EXAMPLE 186.—On automobile catalogs typography seldom receives the attention it deserves. Illustration and decoration are given great attention, and what type matter is used seems to be like a guest invited at the eleventh hour. However, this example is from a catalog in which type acts an important part. In its original form this page was about twice the size of the reproduction and was printed in dark gray and orange on white antique paper. It will be seen that beginning with a colored initial the reader can without effort or eyestrain read the descriptive matter, which is followed by technical details in smaller type and a line illustration of the car. Scotch Roman was used, and it was not found necessary to introduce italic. EXAMPLE 187.—The treatment of this page is uncommon for catalog purposes. A Goudy type-face was printed in dark brown (border rules in light brown) on an Italian hand-made paper. The size was more than twice that shown here. Sub-headings have all been grouped in the panel at the left, each so placed as to be opposite the paragraph to which it belongs. The effect was one of richness and suggestive of quality. Illustrations of the cars were of page size printed by the gravure process. EXAMPLE 188.—Few printers would use rules in tabular form for a high-class wine list; tabular work is supposed to offer no opportunity for art expression. We know of the stone rejected by the builder which became the headstone of the corner. We have also heard of Michelangelo carving a masterpiece from an ill-shaped block of stone that had been discarded by other sculptors. Mr. Cleland did an equally interesting thing when he selected rules to give decorative quality to this wine list, supplementing characteristically drawn head- and tail-pieces. Caslon Oldstyle was used and the paper was hand-made. A pleasing effect was obtained by letterspacing the capitals in the headings. [Illustration: EXAMPLE 189 German treatment of a wine list, showing neat typography and attractive decoration ] EXAMPLE 189.—We usually expect strong, masculine effects from German typographers and decorators, and when we come across a wine list as dainty as this one we are surprised and pleased. There is remarkable harmony of type-face, decoration and illustration. The type-face is uncommonly legible for so ornamental a letter, and the light decorative lines of the illustration and border reflect the qualities of the type-face. In the original there was an additional border around the one here shown, and it was printed in a very light gray-brown tint. The tint also appeared in parts of the illustration. [Illustration: EXAMPLE 190 ] [Illustration: EXAMPLE 191 Title-page of a catalog of exhibits, and a page showing the use of capitals and italic for the descriptions. By D. B. Updike ]