by the author -as a courtesy rather than as something which -the printer is expected to do. The proofreader, -on the other hand, is supposed to have -corrected every typographical error, and for -the author to mark corrections which have -been overlooked is a courtesy on the part of -the author. The fact that the author or editor -has passed over typographical errors in -no way relieves the proofreader of his responsibility.</p> - -<p>The proofreader is expected to correct any -obvious error without hesitation, but to make -no other changes. If he thinks a change -should be made, it will take the form of a query -in the margin to the author. The author -should carefully note all such queries, and -answer them or strike them out, bearing in -mind that if he accepts the query the change -necessitated in the type becomes an author's -correction, the expense of which falls upon the -publisher.</p> - -<p>Any marks on the proofs for correction -should be made distinct by drawing a short -line through the letter to be changed, etc., -placing in the margin the recognized sign indicating -the change, <i>exactly opposite the line in -which the change is to be made, and in the order -in which the necessary alterations occur</i>. In -doing this be sure to write legibly, and do not -cover the proof with lines and counter-lines.</p> - -<p>The author should familiarize himself with -<span class="pagenum"><a name="Page_79" id="Page_79">79</a></span> -the standard proofreading marks, and employ -these in marking all corrections upon the -proofs which are sent him. These marks are -as follows:</p> - -<div class="figcenter"> -<img src="images/i_079b.jpg" width="400" height="490" alt="PROOF MARKS" /> - -<div class="box"> -<blockquote> -<p class="dropcap"><small>THE above marks are the ones most generally used in proofreading. -There are many others that are required in different classes of work, -but these are in the main self-explanatory. This display of proof marks -and their meanings has been prepared for <span class="smcap">The Graphic Arts</span> and endorsed -by the Boston Proofreaders Association.</small></p> -</blockquote> -</div> -<p class="inpic"><span class="smcap"><small>The Graphic Arts</small></span>, Boston</p> - -</div> -<p><span class="pagenum"><a name="Page_80" id="Page_80">80</a></span> - -When the page-proofs are returned to the -printer, they are carefully "read for foundry" -by the proofreader, and all final changes in -the type are then made. "Bearers"<a name="FNanchor_39a_39a" id="FNanchor_39a_39a"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> are -placed around pages, which are imposed<a name="FNanchor_39b_39b" id="FNanchor_39b_39b"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> -in chases<a name="FNanchor_39c_39c" id="FNanchor_39c_39c"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> and sent to foundry.<a name="FNanchor_39d_39d" id="FNanchor_39d_39d"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> Foundry-proofs -are taken at this point.</p> - -<h3>THE PLATES</h3> - -<p>The process of electrotyping is one of the -most interesting steps in the making of a book, -and authors will find it well worth while to -brave the grime of the black-lead in order to -become familiar with the detail. In brief, -the type form is pressed down into a tablet -made of wax or similar substance, in which -it leaves an impression. This wax tablet is -then allowed to remain in a galvanic bath, -through which it becomes covered with a -coating of copper. When separated from the -wax, the thin, copper replica of the composed -type is backed up by an alloy, and, after passing -through various stages in finishing, finally -becomes an electrotype plate.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p> - -<h3>COVER DESIGN AND ILLUSTRATIONS</h3> - -<p>While the printer has been engaged in putting -the manuscript into type, the publisher has -had a designer at work upon a cover sketch, -and an artist upon such illustrations as the -<span class="pagenum"><a name="Page_81" id="Page_81">81</a></span>book requires. All this has to fall in with the -publisher's general scheme for the book as a -whole. The designer must know what limits -are placed upon him as to the number of inks -or foils, or the amount of gold-leaf which he -may employ. The artist must know whether -his pictures are to be drawn for full color, -two-color or one-color plates. In deciding -these questions, the publisher is influenced -by what he believes the book to require in its -appeal to the public, and how great an expense -is warranted by the probability of its success.</p> - -<h3>ENGRAVING</h3> - -<p>The illustrations in all except the most -pretentious volumes are either halftone or -lineplate photo-engravings. In making a -halftone plate, the picture or object to be -reproduced is photographed through a screen -consisting of a glass plate, diagonally ruled at -right angles in two directions with lines numbering -from fifty to four hundred to the inch. -This screen is placed inside of the camera and -in front of, and very near, the chemically sensitized -plate. The light reflected from the -object to be photographed, varying in intensity -according to the lights and shadows of -the object, is focused on the sensitized plate -through the intervening line screen, and affects -the sensitized film more or less according to -its intensity. This causes a chemical change -<span class="pagenum"><a name="Page_82" id="Page_82">82</a></span> -of such nature that the next following operations, -the development and the intensification -of the picture, result in producing it in the -form of dots and stipples varying in size, -and consequently in the respective light and -shade effects, according to the varying lights -and shadows of the original. Inasmuch as the -lights show dark and the darks light, the picture -on the glass makes a negative of the subject. -This negative is placed in a printing -frame, in close contact with a polished copper -plate prepared with a film sensitive to the -light. A few minutes' exposure to the light -renders insoluble in water those parts of the -film which the light has reached through the -negative, and when the other parts of the film, -which remain soluble in water, are washed -away, the picture appears clear on the surface -of the plate. The dots and the stipples forming -the picture are then further treated to -enable them to resist the action of the solution -of iron perchloride to which the plate is next -subjected, which etches out the spaces between -the dots, and leaves the latter in relief. -As the etching on the copper must be in reverse -as regards right and left, in order that it may -appear in proper relation when printed on the -paper, the negative must be produced through -a reflecting prism, or the finished negative, -properly toughened, must be stripped from -the glass on which it has been produced, and -turned over. In ordinary practice, a number -of such turned negatives are placed together -<span class="pagenum"><a name="Page_83" id="Page_83">83</a></span> -on a single large glass, and exposed together -on a large copper plate, to be cut apart afterwards -and mounted separately. The primary -etching is usually supplemented by further -processes, such as re-etching, vignetting, hand-tooling -and routing. The finished plate is -finally mounted on a wooden block to the -height of type.</p> - -<p>Illustrations in full color are reproduced -from corresponding originals, usually paintings -in oil or water-color, by means of the three-<a name="FNanchor_40b_40b" id="FNanchor_40b_40b"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> or -four-color<a name="FNanchor_40c_40c" id="FNanchor_40c_40c"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> process of reproduction. The plates -for this purpose are usually all halftone, but -are sometimes a combination of halftones -and Benday<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> plates. Two-color halftones -have either a tint background, or secondary -plate in tint, the latter forming the underground -upon which the keyplate is printed in -black. In the three-color process, the respective -plates are printed in yellow, red and blue -successively over one another. In the four-color -process a fourth plate is used to emphasize -the blacks of the picture, the plate being -virtually a keyplate, combining all the features -of the subject, printed on top of the other three -colors, usually in black or dark gray.</p> - -<p>It is of particular importance that the engraver -who is to make the halftone plates -should be informed as to the kind of paper -they are to be printed on. A 50-line halftone -<span class="pagenum"><a name="Page_84" id="Page_84">84</a></span>plate will print on almost anything, but is too -coarse to render the details of the picture, and -is usually applied only for newspaper use. It -would be entirely too coarse for the purpose -of book illustration. On the other hand, a -halftone plate made through a screen of 400 -lines to the inch can be printed satisfactorily -only upon paper of the highest surface, and with -correspondingly careful presswork. For super-calendered -or English-finish paper, plates -made through a 133-line screen are most advisable, -while the average coated or enameled -paper will take 150-line halftones to best -advantage.</p> - -<p>Lineplates are etchings in relief on plates -of zinc or copper, reproduced from pen-and-ink-drawings, -or diagrams, by photo-mechanical -process. The method in general is the same -as that for halftone work, but without the -intervention of the screen. In lineplates, the -light and shade effects are produced by gradations -of thick and thin lines, in distinction -from the effects of wash-drawings and photographs, -which are produced by gradations of -tone. The latter require the intervention of -the screen to convert the full tone gradations -into the halftone of the dots and stipples, -while the former may, as already noted, be -reproduced directly.</p> - -<p>Other classes of engravings, of a more costly -kind, and which are therefore used only in -books of more expensive character, are the -<span class="pagenum"><a name="Page_85" id="Page_85">85</a></span> -various forms of engraving in intaglio; that is -to say, in effects produced by cutting or etching -the design into and below the surface of -the plate, instead of cutting or etching away -the ground, and leaving the design in relief. -Examples of this order are the old-time copperplate -engraving, the more modern steel-engraving,<a name="FNanchor_41a_41a" id="FNanchor_41a_41a"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> -in the form of line or mezzotint effects,<a name="FNanchor_41b_41b" id="FNanchor_41b_41b"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> -photogravure,<a name="FNanchor_41c_41c" id="FNanchor_41c_41c"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> and the yet more recent photo-intaglio -process known as rotogravure,<a name="FNanchor_41d_41d" id="FNanchor_41d_41d"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> and -photo-mezzotint.</p> - -<h3>DIE CUTTING</h3> - -<p>Dies,<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> generally required for stamping the -covers of books in gilt letters and designs, are -cut in brass by hand or by finely adjusted routing-machines, -the design being drawn upon the -metal by an artist, or transferred to it by -photography. In the case of very elaborate -designs, the dies are first etched by nitric acid -or iron perchloride, and the more open or less -intricate spaces then deepened by hand, or -by the routing-machines.</p> - -<h3>THE PAPER</h3> - -<p>In selecting the paper for the book, the publisher -must consider the surface required by -his plates, the weight necessary to give a -proper bulk in proportion to the size of his -<span class="pagenum"><a name="Page_86" id="Page_86">86</a></span> -volume, and the quality as regulated by the -price. The average book, with no text illustrations, -is printed on wove<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> paper of antique -finish, which is a fairly rough surface, giving -a maximum bulk. A 12mo<a name="FNanchor_42b_42b" id="FNanchor_42b_42b"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> book should -bulk 1 to 1⅛ inches, a 10mo<a name="FNanchor_42c_42c" id="FNanchor_42c_42c"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> book, 1⅛ to 1¼ -inches. If the book runs more than an average -length, a medium-or a plate-finish paper may -be used, and the weight per ream is regulated -by the number of pages in each volume and -the bulk required.</p> - -<p>Lineplates print satisfactorily on medium-finish -paper, and even on antique-finish if the -lines are not too fine. Halftones require English-finish,<a name="FNanchor_42d_42d" id="FNanchor_42d_42d"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> -super-calendered<a name="FNanchor_42e_42e" id="FNanchor_42e_42e"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> or coated<a name="FNanchor_42f_42f" id="FNanchor_42f_42f"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> paper. -Inserts<a name="FNanchor_42g_42g" id="FNanchor_42g_42g"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> are almost always printed upon coated -paper.</p> - -<p>Laid<a name="FNanchor_42h_42h" id="FNanchor_42h_42h"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> paper is used in more expensive books, -as, from its nature, better and more costly -stock is required in its making.</p> - -<h3>THE PRESSWORK</h3> - -<p>Books are printed in forms<a name="FNanchor_42i_42i" id="FNanchor_42i_42i"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> of 4 pages and -multiples of 4 pages, depending upon the size -of the paper leaf. The usual form is 32 pages, -so the publisher tries to plan his volume to -make approximately even forms. To print -any number of pages over an even form is as -expensive as to print the complete 32 pages.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p> - -<h3><span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> -THE BINDING</h3> - -<p>In binding, the questions to be settled include -the style of back,—flat, half-round, or round; -plain or gilt-top; headband<a name="FNanchor_45c_45c" id="FNanchor_45c_45c"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> or not; trimmed -or uncut edges;<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> kind of cloth,—T pattern,<a name="FNanchor_45a_45a" id="FNanchor_45a_45a"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> -silk,<a name="FNanchor_45b_45b" id="FNanchor_45b_45b"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> vellum,<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> etc.; color and shade of cloth; -location of dies; stamping,—ink, foil, gold or -Oriental tissue, etc.; jacket,—glassine, manila, -or printed.</p> - -<hr class="chap" /> - -<h2><a id="THE_ARRANGEMENT_OF_THE_BOOK"></a>THE ARRANGEMENT OF THE BOOK</h2> - -<p class="dropcap">THE proper layout for an ordinary volume, -arranged in accord with the best usage, is as -follows:</p> - -<ul> -<li>Bastard-Title (<i>right hand</i>).</li> -<li>Blank Page or Advertising Card (<i>left hand</i>).</li> -<li>Title-Page (<i>right hand</i>).</li> -<li>Copyright Page and the Printer's Imprint (<i>left hand</i>).</li> -<li>Dedication (<i>right hand</i>).</li> -<li>Blank Page (<i>left hand</i>).</li> -<li>Preface (<i>begins on right hand</i>).</li> -<li>Table of Contents (<i>begins on right hand</i>).</li> -<li>List of Illustrations (<i>begins on right hand</i>).</li> -<li>Introduction (<i>begins on right hand</i>).</li> -<li>Half-Title (<i>right hand</i>).</li> -<li>Blank Page (<i>left hand</i>).</li> -<li>First Page of Text (<i>begins on right hand</i>).</li> -</ul> - -<p>In limited editions, the limit notice is placed -upon the reverse of the bastard-title, or on a left-hand -page facing the bastard-title.</p> - -<p>Following the text may be:</p> - -<ul> -<li>Appendix (<i>begins on right hand</i>).</li> -<li>Glossary (<i>begins on right hand</i>).</li> -<li>Bibliography (<i>begins on right hand</i>).</li> -<li>Index (<i>begins on right hand</i>).</li> -</ul> - -<p>Considering these various divisions more at -length:</p> - -<h3><span class="pagenum"><a name="Page_89" id="Page_89">89</a></span> - -BASTARD-TITLE</h3> - -<p>The bastard-title, which is often wrongly -called the half-title, is a modern evolution in -its present application. Originally, this single-line -title was the only title which existed, but -as time went on the demand of the public, on -the one hand, for a decorated page at the -beginning of the book, together with the -printer's desire, on the other hand, to advertise -himself, developed the bastard-title into -the dimensions of the title-page which we -now know, containing the name of the book, -the name of the author, the publisher's device, -and the publisher's name and address. At -the present time the bastard-title is used more -to add elegance to the appearance of the volume -than for any practical purpose, it being -pleasanter for the eye to rest first upon this -page rather than at once upon the title-page, -which extends over the full dimensions of the -type area.</p> - -<h3>ADVERTISING CARD</h3> - -<p>If an advertising card or limit notice is -required, this page of display should be set -up with careful consideration of the page it is -to face, and of the typography of the book of -which it is to be a part. Too frequently advertising -cards are looked upon as separate jobs, -and are set in types which do not harmonize -with the typography of the rest of the book.</p> - -<h3><span class="pagenum"><a name="Page_90" id="Page_90">90</a></span> - -TITLE-PAGE</h3> - -<p>The title-page offers the printer and the publisher -a tempting opportunity for display and for -artistic typography, and too few realize the -value of restraint. Cobden-Sanderson once remarked, -as explaining the high prices which he -secures for his work, that he always charges more -for what he leaves out than for what he puts in.</p> - -<p>The earliest volumes lacked the title-page, -because vellum and linen paper were held so -high that the expense of an extra leaf was considered -an unnecessary luxury. In these books -that which took the place of the title was at -the end, the colophon being in evidence, indicating -the name of the illuminator, if not -always that of the printer. As was the case -with the manuscript book, the volume began -with the phrase, "Here beginneth...." -Later came piratical reprints, which resulted in -making the critical reader insist upon having -each volume stamped with the printer's name or -mark, as a guarantee of reliable workmanship.</p> - -<p>The first definite step in the direction of the -title-page is marked by bibliographers in a -little volume printed by Arnold Ther Hoernen, -of Cologne, in 1470. It consisted of an introduction -at the head of a page, the major part -of which was left blank. Whether the printer -forgot to place the usual introduction at the -head of the first page, and took this way to -remedy his error, is not known.</p> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">91</a></span> - -In general, different faces of type should -never be combined upon the title-page, the -variations being secured by using smaller sizes -of the same face, or harmonizing fonts. Capitals -and lower-case letters can be successfully -combined on the title-page only as a result of -care and thought, the best title-pages usually -being all in lower-case or all in caps and small -caps. A two-color title-page is rarely a success -unless it was originally composed with -two colors in mind, instead of being set up in -black and arbitrarily split up for colors.</p> - -<p>The decoration should never overbalance -the type, and this applies as well to the question -of borders on decorated books. No -matter how beautiful, if the decoration overbalances -the type, the volume or the title-page -ceases to be an example of typography and -becomes something answerable only to itself.</p> - -<h3>COPYRIGHT</h3> - -<p>On the reverse of the title-page is ordinarily -placed the copyright notice of the volume,<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> -usually a little above the center, set in caps -and small caps, or in small caps alone. At -the foot of this same page the printer usually -places his imprint.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></p> - -<h3><span class="pagenum"><a name="Page_92" id="Page_92">92</a></span> -DEDICATION</h3> - -<p>The dedication is a page set in the monumental -style, generally in small capitals. -This must always be a right-hand page, and -the reverse must always be blank.</p> - -<h3><a id="PREFACE"></a>PREFACE</h3> - -<p>Ordinarily the preface is set in the same size -of type as the body. If it is written by some -one other than the author, it is frequently set -in italic to mark the distinction. This is -particularly true in case the book contains an -introduction as well. If the preface is of -unusual importance, it is sometimes customary -to have it set in type one size larger than the -body, or double-leaded.</p> - -<h3>TABLE OF CONTENTS</h3> - -<p>After the preface and before the list of illustrations -comes the contents, occupying whatever -number of pages may be necessary. The -style of its composition is dependent entirely -upon the subject-matter and the typographical -arrangement of the volume.</p> - -<h3>LIST OF ILLUSTRATIONS</h3> - -<p>This follows the contents, and is always set -in a style conforming to the contents page or -pages.</p> - -<h3><span class="pagenum"><a name="Page_93" id="Page_93">93</a></span> -INTRODUCTION</h3> - -<p>See remarks under "<a href="#PREFACE">Preface</a>."</p> - -<h3>HALF-TITLE</h3> - -<p>The half-title ordinarily consists of a single -line, standing by itself on the first page of the -leaf immediately preceding the first page of -the text, and carries the title of the book as at -the top of the first page of text. It is frequently -confused with the bastard or false-title, -which always precedes the title-page. Half-titles -may also run through the book before -various divisions, but the bastard-title never -moves from its one position at the beginning -of the volume.</p> - -<h3>LIMIT NOTICE</h3> - -<p>If an edition be limited in number, the -notice of such limit should be placed either -on the page facing the bastard-title or on the -reverse of the bastard-title.</p> - -<h3>IN GENERAL</h3> - -<p>The front matter is often put into type after -the composition of the body has been completed, -so that the number of pages is rarely -definitely determined at the beginning of the -work. For this reason, publishers have favored -the expedient of numbering the preliminary -pages with roman folios, using the arabic folios<span class="pagenum"><a name="Page_94" id="Page_94">94</a></span> -for the text itself. The front matter and the -chapter pages running through the book offer -opportunities for embellishment and distinctive -typographical treatment, and therefore -should be kept in exact accord, whether elaborate -decorations are used or the severest -form of typographical simplicity.</p> - -<h3>BASIC SIZES OF BOOKS</h3> - -<p>The following list gives the size of leaf to -which the various standard names and proportions -naturally fold:</p> - -<table summary="sizes"> - -<tr><td class="btdouble bbsimple br">No. pp. to form</td> - <td class="btdouble bbsimple br" colspan="3">Size of sheet</td> - <td class="btdouble bbsimple br center">Name</td> - <td class="btdouble bbsimple nob" colspan="3">Size of leaf</td> -</tr> -<tr> -<td class="br center">32</td> - - <td>19</td> <td>×</td> <td class="br">25</td> -<td class="br">Thirty-two mo (32mo)</td> -<td>3⅛</td> -<td>×</td> -<td>4¾</td> -</tr> -<tr><td class="br center">32</td> -<td>22</td> <td>×</td> <td class="br">29</td> -<td class="br">Twenty-four mo (24mo)</td> -<td>3⅝</td> -<td>×</td> -<td>5½</td> -</tr> -<tr><td class="br center">32</td> -<td>24</td> <td>×</td> <td class="br">32</td> -<td class="br">Eighteen mo (18mo)</td> - <td>4</td> - <td>×</td> -<td>6</td> -</tr> -<tr><td class="br center">32</td> -<td>27</td> <td>×</td> <td class="br">34</td> -<td class="br">Sixteen mo (16mo)</td> - <td>4½</td> -<td>×</td> -<td>6¾</td> -</tr> -<tr><td class="br center">32</td> -<td>30½</td> <td>×</td> <td class="br">41</td> -<td class="br">Duodecimo (12mo)</td> - <td>5⅛</td> -<td>×</td> -<td>7⅝</td> -</tr> -<tr><td class="br center">32</td> -<td>33</td> <td>×</td> <td class="br">44</td> -<td class="br">Decimo (10mo)</td> - <td>5½</td> -<td>×</td> -<td>8¼</td> -</tr> -<tr><td class="br center">16</td> -<td>24</td> <td>×</td> <td class="br">36</td> -<td class="br">Octavo (8vo)</td> - <td>6</td> -<td>×</td> -<td>9</td> -</tr> -<tr><td class="br center">4</td> - <td>18</td> <td>×</td> <td class="br">24</td> -<td class="br">Quarto (4to)</td> - <td>9</td> -<td>×</td> -<td>12</td> -</tr> -<tr><td class="br bbsimple center">2</td> - <td class="bbsimple">18</td> -<td class="bbsimple">×</td> -<td class="br bbsimple">24</td> -<td class="br bbsimple">Folio</td> - <td class="bbsimple">12</td> -<td class="bbsimple">×</td> -<td class="bbsimple">18</td> -</tr> - -</table> - -<h3><span class="pagenum"><a name="Page_95" id="Page_95">95</a></span> - -ENGLISH PAPER SIZES</h3> - -<table summary="sizes"> -<tr><td class="btdouble bbsimple br">Name</td> - <td class="btdouble bbsimple br">Abbreviated to</td> - <td class="btdouble bbsimple br">Pages to one sheet</td> - <td class="btdouble bbsimple nob">Watermarks in hand-made</td> -</tr> - -<tr><td class="br">Folio</td> - <td class="br">Fo.