The first line of a new paragraph is indented an em quadrate, of whatever type the work may be; though, when the measure is very wide, two or even three ems are preferable. By this means the paragraph is more strongly marked, the indention of an em only being scarcely perceptible in a long line. Authors vary materially in the mode of making paragraphs. Some carry the argument of a position to a great length before they relieve the attention of the reader; while others break off at almost every place that will admit only of a full-point. But the author’s plan is to be followed, unless he direct otherwise. Authors should always make the beginning of a new paragraph conspicuous to the compositor, by indenting the first line of it far enough to distinguish it from the preceding line in case it should be quite full.
It is a practice too prevalent among compositors to drive out a word at the close of a paragraph, or even to divide it, in order to reap the advantage of a break-line. Part of a word, or a complete word, in a break-line, if it contain no more than three or four letters, is improper. It should be the business of the proof-reader to notice and check this irregularity.
The last line of a paragraph should not on any account begin a page, neither should the first line of a paragraph come at the bottom of a page if the work has white lines between the breaks: to prevent this, the compositor may make his page either long or short, as most convenient, always taking care that the odd and even pages back, so that the extra length or shortness of the page may escape observation.
INDEXES.
The index is generally placed at the end of the volume, and set in letter two sizes less than that of the work. It is always begun upon an uneven page. In setting an index, the subject-line should not be indented; but, if the article make more than one line, all but the first should be indented an em.
In preparing the copy of an index, care should be taken that the subject-words are arranged alphabetically, as the compositor will not transpose his matter afterward without remuneration.
Where several index-figures are used in succession, a comma is put after each folio; but, to save figures and commas, the succession of the former is noted by putting a dash between the first and last figures: thus, 4-8. Again, if an article has been collected from two pages, the folio of the second is supplied by sq., or sequente, and by sqq., or sequientibus, when an article is touched upon in succeeding pages. A full-point is not put after the last figures, because it is thought that their standing at the end of the line is a sufficient stop. Neither is a comma or a full-point placed to the last word of an article in a wide measure and open matter with leaders; but it is proper to use a comma at the end of every article where the figures are put close to the matter, instead of running them to the end of the line.
TITLES.
Ornamental type may be used to good purpose in fancy jobs, and without violating any of the canons of a correct taste. The universal eye is pleased with ornament; and it is well to foster this fancy, just as we cultivate a poetical feeling, or a passion for music, or flowers, or any beautiful thing that God has made. But, as life should not be all music, or flowers, or poetry, so printing should not be all ornament. And as men whom nature puts in the fore-front of all other men are noted for a becoming simplicity of life and style, so the title-page that heralds all the inner pages of a book should be printed in a style of elegance severe and unadorned: no fancy type, except a line of Scribe Text, or Old English,—no italics, unless perchance a single-line motto in Pearl caps,—no bold-face type, nor Antique, nor Gothic,—but plain, clear, light-faced letters that seem the embodiment of the soul of thought. All experienced printers incline to this simple style; but publishers sometimes interfere with this province of art legitimate only to a typographer, and insist on the indulgence of a taste which certainly owes no allegiance to any of the laws of beauty; and the printer or stereotyper who executes the book receives credit for a title-page which he would fain utterly repudiate.