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The style, preface, layout, and many of the hymns were copied from the official 1835 hymn book, but forty of the ninety hymns were swapped out. Around thirty of the new hymns were written by Mormons, including five by the influential apostle Parley P. Pratt. [ 4 ]
Preface to the poem Milton by William Blake. A preface (/ ˈ p r ɛ f ə s /) or proem (/ ˈ p r oʊ ɛ m /) is an introduction to a book or other literary work written by the work's author. An introductory essay written by a different person is a foreword [contradictory] and precedes an author's preface.
The style, preface, layout, and many of the hymns were copied from the official 1835 hymn book, but forty of the ninety hymns were swapped out. Around thirty of the new hymns were written by Mormons, including five by the influential apostle Parley P. Pratt. [ 3 ]
The possible layout of the sets of letters of the alphabet, or words, on a page is determined by the so-called print space, and is also an element in the design of the page of the book. There must be sufficient space at the spine of the book if the text is to be visible.
The terms are shortened from Latin: rēctō foliō and versō foliō (which translate as "on the right side of the leaf" and "on the back side of the leaf"). The two opposite pages themselves are called folium rēctum and folium versum in Latin, [1] and the ablative rēctō, versō already imply that the text on the page (and not the physical page itself) are referred to.
In a book of technical writing, the introduction may include one or more standard subsections: abstract or summary, preface, acknowledgments, and foreword.Alternatively, the section labeled introduction itself may be a brief section found along with abstract, foreword, etc. (rather than containing them).
Recto page from a rare Blackletter Bible (1497). The canons of page construction are historical reconstructions, based on careful measurement of extant books and what is known of the mathematics and engineering methods of the time, of manuscript-framework methods that may have been used in Medieval- or Renaissance-era book design to divide a page into pleasing proportions.
In the 19th century, Paris green and similar arsenic pigments were often used on front and back covers, top, fore and bottom edges, title pages, book decorations, and in printed or manual colorations of illustrations of books.