</td> - <td class="br">4</td> - <td>Vertical</td> </tr> -<tr><td class="br">Quarto</td> - <td class="br">4to</td> - <td class="br">8</td> - <td>Horizontal</td></tr> - -<tr><td class="br">Octavo</td> - <td class="br">8vo</td> - <td class="br">16</td> - <td>Vertical</td></tr> - -<tr><td class="br">Duodecimo</td> - <td class="br">12mo</td> - <td class="br">24</td> - <td>Horizontal</td></tr> - -<tr><td class="br">Sextodecimo</td> - <td class="br">16mo</td> - <td class="br">32</td> - <td>Horizontal</td></tr> - -<tr><td class="br">Octodecimo</td> - <td class="br">18mo</td> - <td class="br">36</td> - <td>Vertical</td></tr> - -<tr><td class="br">Vigesimo-quarto</td> - <td class="br">24mo</td> - <td class="br">48</td> - <td>Vertical</td></tr> -<tr> -<td class="br bbsimple">Trigesimo-secundo</td> - <td class="br bbsimple">32mo</td> - <td class="br bbsimple">64</td> - <td class="bbsimple">Vertical</td> -</tr> - -</table> - -<p class="center p2"><span class="smcap">Octavos</span></p> - -<table summary="octavos"> -<tr><td>Foolscap</td> -<td>6¾</td> -<td>×</td> -<td>4¼</td> -<td class="center">may</td> -<td class="center">become</td> -<td>Crown</td> -<td>7½</td> -<td>×</td> -<td>5</td> -<td>inches</td> </tr> -<tr><td>Crown</td> -<td>7½</td> -<td>×</td> -<td>5</td> -<td class="center">"</td> - <td class="center">"</td> -<td>Demy</td> -<td>8¾</td> -<td>×</td> -<td>5⅝</td> - </tr> -<tr><td>Post</td> -<td>8</td> -<td>×</td> -<td>5</td> -<td class="center">"</td> -<td class="center">"</td> -<td>Medium</td> -<td>9½</td> -<td>×</td> -<td>6</td></tr> -<tr> -<td>Demy</td> -<td>8¾</td> -<td>×</td> -<td>5⅝</td> -<td class="center">"</td> -<td class="center">"</td> -<td>Royal</td> -<td>10</td> -<td>×</td> -<td>6¼</td></tr> -<tr> -<td>Medium</td> -<td>9½</td> -<td>×</td> -<td>6</td> -<td class="center">"</td> -<td class="center">"</td> -<td>Super Royal</td> -<td>10¼</td> -<td>×</td> -<td>6⅞</td></tr> -<tr> -<td>Royal</td> -<td>10</td> -<td>×</td> -<td>6¼</td> -<td class="center">"</td> -<td class="center">"</td> -<td>Imperial</td> -<td>11</td> -<td>×</td> -<td>7½</td> </tr> -</table> - -<p class="center p2"><span class="smcap">Quartos</span></p> - -<table summary="quartos"> -<tr> -<td>Foolscap</td> -<td>8½</td> -<td>×</td> -<td>6¾</td> -<td>may</td> -<td>become</td> -<td>Crown</td> -<td>10</td> -<td>×</td> -<td>7½</td> -<td>inches</td> -</tr> -<tr><td>Crown</td> -<td>10</td> -<td>×</td> -<td>7½</td> -<td class="tdc">"</td> -<td class="tdc">"</td> -<td>Demy</td> -<td>11¼</td> -<td>×</td> -<td>8¾</td></tr> -<tr><td>Post</td> -<td>10</td> -<td>×</td> -<td>8</td> -<td class="tdc">"</td> -<td class="tdc">"</td> -<td>Medium</td> -<td>12</td> -<td>×</td> -<td>9½</td></tr> -<tr><td>Demy</td> -<td>11¼</td> -<td>×</td> -<td>8¾</td> -<td class="tdc">"</td> -<td class="tdc">"</td> -<td>Royal</td> -<td>12½</td> -<td>×</td> -<td>10</td></tr> -<tr><td>Medium</td> -<td>12</td> -<td>×</td> -<td>9½</td> - <td class="tdc">"</td> -<td class="tdc">"</td> -<td>Super Royal</td> - <td>13¾</td> -<td>×</td> -<td>10¼</td></tr> -<tr><td>Royal</td> - <td>12½</td> -<td>×</td> -<td>10</td> -<td class="tdc">"</td> -<td class="tdc">"</td> - <td>Imperial</td> - <td>15</td> -<td>×</td> -<td>11</td></tr> -</table> - -<table summary="quartosb" class="p2"> -<tr><td>Pott</td> -<td>15½</td> -<td>×</td> -<td>12½</td></tr> -<tr><td>Foolscap</td> - <td>17</td> -<td>×</td> -<td>13½</td></tr> -<tr><td>Crown</td> - <td>20</td> - <td>×</td> -<td>15</td></tr> -<tr><td><span class="pagenum"><a name="Page_96" id="Page_96">96</a></span> -Post</td> - <td>20</td> - <td>×</td> -<td>16</td></tr> -<tr><td>Demy</td> - <td>22½</td> -<td>×</td> -<td>17½</td></tr> -<tr><td>Medium</td> - <td>24</td> -<td>×</td> -<td>19</td></tr> -<tr><td>Double Pott</td> - <td>25</td> -<td>×</td> -<td>15½</td></tr> -<tr><td>Royal</td> - <td>25</td> -<td>×</td> -<td>20</td></tr> -<tr><td>Double Foolscap</td> - <td>27</td> -<td>×</td> -<td>17</td></tr> -<tr><td>Super Royal</td> - <td>27½</td> -<td>×</td> -<td>20½</td></tr> -<tr><td>Double Crown</td> - <td>30</td> -<td>×</td> -<td>20</td></tr> -<tr><td>Imperial</td> - <td>30</td> -<td>×</td> -<td>22</td></tr> -<tr><td>Double Post</td> - <td>32</td> -<td>×</td> -<td>20</td></tr> -<tr><td>Columbia</td> - <td>34½</td> -<td>×</td> -<td>23½</td></tr> -<tr><td>Atlas</td> - <td>36</td> -<td>×</td> -<td>26</td></tr> -</table> - -<table summary="quartosc" class="p2"> -<tr><td> </td> -<td class="tdc" colspan="3">Octavo</td> - <td class="tdc" colspan="3">Quarto</td></tr> -<tr><td>Pott</td> - <td>6¼</td> -<td>×</td> -<td>3⅞</td> -<td>7¾</td> -<td>×</td> -<td>6¼</td></tr> -<tr><td>Foolscap</td> - <td>6¾</td> -<td>×</td> -<td>4¼</td> - <td>8½</td> -<td>×</td> -<td>6¾</td></tr> -<tr><td>Crown</td> - <td>7½</td> -<td>×</td> -<td>5</td> - <td>10</td> -<td>×</td> -<td>7½</td></tr> -<tr><td>Post</td> - <td>8</td> -<td>×</td> -<td>5</td> - <td>10</td> -<td>×</td> -<td>8</td></tr> -<tr><td>Demy</td> - <td>8¾</td> -<td>×</td> -<td>5⅝</td> - <td>11¼</td> -<td>×</td> -<td>8¾</td></tr> -<tr><td>Medium</td> - <td>9½</td> -<td>×</td> -<td>6</td> - <td>12</td> -<td>×</td> -<td>9½</td></tr> -<tr><td>Royal</td> - <td>10</td> -<td>×</td> -<td>6¼</td> - <td>12¼</td> -<td>×</td> -<td>10</td></tr> -<tr><td>Super Royal</td> - <td>10¼</td> -<td>×</td> -<td>6⅞</td> - <td>13¾</td> -<td>×</td> -<td>10¼</td></tr> -<tr><td>Imperial</td> - <td>11</td> -<td>×</td> -<td>7½</td> - <td>15</td> -<td>×</td> -<td>11</td></tr> -</table> - -<h3>MARGINS</h3> - -<p>A feature not to be overlooked in the appearance -of a well-printed book is that of the margins. -The perfect type-page is supposed to -be proportioned in such a way that its diagonal -is twice its width. With this page as a basis, -the location of the type upon the paper leaf -is to be studied carefully. In general, the two -pages, right and left, should be considered as -a unit, and the top margin and the inside -margin of each page should be approximately -the same. Doing this, the total blank between<span class="pagenum"><a name="Page_97" id="Page_97">97</a></span> -the two pages is supposed approximately to -equal the outside and the bottom margins.</p> - -<p>The proportion of margin is, to a certain -extent, dependent upon the size of the book, -the margins becoming greater as the volume -increases from the thirty-two mo size up to -the folio. A student of typography has ingeniously -estimated that, taking the height -of the paper leaf as 100 units, the height of -the type page of the ordinary trade book -should be from 72% to 75%; that of a library -edition, from 66% to 71%; that of a de luxe -volume, from 60% to 65%.</p> - -<hr class="chap" /> - -<h2><a id="MAKING_THE_INDEX"></a>MAKING THE INDEX</h2> - -<p class="dropcap">EVERY book of a permanent nature, or -intended as a work of reference, requires an -index. The length of the Index, or its minuteness, -depends upon the nature of the subject -treated, and the importance of making it -easily available to the reader. The Index -belongs to the same family as the Table of -Contents, and the Topical Analyses often -placed at the beginning of each chapter: the -Contents gives a general idea of the divisions -into which the author has separated his subject; -the Topical Analyses still further divide -each chapter; and the Index is ordinarily still -more minute, with the further advantage of -having its references arranged in alphabetical -order.</p> - -<p>The proper person to make an index is, first -of all, the author of the book, provided that he -possesses the natural characteristics. It does -not at all naturally follow, however, that all -authors are competent to do this, for the art -of indexing is not as simple as many superficially -suppose. The author should be the -one best fitted, because he knows better than -any reader the exact meaning each of his sentences -is intended to convey,—and this -meaning should be expressed in the index.<span class="pagenum"><a name="Page_99" id="Page_99">99</a></span> -The ideal index is that which gives every topic, -thought, or reference contained in the book -itself, without a single superfluous word, and -with no description or comment.</p> - -<p>To make an index requires a quick grasp of -the idea contained in each sentence or paragraph, -an immediate discernment of the main -thought, an instinctive classification, absolute -accuracy in translating this thought into its -briefest expression, ability to condense, and -a sensing of the reader's needs in adequate -cross-references. All this demands a mind -more logical and more sensitive to codified -detail than is possessed by many able writers. -Under these circumstances, it is desirable to -place the making of the index in the hands -of one possessing these qualifications, either -instinctively or as a result of experience.</p> - -<p>Every publishing-house and most printing -establishments of any consequence are in a -position to have indexes prepared when required, -but the danger is always present that -the indexer, approaching his subject from the -outside, will fail to place himself sufficiently -in the author's attitude, and thus lessen the -value of his work. It is most desirable, in -order to prevent this, that the author carefully -inspect the index while in manuscript. He -can thus detect possible departures in the -indexer's condensed expression of his own -thought.</p> - -<p>The following rules and suggestions are<span class="pagenum"><a name="Page_100" id="Page_100">100</a></span> -given with a twofold object in mind: <i>first</i>, -to prevent those authors who possess the -necessary qualifications from avoiding the preparation -of their own indexes because of unfamiliarity -with the technical details; <i>second</i>, to -enable authors intelligently to criticize the form -as well as the matter of those indexes which -are prepared for their volumes by other hands.</p> - -<h3>WHAT TO INDEX</h3> - -<p>The closeness with which a book is to be -indexed depends partly upon the nature of its -contents and partly upon the ideas of the -author or publisher. Some indexes contain -only the page references; some are so analytical -that a reader can gain an excellent idea of -the subject-matter itself. These, however, -represent the two extremes. The ordinary -index aims to give every reference necessary -to enable the reader to locate easily the subject-matter -for which he searches, but not a synopsis -of that subject-matter. The entries should -cover, then, with more or less minuteness, as -desired, the following:</p> - -<ul> -<li>(<i>a</i>) Proper names, whether of persons, places, religious or political -bodies, etc.</li> -<li>(<i>b</i>) Events and periods.</li> -<li>(<i>c</i>) Titles of books to which reference is made.</li> -<li>(<i>d</i>) Specific topics or subjects.</li> -<li>(<i>e</i>) Definitions.</li> -<li>(<i>f</i>) Vital statements.</li> -</ul> - -<h3><span class="pagenum"><a name="Page_101" id="Page_101">101</a></span> - -PLAN</h3> - -<p>The indexer should decide definitely in his -mind just what his procedure is to be before -actually beginning work. At first, it is well -to make the index too full rather than the -reverse, as it is easier to cut out than to fill in. -Most important of all, he must be sure that -the matter to be indexed is clearly understood -before he attempts to transcribe the idea. -The character of the book to be indexed must -be carefully considered, taking into account -the class of people who will probably consult it, -and the lines on which they will probably seek -information.</p> - -<p>Judgment is required in deciding whether -it is wise to choose the exact words of the -author or to condense the idea into other -words. In technical books, the exact wording -is sometimes essential, but otherwise it is more -important to express the <i>idea</i> than the exact -terms in which it is expressed.</p> - -<p>Always prefer simple words and expressions -to those which are unusual and cumbersome.</p> - -<p>Omit every unessential word.</p> - -<p>When the book being indexed is one written -upon a specific subject, this main subject should -not be indexed unless necessary to indicate -some reference for which a searcher would look. -Ordinarily, the Contents covers this point rather -than the Index.</p> - -<p>Bear in mind particularly the two extremes:<span class="pagenum"><a name="Page_102" id="Page_102">102</a></span> -the importance of including every reference necessary -to enable the searcher to find what he -wishes without delay or confusion, the mistake -of overloading the index with useless entries.</p> - -<p>Use ink, as pencil entries often become illegible.</p> - -<p>Write plainly, and do not try to economize -space in preparing the copy.</p> - -<h3>DEFINITION OF TERMS</h3> - -<p><b>Subject</b>: includes events, places, persons, -facts, definitions or topics: e.g., <i>Boston, 7</i>; -<i>Bonnet, Father, 155</i>; <i>Huron Mission, plans for, -129</i>; <i>Onontio, meaning of, 102</i>; <i>Absolutism, -contest with liberty, 274.</i></p> - -<p><b>Heading</b>: the word or words used by the -indexer to express the subject or idea. In -the examples above, the headings are <i>Boston</i>, -<i>Bonnet</i>, <i>Father</i>, <i>Onontio</i>, etc.</p> - -<p><b>Entry</b>: the amplification of the Heading, -with the addition of the supplementary phrase. -In the example above, the entry is <i>Absolutism, -contest with liberty</i>, the supplementary -phrase being <i>contest with liberty</i>.</p> - -<p><b>Cross-reference</b>: a heading referring to an -entry: e.g., <i>Michabou.</i> See <i>Manabozho</i>.</p> - -<h3>PROCEDURE</h3> - -<p>Having settled upon a definite plan, the -indexer seats himself at a good-sized table, and -lays out his materials in front of him. After<span class="pagenum"><a name="Page_103" id="Page_103">103</a></span> -testing every possible method, the present -writer strongly urges the use of individual -slips of paper, about 2½ inches by 4 inches. -Arranged within easy reach in front of the -indexer, but leaving room for the proof-sheets, -should be twenty small pasteboard boxes,<a name="FNanchor_48a_48a" id="FNanchor_48a_48a"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> -a little larger than the slips themselves.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> On -the inside bottom of each box mark a letter of -the alphabet, combining O and Q, U and V, -and X Y Z. As soon as a slip is written, throw -it into its proper box, and continue throughout -the work. It is a false economy to search out -the slips for subsequent entries, unless they -can be easily found, as it is a simple matter at -the end to combine the several slips which -belong to the same heading.</p> - -<p>Here are sample slips, showing a heading -which requires full entries and one to which -the text contains fewer references. The first -shows a slip on which the various entries have -been combined:</p> -<div class="bboxsimple"> -<p class="hang"> - - Andastes, the, 5; location and characteristics of, - 36; synonyms of, 36; plans for converting, 130; - war with Mohawks, 147; Hurons ask aid from, - 162; mortal quarrel with Mohawks, 163; promise - to aid Hurons, 163; Huron fugitives try to reach, - 240, 250; Mohawks first to bear brunt of war - with, 268; receive aid from Swedish colonists, 268; - attack Senecas, 269; courage their only strength - 270; finally overborne by Senecas, 270. - -</p></div> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">104</a></span> -This slip shows the method of indexing a -work in more than one volume:</p> - -<div class="bboxsimple"><p class="hang"> - - James, Edwin, gives account of Nanabush, i. 67; - on Indian ideas of another life, ii. 79. -</p></div> - -<p>In the rules which follow, the basis adopted -is "Cutter's Rules for a Dictionary Catalogue,"<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> -prepared for library cataloguing. Such portion -as applies to book indexing has been freely -drawn upon, adapted and added to from the -present writer's experience.</p> - -<h3>ARRANGEMENT</h3> - -<p>When, under a single entry, there are both -subject-references and references by folios only, -place the folio-references together at the end -of the entry, following the subject-references.</p> - -<p>Arrange entries according to the English -alphabet, whatever the order of the alphabet -<span class="pagenum"><a name="Page_105" id="Page_105">105</a></span>in which a foreign name might have been -entered in its original language.</p> - -<p>Arrange German names spelled with the -vowels ä, ö, ü as if spelled ae, oe, ue, but retain -the form employed by the author.</p> - -<p>When the same word serves for several kinds -of entries, the order should be as follows: -person, place, subject, title: e.g., (1) <i>Brown, -G. F.</i> (person). (2) <i>Brown Village</i> (place). -(3) <i>Brown-tail Moth</i> (subject). (4) <i>Brown -Family, the</i> (title).</p> - -<p>Forenames precede surnames: e.g., <i>Francis -I</i> precedes <i>Francis, Charles</i>.</p> - -<h3>ADJECTIVE-HEADINGS</h3> - -<p>In general, a noun or a substantive phrase -should be selected for the heading, but when -an adjective forms part of a name or well-known -term, the entry should include it: e.g., -<i>Alimentary canal, hereditary genius, perpetual -motion</i>, etc.</p> - -<h3>SUBJECT-MATTER</h3> - -<p>It is not possible to formulate rules for indexing -subject-matter as definitely as has already -been done with names, places, etc. The -judgment of the indexer and his analytical -skill will be called fully into play. The effort -should be to express in the index, in the clearest -yet briefest form, the <i>idea</i> which the author -has amplified in his text. As an aid to the -nature and form of the entries, a page of text -<span class="pagenum"><a name="Page_106" id="Page_106">106</a></span> -is shown on the opposite page, and the entries -which would appear in the index from this -page, are given below. This is what would -be considered as a medium full index:</p> - -<ul> -<li class="hang">Bressani, Joseph, tortured by Iroquois, 73; life spared by Iroquois, -73; sent to Fort Orange, 73; ransomed by Dutch, 73; sent to Rochelle, -73.</li> - -<li>Dutch, the, ransom Bressani, 73.</li> - -<li>Indian Torture, See <i>Torture, Indian</i>.</li> - -<li>Iroquois Indians, the, torture Bressani, 73; spare Bressani's life, 73.</li> - -<li>Jogues, Isaac, referred to, 73.</li> - -<li>Orange, Fort, Bressani sent to, 73.</li> - -<li>Rochelle, Bressani sent to, 73.</li> - -<li>Torture, Indian, Bressani by the Iroquois, 73.</li> - -</ul> - -<div class="bboxsimple"> -<span class="pagenum"><a name="Page_107" id="Page_107">107</a></span> -<p class="right">73</p> -<p class="center"> -ESCAPE OF BRESSANI -</p> - -<p>march of several days,—during which Bressani, -in wading a rocky stream, fell from exhaustion -and was nearly drowned,—they reached an Iroquois -town. It is needless to follow the revolting -details of the new torments that succeeded. They -hung him by the feet with chains; placed food for -their dogs on his naked body, that they might -lacerate him as they ate; and at last had reduced -his emaciated frame to such a condition that even -they themselves stood in horror of him. "I -could not have believed," he writes to his Superior, -"that a man was so hard to kill." He found -among them those who, from compassion or from -a refinement of cruelty, fed him, for he could not -feed himself. They told him jestingly that they -wished to fatten him before putting him to -death.</p> - -<p class="in">The council that was to decide his fate met on -the nineteenth of June, when to the prisoner's -amazement, and, as it seemed, to their own surprise, -they resolved to spare his life. He was -given, with due ceremony, to an old woman, to -take the place of a deceased relative; but since -he was as repulsive, in his mangled condition as, -by the Indian standard, he was useless, she sent -her son with him to Fort Orange, to sell him to -the Dutch. With the same humanity which -they had shown in the case of Jogues, they -gave a generous ransom for him, supplied him -with clothing, kept him until his strength was in -some degree recruited, and then placed him on -board a vessel bound for Rochelle. Here he</p> - -<p class="center"><span class="smcap">Page from Parkman's Works. By permission -Little, Brown, & Co.</span></p></div> - -<h3><span class="pagenum"><a name="Page_108" id="Page_108">108</a></span> - -RULES AND EXAMPLES</h3> - -<p><b>Names:</b></p> - -<p><big>Index under the Christian name or forename:</big></p> - -<p>(<i>a</i>) Sovereigns, popes, queens, princes and princesses. -<i>Exceptions</i>: Greek or Roman sovereigns, princes of -the French Empire.</p> - -<p>(<i>b</i>) Persons canonized: e.g., <i>Thomas a Becket, Saint</i>.</p> - -<p>Also make cross-reference: e.g., <i>Becket, Thomas a.</i> -See <i>Thomas a Becket</i>.</p> - -<p>(<i>c</i>) Friars required by the constitution of their -order to relinquish their surname: e.g., <i>Paolino da S. -Bartolomeo</i>.</p> - -<p>Also make cross-reference under family name: e.g., -<i>Wesdin, J.P.</i> See <i>Paolino da S. Bartolomeo</i>.</p> - -<p>(<i>d</i>) Persons known only by their first names, whether -or not their profession, rank or native place be added: -e.g., <i>Michelangelo Buonarroti</i>, <i>Rembrandt van Rhijn</i>.</p> - -<p>Cross-reference under family name is optional, dependent -upon closeness of indexing.</p> - -<p>(<i>e</i>) Oriental authors, including Jewish rabbis: e.g., -<i>Abu Bakr ibn Badr</i>.</p> - -<p>This rule has many exceptions. Some Oriental -writers are known and should be entered under other -parts of their name than the first, as "<i>Abu-l-Kasim, -Khalaf ibn Abbas</i>," <i>Firdusi, Abul Kasim</i>, etc., <i>known -as</i>, or under some appellation as "<i>al-Masudi</i>," "<i>at-Tabari</i>."</p> - -<p>In Arabic names, the words of relationship <i>Abu</i> -(father), <i>Umm</i> (mother), <i>Ibn</i>, <i>Bin</i> (son), <i>Ahu</i> (brother), -though not to be treated as names by themselves, are -yet not to be disregarded. They form a name in conjunction -with the word following (e.g., <i>Abu Bakr</i>), and -determine the alphabetical place of the entry. But -the article <i>al</i> (changed by assonance to <i>ad</i>-, <i>ar</i>-, <i>as</i>-, <i>at</i>-, -<i>az</i>-, according to the letter it precedes) is neglected -(al- <i>Masudi</i>).</p> - -<p><span class="pagenum"><a name="Page_109" id="Page_109">109</a></span> -In all Oriental names, the indexer must be careful -not to take titles, as <i>Emir, Bey, Pasha, Sri, Babu, -Pundit</i>, for names.</p> - -<p>In regard to East Indian names, Dr. Feigl gives the -rule: If there are two names, enter under the first, -which is the individual name, with a cross-reference -from the second; if there are three or more, enter under -the third, which is the family name, with a cross-reference -under the first or individual name; the second -may be neglected.</p> - -<p class="p2"><big>Index under the surname:</big></p> - -<p>(<i>a</i>) In general, all persons not included under previous -rules.</p> - -<p>In a few cases, chiefly of artists, a universally-used -sobriquet is to be taken in place of the family or forename, -as <i>Tintoretto</i> (whose real name was Giacomo -<i>Robusti</i>). Similar cases are <i>Canaletto</i> (Antonio <i>Canale</i> -and also B. <i>Belotto</i>), <i>Correggio</i> (Ant. <i>Allegri</i>), <i>Garofalo</i> -(Benvenuto Piero <i>Tisi</i>), Il <i>Sodoma</i> (Giov. Ant. <i>Bazzi</i>), -<i>Spagnoletto</i> (Jusepe <i>Ribera</i>, now however oftener called -<i>Ribera</i>), <i>Uccello</i> (Paolo <i>Doni</i>). Always cross-reference -from the family name.</p> - -<p>(<i>b</i>) In particular, ecclesiastical dignitaries: e.g., -<i>Kaye</i>, John, Bishop of Lincoln. <i>Lincoln</i>, John, Bishop -of. See <i>Kaye</i>.</p> - -<p>Bishops usually omit their family name, canons their -forename: e.g., <i>Canon Liddon</i>, <i>Bishop of Ripon, Henry -Edward</i>, <i>Archbishop of Westminster</i>, i.e., <i>H. E. Manning</i>. -Care must be taken not to treat Canon as a forename -or Edward as a family name.</p> - -<p>(<i>c</i>) Married women, using the known form:</p> - -<p>Wives often continue writing, and are known in -literature only under their maiden names (as <i>Miss -Freer</i> or <i>Fanny Lewald</i>), or after a second marriage -retain for literary purposes the first husband's name. -Enclose the maiden name in parenthesis: e.g., <i>Ward, -Mrs. Elizabeth (Phelps)</i>. Use the form <i>White, Mrs. -<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span>Julia Charlotte, wife of J. C.</i>, when the husband's -name is used: e.g., <i>Hopkins, Mrs Sarah (Drake) Garretson</i>. -<i>Stowe, Mrs. Emily Howard (Jennings)</i>. <i>Soyaux, -Frau Frieda (Schanz)</i>. <i>Gasparin, Valérie (Boissier) -Comtesse de</i>.</p> - -<p>Women known under their husbands' names are to be -entered as follows: <i>Hinkson, Mrs. Katherine (Tynan), -Mrs. H. A. Hinkson</i>. Cross-reference to be made from -the latter form.</p> - -<p class="p2"><big>Index under the highest title:</big></p> - -<p>British and foreign noblemen, with cross-reference -from earlier titles by which they have been known, -and, in the case of British noblemen, from the family -name: e.g., <i>Chesterfield, 4th Earl of (Philip Dormer -Stanhope)</i>. <i>Chesterfield, 5th Earl of (Philip Stanhope)</i>. -Cross-reference from <i>Stanhope</i>. <i>Saint-Simon, Louis de -Rouvroi, Duc de</i>.</p> - -<p>Authors should be put under their names. The -definition of a name is "that by which a person or thing -is known." Noblemen are known by their titles, not -by their family names.</p> - -<p class="hang"><big>In the few cases in which the family name<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> -or a lower title is decidedly better known, -index under that and cross-reference from -the title: e.g., <i>Francis Bacon, Baron -Verulam</i>; <i>Robert Curzon, 14th Baron Zouche</i>; -<span class="pagenum"><a name="Page_111" id="Page_111">111</a></span> -<i>John Napier, Baron of Merchiston</i>; -<i>Horace Walpole, 4th Earl of Oxford</i>; likewise -the military nobles and princes of the -French Empire: e.g., <i>Lucien Bonaparte, -Prince de Canino</i>; <i>McMahon, Duc de -Magenta</i>.</big></p> - -<p class="hang"><big>Englishwomen's titles-of-honor are to be -treated by the following rules. In the -matter of titles an Englishwoman in marrying -has everything to gain and nothing -to lose. If she marries above her own -rank she takes her husband's title in exchange -for her own, if below her own rank -she keeps her own title.</big></p> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">112</a></span> - -(<i>a</i>) The wife of a peer takes her husband's style.</p> - -<p>That is, she is Baroness, Viscountess, Marchioness, -etc. In indexing, say <i>Brassey, Annie (Allnutt), Baroness</i>; -not <i>Brassey, Annie (Allnutt), Lady</i>.</p> - -<p>(<i>b</i>) The wife of a knight or baronet is <i>Lady</i>. Whether -this title precedes or follows her forename depends -upon whether she had a title before her marriage.</p> - -<p>That is, if Lady Mary Smith marries Sir John Brown -(either knight or baronet), she is <i>Lady Mary Brown</i>, -also if Hon. Mary Smith marries Sir John Brown (knight -or baronet) she is <i>Lady Mary Brown</i>; but if Miss Mary -Smith marries Sir John Brown (knight or baronet), -she becomes <i>Mary, Lady Brown</i>.</p> - -<p>(<i>c</i>) A maid of honor retains her <i>Hon.</i> after marriage, -unless, of course, it is merged into a higher title.</p> - -<p>Thus, if she marries a baronet she is the <i>Hon<sup>ble</sup> Lady -Brown</i>; if a peer, the <i>Lady So and So</i>. In either case -as though she had been a peer's daughter.