The method of denoting capital letters in manuscript is by underscoring them with three distinct lines.
SMALL CAPITALS.
Small Capitals are in general cast to Roman founts only, and are used for the purpose of giving a stronger emphasis to a word than that conveyed by Italic. They are likewise used for running heads, heads of chapters, &c. The first word of every section or chapter is commonly put in small capitals; but when a two-line initial letter is used, the remainder of the word should be in capitals.
The small capitals C, O, S, V, W, X, Z so closely resemble the same letters in the lower case, that care is required to prevent intermixing.
In manuscript, small capitals are denoted by two lines drawn under the words.
Italic words are designated by a single stroke underneath.
POINTS.
Points consist of a comma, semicolon, colon, period or full-point, mark of interrogation, and mark of admiration. Shortly after the invention of printing, the necessity of stops or pauses in sentences for the guidance of the reader produced the colon and full-point. In process of time, the comma was added, which was then merely a perpendicular line, proportioned to the body of the letter. These three points were the only ones used till the close of the fifteenth century, when Aldo Manuccio gave a better shape to the comma, and added the semicolon; the comma denoting the shortest pause, the semicolon next, then the colon, and the full-point terminating the sentence. The marks of interrogation and admiration were introduced many years after.
Perhaps there never existed on any subject a greater difference of opinion among men of learning than on the true mode of punctuation. Some sprinkle the page with commas almost as promiscuously as if from a pepper-box, and make the pause of a semicolon where the sense will bear only a comma; while others are extremely careless, and omit points even when they are needed to give the true sense of a passage at the first reading.
The lack of an established practice is much to be regretted. The loss of time to a compositor occasioned by altering points arbitrarily is a great hardship. Manuscripts are often placed in the printer’s hands without being properly prepared: either the writing is illegible, the spelling incorrect, or the punctuation defective. Unless the author will take entirely on himself the responsibility of the pointing, it will be better to omit every point in the copy, except at the end of a sentence, rather than confuse the mind of the compositor by commas and semicolons placed indiscriminately, in the hurry of writing, without any regard to propriety.[10]