</p> - -<p>(<i>d</i>) The wife of an earl's (or higher peer's) younger -son is never the <i>Hon<sup>ble</sup> Lady</i>; if she used the <i>Lady</i> -before marriage in her own right she does not, of -course, add anything by such marriage, but the wife -of a younger son of a lower peer than an earl is -<i>Honᵇˡᵉ Mrs.</i> (not <i>Lady</i>)—the younger children of all -peers using, of course, the family name, with or -without their forenames, according to their rank.</p> - -<p>(<i>e</i>) If the lady to whom the title <i>Hon.</i> belongs in -virtue of her father's rank marries a commoner, she -retains her title, becoming <i>Hon. Lady</i> if she marries -a knight or baronet, and <i>Hon. Mrs.</i> if her husband has -no title.</p> - -<p>None of these courtesy titles is inherited by the -children of those who bear them, the third generation -of even the highest peer being simply commoners unless -raised in rank by marriage or merit.</p> - -<p>(<i>f</i>) The title <i>Lady</i> belongs to daughters of all noblemen -not lower than earl.</p> - -<p>(<i>g</i>) The title <i>Hon.</i> belongs to daughters of viscounts -and barons; also to an untitled woman who be<span class="pagenum"><a name="Page_113" id="Page_113">113</a></span>comes -a maid-of-honor to the Queen, and this title is -retained after she leaves the service. If a woman who -has the title <i>Lady</i> becomes maid-of-honor she does -not acquire the title <i>Hon.</i></p> - -<p class="hang p2"><big>Index compound names according to the -usage of the author's fatherland, though -if it is known that his practice differs -from this usage, his preference should be -followed. Compound names then go:</big></p> - -<p>(<i>a</i>) If English, under the last part of the name, -when the first has not been used alone by the author: -e.g., <i>Gould, Sabine Baring-</i>; but <i>Halliwell (afterwards -Halliwell-Phillipps), J. O.</i>, and <i>Locker (afterwards -Locker-Lampson)</i>, because they are well-known under -the first names.</p> - -<p>(<i>b</i>) If foreign, under the first part.</p> - -<p>Both such compound names as <i>Gentil-Bernard</i> and -such as <i>Gentil de Chavagnac</i>. There are various exceptions, -when a name has been more known under the -last part, as <i>Fénelon</i>, not <i>Salignac de Lamothe Fénelon</i>; -<i>Voltaire</i>, not <i>Arouet de Voltaire</i>; <i>Sternberg</i>, not <i>Ungern-Sternberg</i>. -Moreover, it is not always easy to determine -what is a compound surname in French. Cross-references -are necessary whichever way one decides -each case, especially when the second part of a foreign -compound name has been used alone, as <i>Merle -d'Aubigné</i> (index under <i>Merle</i> with a cross-reference -from <i>Aubigné</i>).</p> - -<p>In French, a forename is sometimes joined to a surname -by a hyphen. In such cases make the entry -under the family name, with a cross-reference from -the forename: e.g., entry, <i>Rochette, Désiré Raoul</i>; cross-reference, -<i>Raoul-Rochette, Désiré</i>. See <i>Rochette</i>.</p> - -<p>(<i>c</i>) In foreign compound names of women also, although -the first part is usually the maiden name and -the second the husband's name, the entry should -<span class="pagenum"><a name="Page_114" id="Page_114">114</a></span>generally be under the first, with a cross-reference -from the second<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a>: e.g., <i>Rivé-King</i>, with cross-reference -from <i>King, born Rivé</i>.</p> - -<p class="p2"><big>Index surnames preceded by prefixes:</big></p> - -<p>(<i>a</i>) In French and Belgian, under the prefix when it -is or contains an article, <i>Le, La, L', Du, Des</i>; under -the word following when the prefix is a preposition, -<i>de, d'</i>: e.g., <i>Des Essarts, Du Cange, La Fontaine, Le -Sage, L'Estoille</i>; but <i>Charlevoix, P. F. X. de</i>; <i>Estrées, -M<sup>me</sup> d'</i>.</p> - -<p><i>La</i> and <i>Le</i> are often, <i>Des</i> is usually, and <i>Les</i> is almost -without exception printed as one word with the name -following, as <i>Lafontaine, Lesage, Lesdiguières</i>; <i>de</i> and -<i>d'</i> are sometimes so printed; when they are, enter under -the <i>D</i>: e.g., <i>Debucourt, Decamps, Delisle</i>; but <i>Bucourt, -A. de</i>, <i>Camps, C. de</i>, <i>Lisle, J. de</i>.</p> - -<p>(<i>b</i>) In English, under the prefix, no matter from -what language the name is derived, with cross-references -when necessary: e.g., <i>De Quincey</i>, <i>Van Buren</i>.</p> - -<p>(<i>c</i>) In all other languages, under the name following -the prefix, with cross-references whenever the name -has been commonly used in English with the prefix, -as <i>Del Rio</i>, <i>Vandyck, Van Ess</i>: e.g. <i>Gama, Vasco da</i>, -<i>Goethe, J. W. von</i>.</p> - -<p>But when the name is printed as one word, entry -is made under the prefix, as <i>Vanderhaeghen</i>.</p> - -<p>(<i>d</i>) Naturalized names with prefixes are to be treated -by the rules of the nation adopting them.</p> - -<p>Thus German names preceded by <i>von</i>, when belonging -to Russians, are to be entered under <i>Von</i>, as this -is the Russian custom. So when Dutch names compounded -with <i>van</i> are adopted into French or English -(as <i>Van Laun</i>) the <i>Van</i> is treated as part of the family -name.</p> - -<p>Prefixes are <i>d', de, de La</i> (the name goes under <i>La</i> -<span class="pagenum"><a name="Page_115" id="Page_115">115</a></span>not <i>de</i>), <i>Des, Du, L', La, Le, Les, St, Ste</i> (to be arranged -as if written <i>Saint, Sainte</i>), <i>da, dal, dalla, dalle, dai, -dagli, del, della, delle, dei</i> (<i>dé</i> or <i>de</i>), <i>degli, da, dos</i>, -<i>das, ten, ter, thor, Van, vander, van't, ver, am, auf, auf'm, -aus, aus'm, in, im, von, vom, zu, zum, zur, A', Ap, O', -Fitz, Mac</i> (which is to be printed as it is in the title, -whether <i>M'</i>, or <i>Mc</i>, or <i>Mac</i>, but to be arranged as if -written <i>Mac</i>).</p> - -<p class="hang p2"><big>Index names of capes, lakes, mountains, -rivers, forts, etc., beginning with <i>Cape</i>, -<i>Lake</i>, <i>Mt.</i>, etc., under the word following -the prefix, but when the name is itself -used as a prefix, do not transpose <i>Cape</i>, -etc., nor in such names as <i>Isle of the Woods</i>, -<i>Isles of Shoals</i>; but there is more reason -for writing <i>France, Isle de</i>; <i>Man, Isle of</i>; -<i>Wight, Isle of</i>: e.g., <i>Cod, Cape</i>; <i>George, -Lake</i>; <i>Washington, Mt.</i>; <i>Moultrie, Fort</i>; -but <i>Cape Breton Island</i>. When the name -of a fort becomes the name of a city, of -course the inversion must be abandoned, -as <i>Fort Wayne</i>.</big></p> - -<p class="hang"><big>Forenames are to be used in the form employed -by their owners, however unusual, -as <i>Will Carleton, Sally (Pratt) McLean, -Hans Droysen, Fritz Reuter</i>.</big></p> - -<p class="hang"><big>Give names of places in the English form. -(Cross-reference from the vernacular, if -necessary): e.g., <i>Munich</i> not <i>Muenchen</i> -or <i>München</i>, <i>Vienna</i> not <i>Wien</i>, <i>Austria</i> -not <i>Oesterreich</i>.</big></p> - -<p class="hang"><big>But if both the English and the foreign forms -are used by English writers, prefer the -<span class="pagenum"><a name="Page_116" id="Page_116">116</a></span>foreign form: e.g., <i>Dauphiné</i> rather than -<i>Dauphiny</i>.</big></p> - -<p class="hang"><big>Use the modern name of a city and cross-reference -to it from the ancient, provided -its existence has been continuous and there -is no doubt as to the identity.</big></p> - -<p class="hang"><big>Distinctive epithets are to be in the same -language as the name: e.g.,</big></p> - -<p><i>Kniaz, fürst von, Freiherr zu, duc de Magenta, Bishop -of Lincoln, évêque de Meaux</i>; but <i>Emperor of Germany, -King of France</i>, not <i>kaiser</i> and <i>roi</i>, when names of -sovereign princes are given in English. Treat in the -same way patronymics habitually joined with a person's -name; as, <i>Clemens Alexandrinus</i>.</p> - -<p class="hang p2"><big>Prefixes (i.e., titles which in speaking come -before the name), as <i>Hon., Mrs., Rev.</i>, -etc., should in the heading be placed before -the Christian name (as <i>Smith, Capt. John</i>), -and suffixes as <i>Jr., D.D., LL.D.</i>, after it -(as <i>Channing, James Ellery, D.D.</i>).</big></p> - -<p>Hereditary titles generally follow the Christian name, -as <i>Derby, Thomas Stanley, 1st earl of</i>; but British -courtesy titles (i.e., those given to the younger sons of -dukes and marquesses) precede, as <i>Wellesley, Lord -Charles (2d son of the Duke of Wellington)</i>. In other -languages than English, French, and German the -title usually precedes the forename; as, <i>Alfieri, Conte -Vittorio</i>. Occasionally a French nobleman uniformly -places his title before his forenames; as, <i>Gasparin, -Comte Agénor de</i>.</p> - -<p><i>Lord</i> should be replaced by the exact title in the -names of English noblemen: e.g., Lord Macaulay -should be entered as <i>Macaulay, 1st baron</i>. <i>Lord</i> in the -<span class="pagenum"><a name="Page_117" id="Page_117">117</a></span>title of Scotch judges follows the family name; as, -<i>Kames, H. Home, afterwards Lord</i>.</p> - -<p>The title Baronet is given in the form <i>Scott, Sir -Walter, bart.</i></p> - -<p>Patronymic phrases, as <i>of Dedham</i>, follow all the -names; but they must immediately follow the family -name when they are always used in close connection -with it, as <i>Girault de St. Farjeau, Eusèbe</i>; similarly -<i>aîné</i>, <i>fils</i>, <i>jeune</i>, as <i>Dumas fils, Alexandre</i>; <i>Didot fils, -Ambroise</i>. Latin appellatives should not in general be -separated from their nouns by a comma; as, <i>Caesar -Heisterbacensis</i>.</p> - -<p>The name of a king's wife should be written thus: -<i>Charlotte, Queen, consort of George III of England</i>. -<i>Anne Boleyn Queen, 2d consort of Henry VIII of -England.</i></p> - -<p class="p2"><b>Countries and places:</b></p> - -<p class="hang"><big>Index under countries or places important -events relating to them: e.g., <i>Montreal, -Cartier's description of houses at</i>. Also -make reference under name: e.g., <i>Cartier, -description of houses at Montreal</i>.</big></p> - -<p class="hang"><big>Enter congresses of several nations under -the name of the place of meeting (as that -usually gives them their name), with cross-references -from the nations taking part -in them, and from any name by which they -are popularly known: e.g., the <i>Congress -of London, of Paris, of Verona, International -Peace Congress at the Hague</i>.</big></p> - -<p class="hang"><big>Enter treaties under the name of each of the -contracting parties, with a cross-reference -from the name of the place of negotiation, -<span class="pagenum"><a name="Page_118" id="Page_118">118</a></span>when the treaty is commonly called by -that name, and from any other usual -appellation: e.g., treaty of <i>Versailles</i>, -<i>Barrier</i> treaty, <i>Jay's</i> treaty.</big></p> - -<p class="p2"><b>Parties and sects:</b></p> - -<p class="hang"><big>Enter the official publications of any political -party or religious denomination or -order, under the name of the party, or -denomination, or order: e.g.,</big></p> - -<p>Platforms, manifestoes, addresses, etc., go under -<i>Democratic Party, Republican Party</i>, etc.</p> - -<p>Confessions of faith, creeds, catechisms, liturgies, -breviaries, missals, hours, offices, prayer books, etc., -go under <i>Baptists, Benedictines, Catholic Church, Church -of England, Friends</i>, etc.</p> - -<p>That part of a body which belongs to any place -should be entered under the name of the body, not -the place: e.g., <i>Congregationalists in New England</i>, -<i>Congregationalists in Massachusetts</i>, not <i>New England -Congregationalists</i>, <i>Massachusetts Congregationalists</i>. -But cross-references must be made from the place -(indeed in cases like <i>Massachusetts Convention</i>, <i>Essex -Conference</i>, it may be doubted whether those well-known -names should not be the headings).</p> - -<p class="hang"><big>Enter corporations and quasi corporations, -both English and foreign, under their -names as they read, neglecting an initial -article or serial number when there is one.</big></p> - -<p class="hang"><big>Enter orders of knighthood, both those of -medieval times and their honorary modern -equivalents, under the significant word -of the English title: e.g., <i>Garter, Order of -<span class="pagenum"><a name="Page_119" id="Page_119">119</a></span>the</i>; <i>Malta, Knights of</i>; <i>Templars, Knights</i>; -<i>Teutonic Order</i>; <i>Freemasons</i>. But the -American Knights Templars, being merely -a division of the Freemasons, belong under -<i>Freemasons</i>; so of other regular masonic -bodies.</big></p> - -<p class="hang"><big>The colleges of an English university and -the unnamed professional schools of an -American university go under the university's -name. Such professional schools, -if they have a distinctive name, particularly -if at a distance from the university, -or for any other reason less closely connected -with it, go under their own name: -e.g., <i>Oxford University, Magdalen College</i>; -<i>Harvard University, Veterinary School</i>; -but <i>Barnard College, Columbia University</i>; -<i>Radcliffe College, Harvard University</i>; -<i>Sheffield Scientific School of Yale University</i>.</big></p> - -<p class="hang"><big>College libraries go under the name of the -college: e.g., <i>Harvard College, University -Library</i>. But the Bodleian Library may -be put under <i>Bodleian</i>.</big></p> - -<p class="hang"><big>Local college societies go under the name of -the college; intercollegiate societies and -Greek letter fraternities under their own -names: e.g., Φ B K <i>A, of Harvard</i>.</big></p> - -<p class="hang"><big>Alumni and Alumnæ associations go under -the name of the school or college: e.g., -<i>Harvard Alumni Association of New York</i>.</big></p> - -<p class="hang"><big>Schools supported by public taxation go -<span class="pagenum"><a name="Page_120" id="Page_120">120</a></span>under the name of the city or town maintaining -them, whether they have an individual -name or not.</big></p> - -<p class="hang"><big>When a corporation is much less known by -the first words of its name than by a later -part, enter under the later part: e.g., -<i>Christian Endeavor, Young People's Society -of</i>.</big></p> - -<p class="hang"><big>Enter guilds under the name of the trade: -e.g., <i>Stationers Company</i>, not <i>Master and -Keepers or Wardens and Commonality of -the Mystery and Art of Stationers of the -City of London</i>, which is the corporate title.</big></p> - -<p class="hang"><big>Enter bodies whose legal name begins with -such words as <i>Board</i>, <i>Corporation</i>, <i>Trustees</i> -under that part of the name by which -they are usually known: e.g., Trustees of -the <i>Eastern Dispensary</i>; President and -Fellows of <i>Harvard College</i>; Proprietors -of the <i>Boston Athenæum</i>; Contributors -to the <i>Asylum for the Relief of Persons -Deprived of their Reason</i>. Cross-reference -from the first word of the legal name.</big></p> - -<p class="hang"><big>Enter the name of a firm under the family -name rather than the forename, and do -not fill out the forenames: e.g., <i>Friedlander -und Sohn, Raphael</i>, not under -<i>Raphael</i>; <i>Stokes, F. A. Co.</i>, not <i>Stokes, -Frederick A. Co.</i></big></p> - -<p>The consulter is much more likely to remember the -family than the Christian name. Whether the Christian -name is written at the end or thus, <i>Town (John)</i> -<span class="pagenum"><a name="Page_121" id="Page_121">121</a></span>and <i>Bowers (Henry)</i>, all firms should be arranged after -all the other entries of the first family name, i.e., -<i>Friedlander und Sohn</i> after all the <i>Friedlanders</i>.</p> - -<p>This rule might be extended to include corporations, -colleges, libraries, etc., whose legal names include forenames. -Entry under a forename, as <i>Silas Bronson -Library</i>, and especially under initials, as <i>T. B. Scott -Public Library</i>, is awkward. But the public habit is -not yet sufficiently settled to justify an exception.</p> - -<p class="hang"><big>Enter the universities of the European continent -and of Central and South America -under the name of the place; all other -societies under <i>Königliche</i>, <i>Herzogliche</i>, etc.</big></p> - -<p>Cross-reference from the first word in the university -names and from the place of societies.</p> - -<p>A few learned academies, commonly called by the -names of the cities where they are established, may -be entered under the place with a cross-reference from -the name. These are <i>Berlin, Göttingen, Leipzig, Lisbon, -Madrid, Munich, St. Petersburg, Vienna</i>.</p> - -<p class="hang"><big>Enter national libraries, museums, and galleries, -as well as libraries, museums, and -galleries instituted or supported by a -city, under the place, provided they have -not a distinctive name.</big></p> - -<p>Example of place: <i>Paris Bibliothèque Nationale</i>. -<i>Boston Public Library.</i></p> - -<p>Example of name: <i>Berkshire Athenæum</i>; <i>Boston -Athenæum</i>; <i>British Museum</i>; <i>Forbes Library</i>; <i>Marucceliana, -Biblioteca</i>; <i>Reuben Hoar Public Library</i>.</p> - -<p class="hang"><big>Enter observatories under the name of the -place: e.g., <i>Greenwich, Observatory</i>. <i>Pulkowa, -Sternwarte</i>; except that:</big></p> - -<p><span class="pagenum"><a name="Page_122" id="Page_122">122</a></span> - -(<i>a</i>) University observatories go under the university: -e.g., <i>Harvard College. Astronomical Observatory, -at Cambridge.</i> (Cross-reference from <i>Cambridge</i>.)</p> - -<p>(<i>b</i>) Any observatory having an individual name may -go under that: e.g., <i>Lick Observatory</i>, <i>Yerkes Observatory</i>.</p> - -<p class="hang"><big>Enter expositions under the place where they -were held: e.g.,</big></p> - -<p><i>Buffalo, Pan-American Exposition, 1901</i>; <i>Chicago, -World's Columbian Exposition, 1893</i>; <i>New Orleans, -World's Industrial and Cotton Centennial Exhibition, -1884-85</i>; <i>Philadelphia, Centennial Exhibition, 1876</i>.</p> - -<p>Cross-reference from an individual name.</p> - -<p class="hang"><big>Enter American State universities and State -historical, agricultural and medical societies, -whether supported by the State or -not, under the name of the State, unless -they are better known by a distinctive -name. The State's name usually enters -into the name of these societies and they -are known outside of the State by its name. -Cross-reference when necessary.</big></p> - -<p class="hang"><big>Enter churches under the name of the place.</big></p> - -<p>Single churches have usually been entered under the -place, a practice which arose in American indexes from -our way of naming churches "The First Church in——," "The -Second Church of——," etc., and applies -very well to a majority of English churches, whose -name generally includes the name of the parish. It is -more in accordance with indexing principles to limit -the local entry of churches to <i>First Church</i>, etc., and -those which have only the name of the town or parish, -and to put all others (as <i>St. Sepulchre's</i>, <i>St. Mary -<span class="pagenum"><a name="Page_123" id="Page_123">123</a></span>Aldermansbury</i>) under their names, as they read, and -to treat convents and monasteries in the same way; -but the convenience of having a single definite rule -has been held to outweigh in this case the claims of -consistency.</p> - -<p>The parishes of London (as <i>Kensington</i>, <i>Marylebone</i>, -<i>Southwark</i>), like the parts of Boston (<i>Dorchester</i>, -<i>Roxbury</i>, etc.), or of any other composite city, would -be put under their own names, not under the name of -the city.</p> - -<p class="hang"><big>A few cathedrals generally known by some -other name may be entered under it: e.g., -<i>St. Paul's, London; Notre Dame, Paris; -St. Peter's, Rome; St. Sophia, Constantinople</i>.</big></p> - -<p class="hang"><big>Put monasteries and convents, like churches, -under the place, unless better known by -the name.</big></p> - -<p class="hang"><big>National banks designated merely by number -(as <i>First National Bank of Boston</i>) -go under the name of the place.</big></p> - -<p class="hang"><big>Young men's Christian associations, mercantile -library associations, and the like, -should have local entry.</big></p> - -<p class="hang"><big>Private schools having no distinctive name -go under the name of the proprietor.</big></p> - -<p class="hang"><big>Private libraries, galleries and museums go -under the name of the proprietor.</big></p> - -<p class="hang"><big>Buildings are for the most part provided for -in the above rules, as museums, galleries, -libraries, churches, etc. Any others -should be entered under their names, with -a cross-reference from the city.</big></p> -<p class="hang"><span class="pagenum"><a name="Page_124" id="Page_124">124</a></span> -<big>Headings like <i>Charles</i>, <i>George</i>, <i>Henry</i>, when -very numerous, must be divided into -classes, in this order: Saints, Popes, Emperors, -Kings, Princes, and Noblemen, -others. The Saints are sub-arranged by -their usual appellatives, the Popes by -their number, Sovereigns and Sovereign -princes in alphabetical order of countries, -and under countries numerically. Other -persons are sub-arranged by their usual appellatives, -neglecting the prepositions:</big><a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> <big>e.g.,</big></p> - -<ul> -<li><i>Peter</i>, Saint.</li> -<li><i>Peter</i>, Pope.</li> -<li><i>Peter</i>, the Great, Emperor of Russia.</li> -<li><i>Peter II</i>, of Aragon.</li> -<li><i>Peter III</i>, of Aragon.</li> -<li><i>Peter I</i>, of Portugal.</li> -<li><i>Peter</i>, Duke of Newcastle.</li> -<li><i>Peter</i>, of Groningen, enthusiast. See <i>Pieter</i>.</li> -<li><i>Peter</i>, John Henry.</li> -<li><i>Peter, Lake.</i></li> -<li><i>Peter, Mt.</i></li> -<li><i>Peter-Hansen</i>, Erik.</li> -<li><i>Peter</i> Lewis, a true tale.</li> -</ul> - -<p>When there are two appellatives coming in different -parts of the alphabet, cross-reference from the rejected -one, as <i>Thomas Cantuariensis</i>. See <i>Thomas Becket</i>.</p> - -<p class="hang"><big>Arrange in two alphabets names that differ -slightly in spelling and come close together -in the alphabet: e.g.,</big></p> - -<p><i>Brown</i> and <i>Browne</i>, and the French names beginning -with <i>Saint</i> and <i>Sainte</i>. As readers may not always -know the spelling of the author's name, cross-references -should be made: e.g., <i>Brown</i>. See also <i>Browne</i>.</p> - -<p class="hang"><span class="pagenum"><a name="Page_125" id="Page_125">125</a></span> - -<big>Arrange by the forename headings in which -the family name is the same.</big></p> - -<p>No attention is to be paid to prefixes, as <i>Bp., Capt., -Dr., Hon., Sir, Fräulein, Miss, Mlle., Mme., Mrs.</i>, -or to suffixes, as <i>D.D., F.R.S., LL.D.</i>, etc.</p> - -<p class="hang"><big>When the forenames are the same, arrange -chronologically.</big></p> - -<p>No attention is to be paid to the titles <i>Sir</i>, etc.: -e.g., <i>Bart, T. L.</i>, comes before <i>Bart, Thomas</i>, for the -same reason that <i>Bart</i> comes before <i>Barta</i>.</p> - -<p class="hang"><big>Forenames not generally used should be -neglected in the arrangement.</big></p> - -<p>When an author is generally known by one of several -forenames he will be looked for by that alone, and that -alone should determine the arrangement. The form -should be <i>Harte, Bret</i> (in full <i>Francis Bret</i>), or <i>Harte, -Bret</i> (i.e., <i>Francis Bret</i>).</p> - -<p>Make cross-references whenever the omission of a -name will change the alphabetical arrangement, as -from <i>Müller, F. Max</i>, to <i>Müller, Max</i>.</p> - -<p class="hang"><big>When there are two names exactly the -same, add dates if available: e.g., <i>Franklin, -John (d. 1759)</i>; <i>Franklin, John (d. -1863)</i>.</big></p> - -<p class="hang"><big>If an author uses both the shorter and the -longer forms in different works, and yet is -decidedly better known by the shorter, -arrange by that.</big></p> - -<p class="hang"><big>Arrange a nobleman's title, under which -entry is made, and the name of a bishop's -<span class="pagenum"><a name="Page_126" id="Page_126">126</a></span>see, from which reference is made to the -family name, among the personal names, -not with the places: e.g.,</big></p> - -<ul> -<li class="isub1"><i>London</i>, Alfred.</li> -<li class="isub1"><i>London</i>, David, bp. of.</li> -<li class="isub1"><i>London</i>, John.</li> -<li class="isub1"><i>London</i>, Conn.</li> -<li class="isub1"><i>London</i>, Eng.</li> -<li>not <i>London</i>, John.</li> -<li class="isub1"><i>London</i>, David, bp. of.</li> -<li class="isub1"><i>London</i>, Conn.</li> -<li>nor <i>London</i>, John.</li> -<li class="isub1"><i>London</i>, Conn.</li> -<li class="isub1"><i>London</i>, David, bp. of.</li> -<li class="isub1"><i>London</i>, Eng.</li> -</ul> -<ul> -<li class="isub1"><i>Danby</i>, John.</li> -<li class="isub1"><i>Danby</i>, Thomas <i>Osborne</i>, earl of.</li> -<li class="isub1"><i>Danby</i>, Wm.</li> -<li class="isub1"><i>Danby</i>, Eng.</li> -<li class="isub1"><i>Holland</i>, C.</li> -<li class="isub1"><i>Holland</i>, 3d baron (H: R. Vassal Fox).</li> -<li class="isub1"><i>Holland</i>, 4th baron (H: E. Vassal Fox).</li> -<li class="isub1"><i>Holland</i> (the country).</li> -</ul> - -<p class="hang"><big>The possessive case singular should be -arranged with the plural: e.g.,</big></p> - -<ul> -<li><i>Bride</i> of Lammermoor. </li> -<li><i>Brides</i> and bridals.</li> -<li><i>Bride's</i> choice.</li> -<li><i>Boys'</i> and girls' book.</li> -<li><i>Boy's</i> King Arthur.</li> -<li><i>Boys</i> of '76.</li> -</ul> - -<p class="hang"><big>Arrange Greek and Latin personal names -by their patronymics or other appellatives: -e.g.,</big></p> - -<ul> -<li><i>Dionysius.</i></li> -<li><i>Dionysius</i> Areopagita.</li> -<li><i>Dionysius</i> Chalcidensis.</li> -<li><i>Dionysius</i> Genuensis.</li> -</ul> - -<p class="hang"><big>Arrange English personal and place names -compounded with prefixes as single words; -also those foreign names in which the -prefix is not transposed: e.g.,</big></p> - -<ul> - -<li> -<span class="pagenum"><a name="Page_127" id="Page_127">127</a></span> -<i>Demonstration.</i></li> -<li><i>De Montfort.</i> </li> -<li><i>Demophilus.</i></li> -<li><i>De Morgan.</i></li> -<li><i>Demosthenes.</i></li> -</ul> -<p>Other such names are <i>Ap Thomas, Des Barres, Du Chaillu, Fitz Allen, La -Motte Fouqué, Le Sage, Mac Fingal, O'Neal, Saint-Réal, Sainte-Beuve, -Van Buren</i>.</p> - - -<p>This is the universal custom, founded on the fact -that the prefixes are often not separated in printing -from the following part of the name. It would, of -course, be wrong to have <i>Demorgan</i> in one place and -<i>De Morgan</i> in another.</p> - -<p class="hang"><big>Arrange proper names beginning with <i>M', -Mc, St., Ste.</i> as if spelled <i>Mac, Saint, Sainte</i>.</big> -</p> - -<p>Because they are so pronounced. But <i>L'</i> is not -arranged as <i>La</i> or <i>Le</i>, nor <i>O'</i> as if it stood for <i>Of</i>, because -they are not so pronounced.</p> - -<p class="hang"><big>Arrange compound names of places as separate -words, except those beginning with -prefixes: e.g.,</big></p> - -<ul> -<li class="isub1"><i>New</i>, John.</li> -<li class="isub1"><i>New Hampshire.</i></li> -<li class="isub1"><i>New</i> legion of Satan.</li> -<li class="isub1"><i>New Sydenham Society.</i></li> -<li class="isub1"><i>New York.</i></li> -<li class="isub1"><i>Newark.</i></li> -<li class="isub1"><i>Newfoundland.</i></li> -<li class="isub1"><i>Newspapers.</i></li> -<li>not <i>New</i>, John.</li> -<li class="isub1"><i>New</i> legion of Satan.</li> -<li class="isub1"><i>Newark.</i></li> -<li class="isub1"><i>Newfoundland.</i></li> -<li class="isub1"><i>New Hampshire.</i></li> -<li class="isub1"><i>Newspapers.</i></li> -<li class="isub1"><i>New Sydenham Society.</i></li> -<li class="isub1"><i>New York.</i></li> -</ul> - -<p class="hang"><big>Arrange personal names compounded of -two names with or without a hyphen after -<span class="pagenum"><a name="Page_128" id="Page_128">128</a></span>the first name, but before the next longer -word: e.g.,</big></p> - -<ul> -<li><i>Fonte</i>, Bart. de.</li> -<li><i>Fonte Resbecq</i>, Auguste.</li> -<li><i>Fontenay</i>, Louis.</li> -<li><i>Fontenay Mareuil</i>, François.</li> -</ul> - -<p class="hang"><big>Arrange names of societies as separate words.</big></p> - -<p>See <i>New Sydenham Society</i> in the list above.</p> - -<p class="hang"><big>Arrange hyphened words as if separate: e.g.,</big></p> - -<ul> -<li><i>Happy</i> home.</li> -<li><i>Happy-Thought</i> Hall.</li> -<li><i>Happy</i> thoughts.</li> -<li><i>Home</i> and hearth.</li> -<li><i>Home</i> rule.</li> -<li><i>Homely</i> traits.</li> -<li><i>Homer.</i></li> -<li><i>Sing</i>, pseud.</li> -<li><i>Sing</i>, James.</li> -<li><i>Sing</i>, James, pseud.</li> -<li><i>Sing-Sing Prison.</i></li> -<li><i>Singapore.</i></li> -<li><i>Singing.</i></li> -<li><i>Grave and Reverend Club.</i></li> -<li><i>Grave County.</i></li> -<li><i>Grave Creek.</i></li> -<li><i>Grave-digger.</i></li> -<li><i>Grave-mounds.</i></li> -<li><i>Grave</i> objections.</li> -<li><i>Grave de Mézeray</i>, Antoine.</li> -<li><i>Gravel.</i></li> -<li><i>Gravestone.</i></li> -<li><i>Graveyard.</i></li> -<li><i>Out</i> and about.</li> -<li><i>Out</i> in the cold, a song.</li> -<li><i>Out-of-door</i> Parliament.</li> -<li><i>Outer</i> darkness, The.</li> -</ul> - -<p class="hang"><big>Arrange pseudonyms after the corresponding -real name: e.g.,</big></p> - -<ul> -<li><i>Andrew</i>, pseud.</li> -<li><i>Andrew</i>, St.</li> -<li><i>Andrew</i>, St., pseud. </li> -<li><i>Andrew</i>, John.</li> -<li><i>Andrew</i>, John, pseud.</li> -<li><i>Andrew</i>, John Albion.</li> -</ul> - -<p class="hang"><big>Arrange incomplete names by the letters. -When the same letters are followed by -different signs, if there are no forenames, -arrange in the order of the complexity of -signs; but if there are forenames, arrange -by them: i.e., put a dot before a line, a -<span class="pagenum"><a name="Page_129" id="Page_129">129</a></span>line before a star (three lines crossing), -etc.: e.g.,</big></p> - -<ul> -<li><i>Far</i> from the world.</li> -<li><i>Far</i> ...</li> -<li><i>Far</i> ***</li> -<li><i>Far</i>, *** B. F.</li> -<li><i>Far</i> ..., J. B.</li> -<li><i>Farr</i>, John.</li> -</ul> - -<p class="hang"><big>The arrangement of title-entries is first by -the heading words; if they are the same, -then by the next word; if that is the same, -by the next; and so on. Every word, -articles and prepositions included, is to -be regarded, but not a transposed article: -e.g.,</big></p> - -<ul> -<li><i>Uncovenanted</i> Mercies.</li> -<li><i>Under</i> a Cloud.</li> -<li><i>Under</i> the Ban.</li> -<li><i>Under</i> the Greenwood Tree; a novel. </li> -<li><i>Under</i> the Greenwood Tree; a poem.</li> -<li><i>Under</i> Which King.</li> -<li><i>Undone</i> Task, The.</li> -<li><i>Undone</i> Task Done.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> -</li></ul> - -<p>It makes no difference whether the words are connected -with one another in sense or not; the searcher -should not be compelled to think of that. Let the -arrangement be by words as ordinarily printed. Thus -<i>Home Rule</i> is one idea but it is two words, and its place -must be determined primarily by its first word <i>Home</i>, -which brings it before <i>Homeless</i>. If it were printed -<i>Homerule</i> it would come after <i>Homeless</i>. Similarly -<i>Art Amateur</i> is one phrase, but as the first word <i>Art</i> -is followed by a word beginning with <i>am</i>, it must come -before <i>Art</i> and <i>Artists</i>, although its parts are more -closely connected than the parts of the latter phrase.</p> - -<p>The French <i>d'</i> and <i>l'</i> are not to be treated as part of -the following word: e.g.,</p> - -<ul> - -<li class="isub1"> -<span class="pagenum"><a name="Page_130" id="Page_130">130</a></span> -<i>Art d'économiser.</i> </li> -<li class="isub1"><i>Art d'être grandpère.</i></li> -<li class="isub1"><i>Art d'instruire.</i></li> -<li class="isub1"><i>Art de faire.</i></li> -<li class="isub1"><i>Art de l'instruction.</i></li> -<li class="isub1"><i>Art de linguistique.</i></li> -<li class="isub1"><i>Art des mines.</i></li> -<li class="isub1"><i>Art digne.</i></li> -<li>not <i>Art de faire.</i> </li> -<li class="isub1"><i>Art de linguistique.</i></li> -<li class="isub1"><i>Art de l'instruction.</i></li> -<li class="isub1"><i>Art d'économiser.</i></li> -<li class="isub1"><i>Art des mines.</i></li> -<li class="isub1"><i>Art d'être grandpère.</i></li> -<li class="isub1"><i>Art digne.</i></li> -<li class="isub1"><i>Art d'instruire.</i></li> -</ul> - -<p class="hang"><big>Arrange titles beginning with numeral -figures as if the figures were written out -in the language of the rest of the title: e.g.,</big></p> - -<p>100 deutscher Männer—Ein hundert deutsche -Männer; 1812—Mil huit cent douze.</p> - -<p class="hang"><big>Arrange abbreviations as if spelled in full, -but elisions as they are printed: e.g.,</big></p> - -<p><i>Dr., M., Mlle., Mme., Mr., Mrs., St., as Doctor, -Monsieur, Mademoiselle, Madame, Mister, Mistress, -Saint</i>.</p> - -<ul> -<li>But <i>Who'd be a king?</i></li> - <li class="isub1"><i>Who killed Cock Robin?</i></li> - <li class="isub1"><i>Who's to blame?</i></li> -</ul> - -<p class="hang"><big>Care must be taken not to mix two subjects -together because their names are spelled -in the same way.</big></p> - -<p>Thus <i>Grace</i> before meals, <i>Grace</i> of body, <i>Grace</i> the -musical term, and <i>Grace</i> the theological term, must be -four distinct headings.</p> - -<hr class="chap" /> - -<h2><a id="GLOSSARY_OF_TERMS"></a>GLOSSARY OF TERMS</h2> - -<p><span class="smcap">Note.</span>—<i>(b) Signifies terms used in connection with binding only. -(c) Terms usually employed in connection with the composing-room. -(e) Terms used in engraving. (el) Terms used in electrotyping. -(g) Terms used with general significance. (p) Terms used in connection -with presswork.</i></p> - -<div class="hang"> - -<p><b>Accents</b> (<i>g</i>).—Small marks placed over, under, or through -particular letters, used to indicate pronunciation.</p> - -<p><b>Adams Press</b> (<i>p</i>).—A large platen printing-machine, used for -bookwork.</p> - -<p><b>Agate</b> (<i>c</i>).—A small size of type equal to 5½ points. See <a href="#Point"><i>Point</i></a>.</p> - -<p><b>Alignment</b> (<i>c</i>).—The arrangement of type in straight lines, also -the adjustment of the lines of type so that their ends appear in -line, vertically.</p> - -<p><b>All-along</b> (<i>b</i>).—In sewing a book, when the thread is passed from -kettle-stitch to kettle-stitch, or from end to end in each sheet, -it is sewed all-along.</p> - -<p><b>Alley</b> (<i>c</i>).—The floor space between stands where compositors -work.</p> - -<p><b>American Russia</b> (<i>b</i>).—See <a href="#Cowhide"><i>Cowhide</i></a>.</p> - -<p><b>Antique Type</b> (<i>c</i>).—Fonts of type of an old or medieval character. -The lines of all the characters are nearly uniform as to thickness; -the corners square and bold.</p> - -<p><b>Aquatint</b> (<i>e</i>).—A peculiar style of etching on copper or steel in -imitation of drawings in sepia or India ink.</p> - -<p><b>Arabic Numbers</b> (<i>c</i>).—The numeral figures as distinguished from -Roman characters.</p> - -<p><b>Art Canvas</b> (<i>b</i>).—A book cloth known both as Art Canvas and -Buckram.</p> - -<p><b>Art Work</b> (<i>e</i>).—See <a href="#Retouching"><i>Retouching</i></a>.</p> - -<p><b>Ascending Letters</b> (<i>c</i>).—Letters that ascend to the upper shoulder -of the type body; as, <i>b</i>, <i>d</i>, <i>f</i>, <i>h</i>, <i>l</i>, etc.</p> - -<p><b>Author's Proof</b> (<i>c</i>).—Proof sent to the author for inspection and -approval.</p> - -<p><b>Azure Tools</b> (<i>b</i>).—Used in binding, where the heavy and wide -marks, instead of being a solid mass, are made with horizontal -lines.</p> - -<p class="p2"><b><a id="Backing"></a>Backing</b> (<i>b</i>).—The process of forming the back in preparing the -book for the cover or case, commonly called Rounding and Backing. -It is done in three ways; viz. (1) by hand with a hammer, -(2) by a hand rounding-and-backing machine, (3) by a steam- -or electric-driven machine.</p> -<p><span class="pagenum"><a name="Page_132" id="Page_132">132</a></span> -<b>Backing Up</b> (<i>p</i>).—Printing the second side of a sheet.</p> - -<p><b>Band Driver and Nippers</b> (<i>b</i>).—Tools used in forwarding, to correct -irregularities in the bands of flexible backs.</p> - -<p><b>Bands</b> (<i>b</i>).—The cords on which the sheets of a volume are sewed. -When sewed "flexible," the bands show on the back of the book; -when bands are let in the back by sawing grooves, narrow strips -of leather are glued across the back to look like raised bands.</p> - -<p><b>Bank</b> (<i>c</i>).—A high table or bench with a sloping top; when used -for type only it is called a <i>standing galley</i>.</p> - -<p><b>Basket Cloth</b> (<i>b</i>).—This is a fancy weave of cloth, of construction -similar to the weaving of wickerwork baskets. It is a novelty -binding.</p> - -<p><b>Bastard-Title</b> (<i>c</i>).—The title of a book printed upon a page by -itself and preceding the regular title-page.</p> - -<p><b>Battered</b> (<i>c</i>).—Type, electrotype, or engraving accidentally -injured.</p> - -<p><b>Bead</b> (<i>b</i>).—An old-time term meaning the head-band, <i>q. v.</i></p> - -<p><b>Bearers</b> (<i>p</i>).—Strips of metal or wood, type-high, made up with -type to sustain impression while proving, or to bear off the impression -on light parts, and to carry the rollers evenly over a -form in printing.</p> - -<p class="in">(<i>c</i>).—Type-high pieces of metal placed around pages or forms -to be electrotyped, to prevent injury to the face of the type or the -plates in the subsequent processes, and cut away from the plates -before printing.</p> - -<p><b>Bed</b> (<i>p</i>).—The flat part of a press upon which the type or form -is placed. The part on which the sheet is placed is called the -platen, or the cylinder.</p> - -<p><b>Benday Plates</b> (<i>e</i>).—Plates made by laying shaded tints on copper -or zinc, and etching them to produce colors or combination of -colors when printed.</p> - -<p><b>Beveled Sticks</b> (<i>c</i>).—Strips of furniture wider at one end than -the other; they are used with wooden quoins in locking up on -galleys and in chases.</p> - -<p><b><a id="Bible_India_Paper"></a>Bible India Paper</b> (<i>g</i>).—The thinnest paper made for books, formerly -only made in England and Italy; now made in America. A very high-grade -stock. See <a href="#Oxford_Bible_Paper"><i>Oxford Bible Paper</i></a>.</p> - -<p><b>Binder</b> (<i>b</i>).—A temporary cover for periodicals and pamphlets, -usually arranged so that it may be taken off and attached to -subsequent copies of a publication. A bookbinder.</p> - -<p><b>Black Letters</b> (<i>c</i>).—A style of letter or type characterized by -black face and angular outlines. It was designed by the early -printers from a current form of manuscript letter.</p> - -<p><b>Blank</b> (<i>g</i>).—A page upon which no printing appears.</p> - -<p><b>Blank Books</b> (<i>b</i>).—Applied to a large variety of books which are -bound with blank leaves, or leaves having ruled lines and little -or no printing: account books, memorandum books, ledgers, etc.</p> - -<p><b>Blanking</b> (<i>b</i>).—Term employed in reference to stamping. Impression -made on cloth or leather by heated brass die.</p> - -<p><b>Bleed</b> (<i>b</i>).—When the margins of a book or a pad of printed sheets -<span class="pagenum"><a name="Page_133" id="Page_133">133</a></span>have been trimmed so as to cut into the printing, they are said -to bleed.</p> - -<p><b>Blind Tooling or Stamping</b> (<i>b</i>).—Impressions of finisher's tools or -book-dies without ink or gold-leaf. Sometimes called <i>antique</i>.</p> - -<p><b>Blocking Press</b> (<i>b</i>).—A stamping press for impressing blocks or -dies on covers.</p> - -<p><b>Blocks</b> (<i>c</i>).—The wood or metal bases on which electrotypes and -engravings are mounted.</p> - -<p class="in">(<i>p</i>).—Mechanical devices used on printing-presses for the -purpose of holding plates in their proper positions in the -form.</p> - -<p><b>Board Papers</b> (<i>b</i>).—The part of the end-papers pasted on the board -covers.</p> - -<p><b>Boards</b> (<i>b</i>).—Applied generally to many kinds of heavy cardboard. -A book with stiff sides covered with paper of any color -is said to be bound in paper boards.</p> - -<p><b>Bock Morocco</b> (<i>b</i>).—A term given to a leather made of Persian -sheepskin, finished in imitation of morocco.</p> - -<p><b>Bodkin</b> (<i>c</i>).—A sharp tool, like an awl, used for picking out letters -from a body of set type, when making corrections.</p> - -<p><b>Body</b> (<i>c</i>).—The shank of a type as determining its size.</p> - -<p><b><a id="Bold-face"></a>Bold-face</b> (<i>c</i>).—A heavy-faced type, used for contrast. It is -also known as <i>Full-face</i>.</p> - -<p><b>Bolt</b> (<i>b</i>).—The closed ends of leaves of an uncut book which presents -a double or quadruple fold.</p> - -<p><b>Book Cloth</b> (<i>b</i>).—Cloth used for making covers or cases for books. -It is made by special processes and in many different grades -and patterns. See also <i>Cloths</i>.</p> - -<p><b>Borders</b> (<i>c</i>).—Ornamental characters cast in type, the pieces being -adjustable in lines, or designs to surround pages, panels, etc.</p> - -<p><b>Bourgeois</b> (<i>c</i>).—The old-style name of a size of type equal to -9-point.</p> - -<p><b>Boxes</b> (<i>c</i>).—The small compartments of a type case.</p> - -<p><b>Box-head</b> (<i>c</i>).—A column heading in a ruled table. Any heading -enclosed in rules.</p> - -<p><b>Brass Rule</b> (<i>c</i>).—Thin strips of brass, type-high, of different -thicknesses and many styles of face—used for straight lines, -column rules, etc.</p> - -<p><b>Brasses or Brass Boards</b> (<i>b</i>).—Boards made for pressing books, -called by these names because of the narrow brass strips on the -edges by which the grooves are formed at the joints or hinges -of the cases.</p> - -<p><b>Brayer Roller</b> (<i>c</i>).—A small hand roller for distributing ink.</p> - -<p><b>Break-line</b> (<i>c</i>).—A short line—the last line of a paragraph.</p> - -<p><b>Brevier</b> (<i>c</i>).—The old-style name of a size of type equal to 8-point.</p> - -<p><b>Brochure</b> (<i>b</i>).—A pamphlet, an unbound book of which the sheets -are held together by sewing only.</p> - -<p><b>Buckrams</b> (<i>b</i>).—These are the heavier weaves of cloth finished like -Linens. They should be used whenever the books will receive -more than ordinary wear.</p> -<p><span class="pagenum"><a name="Page_134" id="Page_134">134</a></span></p> -<p><b>Buffing</b> (<i>b</i>).—The layer of cowhide taken off in buffing or splitting -the hide.</p> - -<p><b>Bulk</b> (<i>g</i>).—The thickness of a book before the covers are put on.</p> - -<p><b>Bundling</b> (<i>b</i>).—The process of pressing and tying together signatures -or folded-and-gathered books for the purpose of (1) ejecting -air and making them solid, (2) for convenience in handling.</p> - -<p><b>Burnished Edges</b> (<i>b</i>).—Edges which, after being colored, are made -smooth and bright by a tool especially made for polishing the -surface.</p> - -<p class="p2"><b>C Pattern</b> (<i>b</i>).—Embossing on book cloth of small, pebble-shaped -figures, scarcely larger than the head of a pin.</p> - -<p><b>Cabinet</b> (<i>c</i>).—A frame for holding type cases.</p> - -<p><b>Calendered Paper</b> (<i>g</i>).—See <a href="#Super-calendered_Paper"><i>Super-calendered Paper</i></a>.</p> - -<p><b>Calf</b> (<i>b</i>).—Leather made of the skin of a calf. It has a smooth, -uniform surface.</p> - -<p><b>Cameo Paper</b> (<i>p</i>).—A dull-surface coated paper on which most artistic -effects may be secured in printing from halftone plates.</p> - -<p><b>Canceled Matter</b> (<i>c</i>).—Set-up type or plates which have been -suppressed or <i>killed</i>.</p> - -<p><b>Cancels</b> (<i>b</i>).—Printed leaves containing errors, which have to -be cut out and replaced with corrected pages.</p> - -<p><b>Cap</b> (<i>c</i>).—An abbreviation of Capital. Caps and Small Caps are -contained in the upper case, and are called upper-case letters.</p> - -<p><b>Caps</b> (<i>b</i>).—Paper coverings used to protect the edges while a book -is being covered and finished. Also the leather covering the -headband.</p> - -<p><b><a id="Caption"></a>Caption</b> (<i>g</i>).—The title-line placed below an illustration.</p> - -<p><b>Caret</b> (<i>c</i>).—A sign or mark used in proofreading and writing to -show that a letter or word has been omitted.</p> - -<p><b>Case</b> (<i>b</i>).—The cover of a cloth-bound book.</p> - -<p class="in">(<i>c</i>).—A shallow, open wooden tray, divided into small compartments, in which the types are placed.</p> - -<p><b>Case Binding</b> (<i>b</i>).—A method of binding books in which the case -or cover is made separately and afterwards fastened upon the -book.</p> - -<p><b>Cast Proof</b> (<i>c</i>).—See <a href="#Foundry_Proof"><i>Foundry Proof</i></a>.</p> - -<p><b>Catch Word</b> (<i>c</i>).—A word placed under the end of the last line -on the page of some old-time books, the word being the same as -the first word on the next page; a "carry over" or direction word.</p> - -<p><b>Center Tools</b> (<i>b</i>).—Tools cut for ornamentation of center of panels -and sides of book covers.</p> - -<p><b>Chase</b> (<i>c</i>).—The iron frame in which type and other matter is -locked up for the press, or for sending to foundry.</p> - -<p><b>Chased Edges</b> (<i>b</i>).—See <a href="#Goffered_Edge"><i>Goffered Edges</i></a>.</p> - -<p><b><a id="Circuit_Edges"></a>Circuit Edges</b> (<i>b</i>).—Bibles and prayer-books are sometimes bound -with projecting covers turned over to protect the edges. These -are circuit or divinity edges.</p> - -<p><b>Clarendon Type</b> (<i>c</i>).—A bold-faced, condensed antique with a bold -bracketed serif, used in display work.</p> -<p><span class="pagenum"><a name="Page_135" id="Page_135">135</a></span> - <b>Clasp</b> (<i>b</i>).—A hook or catch for fastening the covers of a book -together, usually at the fore-edge.</p> - -<p><b>Cloth</b> (<i>b</i>).—A stiffly sized and glazed variety of cotton or linen -cloth—usually colored and decoratively embossed.</p> - -<p><b>Cloth Boards</b> (<i>b</i>).—Stiff cloth covers.</p> - -<p><b>Coated Paper</b> (<i>p</i>).—An art paper coated or covered with some -mineral substance such as china clay, etc., on which halftone -cuts are printed.</p> - -<p><b>Collating</b> (<i>b</i>).—Examining the signatures after a book is gathered, -to see that they are arranged in correct order.</p> - -<p><b>Colophon</b> (<i>g</i>).—An emblematic device, or a note, especially one -relating to the circumstances of production, as the printer's or -scribe's name, place, and date, put at the conclusion of a book or -manuscript.</p> - -<p><b>Column Rules</b> (<i>c</i>).—Strips of brass rule used to divide columns of -type.</p> - -<p><b>Combination Plates</b> (<i>e</i>).—<i>Black only</i>—Plates made by the use -of two or more halftone or line negatives, the films stripped -together and printed and etched on one copper or zinc plate. -<i>Color</i>—Plates made by the use of a key-plate and color -plates, either halftone or line, to be printed in two or more colors.</p> - -<p><b>Combs</b> (<i>b</i>).—Instruments with wire teeth used in marbling. The -colors being upon the surface, the comb is drawn across a portion -in such a way that a new pattern is developed.</p> - -<p><b>Common Cloths</b> (<i>b</i>).—Before receiving the final coat of color this -cloth is dyed. The thready appearance so noticeable in the linen-finished -cloths is less apparent in Commons on account of the -dye and extra coloring.</p> - -<p><b>Composing Stick</b> (<i>c</i>).—A flat, oblong tool, made of polished steel, -in which the compositor places the type as he takes it from the -case.</p> - -<p><b>Composition</b> (<i>c</i>).—That part of the work of printing which relates -to typesetting, and making up.</p> - -<p><b>Compositor</b> (<i>c</i>).—One who sets type.</p> - -<p><b>Copper-thin Spaces</b> (<i>c</i>).—Very thin spaces made of copper, used -in the spacing and the justification of type.</p> - -<p><b>Copy</b> (<i>c</i>).—The matter or manuscript to be set up in type by the printer.</p> - -<p>(<i>e</i>).—Subjects to be reproduced by the engraver.</p> - -<p><b>Corners</b> (<i>b</i>).—(1) The material covering the corners of "half-bound" -books, (2) the triangular tools used in gold- or blind-tooling.</p> - -<p><b>Correcting</b> (<i>c</i>).—Changing wrong words, letters, types, etc., or -adding new matter in type that has been set.</p> - -<p><b><a id="Cowhide"></a>Cowhide</b> (<i>b</i>).—A thick, coarse leather made from the skin of a -cow, commonly known as "American Russia" or "imitation -Russia." It has a slight grain, and is tough and strong.</p> - -<p><b>Cropped</b> (<i>b</i>).—When a book has been trimmed down too much, -it is said to be cropped.</p> - -<p><b>Cross-bars</b> (<i>c</i>).—The bars which divide a large chase into sections.</p> -<p><span class="pagenum"><a name="Page_136" id="Page_136">136</a></span> - <b>Crushed Levant</b> (<i>b</i>).—Levant morocco with the grain crushed -down till the surface is smooth and polished.</p> - -<p><b>Cut</b> (<i>g</i>).—An obsolete term for an engraving. See <a href="#Engraving"><i>Engraving</i></a>.</p> - -<p><b>Cut-in Side Note</b> (<i>c</i>).—A note set into the side of a page of printed -matter.</p> - -<p><b>Cylinder Press</b> (<i>p</i>).—A printing-machine which gives the impression -by means of a cylinder instead of a platen.</p> - -<p class="p2"><b><a id="Dandy"></a>Dandy</b> (<i>g</i>).—A roller affixed to paper-making machines. The wet -web of paper carried on the endless wire of the machine passes under -this roller and is pressed by it. It gives the laid or wove appearance -to the sheet, and when letters, figures, or other devices -are worked in fine wire on its surface it produces the effect known -as water-marking.</p> - -<p><b>De Luxe</b> (<i>g</i>).—A term applied to books manufactured with superior -materials, and with unusual care and expense.</p> - -<p><b>Dead Matter</b> (<i>g</i>).—Type or plates for which there is no further -use.</p> - -<p><b>Deckle-edges</b> (<i>g</i>).—The rough, natural edges of hand-made paper. -Deckle-edges are also formed on two edges of machine-made -paper. They are poorly imitated by cutting or tearing paper.</p> - -<p><b>Dedication</b> (<i>g</i>).—An address prefixed to a literary composition, -inscribed to a patron or a friend as a mark of respect or affection.</p> - -<p><b>Deep Etching</b> (<i>e</i>).—Additional etching made necessary to secure -proper printing depth where this cannot be accomplished by -routing, and usually caused by the use of dense black lines, or -line negatives and halftone negatives being combined in one -plate.</p> - -<p><b>Dentelle</b> (<i>b</i>).—A fine, tooled border resembling lacework.</p> - -<p><b>Descending Letters</b> (<i>c</i>).—Letters that descend below the type -body, as <i>g</i>, <i>p</i>, <i>q</i>, etc.</p> - -<p><b>Devil</b> (<i>g</i>).—The printer's errand boy or apprentice.</p> - -<p><b>Dies</b> (<i>b</i>).—Brass, zinc, or heavy electro plates used for embossing -or stamping on covers the lettering and ornamental designs.</p> - -<p><b>Display</b> (<i>c</i>).—Composition in which different styles or sizes of -type are used, such as on a title-page.</p> - -<p><b>Distributing</b> (<i>c</i>).—Returning types to their respective boxes.</p> - -<p><b>Divinity Calf</b> (<i>b</i>).—A dark-brown calf binding, decorated with -blind-stamping and without gilding.</p> - -<p><b>Divinity Edges</b> (<i>b</i>).—See <a href="#Circuit_Edges"><i>Circuit Edges</i></a>.</p> - -<p><b>Doublé</b> (<i>b</i>).—The ornamented inside of the cover of a book, made -with tooled leather, silk, or other material. Also termed <i>doublure</i>.</p> - -<p><b>Doubletone Ink</b> (<i>p</i>).—An ink in which the linseed oil medium, ordinarily -transparent, is tinted with a lighter shade of the color. When -this sinks into the paper, it automatically prints a second shade.</p> - -<p><b>Drop-folio</b> (<i>c</i>).—A page number, placed at the bottom of a page.</p> - -<p><b>Duck</b> (<i>b</i>).—Often called Canvas. A heavy cotton cloth, firmly -woven and smooth. It is a desirable cloth for heavy books.</p> - -<p><b>Dummy</b> (<i>g</i>).—Pages of a book put together so as to show the -general format of the finished book.</p> -<p><span class="pagenum"><a name="Page_137" id="Page_137">137</a></span> - <b>Duodecimo</b> (<i>g</i>).—When a sheet of book paper is folded in twelve -leaves it is called a duodecimo or 12mo.</p> - -<p><b>Duograph</b> (<i>e</i>).—Two halftone plates made from one copy, and -usually printed in black and one tint, or two shades of the same -color, the two plates made with different screen angles.</p> - -<p><b>Duotype</b> (<i>e</i>).—Two halftone plates made from one copy, both from -the same negative and etched differently.</p> - -<p class="p2"><b>Edition Work</b> (<i>b</i>).—Books bound in large numbers, as distinguished -from single books or jobbing.</p> - -<p><b>Electrotype</b> (<i>el</i>).—A replica of composed type, plates, etc., forming -a printing surface. This is produced by covering an impression -made from the set type, etc., in wax or similar substance, -with a galvanic coating of copper which is afterwards backed up -by an alloy.</p> - -<p><b>Em</b> (<i>c</i>).—The square of any type body.</p> - -<p><b>Embossing</b> (<i>g</i>).—The process of stamping leather, cloth, or paper -with a plate for the purpose of producing a raised or relief effect.</p> - -<p><b>Embossing Plate</b> (<i>e</i>).—A plate cut or etched below the surface -for the purpose of raising the image of the printed surface.</p> - -<p><b>En</b> (<i>c</i>).—One half the width of an em body.</p> - -<p><b>Enameled Paper</b> (<i>g</i>).—See <a href="#Super-calendered_Paper"><i>Super-calendered Paper</i></a>.</p> - -<p><b><a id="End-papers"></a>End-papers</b> (<i>b</i>).—Usually known to the public as <i>fly-leaves</i>. The -white or colored sheets placed by the binder at the beginning -and end of a volume, one-half being pasted down upon the inside -of the cover.</p> - -<p><b>English</b> (<i>c</i>).—The old-style name of a size of type equal to 14-point.</p> - -<p><b>English Finish Paper</b> (<i>g</i>).—A finished-surface paper, with a duller -surface than super-calendered.</p> - -<p><b>English Linen or Low Buckram</b> (<i>b</i>).—A linen cloth, highly polished, -well colored and durable.</p> - -<p><b><a id="Engraving"></a>Engraving</b> (<i>g</i>).—A picture or design cut or etched on metal or -wood.</p> - -<p><b>Etching</b> (<i>e</i>).—A process of engraving in which the plate after being -varnished is smoked, and the design or drawing is then cut through -the varnish, afterwards being treated with acid which eats into -the exposed parts of the metal.</p> - -<p><b>Extra Binding</b> (<i>b</i>).—A trade name for the hand-sewed and hand-bound -book.</p> - -<p><b>Extra Cloths</b> (<i>b</i>).—These in the plain finish and the various patterns -are largely used for binding works of fiction, and are among -the most expensive grades of book cloth. The fabric is heavily -coated with color, entirely concealing the weave, producing a -solid color surface.</p> - -<p><b>Extract</b> (<i>g</i>).—A passage taken from a book or work; a quotation, -excerpt, citation.</p> - -<p class="p2"><b>Fanfare</b> (<i>b</i>).—A style of binding in which there is great profusion -and repetition of flowers, foliage, and other small ornaments.</p> - -<p><b>Figure</b> (<i>b</i>).—A cut or diagram inserted in printed text.</p> -<p><span class="pagenum"><a name="Page_138" id="Page_138">138</a></span> -<b>Fillet</b> (<i>b</i>).—A cylindrical instrument upon which simple lines are engraved, used in finishing.</p> - -<p class="in">(<i>c</i>).—A rule with broad or broad and narrow lines.</p> - -<p><b>Finisher</b> (<i>el</i>).—A workman who performs the final operations in plate-making.</p> - -<p class="in">(<i>b</i>).—The workman who does hand-tooling, and performs the -final operation or finishing on extra-bound books.</p> - -<p><b>Finishing</b> (<i>b</i>).—The part of a binder's work which consists in -lettering and ornamenting the cover.</p> - -<p><b>FL Pattern</b> (<i>b</i>).—Embossing known as Fancy Line. A special -design and very popular for diaries, blank books, and other -similar lines.</p> - -<p><b>Flexible</b> (<i>b</i>).—When a book is sewed on raised bands and the sewing -thread passed entirely around each band. A term applied -also to the covers of the book, as for example, <i>full flexible</i> or -entirely <i>limp</i> or <i>semi-flexible</i>, when a thin board or heavy paper -is used in making the cover.</p> - -<p><b>Floret</b> (<i>c</i>).—A flower or leaf-shaped ornament.</p> - -<p><b>Fly-Leaves</b> (<i>b</i>).—The leaves at the beginning and end of a book. -See <a href="#End-papers"><i>End-papers</i></a>.</p> - -<p><b>Foil</b> (<i>b</i>).—A special product, neither gold nor ink, used in stamping -the lettering and ornamentation on covers.</p> - -<p><b>Folder</b> (<i>b</i>).—A mechanism for folding book and periodical sheets. -A small flat piece of bone or ivory used in folding and -in other ways. The first is more properly called a folding -machine.</p> - -<p><b>Folio</b> (<i>g</i>).—A sheet of book paper of approximately 18 × 24 inches -size when folded in two leaves is called a folio.</p> - -<p class="in">(<i>c</i>).—A page number.</p> - -<p><b>Follow Copy</b> (<i>c</i>).—Means that the compositor should follow exactly -the copy supplied by the author or publisher as regards punctuation, -capitals, etc.</p> - -<p><b>Font</b> (<i>c</i>).—A complete assortment of types of one size.</p> - -<p><b>Footnote</b> (<i>g</i>).—A reference or explanation at the bottom of a page. -As a rule this is set in type several sizes smaller than that of the -text.</p> - -<p><b>Fore-Edge</b> (<i>b</i>).—The outer side of a book.</p> - -<p><b>Form</b> (<i>g</i>).—A page or number of pages or plates locked up in a -chase ready for the press.</p> - -<p><b>Format</b> (<i>g</i>).—The bibliographical term for the physical size, shape, -and appearance of a book.</p> - -<p><b>Forwarding</b> (<i>b</i>)—An expression covering the operations performed -in binding a book by hand up to the time when it is sent -to the finisher for tooling, etc.</p> - -<p><b>Foul Case</b> (<i>c</i>).—When the type is badly mixed up in the case by -distributing, the case is called <i>foul</i> or <i>dirty</i>.</p> - -<p><b>Foul Proof</b> (<i>c</i>).—A proof-sheet containing the author's corrections.</p> - -<p><b>Foundry</b> (<i>el</i>).—The department where the electrotypes are made -from the types set in page form.</p> - -<p><b><a id="Foundry_Proof"></a>Foundry Proof</b> (<i>c</i>).—A proof of the type page after it has been -<span class="pagenum"><a name="Page_139" id="Page_139">139</a></span>corrected and is ready for an electrotype cast to be made from -it. Sometimes called <i>Cast Proof</i>.</p> - -<p><b>Four-color Process Plates</b> (<i>e</i>).—Same as the three-color process -(<i>q.v.</i>), with the addition of a gray or black plate.</p> - -<p><b>Frame</b> (<i>c</i>).—A stand to support the type cases when used by the -compositor.</p> - -<p><b>French Morocco</b> (<i>b</i>).—A quality of Levant Morocco, having -usually a less prominent grain.</p> - -<p><b>Front Matter</b> (<i>g</i>).—That which precedes the main text of a printed -book; e.g., Bastard-title, title-page, contents, preface, etc.</p> - -<p><b>Full Binding</b> (<i>b</i>).—A book which is entirely covered with leather -is said to be full-bound.</p> - -<p><b>Full Face</b> (<i>c</i>).—See <a href="#Bold-face"><i>Bold Face</i></a>.</p> - -<p><b>Full Gilt</b> (<i>b</i>).—A book having the edges of the leaves gilded on -head, front, and tail is said to be <i>full gilt</i>.</p> - -<p><b>Furniture</b> (<i>g</i>).—Pieces of wood and metal for filling blank spaces in -pages, and between and around pages in a form, etc.</p> - -<p class="p2"><b>Galley</b> (<i>c</i>).—The shallow tray, either all brass, or wood, brass, or -zinc, made in many sizes, used to hold type after the lines have -been taken from the composing stick; usually has a thin brass -bottom with three perpendicular sides a little more than half an -inch high.</p> - -<p><b>Galley Press</b> (<i>c</i>).—A roller apparatus for taking proofs of type -while on the galley.</p> - -<p><b>Galley Proof</b> (<i>c</i>).—An impression from the type while still in the -galley.</p> - -<p><b>Galley Rack</b> (<i>c</i>).—A receptacle for galleys when filled with set type.</p> - -<p><b>Gathering</b> (<i>b</i>).—Collecting the folded sheets of a book according -to the order of the signatures and pagination.</p> - -<p><b>Gauge</b> (<i>c</i>).—A piece of wood or metal to determine the length of -pages. Also a piece of wood, card, or metal (usually a quad) -pasted to the tympan sheet as a guide to feed sheets to; a feed-guide.</p> - -<p><b>Get In</b> (<i>c</i>).—To take a word or syllable into the line by thin-spacing.</p> - -<p><b>Glair</b> (<i>b</i>).—The whites of eggs beaten up and used in finishing and -gilding the edges of the leaves.</p> - -<p><b><a id="Goffered_Edge"></a>Goffered Edge</b> (<i>b</i>).—An indented, decorative design on the edges -of a book. An old fashion in bookbinding, applied to gilded or -silvered edges.</p> - -<p><b>Gordon Press</b> (<i>p</i>).—A small, platen printing-machine used for job -printing.</p> - -<p><b>Gothic</b> (<i>c</i>).—The simplest of all styles of type. It is without serif -and evidently an imitation of the old lapidary characters of the -Greeks and Romans.</p> - -<p><b>Grain</b> (<i>b</i>).—The outer side of a piece of leather from which the -hair has been removed.</p> - -<p><b>Great Primer</b> (<i>c</i>).—The old-style name of a size of type equal to -18-point.</p> -<p><span class="pagenum"><a name="Page_140" id="Page_140">140</a></span> -<b>Grippers</b> (<i>p</i>).—On a job press, the iron fingers attached to the -platen which take the sheet off the form after each impression; -on printing cylinders, the apparatus which catches and carries -the sheet around to the impression.</p> - -<p><b>Guarded Signatures</b> (<i>b</i>).—Signatures with cambric pasted around -the outside back edge for the purpose of strengthening the paper -and binding. Often done on the first and last signatures of a -book because of the extra strain at those points.</p> - -<p><b>Guard-line Proof</b> (<i>c</i>).—See <a href="#Foundry_Proof"><i>Foundry Proof</i></a>.</p> - -<p><b>Guinea Edge</b> (<i>b</i>).—The edge of a book rolled with a pattern -similar to the milled edge of an old guinea coin.</p> - -<p><b>Gutters</b> (<i>p</i>).—The inside back margin of a book; opposite of front -margin.</p> - -<p class="p2"><b>H Pattern</b> (<i>b</i>).—Embossing on book cloth of small diamond-shaped -figures.</p> - -<p><b>Hair-space</b> (<i>c</i>).—Any space thinner than one-fifth of an em.</p> - -<p><b>Half-binding</b> (<i>b</i>).—When a book is covered with leather on the -back and corners, and the sides covered with cloth or paper, it -is said to be half-bound, half-morocco, half-russia, half-calf, etc.</p> - -<p><b>Half-leather Binding</b>.<span class="err" title="read: (b)—">—</span>A binding which consists of leather back -and paper sides.</p> - -<p><b>Half-title</b> (<i>g</i>).—The title of a volume, appearing above the text -on the first page, or on a separate leaf immediately preceding -the first page of text. Sometimes wrongly used synonymously -with <i>Bastard-title</i> (<i>q.v.</i>).</p> - -<p><b>Half-tone</b> (<i>e</i>).—A style of engraving, made by etching a plate of -polished copper.</p> - -<p><b>Halftone, Direct</b> (<i>e</i>).—A halftone to produce which the screen -negative is made by direct exposure from the article itself, and -not from a photograph or drawing.</p> - -<p><b>Halftone, Highlight</b> (<i>e</i>).—A halftone plate in which the elimination -of the dots in the highlights is accomplished by a photo-chemical -process instead of by cutting them out with a tool.</p> - -<p><b>Halftone, Outlined</b> (<i>e</i>).—A halftone with the background outside -of the object entirely cut away, leaving a definite edge without -shading or vignetting.</p> - -<p><b>Halftone, Outlined and Vignetted</b> (<i>e</i>).—A halftone in which part -of the background is cut away and part vignetted.</p> - -<p><b>Halftone, Square Plate</b> (<i>e</i>).—A halftone in which the outside edges -are rectangular and parallel, may be with or without single black line -border.</p> - -<p><b>Halftone, Two-color</b> (<i>e</i>).—Two halftone plates, either or both -plates an etched plate containing parts or all of the design, to -be printed in two contrasting colors.</p> - -<p><b>Halftone, Vignetted</b> (<i>e</i>).—A halftone in which one or more of the -edges of the object are shaded from dark tones to pure white.</p> - -<p><b>Hand Letters</b> (<i>b</i>).—Letters made usually of brass, so that they -may be heated, and affixed singly in a handle, for lettering covers, -etc.</p> -<p><span class="pagenum"><a name="Page_141" id="Page_141">141</a></span> - <b>Hand-Tooling</b> (<i>e</i>).—Any work done by use of a tool upon the plate -to increase the contrast of the etched plate.</p> - -<p><b><a id="Hanging_Indention"></a>Hanging Indention</b> (<i>c</i>).—Where the first line of the matter is the -full width of the measure, and indents one or more ems on the -left all the lines following. Sometimes called "Reverse Indention."</p> - -<p><b>Head and Tail</b> (<i>b</i>).—Top and bottom of a book.</p> - -<p><b>Head-band</b> (<i>b</i>).—A small ornamental accessory fixed to the head -and tail of a volume inside the back to give it greater strength -and a more finished appearance. It was originally part of the -sewing.</p> - -<p><b>Head-piece</b> (<i>g</i>).—A decorative engraving placed at the top of the -first page of text in a book, or at beginning of each chapter.</p> - -<p><b>Height to Paper</b> (<i>c</i>).—The extreme length of a type from its face -to its foot.</p> - -<p><b>Hub</b> (<i>b</i>).—A thick band on the back of a large blank book.</p> - -<p class="p2"><b>Imitation Russia</b> (<i>b</i>).—See <a href="#Cowhide"><i>Cowhide</i></a>.</p> - -<p><b>Imposing Stone</b> (<i>c</i>).—The flat surface upon which forms are locked -up for the press; usually of polished stone, but now often made -of iron.</p> - -<p><b>Imposition</b> (<i>c</i>).—Arranging pages in a chase and preparing them -in a form for the press.</p> - -<p><b>Imprint</b> (<i>g</i>).—The name of the printer or publisher affixed to his -work.</p> - -<p><b><a id="In_Boards"></a>In Boards</b> (<i>b</i>).—When a book is cut after the boards are in place -to form the sides, it is cut <i>in boards</i>. When cut before the boards -are affixed it is <i>out of boards</i>, with projecting covers. Most -books are bound in the latter manner.</p> - -<p><b>Indent</b> (<i>c</i>).—To put a quad at the beginning of a line, as at the -first line of a paragraph.</p> - -<p><b>Indention</b> (<i>c</i>).—Indention is the leaving of a blank space at the -beginning of a line to mark a change in the subject, or the importance -of a particular portion of the matter, thus forming a -paragraph.</p> - -<p><b>India Paper</b> (<i>g</i>).—A thin, soft, absorbent paper, made in China and -Japan, and imitated in England and the United States, used for -the finest impressions of engravings. See also <a href="#Bible_India_Paper"><i>Bible India -Paper</i></a>.</p> - -<p><b>India Proof</b> (<i>e</i>).—An early choice impression of an engraving taken -on India Paper.</p> - -<p><b>Inferior Letters or Figures</b> (<i>c</i>).—Small characters cast on the bottom -of the line or for footnote references.</p> - -<p><b>Ink Fountain</b> (<i>p</i>).—A reservoir for holding ink, and attached to -the press.</p> - -<p><b>Inlay</b> (<i>b</i>).—Cloth, paper, or leather set into the cover of a book -flush with the surface.</p> - -<p><b>Insert</b> (<i>g</i>).—An illustration or map, printed separately from the -text, but pasted in the book.</p> - -<p><b>Inset</b> (<i>b</i>).—When one sheet is placed inside of another, both being -<span class="pagenum"><a name="Page_142" id="Page_142">142</a></span>folded, the first sheet is said to be inset. Also, a picture set into -the front cover of a book is said to be an <i>inset</i>.</p> - -<p><b>Intaglio</b> (<i>g</i>).—A word adapted from the Italian, signifying an image -engraved into and sunken below the surface containing it; for -example, a seal, having its design cut into its surface so that, -when impressed in wax, the design will be in relief.</p> - -<p><b>Italic</b> (<i>c</i>).—A style of type, designed by Aldus Manutius, said to -be in imitation of the handwriting of Petrarch.</p> - - -<p class="p2"><b>J Pattern</b> (<i>b</i>).—Embossing on book cloth of pebble design larger -than C pattern. The figure is slightly elongated.</p> - -<p><b><a id="Jackets"></a>Jackets</b> (<i>g</i>).—The printed or unprinted wrappers folded around a -bound book for protection.</p> - -<p><b>Jansen</b> (<i>b</i>).—Without line or ornament in blank or gold. Ornamentation -is allowed on the inside of the cover, but absolute -plainness is demanded on the outside, except lettering.</p> - -<p><b>Japan Paper</b> (<i>g</i>).—Paper made in Japan from the bark of the paper-mulberry.</p> - -<p><b>Jogger</b> (<i>p</i>).—An attachment to the delivery table of a press to -straighten up sheets as they are printed. To jog up sheets is -to straighten them up in an even pile.</p> - -<p><b>Joints</b> (<i>b</i>).—The part of the cover where it joins the back on the -inside, forming a kind of hinge.</p> - -<p><b>Justify</b> (<i>c</i>).—To space out lines to the proper length and tightness.</p> - -<p class="p2"><b>Keratol or Buffinette</b> (<i>b</i>).—A water-proof cloth made in imitation -of leather. It is excellent for the sides of books when there is -much wear, as it does not show water or finger marks. It outwears -the majority of cloths.</p> - -<p><b>Kerned Letters</b> (<i>c</i>).—Those which have part of the face projecting -over the body.</p> - -<p><b>Kettle-stitch</b> (<i>b</i>).—The stitch made at the head and tail of a book, -a chain-stitch.</p> - -<p><b>Kip Calf</b> (<i>b</i>).—Made from the skin of a heifer, and stronger than -ordinary calf.</p> - - -<p class="p2"><b>L Pattern</b> (<i>b</i>).—Embossing on book cloth known as Levant and -somewhat resembling Leather.</p> - -<p><b>Laced In</b> (<i>b</i>).—When the boards are fastened in a book by means -of the bands being passed through holes in the boards, they are -laced in.</p> - -<p><b>Laid Paper</b> (<i>g</i>).—A book paper having lines water-marked or -running through it at equal distances, the lines being made by -the pressure of the wire screen during manufacture.</p> - -<p><b>Law Binding</b> (<i>b</i>).—A plain style of leather binding used for law -books; also called law calf.</p> - -<p><b>Law Calf</b> (<i>b</i>).—Calf leather that is uncolored, in the natural state, -pale brown.</p> - -<p><b>Law Sheep</b> (<i>b</i>).—Sheepskin left wholly uncolored, used for binding -law books.</p> -<p><span class="pagenum"><a name="Page_143" id="Page_143">143</a></span> -<b>Leaders</b> (<i>c</i>).—Dots or short dashes set at intervals in lines to guide -the eye across to figures, etc., as in a table of contents.</p> - -<p><b>Leads</b> (<i>c</i>).—Thin strips of metal, cast in various thicknesses -(2-point is most common) and less than the height of type, to -separate lines, etc.</p> - -<p><b>Leatherette</b> (<i>b</i>).—Cloth or paper prepared in imitation of leather.</p> - -<p><b>Legend</b> (<i>g</i>).—See <a href="#Caption"><i>Caption</i></a>.</p> - -<p><b>Letterpress Printing</b> (<i>p</i>).—That done from type, as distinguished -from presswork from plates, engravings, etc.</p> - -<p><b>Levant Morocco</b> (<i>b</i>).—Morocco leather made from the skin of the -Levant goat, having a larger grain than Turkish morocco leather. -See <a href="#Morocco"><i>Morocco</i></a>.</p> - -<p><b>Library Buckram</b> (<i>b</i>).—Is a special heavy weave suitable for law -book and library bookbinding. It is dyed and covered with a -light coat of color.</p> - -<p><b>Ligatures</b> (<i>c</i>).—Two letters tied together and cast on one body, -fi, fl, ff, etc.</p> - -<p><b>Limit Page</b> (<i>g</i>).—A special page to indicate that the edition is -limited.</p> - -<p><b>Limp</b> (<i>b</i>).—Leather or cloth bindings which are flexible and bend -easily, in distinction from boards or stiff covers.</p> - -<p><b>Line-plates</b> (<i>g</i>).—Etchings in relief on plates of zinc or copper, reproduced -from pen-and-ink drawings by photo-mechanical process.</p> - -<p><b>Linen Cloths</b> (<i>b</i>).—Styles X and B are known as Linens. The -fabric receives a light coat of color, not enough to conceal the -weave. Their popularity is largely due to the thready appearance.</p> - -<p><b>Lining</b> (<i>b</i>).—A term applied to cased books to indicate the re-enforcement -of head-band, super or crash, and paper which are -applied with glue and paste to the back of books before they are -put into covers.</p> - -<p><b>Linotype</b> (<i>c</i>).—A machine for setting type, casting it in lines instead -of single characters.</p> - -<p><b>Lithograph</b> (<i>c</i>).—A print from a lithographic stone.</p> - -<p><b>Live Matter</b> (<i>c</i>).—Type or other matter in preparation or ready -for printing.</p> - -<p><b>Locking Up</b> (<i>c</i>) (<i>p</i>).—Tightening, by means of quoins, the type -and material in a form, so that it will lift in a solid mass.</p> - -<p><b>Logotypes</b> (<i>c</i>).—Two or more separate letters or a complete word -cast as one piece.</p> - -<p><b>Long Primer</b> (<i>c</i>).—The old-style name of a size of type equal to -10-point.</p> - -<p><b>Lower Case</b> (<i>c</i>).—The case that contains the small letters, figures, -points, and spaces.</p> - - -<p class="p2"><b>Maiole</b> (<i>b</i>).—A binding generally composed of a framework of -shields or medallions with a scroll design flowing through it.</p> - -<p><b>Make-up</b> (<i>g</i>).—(1) The quantity of signatures or illustrations or -books needed to complete an order or edition. (2) The layout -of the book showing the order of pages and illustrations.</p> -<p class="in"><span class="pagenum"><a name="Page_144" id="Page_144">144</a></span> - (<i>c</i>).—To arrange lines of type into pages of proper length, -with page numbers, head-lines, etc.</p> - -<p><b>Making Margins</b> (<i>p</i>).—Putting furniture and other material -around and between pages in a form, so that when printed they -will be properly imposed upon the sheet.</p> - -<p><b>Making Ready</b> (<i>p</i>).—Preparing a form on the press for printing, -by giving each part the proper impression, making overlays, -setting gauges, etc.</p> - -<p><b>Marbled Calf</b> (<i>b</i>).—Calfskin so treated with acid that it resembles -marble.</p> - -<p><b>Marbling</b> (<i>b</i>).—A process of decorating sheets of paper and edges -of books with variegated colors in irregular patterns.</p> - -<p><b>Matrix</b> (<i>c</i>).—A plate of metal, usually of copper, suitably formed -to mold the face of a type.</p> - -<p><b>Matter</b> (<i>c</i>).—Composed type. Open matter is wide-leaded, or -has many break-lines; when set by piecework it is <i>fat</i>. Solid -matter is without leads; with few or no break-lines is <i>lean</i> in -piecework.</p> - -<p><b>Measure</b> (<i>c</i>).—The length of the type line; the width to which the -composing stick is set.</p> - -<p><b>Metzograph</b> (<i>e</i>).—A halftone made by the use of a grained screen -instead of a cross-line screen.</p> - -<p><b>Mezzotint</b> (<i>g</i>).—A copperplate engraving in which the entire surface -of the plate is slightly roughened, after which the drawing is -traced, and then the portions intended to show the high-lights -and middle-lights are scraped and burnished, while the shadows -are strengthened.</p> - -<p><b>Mill Board</b> (<i>b</i>).—A thick, heavy card, used for making book covers.</p> - -<p><b>Minion</b>.<span class="err" title="read: (c)—">—</span>The old-style name of a size of type equal to 7-point.</p> - -<p><b>Miter</b> (<i>c</i>).—To chamfer or bevel the ends of rules in order that -they may join closely in forming a border.</p> - -<p><b>Mitered</b> (<i>b</i>).—When the cover of a book is ornamented with -straight lines which meet each other without overrunning, it is -said to be mitered.</p> - -<p><b>Modern Type</b> (<i>c</i>).—A class of Roman type, of which the leading -forms are: broad-face, Scotch-face, French-face, thin-face, bold-face.</p> - -<p><b>Molders</b> (<i>p</i>).—The set of electrotype plates kept in reserve, from -which to mold new plates as the <i>workers</i> become worn on press.</p> - -<p><b>Monotype Caster</b> (<i>c</i>).—A machine for automatically casting type -in single characters.</p> - -<p><b>Monotype Keyboard</b> (<i>c</i>).—A machine for setting type.</p> - -<p><b><a id="Morocco"></a>Morocco</b> (<i>b</i>).—A leather made from goatskins; it is tanned with -sumac. The texture is very firm though flexible. The grain, -of which there are many varieties, is produced by rolling and -folding; this process is called <i>graining</i>; genuine morocco makes -the most durable bookbinding.</p> - -<p><b>Mosaic</b> (<i>b</i>).—A design inlaid with different colors.</p> - -<p><b>Mottled Calf</b> (<i>b</i>).—A light-brown calfskin, mottled by treatment -with acid.</p> -<p class="p2"><span class="pagenum"><a name="Page_145" id="Page_145">145</a></span> - -<b>Negative Etching</b> (<i>e</i>).—A plate from which the blacks of the original -copy will print white and the whites will print black.</p> - -<p><b>News-tone</b> (<i>e</i>).—A name sometimes given to coarse-screen halftones, -always etched on zinc and used mostly for newspaper -work. Also known as "quartertone."</p> - -<p><b>Nonpareil</b> (<i>c</i>).—The old-style name of a size of type equal to 6-point.</p> - -<p class="p2"><b>Octavo</b> (<i>g</i>).—A sheet of book paper about 18 × 24 when folded in -eight leaves is an octavo or 8vo.</p> - -<p><b>Off</b> (<i>p</i>).—Signifies that all the sheets for a form have been printed.</p> - -<p><b>Off its Feet</b> (<i>c</i>).—When type does not stand squarely on its -base.</p> - -<p><b>Offset</b> (<i>g</i>).—A transfer of ink or color to another page or sheet of -paper.</p> - -<p><b>Offset Printing</b> (<i>g</i>).—A method of putting ink on paper through the -process of chemical or surface printing, rather than through the process -of relief or impressional printing. It is based, like lithography, upon -the principle that oil and water will not mix. The design is transferred -to a thin zinc or aluminum plate, which takes the place of the stone in -lithography. The transfer ink is of a greasy consistency, having an -affinity for zinc or aluminum, and a repellent attitude toward water. -In the operation of the press, the plate is clamped around the cylinder, -and two sets of rollers pass over it. The first set is moistened with -water, and its function is to dampen the entire surface of the plate except -where the design appears, the greasy consistency of which repels -the water. Inking rollers pass over the plate immediately following the -water rollers. The dampness on all parts of the plate except at the -design points repels the greasy consistency of the ink, and allows a -deposit of surplus ink upon the design, due to the similar consistency -of the two ingredients. The design is then printed onto a rubber -blanket, which is clamped around a second cylinder, and is reprinted -or "offset" onto the paper, which passes between this second cylinder -and a third cylinder.</p> - -<p><b>Old-style Type</b> (<i>c</i>).—Reproductions of the styles of early printers: -the Caslon, Baskerville, French, Elzevir and Basle.</p> - -<p><b>Out</b> (<i>c</i>).—A word or more omitted by mistake in composing.</p> - -<p><b>Out of Boards</b> (<i>b</i>).—See <a href="#In_Boards"><i>In Boards</i></a>.</p> - -<p><b>Out Page</b> (<i>b</i>).—The first or signature page of a sheet.</p> - -<p><b>Outset</b> (<i>b</i>).—A four-page sheet folded round a signature.</p> - -<p><b>Overlay</b> (<i>p</i>).—A piece of paper put on the tympan to give more -impression to a letter, line, or part of an engraving.</p> - -<p><b>Overrun</b> (<i>c</i>).—To take words backward or forward from one line -to another in correcting.</p> - -<p class="in">(<i>p</i>).—To print beyond the number ordered.</p> - -<p><b>Oversheets</b> (<i>g</i>).—The signatures or sheets remaining after an -edition is completely bound.</p> - -<p><b><a id="Oxford_Bible_Paper"></a>Oxford Bible Paper</b> (<i>g</i>).—A thin, strong, opaque printing paper, -made in England, on which Bibles and other large volumes are -printed when a small bulk is desired. See also <a href="#Bible_India_Paper"><i>Bible India -Paper</i></a>.</p> -<p class="p2"><span class="pagenum"><a name="Page_146" id="Page_146">146</a></span> - -<b>Packing</b> (<i>p</i>).—The sheets of paper, card, etc., used to make the -tympan; this term is applied to the covering for cylinders.</p> - -<p><b>Page</b> (<i>g</i>).—One side of a written or printed leaf.</p> - -<p class="in">(<i>c</i>).—Type, or type and illustration properly arranged for -printing on one side of the leaf of a book.</p> - -<p><b>Page-cord</b> (<i>c</i>).—Twine used to tie up pages.</p> - -<p><b>Page-Proof</b> (<i>c</i>).—An impression of the type after it has been made -up into page form.</p> - -<p><b><a id="Parchment"></a>Parchment</b> (<i>g</i>).—A paper-like sheet made from the skins of sheep -or goat. The skins are first soaked in lime to remove the hair, -and then are shaved, washed, dried, stretched, and ground with -fine chalk, or lime and pumice-stone. Paper parchment, or -vegetable parchment, is made by chemically treating ordinary -paper. See also <a href="#Vellum"><i>Vellum</i></a>.</p> - -<p><b>Persian Morocco</b> (<i>b</i>).—A kind of morocco made from the skins of -hairy sheep called Persian goats.</p> - -<p><b>Photo-engraving</b> (<i>g</i>).—The reproduction of engraved plates by -means of photography, for use in printing.</p> - -<p><b>Photogravure</b> (<i>g</i>).—Intaglio plates on copper for the reproduction -of paintings, etc., in monochrome. "Photo-Intaglio" and -"Photogravure" are essentially synonymous terms, the latter -being the French equivalent of the former. Technically, however, -"photo-intaglio" means a halftone engraving, the design of -which is etched into the plate, leaving the ground (i.e., the whites) -of the picture on the surface, instead of in relief with the whites -etched down below the surface. The term "photogravure" -is applied to a similar engraving in which the effects of light and -shade are produced not by dots and stipples produced through -a halftone screen, but by variations in depth of the depressions -in the form of grain. In printing these plates the ink is run -into the depressions, and the surface then wiped clean before -being impressed upon the paper.</p> - -<p><b>Pi</b> (<i>c</i>).—Type mixed up and in confusion.</p> - -<p><b>Pica</b> (<i>c</i>).—A size of type equal to 12-point. It is the standard -of measurement for leads, rules, furniture, and also for width and -length of pages. Six picas equal, approximately, one inch.</p> - -<p><b>Picking for Sorts</b> (<i>c</i>).—Taking type out of one page to use in -another, when type is scarce.</p> - -<p><b>Pigskin</b> (<i>b</i>).—Leather made from the skin of the pig. It is very -tough and wears well.</p> - -<p><b>Planer</b> (<i>p</i>).—The smooth-faced block used to level down the face -of a form.</p> - -<p><b>Planogravure</b> (<i>e</i>).—A form of engraving printed from a flat surface.</p> - -<p><b>Plate</b> (<i>b</i>).—Any full-page illustration printed on paper different -from the book is termed a plate.</p> - -<p class="in">(<i>el</i>).—An electrotype.</p> - -<p><b>Platen Press</b> (<i>p</i>).—That style of press which gives the impression -from a flat surface—the hand press, Adams press, and nearly -all small job presses; distinctive from the cylinder machine.</p> - -<p class="nohang"><span class="pagenum"><a name="Page_147" id="Page_147">147</a></span> -<b><a id="Point"></a>Point</b> (<i>c</i>).—The unit of measurement of type, approximately -<span class="fraction"><span class="fnum">1</span><span class="bar">/</span><span class="fden">72</span></span> -of an inch.</p> - -<p><b>Point Folder</b> (<i>b</i>).—A machine for folding sheets. The accuracy -of the register is obtained by placing the perforated point holder -of the printed sheet on the projecting pins of the folding machine.</p> - -<p><b>Points</b> (<i>p</i>).—Small holes made in the sheets by the printer, which -serve as guides in registering and folding.</p> - -<p class="in">(<i>p</i>).—Sharp metal pins placed in the form when it is imposed, -to pierce the sheets as they are printed so that they can be -folded on the point-folding machine.</p> - -<p><b>Polished Buckram</b> (<i>b</i>).—Its special qualities are uniformity of -color, finish, and fabric, tensile strength and easy application of -decoration.</p> - -<p><b>Press Proof</b> (<i>p</i>).—The final proof passed for press.</p> - -<p><b>Publisher's Binding</b> (<i>b</i>).—Commonly understood as ordinary -cloth binding.</p> - -<p class="p2"><b>Quadruple Imposition</b> (<i>p</i>).—The imposition of the plates for -printing so that when folded on the Quadruple Folding Machine -the pages will follow in rotation.</p> - -<p><b>Quads</b> (<i>c</i>).—Brief form of <i>quadrat</i>; large metal blanks used to -fill lines and other spaces.</p> - -<p><b>Quarter-binding</b> (<i>b</i>).—A binding in leather or cloth backs, with -board sides cut flush.</p> - -<p><b>Quarto</b> (<i>g</i>).—A sheet of book paper approximately 18 × 24 inches -in size, when folded in four leaves, is called a quarto or 4to.</p> - -<p><b>Quoins</b> (<i>c</i>) (<i>p</i>).—Wedges used in locking up forms; formerly -made of wood and used with beveled sidesticks, but now made -of iron in several styles.</p> - -<p><b>Quotations</b> (<i>c</i>).—Large hollow quads for filling blank spaces; -hollow metal furniture.</p> - -<p class="p2"><b>Recto</b> (<i>b</i>).—The right-hand page of a book. The <i>recto</i> of a cover -is the front.</p> - -<p><b>Register</b> (<i>p</i>).—To adjust the form, feed-guides, etc., so that the -printing will be properly located on the sheet; to strike the -different forms of a colored job; to make pages on both sides of -a sheet back each other.</p> - -<p class="in">(<i>c</i>).—The exact imposition of the type pages of a book so -that when printed they back one another precisely, and are -truly square.</p> - -<p class="in">(<i>b</i>).—When two or more adjacent colors meet without infringing, -they are said to be <i>in register</i>, otherwise <i>out of register</i>.</p> - -<p><b>Reglet</b> (<i>c</i>).—Thin strips of wood similar to leads, 6-point and -thicker, used as substitute for leads and slugs in large spaces.</p> - -<p><b>Relief</b> (<i>e</i>).—Processes of engraving in which the dots or lines of -the design are made to stand out so that it can be used for printing -as if from type.</p> - -<p><b><a id="Retouching"></a>Retouching</b> (<i>e</i>).—(1) The act of going over a plate with a graver, -<span class="pagenum"><a name="Page_148" id="Page_148">148</a></span>deepening the lines which have become worn. (2) The correcting -of defects on a photographic negative or print by means of a -pencil or fine camel's-hair brush.</p> - -<p><b>Reverse Indention</b> (<i>c</i>).—See <a href="#Hanging_Indention"><i>Hanging Indention</i></a>.</p> - -<p><b>Revise</b> (<i>c</i>).—A proof taken after corrections have been made; to -compare a proof so taken to see that the marked errors have -been corrected.</p> - -<p><b>Ribbon Marker</b> (<i>b</i>).—A small ribbon placed in a book as a marker.</p> - -<p><b>Roan</b> (<i>b</i>).—Unsplit sheepskin.</p> - -<p><b>Roller</b> (<i>p</i>).—An iron rod covered with an elastic composition, to -spread ink on the type or other printing surface.</p> - -<p><b>Roman</b> (<i>c</i>).—The class of type in general use as distinguished -from <i>italic</i> or <i>fancy</i> types.</p> - -<p><b>Roman Figures</b> (<i>g</i>).—Numerals expressed by letters as distinguished -from those expressed by Arabic characters, e.g., I, II, -III, etc.</p> - -<p><b>Rotary Press</b> (<i>p</i>).—A printing press in which the types or plates -are fastened on a rotating cylinder, and are impressed on a continuous -roll of paper.</p> - -<p><b>Rotogravure</b> (<i>g</i>).—A recent photo-intaglio process, now coming -into use for illustrations in newspaper magazines. It is a combination -of the intaglio and the gravure processes, producing -sunken engravings on copper rollers, which are then printed from -on the principle of calico printing.</p> - -<p><b>Rounding</b> (<i>b</i>).—See <a href="#Backing"><i>Backing</i></a>.</p> - -<p><b>Routing</b> (<i>e</i>).—The operation of gouging out from an electrotype -plate that portion of the metal which is not required.</p> - -<p><b>Roxburgh Binding</b> (<i>b</i>) (<i>pronounced Roxboro</i>).—A book bound -with leather back, cloth or paper sides, no leather corners, with -gold stamping on the shelf back, with gilt top, is said to be bound -in Roxburgh binding.</p> - -<p><b>Rule</b> (<i>c</i>).—A plain strip of metal type-high, used for printing rules -and lines.</p> - -<p><b>Running Head or Title</b> (<i>g</i>).—The title of a book or subject placed -at top of each page.</p> - -<p><b>Russia Leather</b> (<i>b</i>).—A fine leather prepared in Russia. Its -preparation consists in carefully tanning with willow-bark, -dyeing with sandal wood, and soaking in birch oil. It is of a -brownish red color and has a characteristic odor.</p> - -<p class="p2"><b><a id="S_Pattern"></a>S Pattern</b> (<i>b</i>).—Embossing of small diagonal lines finer than T -pattern, giving the cloth a silky appearance, commonly known -as Silk Pattern.</p> - -<p><b>Score</b> (<i>g</i>).—To crease cardboard or heavy paper so that it will -fold neatly at the desired place. This is often done with rules -locked in the form, or put on afterward, running the sheets -through the press without ink.</p> - -<p><b>Script</b> (<i>c</i>).—A style of type in imitation of handwriting.</p> - -<p><b>Sheepskin</b> (<i>b</i>).—Leather made from the skin of a sheep.</p> - -<p><b>Sheet</b> (<i>g</i>).—A separate piece of paper of definite size; a twenty-fourth -<span class="pagenum"><a name="Page_149" id="Page_149">149</a></span>part of a quire. In printing, a <i>sheet</i> is defined by its size; -in binding, by its fold.</p> - -<p><b>Sheet-wise</b> (<i>p</i>).—Presswork in which the two sides of the sheets -are printed from different forms.</p> - -<p><b>Shooting Stick</b> (<i>c</i>).—An implement made of wood, steel, or other -hard material, used with a mallet, to tighten up the wooden -quoins.</p> - -<p><b>Shoulder</b> (<i>c</i>).—The blank space above and below the face of a -letter on the end of a type.</p> - -<p><b>Signature</b> (<i>b</i>).—A sheet after it has been folded and is ready to -be gathered. It usually consists of 16 pages, but may comprise -4, 8, 16, 32, or 64 pages.</p> - -<p><b>Silk Pattern</b> (<i>b</i>).—See <a href="#S_Pattern"><i>S Pattern</i></a>.</p> - -<p><b>Skiver</b> (<i>b</i>).—The outer or grainside of sheepskin which has been -split; much used for binding.</p> - -<p><b>Slug</b> (<i>c</i>).—A thick lead.</p> - -<p><b>Slur</b> (<i>p</i>).—A blurred impression.</p> - -<p><b>Small Caps</b> (<i>c</i>).—Capitals of a smaller size than the regular capitals -of a font.</p> - -<p><b>Small Pica</b> (<i>c</i>).—The old name of a size of type equal to -11-point.</p> - -<p><b>Smooth Calf</b> (<i>b</i>).—Plain or undecorated calf.</p> - -<p><b>Sorts</b> (<i>c</i>).—The letters in the boxes of a case; <i>out of sorts</i>, to be out -of any needed letter or character; <i>runs on sorts</i>, when copy calls -for more than the usual number of any particular letter.</p> - -<p><b>Spaces</b> (<i>c</i>).—The small blanks used to separate words, etc.</p> - -<p><b>Split Leather</b> (<i>b</i>).—Leather split by machinery.</p> - -<p><b>Sprinkled Calf</b> (<i>b</i>).—Calfskin treated with acid so as to look as if -it had been sprinkled with a dye.</p> - -<p><b>Sprinkled Edges</b> (<i>b</i>).—Edges of books that are decorated with -small dots or specks of color, sprinkled on from a brush.</p> - -<p><b>Stained Edges</b> (<i>b</i>).—Edges which are colored by a process of coating -or covering which combines with the paper to be colored.</p> - -<p><b>Stamping Die</b> (<i>e</i>).—A relief plate engraved on brass or zinc for -stamping book covers or similar surfaces.</p> - -<p><b>Stand</b> (<i>c</i>).—The common wooden frame with sloping top upon which -type cases are placed; the lower part usually has a rack for holding -extra cases.</p> - -<p><b>Steel or Copperplate Engraving</b> (<i>c</i>).—A method of making plates -for printing by cutting, scratching or corroding a plate.</p> - -<p><b>Stereotype</b> (<i>g</i>).—The duplicate, cast in one piece of type metal, -of the face of types or cuts composed for printing. There are -three processes: (<i>a</i>) The plaster process; (<i>b</i>) the clay process; -(<i>c</i>) the papier-maché process.</p> - -<p><b>Stipple</b> (<i>e</i>).—A method of engraving by which dots or punctures -are used instead of lines.</p> - -<p><b>Stone Hand</b> (<i>c</i>).—One who is chiefly employed in imposing, and -other work done on the stone.</p> - -<p><b>Stone Proof</b> (<i>e</i>).—(1) An impression taken from an engraved plate -or lithographic stone, to prove the condition and progress of the -<span class="pagenum"><a name="Page_150" id="Page_150">150</a></span>engraving. (2) An impression taken from types or cuts, made -up for electrotyping.</p> - -<p><b>Super</b> (<i>b</i>).—A thin, loosely woven cotton cloth, glued and starched, -which is used for gluing onto the backs of books, to hold the -signatures by extending over to the inside of the cover, to hold -the book and cover together.</p> - -<p><b><a id="Super-calendered_Paper"></a>Super-calendered Paper</b> (<i>g</i>).—A class of paper to which a glazed -surface is given by rolling or calendering.</p> - -<p><b>Superior Letters or Figures</b> (<i>c</i>).—Small characters cast on the top -of the line, used for footnote references, etc.</p> - -<p><b>Swash Letters</b> (<i>c</i>).—The name given to a style of italic capital -letters with tails and flourishes, much used in the seventeenth -century.</p> - -<p class="p2"><b>T Pattern</b> (<i>b</i>).—Embossing of transverse parallel lines. This is a -favorite pattern, and is used more than any other.</p> - -<p><b>Tail-piece</b> (<i>c</i>).—An ornament placed in a short page at the end -of a chapter, article, or volume.</p> - -<p><b>Take</b> (<i>c</i>).—When copy is divided among several compositors, -each part is a <i>take</i>.</p> - -<p><b>Tapes</b> (<i>b</i>).—<span class="err" title="read: (1) Strips">Strips</span> of tape extending over the back and onto the -boards to strengthen the binding. (2) Strips of cloth placed -between the covers and ends of a stitched book to strengthen -the book and give it flexibility.</p> - -<p><b>Text</b> (<i>c</i>).—The type used in the main part of a page; also applied -to some kinds of black-letter. The main body of matter in a -book or manuscript in distinction from notes or other matter -associated with it.</p> - -<p><b>Three-color Process Plates</b> (<i>e</i>).—Printing plates, produced from -colored copy or objects, to reproduce the picture or object in -its original colors by a photo-chemical separation of the primary -colors, and etched halftone plates to reproduce each separate -color, usually printed in yellow, red, and blue. An approximate -result may be obtained from one-color copy by using the skill -of the workman in securing the color-values on the etched plates.</p> - -<p><b>Three-quarter Leather Binding</b> (<i>b</i>).—A binding which consists of a -leather back of extra width, with leather corners and paper or -cloth sides.</p> - -<p><b>Three to Em</b> (<i>c</i>).—A space one-third of an em in thickness.</p> - -<p><b>Token</b> (<i>p</i>).—A measure or unit of presswork. The New York -token is 250 impressions of one form; the Boston token is 500 -impressions.</p> - -<p><b>Tooled Edges</b> (<i>b</i>).—See <a href="#Goffered_Edge"><i>Goffered Edges</i></a>.</p> - -<p><b>Tooling</b> (<i>b</i>).—To ornament or give a final shape by means of a -special tool, especially when the mark of the tool is intentionally -left visible.</p> - -<p><b>Tree Calf</b> (<i>b</i>).—Calfskin so treated as to resemble the trunk and -branches of a tree.</p> - -<p><b>Turkey Morocco</b> (<i>b</i>).—Made of goatskin from Turkey. Strong, -durable, and expensive.</p> - -<p><span class="pagenum"><a name="Page_151" id="Page_151">151</a></span> -<b>Turn for Sorts</b> (<i>c</i>).—To put another type of the same size face -downward (so that its foot will show a black spot on proof) in the -place of a character that is missing.</p> - -<p><b>Two to Em</b> (<i>c</i>).—The half of an em quad, known as the en quad.</p> - -<p><b>Tympan</b> (<i>p</i>).—The sheets, cards, etc., that cover the platen or -cylinder, on which the paper is placed for printing. The cloth-covered -frame attached to the bed of a hand-press.</p> - -<p><b>Type-high</b> (<i>e</i>).—Type of the standard of height.</p> - -<p><b>Type-high to Paper</b> (<i>c</i>).—Type above the standard of height.</p> - - -<p class="p2"><b>Underlay</b> (<i>p</i>).—A piece of paper or card placed under the type, -electro, or engraved block, to increase the impression.</p> - -<p><b>Upper Case</b> (<i>c</i>).—The case in which the capitals, small capitals, -signs, and "peculiars" are placed.</p> - -<p><b>Uterine Vellum</b> (<i>g</i>).—A vellum made from the very thin skins of -still-born or unborn calves.</p> - -<p class="p2"><b><a id="Vellum"></a>Vellum</b> (<i>g</i>).—The skins of calves prepared by long exposure in a -lime-bath and by repeated rubbings with a burnisher. See also -<a href="#Parchment"><i>Parchment</i></a>.</p> - -<p><b>Vellum Finish</b> (<i>b</i>).—The smooth natural surface of an unembossed -cloth.</p> - -<p><b>Verso</b> (<i>b</i>).—The left-hand page of a book. Of a cover, the back -or reverse side.</p> - -<p><b>Vignette</b> (<i>g</i>).—(1) In old manuscripts an initial letter decorated with -leaves. (2) A head-or tail-piece of a book. (3) (<i>e</i>).—A drawing -or other illustration having a background that gradually -shades off and merges into the ground on which the print is made.</p> - -<p class="p2"><b>Water-mark</b> (<i>p</i>).—See <a href="#Dandy"><i>Dandy</i></a>.</p> - -<p><b>Web Machine</b> (<i>p</i>).—(1) A cylindrical printing-press in which the -paper is carried forward to the impression cylinder by means -of tapes. (2) A printing-machine in which the paper is carried -forward in a continuous roll or <i>web</i>.</p> - -<p><b>Whipstitch</b> (<i>b</i>).—To sew with an over-and-over stitch.</p> - -<p><b>Work-and-Turn</b> (<i>p</i>).—When all the pages on a sheet are imposed -in one form, or half-sheetwise, the sheet is turned and printed on -the second side, thus giving two copies of the work when the sheet -is cut.</p> - -<p><b>Workers</b> (<i>p</i>).—The set of electrotype plates from which editions -are printed.</p> - -<p><b>Wove Paper</b> (<i>g</i>).—Paper which does not show the wire mark as in -<i>laid paper</i>. The screen is woven in like cloth.</p> - -<p><b>Wrappers</b> (<i>g</i>).—See <a href="#Jackets"><i>Jackets</i></a>.</p> - -<p><b>Wrong-font</b> (<i>c</i>).—A letter or character of wrong size or style used -in composition; in proofreading written <i>w.f.</i></p> - -<p class="p2"><b>Zinc Plate</b> (<i>g</i>).—A style of engraving etched with strong acid on -a sheet of polished zinc.</p></div> - -<hr class="chap" /> - -<h2><a id="INDEX"></a>INDEX</h2> - -<p>[<i>In this index no reference is entered from the</i> Glossary of Terms, <i>the -alphabetical arrangement of which renders such reference superfluous</i>.]</p> - -<ul class="hang"> -<li><i>A'</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Abbreviations, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li><i>Abu</i>, (Arabic), rule for indexing, <a href="#Page_108">108</a>.</li> - -<li>Academies, learned, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Addenda, method of attaching to manuscript, <a href="#Page_11">11</a>.</li> - -<li>Addresses: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>; - copyright application form for, <a href="#Page_47">47</a>; - rule for indexing, <a href="#Page_118">118</a>.</li> - -<li><i>Ad Interim</i> Copyright: 42, <a href="#Page_43">43</a>; - application form for, <a href="#Page_47">47</a>.</li> - -<li>Advance orders, publisher's dependence upon, <a href="#Page_8">8</a>.</li> - -<li>Advertising: its amount dependent on continued relations of author and publisher, <a href="#Page_5">5</a>, <a href="#Page_18">18</a>; - its part in selling books, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>; - exchanged for second serial rights, <a href="#Page_15">15</a>; - in exclusive control of publisher, <a href="#Page_21">21</a>.</li> - -<li>Advertising card, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>, <a href="#Page_89">89</a>.</li> - -<li>Affidavit: required for copyright of books, <a href="#Page_35">35</a>; - not required for copyright of periodicals, <a href="#Page_36">36</a>.</li> - -<li><i>Ahu</i>, (Arabic), rule for indexing, <a href="#Page_108">108</a>.</li> - -<li>Alphabetical arrangement, of index, <a href="#Page_124">124-130</a>.</li> - -<li>Alterations, author's. See <a href="#Authors_alterations"><i>Author's Alterations</i></a>.</li> -<li> - -Alumni associations, rule for indexing, <a href="#Page_119">119</a>.</li> - -<li><i>Am</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>Ap</i>, rules for indexing, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li>Appellatives, Latin, rule for indexing, <a href="#Page_117">117</a>.</li> - -<li>Appendix, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>.</li> - -<li>Application forms for copyright, <a href="#Page_8">8</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_46">46-49</a>, <a href="#Page_51">51</a>.</li> - -<li>Arabic names, rules for indexing, <a href="#Page_108">108</a>.</li> - -<li>Arbitration, between author and publisher, <a href="#Page_23">23</a>.</li> - -<li>Art, works of: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Assignment, of copyright, <a href="#Page_43">43-45</a>, <a href="#Page_52">52</a>.</li> - -<li>Atlas, English paper size, <a href="#Page_96">96</a>.</li> - -<li><i>Auf</i>, (<i>Auf'm</i>), rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>Aus</i>, (<i>Aus'm</i>), rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Austria, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li><a id="Author"></a>Author, the: relations to publisher of, <a href="#RELATIONS_OF_THE_AUTHOR_TO_THE_PUBLISHER">3</a>; - relations to literary agents of, <a href="#Page_4">4</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>; - value of publisher's advice to, <a href="#Page_5">5</a>; - advantage of remaining with one publisher, <a href="#Page_5">5</a>, <a href="#Page_18">18</a>; - value of reputation, <a href="#Page_5">5</a>, <a href="#Page_9">9</a>, <a href="#Page_16">16</a>; - advised against publishing fiction at own expense, -<span class="pagenum"><a name="Page_154" id="Page_154">154</a></span> <a href="#Page_11">11</a>; - making contract with publisher, <a href="#Page_12">12-24</a>; - retention of rights: dramatic, <a href="#Page_13">13</a>, - moving-picture, <a href="#Page_14">14</a>, - serial, <a href="#Page_14">14</a>, - English and Colonial, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>; - rates of royalty paid to, <a href="#Page_16">16</a>; - gives option on subsequent books to publisher, <a href="#Page_18">18</a>; - form of contract with publisher, <a href="#Page_19">19-24</a>; - guarantees his authorship, <a href="#Page_20">20</a>; - must pay for excessive alterations, <a href="#Page_20">20</a>; - agrees to effect renewals of copyright, <a href="#Page_21">21</a>; - terms for purchase of copies of his own books, <a href="#Page_22">22</a>; - division of profits from sale of rights, <a href="#Page_22">22</a>; - terms for dissolution of contract, <a href="#Page_23">23</a>; - agrees to arbitrate differences with publisher, <a href="#Page_23">23</a>; - rendering of royalty accounts by publisher to, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_28">28-30</a>; - "don'ts" for moving-picture writers, <a href="#Page_28">28</a>; - copyright protection for alien, <a href="#Page_33">33</a>; - relation to magazines of, <a href="#RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES">58-63</a>; - importance of copyright notice on magazine articles to, <a href="#RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES">58-61</a>; - commission paid to literary agent by, <a href="#Page_64">64</a>; - advantage of knowledge of printing to, <a href="#THE_MECHANICS_OF_THE_BOOK">65</a>; - expense of author's alterations to, <a href="#THE_MECHANICS_OF_THE_BOOK">65</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>; - reading proofs by, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_77">77-80</a>; - preparation of manuscript by, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>; - index should be made by, <a href="#MAKING_THE_INDEX">98</a>, or examined in manuscript by, <a href="#Page_99">99</a>. -</li> -<li><a id="Authors_alterations"></a>Author's alterations: clause in contract about, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>; - expense of, <a href="#THE_MECHANICS_OF_THE_BOOK">65</a>, <a href="#Page_66">66</a>, <a href="#Page_76">76</a>; - way to avoid, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_77">77</a>.</li> -<li> - -<a id="Authors_League_the"></a>Authors' League, the: advice to authors on moving-pictures, <a href="#Page_25">25-27</a>; - on magazine contributions, <a href="#RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES">58-61</a>.</li> - -<li class="p2"> -<i>Babu</i>, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Banks, rule for indexing, <a href="#Page_123">123</a>.</li> - -<li>Baroness, rule for indexing, <a href="#Page_112">112</a>.</li> - -<li><a id="Bastard-title"></a>Bastard-title: may be omitted, <a href="#Page_70">70</a>; - place in volume, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - described, <a href="#Page_89">89</a>, <a href="#Page_93">93</a>.</li> - -<li>Belgium, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Berne, the convention of, <a href="#Page_53">53</a>.</li> - -<li><i>Bey</i>, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Bibliography, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>.</li> - -<li><i>Bin</i>, (Arabic), rule for indexing, <a href="#Page_108">108</a>.</li> - -<li>Binding, <a href="#Page_87">87</a>.</li> - -<li>Bishops, rules for indexing, <a href="#Page_109">109</a>, <a href="#Page_125">125</a>, <a href="#Page_126">126</a>.</li> - -<li>Blind, works for the, <a href="#Page_36">36</a>.</li> - -<li>Bodleian Library, Oxford: British copyright depository, <a href="#Page_55">55</a>; - rule for indexing, <a href="#Page_119">119</a>.</li> - -<li>Book, the: requirements for acceptance by "reader," <a href="#Page_6">6</a>; - by publisher, <a href="#Page_7">7</a>; - published at author's expense, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>; - subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>; - mechanics of, <a href="#THE_MECHANICS_OF_THE_BOOK">65-87</a>; - arrangement of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88-97</a>; - layout of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88-93</a>; - basic sizes of, <a href="#Page_94">94</a>; - margins of, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>; - titles of, to be indexed, <a href="#Page_100">100</a>.</li> - -<li>Breviaries, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>British Museum, the: British copyright depository, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>; - rules of, for indexing noblemen, <a href="#Page_110">110</a> <i>n</i>.</li> -<li><span class="pagenum"><a name="Page_155" id="Page_155">155</a></span> -Buildings, rule for indexing, <a href="#Page_123">123</a>.</li> - -<li class="p2">Cambridge, Eng., University Library of, British copyright depository, <a href="#Page_55">55</a>.</li> - -<li><a id="Canada"></a>Canada: copyright in, <a href="#Page_54">54</a>; - public holidays in, <a href="#Page_55">55</a>.</li> - -<li>Canons, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Capes, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Catechisms, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Cathedrals, rule for indexing, <a href="#Page_123">123</a>.</li> - -<li>Chile, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>China, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Churches, rule for indexing, <a href="#Page_122">122</a>.</li> - -<li>Cinemetograph. See <i>Moving-pictures</i>.</li> - -<li>Cities, rule for indexing ancient and modern names of, <a href="#Page_116">116</a>.</li> - -<li>Cobden-Sanderson, T. J., quoted, <a href="#Page_90">90</a>.</li> - -<li>College textbooks, rate of royalty paid on, <a href="#Page_17">17</a>.</li> - -<li>Colleges: rules for indexing, <a href="#Page_119">119</a>, <a href="#Page_121">121</a>; - local societies of, rule for indexing, <a href="#Page_119">119</a>.</li> - -<li>Colophon, <a href="#Page_90">90</a>.</li> - -<li>Columbia, English paper size, <a href="#Page_96">96</a>.</li> - -<li>Common-school books: rate of royalty paid on, <a href="#Page_17">17</a>.</li> - -<li>Compilations, subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>.</li> - -<li>Composite works, subject to copyright, <a href="#Page_32">32</a>.</li> - -<li>Composition, of type, <a href="#Page_76">76</a>.</li> - -<li>Compound names, rules for indexing, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>.</li> - -<li>Confessions of faith, rule for indexing, <a href="#Page_118">118</a>.</li> -<li> - -Congresses, of nations, rule for indexing, <a href="#Page_117">117</a>.</li> - -<li>Contents, table of: place in volume, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - described, <a href="#Page_92">92</a>; - compared with index, <a href="#MAKING_THE_INDEX">98</a>.</li> - -<li>Contract (between author and publisher): difference in terms, <a href="#Page_9">9</a>; - new elements in making, <a href="#Page_12">12-14</a>; - blank form of, <a href="#Page_19">19-24</a>; - clauses in, relating to: dramatic rights, <a href="#Page_13">13</a>, <a href="#Page_20">20</a>, - moving-picture rights, <a href="#Page_14">14</a>, - first serial rights, <a href="#Page_14">14</a>, - second serial rights, <a href="#Page_15">15</a>, - author's alterations, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, - rates of royalty, <a href="#Page_16">16</a>, - British and Colonial rights, <a href="#Page_17">17</a>, - "option clause," 18, <a href="#Page_21">21</a>; - payment of royalty, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, - account of royalties, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, - terms for dissolution of, <a href="#Page_23">23</a>, - arbitration clause, <a href="#Page_23">23</a>.</li> - -<li>Contributions, to periodicals: subject to copyright, <a href="#Page_36">36</a>; - copyright application form for, <a href="#Page_47">47</a>.</li> - -<li>Contributor. See <a href="#Author"><i>Author</i></a>.</li> - -<li>Convents, rule for indexing, <a href="#Page_123">123</a>.</li> - -<li>"Copy." See <a href="#Manuscript"><i>Manuscript</i></a>.</li> - -<li>Copyright: mentioned in contract between author and publisher, <a href="#Page_19">19-21</a>, <a href="#Page_23">23</a>; - author agrees to effect renewal of, <a href="#Page_21">21</a>; - duty of publisher to secure protection of, <a href="#Page_21">21</a>, <a href="#THE_COPYRIGHT">31</a>; - duty of publisher to effect renewals of, <a href="#THE_COPYRIGHT">31</a>; - definition of, <a href="#THE_COPYRIGHT">31</a>; - usually taken out in name of publisher, <a href="#THE_COPYRIGHT">31</a>; - work must belong to certain classes to secure, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>; - relations with foreign countries regarding, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>; - notice of,<span class="pagenum"><a name="Page_156" id="Page_156">156</a></span> as required by U. S. law, <a href="#Page_34">34</a>, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>, <a href="#Page_91">91</a>; - notice of, not required in England, <a href="#Page_56">56</a>; - how to secure in U. S., <a href="#Page_34">34-42</a>; - deposit of copies required for, <a href="#Page_35">35</a>; - manufacturing requirements to secure, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_43">43</a>; - fees for, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>; - remittances of fees for, <a href="#Page_39">39</a>; - <i>ad interim</i> protection, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>; - assignment of 43-45; - duration of, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>; - application forms for, <a href="#Page_38">38</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_46">46-49</a>; - renewal of, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_49">49</a>; - practical procedure to effect, <a href="#Page_49">49-53</a>; - international, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>; - in Great Britain, <a href="#Page_53">53-56</a>; - special registration in foreign countries, not required for, <a href="#Page_54">54</a> <i>n.</i>; - avoid publication on public holidays, <a href="#Page_55">55</a>; - deposit of copies of work to secure British, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>; - publication in England must be bona fide, <a href="#Page_56">56</a>; - of magazine articles, <a href="#Page_59">59-61</a>.</li> - -<li>Copyright office, only for registration, <a href="#THE_COPYRIGHT">31</a>.</li> - -<li>Copyright notice: must appear on American books, <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_44">44</a>, <a href="#Page_50">50</a>; - location of, <a href="#Page_34">34</a>, <a href="#Page_60">60</a>, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>, <a href="#Page_91">91</a>; - not necessary on English books, <a href="#Page_56">56</a>.</li> - -<li>Corporations, rule for indexing, <a href="#Page_118">118</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>.</li> - -<li>Costa Rica, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Countries, rule for indexing, <a href="#Page_117">117</a>.</li> - -<li>Creeds, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Cross-reference, to be indexed in case of: saints and friars, <a href="#Page_108">108</a>; - East Indian names, <a href="#Page_109">109</a>; - married women, <a href="#Page_110">110</a>; - noblemen, <a href="#Page_110">110</a>; - foreign compound names, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>; - places in foreign languages or vernacular, <a href="#Page_115">115</a>; - events, <a href="#Page_117">117</a>; - congresses of nations, <a href="#Page_117">117</a>; - treaties, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>; - local religious bodies, <a href="#Page_118">118</a>; - university names and societies, <a href="#Page_121">121</a>; - learned societies, <a href="#Page_121">121</a>; - observatories, <a href="#Page_122">122</a>; - expositions, <a href="#Page_122">122</a>; - state societies, <a href="#Page_122">122</a>; - buildings, <a href="#Page_123">123</a>; - similar headings, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>.</li> - -<li>Crown, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li>Cuba, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Cutter's Rules for a Dictionary Catalogue, mentioned, <a href="#Page_104">104</a>.</li> - -<li>Cyclopaedic works, subject to copyright, <a href="#Page_32">32</a>.</li> - -<li class="p2"><i>Da</i>, (<i>Dagli, Dai, Dal, Dalla, Dalle</i>), rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>. -</li> -<li><i>Das</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>De</i>, (<i>D', Des</i>), rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>, <a href="#Page_129">129</a>.</li> - -<li><i>De La</i>, rule for indexing, <a href="#Page_114">114</a>.</li> - -<li>Dedication: place of, in book, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - described, <a href="#Page_92">92</a>.</li> - -<li>Definitions, to be indexed, <a href="#Page_100">100</a>.</li> - -<li>Degrees, collegiate, place in indexed heading, <a href="#Page_116">116</a>.</li> - -<li><i>Del</i>, (<i>Degli, Dei, Dé, Della, Delle</i>), rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li>Demy, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li>Denmark, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Deposit, of works for copyright: in the U. S., <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, -<span class="pagenum"><a name="Page_157" id="Page_157">157</a></span> -<a href="#Page_38">38-42</a>, <a href="#Page_52">52</a>, <a href="#Page_60">60</a>; - in England, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>.</li> - -<li>Designs: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>; - for book covers, <a href="#Page_80">80</a>.</li> - -<li>Dies, for stamping book covers, <a href="#Page_85">85</a>.</li> - -<li>Directories, subject to copyright, <a href="#Page_32">32</a>.</li> - -<li><i>Dr.</i>, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li><i>Dos</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Double Crown, English paper size, <a href="#Page_96">96</a>.</li> - -<li>Double Foolscap, English paper size, <a href="#Page_96">96</a>.</li> - -<li>Double Post, English paper size, <a href="#Page_96">96</a>.</li> - -<li>Double Pott, English paper size, <a href="#Page_96">96</a>.</li> - -<li>Dramatic rights: reservation of, by author, <a href="#Page_13">13</a>; - division of profits from, <a href="#Page_13">13</a>.</li> - -<li>Dramatic works: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_36">36</a>; - copyright application form for, <a href="#Page_47">47</a>.</li> - -<li>Dramatization, of novels, <a href="#Page_13">13</a>.</li> - -<li>Drawings: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li><i>Du</i>, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li>Dummies, traveler's, <a href="#Page_8">8</a>.</li> - -<li>Duration, of copyright, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>.</li> - -<li>Dutch prefixes to surnames, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li class="p2">East Indian names, rules for indexing, <a href="#Page_109">109</a>. - -Ecclesiastical dignitaries, rules for indexing, <a href="#Page_109">109</a>.</li> - -<li>Edinburgh, Library of the Faculty of Advocates, British copyright depository, <a href="#Page_56">56</a>.</li> - -<li>Edition de luxe, must be deposited for British copyright, <a href="#Page_56">56</a>.</li> - -<li>Editor the: advice to author from, <a href="#Page_5">5</a>; - dealings with, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>.</li> - -<li>Elisions, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li><i>Emir</i>, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Emperors, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_124">124</a>.</li> - -<li><a id="England"></a>England: sale of American books in, <a href="#Page_17">17</a>; - copyright of American books in, <a href="#Page_54">54-56</a>; - recent copyright legislation in, <a href="#Page_54">54-56</a>; - public holidays in, <a href="#Page_55">55</a>; - printed sheets shipped from U. S. to, <a href="#Page_91">91</a> <i>n.</i>; - paper sizes in, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>. - See also <a href="#Great_Britain"><i>Great Britain</i></a>.</li> - -<li>English rights, <a href="#Page_17">17</a>.</li> - -<li>Englishwomen, indexing titles of honor of, <a href="#Page_111">111-113</a>.</li> - -<li>Engraving, methods and processes explained, <a href="#Page_81">81-85</a>.</li> - -<li>Epithets, distinctive, rule for indexing, <a href="#Page_116">116</a>.</li> - -<li>Estimating, number of words in manuscript, <a href="#Page_10">10</a>, <a href="#Page_69">69-71</a>.</li> - -<li>Events, rules for indexing, <a href="#Page_100">100</a>, <a href="#Page_117">117</a>.</li> - -<li>Expositions, rule for indexing, <a href="#Page_122">122</a>.</li> - -<li>Extension, of copyright, application form for, <a href="#Page_49">49</a>.</li> - -<li class="p2">False-title. See <a href="#Bastard-title"><i>Bastard-title</i></a>.</li> - -<li>Family name. See <a href="#Surnames"><i>Surname</i></a>.</li> - -<li>"Feature films," <a href="#Page_26">26</a>, <a href="#Page_27">27</a>.</li> - -<li>Fees, for copyright, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38-41</a>, <a href="#Page_45">45</a>, <a href="#Page_52">52</a>, <a href="#Page_60">60</a>.</li> -<li> -<span class="pagenum"><a name="Page_158" id="Page_158">158</a></span> -Feigl, Dr., quoted, <a href="#Page_109">109</a>.</li> - -<li>Fiction, rates of royalty on, <a href="#Page_16">16</a>.</li> - -<li>Figures, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li>Firms, business, rules for indexing names of, <a href="#Page_120">120</a>.</li> - -<li><i>Fitz</i>, rules for indexing, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li>Foolscap, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li>Forename, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>, <a href="#Page_115">115</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>, <a href="#Page_125">125</a>.</li> - -<li>Forts, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Foundry proofs. See <a href="#Proofs"><i>Proofs</i></a>.</li> - -<li>France, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Franking, of copies for copyright, <a href="#Page_35">35</a>, <a href="#Page_52">52</a>.</li> - -<li>Fraternities, Greek letter, rule for indexing, <a href="#Page_119">119</a>.</li> - -<li>Freemasons, rule for indexing, <a href="#Page_119">119</a>.</li> - -<li>French names, rules for indexing, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li>French prefixes to surnames, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li>Friars, rule for indexing, <a href="#Page_108">108</a>.</li> - -<li>Front matter, of book: estimating, <a href="#Page_69">69</a>; - described, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88-94</a>.</li> - -<li class="p2">Galleries, rules for indexing: national or local, <a href="#Page_121">121</a>; - private, <a href="#Page_123">123</a>.</li> - -<li>Galleys. See <a href="#Proofs"><i>Proofs</i></a>.</li> - -<li>Gazetteers, subject to copyright, <a href="#Page_32">32</a>.</li> - -<li>German prefixes to surnames, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li>Germany, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Glossary, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>.</li> - -<li>Göttingen, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li><a id="Great_Britain"></a>Great Britain: copyright relations - with U. S., <a href="#Page_33">33</a>, <a href="#Page_53">53-57</a>; - public holidays in, <a href="#Page_55">55</a>. - See also <a href="#England"><i>England</i></a>.</li> - -<li>Greek, personal names, arrangement of in index, <a href="#Page_126">126</a>.</li> - -<li>Guatemala, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Guilds, rule for indexing, <a href="#Page_120">120</a>.</li> - -<li class="p2">Half-title: place in volume, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - described, <a href="#Page_93">93</a>. - See also <a href="#Bastard-title"><i>Bastard-title</i></a>.</li> - -<li>High-school books, rate of royalty paid on, <a href="#Page_17">17</a>.</li> - -<li>Historical Societies, state, rule for indexing, <a href="#Page_122">122</a>.</li> - -<li>Hoernen, Arnold Ther, first use of title-page by, <a href="#Page_90">90</a>.</li> - -<li>Holiday, publication must not take place on public, <a href="#Page_55">55</a>. - See <a href="#Canada"><i>Canada</i></a> and <a href="#England"><i>England</i></a>.</li> - -<li>Honduras, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Hours, religious, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Hungary, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Hyphened words, rule for indexing, <a href="#Page_128">128</a>.</li> - -<li class="p2"><i>Ibn</i>, (Arabic), rule for indexing, <a href="#Page_108">108</a>.</li> - -<li>Illustrations: for book, usually made for publisher, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>; - place in book for list of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>, <a href="#Page_92">92</a>.</li> - -<li>Imperial, English paper size, <a href="#Page_96">96</a>.</li> - -<li><i>In</i> (<i>Im</i>), rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Incomplete names, rule for indexing, <a href="#Page_128">128</a>.</li> - -<li>Index: place in book of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - importance of, <a href="#MAKING_THE_INDEX">98</a>; - author should prepare or examine -<span class="pagenum"><a name="Page_159" id="Page_159">159</a></span> -manuscript of, <a href="#MAKING_THE_INDEX">98</a>, <a href="#Page_99">99</a>; - qualifications of indexer, <a href="#MAKING_THE_INDEX">98</a>, <a href="#Page_99">99</a>; - what to index, <a href="#Page_100">100</a>; - plan of work to be made before starting to make, <a href="#Page_101">101</a>, <a href="#Page_102">102</a>; - procedure, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>; - arrangement of references under entries, <a href="#Page_104">104</a>; - arrangement of entries, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>; - specimens of, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>; - rules for indexing adjective headings, <a href="#Page_105">105</a>; - Christian names, <a href="#Page_108">108</a>; - surnames, <a href="#Page_109">109-113</a>; - titles, <a href="#Page_110">110-113</a>; - compound names, <a href="#Page_113">113</a>; - surnames preceded by prefixes, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>; - geographical names, <a href="#Page_115">115-117</a>; - epithets, <a href="#Page_116">116</a>; - titles and degrees, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>; - parties and sects, <a href="#Page_118">118</a>; - corporations, <a href="#Page_118">118</a>, <a href="#Page_120">120</a>; - orders of knighthood, <a href="#Page_118">118</a>; - colleges and professional schools, <a href="#Page_119">119</a>; - libraries, <a href="#Page_119">119</a>; - societies, <a href="#Page_119">119</a>, <a href="#Page_128">128</a>; - alumni associations, <a href="#Page_119">119</a>; - schools, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, <a href="#Page_123">123</a>; - universities, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>; - libraries, museums, and galleries, <a href="#Page_121">121-123</a>; - observatories, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>; - expositions, <a href="#Page_122">122</a>; - state societies, <a href="#Page_122">122</a>; - churches and religious bodies, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>; - monasteries and convents, <a href="#Page_123">123</a>; - cathedrals, <a href="#Page_123">123</a>; - banks, <a href="#Page_123">123</a>; - associations, <a href="#Page_123">123</a>; - buildings, <a href="#Page_123">123</a>; - pseudonyms, <a href="#Page_128">128</a>; - incomplete names, <a href="#Page_128">128</a>; - numerals, <a href="#Page_130">130</a>; - abbreviations, <a href="#Page_130">130</a>; - arrangement of numerous similar headings, <a href="#Page_124">124-130</a>; - alphabetical arrangement, <a href="#Page_124">124-130</a>.</li> - -<li>International copyright, <a href="#Page_53">53-57</a>.</li> - -<li>Introduction, place in book of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>, <a href="#Page_93">93</a>.</li> -<li> -Islands, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Isle, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Irish prefixes to surnames, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Italian prefixes to surnames, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li>Italy, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li class="p2">Japan, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li class="p2">Kings, rules for indexing: names of, <a href="#Page_108">108</a>, <a href="#Page_124">124</a>; - consorts of, <a href="#Page_117">117</a>.</li> - -<li>Knight, rule for indexing wife of, <a href="#Page_112">112</a>.</li> - -<li>Knighthood, orders of, rules for indexing, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>.</li> - -<li>Korea, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li class="p2">Lakes, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>La</i>, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li>Latin, personal names, arrangement of in index, <a href="#Page_126">126</a>.</li> - -<li><i>Le</i>, (<i>L'</i>, <i>Les</i>), rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>, <a href="#Page_129">129</a>.</li> - -<li>League, the Authors'. See <a href="#Authors_League_the"><i>Authors' League, the</i></a>.</li> - -<li>Lectures: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>; - copyright application form for, <a href="#Page_47">47</a>.</li> - -<li>Leipzig, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Libraries, rules for indexing: of colleges, <a href="#Page_119">119</a>, <a href="#Page_121">121</a>; - national or local, <a href="#Page_121">121</a>; - private, <a href="#Page_123">123</a>.</li> - -<li>Library of the Faculty of Advocates, Edinburgh, British copyright depository, <a href="#Page_55">55</a>.</li> - -<li>Limit notice: place in volume of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - described, <a href="#Page_93">93</a>.</li> -<li><span class="pagenum"><a name="Page_160" id="Page_160">160</a></span> -Lisbon, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Literary agent, the, value of services to author, <a href="#Page_4">4</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>.</li> - -<li>Liturgies, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Luxemburg, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li class="p2"><i>Mac</i>, (<i>M'</i>, <i>Mc</i>), rules for indexing, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li><i>Mme.</i>, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li><i>Mlle.</i>, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li>Madrid, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Magazine, the, relations with contributors, <a href="#RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES">58-63</a>.</li> - -<li>Maid of honor, rule for indexing, <a href="#Page_112">112</a>.</li> - -<li>Manifestoes, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li><a id="Manuscript"></a>Manuscript: offered competitively, <a href="#Page_4">4</a>; - decision of "readers" upon, <a href="#Page_6">6</a>; - requirements of publisher, <a href="#Page_7">7</a>; - advice about submitting, <a href="#Page_10">10</a>, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>; - estimating number of words in, <a href="#Page_10">10</a>, <a href="#Page_61">61</a>, <a href="#Page_67">67</a>; - postage rates on, <a href="#Page_11">11</a>, <a href="#Page_61">61</a>; - delivery of, mentioned in contract, <a href="#Page_20">20</a>; - preparation by author of, <a href="#Page_67">67</a>, <a href="#Page_68">68</a>.</li> - -<li>Maps: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Marchioness, rule for indexing, <a href="#Page_112">112</a>.</li> - -<li>Margins, of book, comments on, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>.</li> - -<li>Masonic orders, rule for indexing, <a href="#Page_119">119</a>.</li> - -<li>Medium, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> -<li> -Mexico, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Missals, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li><i>Mr.</i>, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li><i>Mrs.</i>, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li>Models: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Monasteries, rule for indexing, <a href="#Page_123">123</a>.</li> - -<li><i>M.</i>, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li>Motion-pictures. See <a href="#Moving-pictures"><i>Moving-pictures</i></a>.</li> - -<li><a id="Moving-pictures"></a>Moving-pictures: add new problems for publisher and author, <a href="#Page_14">14</a>, <a href="#Page_24">24</a>; - rights, <a href="#Page_14">14</a>, <a href="#Page_22">22</a>, <a href="#Page_24">24-28</a>; - returns from, <a href="#Page_25">25</a>; - royalty basis advised for, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>; - exchanges, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>; - trade conditions, <a href="#Page_27">27</a>; - subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_37">37</a>; - how to secure copyright of, <a href="#Page_40">40-42</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Mountains, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Museums, rules for indexing: national or local, <a href="#Page_121">121</a>; - private, <a href="#Page_123">123</a>.</li> - -<li>Munich, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Musical compositions: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li class="p2">Netherlands, the, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Newspapers: secure second serial rights, <a href="#Page_15">15</a>; - subject to copyright, <a href="#Page_32">32</a>; - must bear<span class="pagenum"><a name="Page_161" id="Page_161">161</a></span> notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_37">37</a>.</li> - -<li>Nicaragua, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Noblemen, rules for indexing: British, <a href="#Page_110">110-113</a>, <a href="#Page_116">116</a>, -<a href="#Page_117">117</a>; - foreign, <a href="#Page_116">116</a>; - in general, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>.</li> - -<li>Norway, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Numeral figures, rule for indexing, <a href="#Page_130">130</a>.</li> - -<li class="p2"><i>O'</i>, rules for indexing, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li>Observatories, rule for indexing, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>.</li> - -<li>Offices, religious, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>"Option clause" in contract, <a href="#Page_18">18</a>.</li> - -<li>Oriental names, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>.</li> - -<li>Oxford, Bodleian Library, British copyright depository, <a href="#Page_55">55</a>.</li> - -<li class="p2">Page proofs. See <a href="#Proofs"><i>Proofs</i></a>.</li> - -<li>Paintings: subject to copyright, <a href="#Page_36">36</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Paper: comments on, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>; - English sizes of, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li>Parishes, rule for indexing, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>.</li> - -<li>Parties, rules for indexing, <a href="#Page_118">118</a>.</li> - -<li><i>Pasha</i>, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Patronymics, rule for indexing, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_126">126</a>.</li> - -<li>Periodicals: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - contributions to, <a href="#Page_36">36</a>, <a href="#Page_39">39</a>; - how to secure registration of copyright of, <a href="#Page_37">37-39</a>; - copyright application form for, <a href="#Page_47">47</a>.</li> - -<li>Photographs: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Photoplays, motion-picture, subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_37">37</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Pictorial illustrations: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Places, rule for indexing, <a href="#Page_117">117</a>.</li> - -<li>Plastic works: subject to copyright, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Plates, electrotype, described, <a href="#Page_80">80</a>.</li> - -<li>Platforms, political, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Popes, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_124">124</a>.</li> - -<li>Portugal, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Portuguese prefixes to surnames, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li>Possessive case, rule for arrangement in index of, <a href="#Page_126">126</a>.</li> - -<li>Post, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li>Pott, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li>Prayer-books, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Preface: place in book of, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>; - described, <a href="#Page_92">92</a>.</li> -<li><span class="pagenum"><a name="Page_162" id="Page_162">162</a></span> -Prefixes, to surnames, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_125">125-127</a>.</li> - -<li>Presswork, comments on, <a href="#Page_70">70</a>, <a href="#Page_86">86</a>.</li> - -<li>Princes, and Princesses, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_124">124</a>.</li> - -<li>Prints: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Professional schools, rule for indexing, <a href="#Page_119">119</a>.</li> - -<li>Progressive royalty. See <a href="#Royalty"><i>Royalty</i></a>.</li> - -<li>Proofreader, duties of, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a href="#Page_80">80</a>.</li> - -<li><a id="Proofs"></a>Proofs: mentioned in contract, <a href="#Page_20">20</a>; - number usually furnished by printer, <a href="#Page_67">67</a>, <a href="#Page_77">77-80</a>; - proof marks, <a href="#Page_79">79</a>.</li> - -<li>Proper names, rule for indexing, <a href="#Page_100">100</a>.</li> - -<li>Pseudonyms, rule for indexing, <a href="#Page_128">128</a>.</li> - -<li>Publication: act of, <a href="#Page_50">50</a>; - simultaneous, necessary in Great Britain, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>; - must avoid public holidays, <a href="#Page_55">55</a>; - in England must be bona fide, <a href="#Page_56">56</a>.</li> - -<li>Publications, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Publisher: relations with author, <a href="#RELATIONS_OF_THE_AUTHOR_TO_THE_PUBLISHER">3</a>; - personality of, <a href="#Page_6">6</a>; - decision on merits of manuscript, <a href="#Page_7">7</a>; - creates advance demand for book, <a href="#Page_8">8</a>; - handling of subsidized books, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>; - making contract with author, <a href="#Page_12">12-24</a>; - reservation of rights by: dramatic, <a href="#Page_13">13</a>, - moving-picture, <a href="#Page_14">14</a>, - serial, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, - English and Colonial, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>; - securing option on -author's subsequent work, <a href="#Page_18">18</a>; - form of contract with author, <a href="#Page_19">19-24</a>; - protected against infringement, <a href="#Page_20">20</a>; - division of profits from sale of rights, <a href="#Page_22">22</a>; - rendering account of royalties, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_28">28-30</a>; - terms for dissolution of contract, <a href="#Page_23">23</a>; - agreement to arbitrate differences with author, <a href="#Page_23">23</a>; - duty of, to secure <span class="err" title="original: coypright">copyright</span> protection, <a href="#Page_21">21</a>, <a href="#THE_COPYRIGHT">31</a>.</li> - -<li>Publishing: at author's expense, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>; - subsidized, <a href="#Page_11">11</a>.</li> - -<li><i>Pundit</i>, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li class="p2">Queens, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_117">117</a></li> - -<li class="p2">Rabbis, Jewish, rules for indexing, <a href="#Page_108">108</a>.</li> - -<li>Raised characters, works in, <a href="#Page_36">36</a>.</li> - -<li>"Readers": judgment of, on manuscripts of books, <a href="#Page_6">6</a>; - may be prejudiced by poor copy, <a href="#Page_10">10</a>.</li> - -<li>Refusal, on subsequent books given to publisher, <a href="#Page_18">18</a>.</li> - -<li>Register of Copyrights, mentioned, <a href="#Page_39">39</a>, <a href="#Page_42">42</a>, <a href="#Page_52">52</a>, <a href="#Page_60">60</a>.</li> - -<li>Registration, of copyright not required in foreign countries, <a href="#Page_54">54</a> <i>n.</i></li> - -<li>Religious denominations, rule for indexing, <a href="#Page_118">118</a>.</li> - -<li>Renewal, of copyright, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>; - copyright application form for, <a href="#Page_49">49</a>.</li> - -<li>Retail price, of book, basis of royalty, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_21">21</a>.</li> - -<li>Rights: dramatic, <a href="#Page_13">13</a>, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>; - moving-picture, <a href="#Page_14">14</a>, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>, <a href="#Page_24">24-28</a>; - first serial, <a href="#Page_14">14</a>, <a href="#Page_22">22</a>; - second serial, <a href="#Page_14">14</a>; - English<span class="pagenum"><a name="Page_163" id="Page_163">163</a></span> -and Colonial, <a href="#Page_17">17</a>; - given to publisher by contract, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>; - of translation, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>; - notice regarding reservation of, <a href="#Page_57">57</a>; - magazine, <a href="#Page_59">59-61</a>.</li> - -<li>Rivers, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Royal, English paper size, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.</li> - -<li><a id="Royalty"></a>Royalty: effect of sale of serial rights upon, <a href="#Page_15">15</a>; - rates of, on fiction, <a href="#Page_16">16</a>; - rates of, on text-books, <a href="#Page_17">17</a>; - "progressive," <a href="#Page_17">17</a>; - terms of, in contract, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>; - advance payment of, <a href="#Page_22">22</a>; - basis of, advised for moving-picture writers, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>; - reports on, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_28">28-30</a>.</li> - -<li class="p2"><i>St.</i> and <i>Ste.</i>, rules for indexing, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>.</li> - -<li>St. Petersburg, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Saints, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_124">124</a>.</li> - -<li>Salvador, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Sample page, preliminary to setting book in type, <a href="#Page_69">69</a>, <a href="#Page_71">71</a>.</li> - -<li>Schoolbooks, rates of royalty on, <a href="#Page_17">17</a>.</li> - -<li>Schools, rules for indexing: public, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>; - professional, <a href="#Page_119">119</a>; - private, <a href="#Page_123">123</a>.</li> - -<li>Scotch prefixes to surnames, rules for indexing, <a href="#Page_115">115</a>.</li> - -<li>Sculpture: subject to copyright, <a href="#Page_32">32</a>; - must bear notice of copyright, <a href="#Page_34">34</a>; - copyright application form for, <a href="#Page_48">48</a>.</li> - -<li>Sects, rules for indexing, <a href="#Page_118">118</a>.</li> - -<li>Serial rights, first, <a href="#Page_14">14</a>, <a href="#Page_22">22</a>; - second, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>.</li> - -<li>Sermons: subject to copyright, -<a href="#Page_32">32</a>; - copyright application form for, <a href="#Page_47">47</a>.</li> - -<li>Short-story writer, the, relation to magazine of, <a href="#RELATIONS_OF_THE_SHORT-STORY_WRITER_TO_THE_MAGAZINES">58-63</a>.</li> - -<li>Sobriquet, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Societies, rules for indexing: local college, <a href="#Page_119">119</a>; - inter-collegiate, <a href="#Page_119">119</a>; - alphabetical arrangement of, <a href="#Page_128">128</a>.</li> - -<li>Sovereigns, rules for indexing, <a href="#Page_108">108</a>, <a href="#Page_124">124</a>.</li> - -<li>Spain, copyright relations between U. S. and <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li><i>Sri</i>, rule for indexing, <a href="#Page_109">109</a>.</li> - -<li>Subsidized publications, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>.</li> - -<li>Suffixes (titles), to names, place in indexed heading, <a href="#Page_116">116</a>.</li> - -<li>Super Royal, English paper size, <a href="#Page_96">96</a>.</li> - -<li><a id="Surnames"></a>Surnames, rules for indexing: in general, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>; - of noblemen, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>; - preceded by prefix, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_126">126</a>, <a href="#Page_127">127</a>.</li> - -<li>Sweden, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Switzerland, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li class="p2"><i>Ten</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>Ter</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Textbooks, rates of royalty on, <a href="#Page_17">17</a>.</li> - -<li><i>The</i>, rule for arrangement of, in index, <a href="#Page_129">129</a>.</li> - -<li><i>Thor</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Title-entries, rules for arrangement of, in index, <a href="#Page_129">129</a>.</li> - -<li>Title-page, <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>; - first used by Arnold Ther Hoernen, <a href="#Page_90">90</a>.</li> - -<li>Titles: of nobility, rules for<span class="pagenum"><a name="Page_164" id="Page_164">164</a></span> -indexing, <a href="#Page_110">110-113</a>, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_125">125</a>; - prefixes to names, place in indexed headings, <a href="#Page_116">116</a>, <a href="#Page_125">125</a>.</li> - -<li>Titles, of books, stories, and periodicals, not subject to copyright protection, <a href="#Page_39">39</a>, <a href="#Page_46">46</a>. -</li> -<li>Translation: right of, retained, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>; - notice of reservation, <a href="#Page_57">57</a>.</li> - -<li>Traveling salesmen, method of selling books by, <a href="#Page_8">8</a>.</li> - -<li>Treaties, rule for indexing, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>.</li> - -<li>Trinity College, Dublin, Library of, British copyright depository, <a href="#Page_56">56</a>.</li> - -<li>Tunis, copyright relations between U. S. and, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>.</li> - -<li>Type: names and samples of, <a href="#Page_72">72-76</a>; - number of words in different sizes of, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>; - setting of, <a href="#Page_76">76</a>.</li> - -<li class="p2"><i>Umm</i>, (Arabic), rule for indexing, <a href="#Page_108">108</a>.</li> - -<li>Union, International Copyright, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>.</li> - -<li>United States, the: reciprocal copyright relations with foreign nations, <a href="#Page_33">33</a>, <a href="#Page_53">53</a>; - not a member of International Copyright Union, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>;<span class="pagenum"><a name="Page_176" id="Page_176">176</a></span> - simultaneous publication in, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>.</li> - -<li>Universities, rules for indexing: of Europe, and Central and South America, <a href="#Page_121">121</a>; - of the United States, <a href="#Page_122">122</a>.</li> - -<li class="p2"><i>Van</i>, rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.</li> - -<li><i>Vander</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>Van't</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li><i>Ver</i>, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Vienna, Academy of, rule for indexing, <a href="#Page_121">121</a>.</li> - -<li>Viscountess, rule for indexing, <a href="#Page_112">112</a>.</li> - -<li><i>Von</i>, (<i>Vom</i>), rules for indexing, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.</li> - -<li class="p2">Wales, National Library of, British copyright depository, <a href="#Page_56">56</a>.</li> - -<li>Welsh prefixes to surnames, rule for indexing, <a href="#Page_115">115</a>.</li> - -<li>Women, married, rules for indexing, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>.</li> - -<li>Words, number of, in different sizes of type, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>.</li> - -<li class="p2">Young Men's Christian Associations, rule for indexing, <a href="#Page_123">123</a>.</li> - -<li class="p2"><i>Zu</i> (<i>Zum</i>, <i>Zur</i>), rule for indexing, <a href="#Page_115">115</a>.</li> -</ul> - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> See page <a href="#Page_63">63</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> See page <a href="#Page_69">69</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> See Contract Form, page <a href="#Page_22">22</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See Contract Form, page <a href="#Page_22">22</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> See Contract Form, page <a href="#Page_20">20</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> See comments on page <a href="#THE_MECHANICS_OF_THE_BOOK">65</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> See Contract Form, page <a href="#Page_21">21</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> See Contract Form, page <a href="#Page_22">22</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> See Contract Form, page <a href="#Page_21">21</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> See qualifications later.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> See comments on page <a href="#Page_17">17</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> See comments on page <a href="#Page_15">15</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> See comments on page <a href="#Page_18">18</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> See comments on page <a href="#THE_COPYRIGHT">31</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> See comments on page <a href="#Page_16">16</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> See comments on page <a href="#Page_17">17</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> This varies from five to twelve copies.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Usually one-third discount from retail price.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> See comments on pages <a href="#Page_13">13-14</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> See comments on page <a href="#Page_13">13</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> The bracketed words show the alternative arrangement -on basis of semi-annual royalty accounting. See -comments on page <a href="#Page_29">29</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> See Contract Form, page <a href="#Page_21">21</a>, §4, I.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> The notice of copyright must consist either of the -word "Copyright" or the abbreviation "Copr." accompanied -by the name of the copyright proprietor, and -if the work be a printed literary, musical, or dramatic -work, the notice shall include also the year in which -the copyright was secured by publication. In case, -however, of copies of (<i>f</i>) Maps; (<i>g</i>) Works of art; -models or designs for works of art; (<i>h</i>) Reproductions -of a work of art; (<i>i</i>) Drawings or plastic works of a -scientific or technical character; (<i>j</i>) Photographs; -(<i>k</i>) Prints and pictorial illustrations, the notice may -consist of the letter C inclosed within a circle, thus: ©, -accompanied by the initials, monogram, mark or symbol -of the copyright proprietor: <i>Provided</i>, that on some accessible -portion of such copies or of the margin, back, permanent -base or pedestal, or of the substance on which -such copies shall be mounted, his name shall appear. -</p> -<p> -The notice of copyright must be applied in the case -of a book or other printed publication, upon its title-page -or the page immediately following [the back of -the title-page], or if a periodical either upon the title-page -or upon the first page of text of each separate -number or under the title heading, or if a musical work -either upon its title-page or the first page of music; but -one notice of copyright in each volume or in each number -of a newspaper or periodical published is sufficient.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> See page <a href="#Page_38">38</a> for advice about procedure in case of -periodicals themselves.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> On the following page is given a reduced facsimile -of both sides of the Application Blank filled out ready -to be sworn to.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> See page <a href="#Page_43">43</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> No special registration beyond that to secure the -American and the English copyright is required in countries -with whom the United States has copyright treaties.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> See page <a href="#Page_34">34</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> See page <a href="#Page_10">10</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> For estimating, see page <a href="#Page_69">69</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> See page <a href="#Page_4">4</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> See page <a href="#Page_10">10</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See page <a href="#THE_ARRANGEMENT_OF_THE_BOOK">88</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> A chapter usually begins with a sinkage of one-quarter -page from the top, and the last page of a chapter -is usually but partially filled with printed matter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> The word "leaded" is used here to indicate a six-to-pica -or 2-point lead. See page <a href="#Page_62">62</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> See page <a href="#Page_70">70</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> When a volume is left with uncut edges it is to be -assumed that its binding is of a temporary nature, and -that the purchaser will rebind it to suit his taste.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> See <a href="#GLOSSARY_OF_TERMS">Glossary of Terms</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> For the form and location of this notice as required -by law see page <a href="#Page_34">34</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> This is often an important matter in the case of -unbound sheets shipped to England, as the "country of -origin" must be printed on all such sheets, and the -printer's imprint must contain the letters "U.S.A."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> These can be purchased at such stores as the Dennison -Mfg. Co. at a small price.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> This pamphlet is issued by the Government, and -copies may be secured from the Superintendent of -Documents, Government Printing Office, Washington, -D.C., at twenty cents a copy.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> The British Museum enters British noblemen under -the family name. The reasons for entry under the -title are that British noblemen are always so spoken of, -and always sign by their titles only. The reasons -against it are that the founders of noble families are -often as well known—sometimes even better—by -their family name as by their titles (e.g., <i>Charles Jenkinson</i> -afterwards <i>Lord Liverpool</i>, <i>Sir Robert Walpole</i>, -afterwards <i>Earl of Oxford</i>); that the same man bears -different titles in different parts of his life thus Philip -Stanhope published his "History of England from the -Peace of Utrecht" as Lord Mahon, and his "Reign of -Queen Anne" as Earl Stanhope; that it separates -members of the same family (Lord Chancellor Eldon -would be under <i>Eldon</i> and his father and all his brothers -and sisters under the family name <i>Scott</i>), and brings -together members of different families (thus the earldom -of Bath has been held by members of the families -of Shaunde, Bourchier, Granville, and Pulteney, and -the family name of the present Marquis of Bath is -Thynne), which last argument would be more to the -point in planning a family history. The same objections -apply to the entry of French noblemen under -their titles, about which there can be no hesitation. -The strongest argument in favor of the Museum rule -is that it is well-established, and that it is desirable -that there should be some uniform rule.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> See page <a href="#Page_109">109</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> So that <i>Thomas de Insula</i> and <i>Thomas Insulanus</i> -may not be separated.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Here the transposed <i>The</i> is non-existent for the -arranger.</p></div></div> - -<hr class="full" /> - -<div class="transnote"> -<h2><a id="Transcribers_Note"></a>Transcriber's Note:</h2> - -<p>Variable spelling and hyphenation have been retained. Minor punctuation -inconsistencies have been silently repaired.</p> - -<h3>Corrections.</h3> - -<p>The first line indicates the original, the second the correction.</p> - -<p>p. <a href="#Page_19">19</a>:</p> -<ul> -<li>the -the parties hereto do covenant and agree as follows</li> - -<li><span class="u">the parties</span> hereto do covenant and agree as follows</li></ul> - -<ul><li>thereof in the United States of America and in the -Dominion of Canada and elsewhere<sup>[11]</sup></li> - -<li>thereof in the United States of America and in the -Dominion of Canada and elsewhere<span class="u"><sup>[10]</sup></span></li></ul> - -<p>p. <a href="#Page_162">162</a>:</p> - -<ul><li>to secure coypright protection, 21, 31</li> - -<li>to secure <span class="u">copyright</span> protection, 21, 31</li></ul> - -<h3>Errata.</h3> -<p>The first line indicates the original, the second how it should read. -</p> -<p>p. <a href="#Page_140">140</a>:</p> - -<ul><li><b>Half-leather Binding</b>.—A binding which consists of leather back -and paper sides.</li> - -<li><b>Half-leather Binding</b> <span class="u">(<i>b</i>).</span>—A binding which consists of leather back -and paper sides.</li></ul> - -<p>p. <a href="#Page_144">144</a>:</p> - -<ul><li><b>Minion</b>.—The old-style name of a size of type equal to 7-point.</li> -<li> -<b>Minion</b> <span class="u">(<i>c</i>)</span>.—The old-style name of a size of type equal to 7-point.</li> -</ul> -<p>p. <a href="#Page_150">150</a>:</p> - -<ul><li><b>Tapes</b> (<i>b</i>).—Strips of tape extending</li> -<li> -<b>Tapes</b> (<i>b</i>).—<span class="u">(1) Strips</span> of tape extending -</li></ul> -</div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Author's Desk Book, by William Dana Orcutt - -*** END OF THIS PROJECT GUTENBERG EBOOK THE AUTHOR'S DESK BOOK *** - -***** This file should be named 53520-h.htm or 53520-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/5/2/53520/ - -Produced by MWS, Eleni Christofaki and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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