Template:EB9 Transclusion/doc

Usage

 {{EB9 Transclusion | 1 | 2 | 3 | 4 | 5 }} 

or

{{EB9 Transclusion
| volume	= 
| start page	= <!--in the SCAN-->
| start section	= 
| end page	= <!--in the SCAN-->
| end section	= 
}}

This template goes under the {{EB9}} header of the article. It transcludes the text from the scanned pages in a manner similar to the < pages index > command.

The "Volume" and "Start Page" terms must be filled in. If no section is provided, the default is the article's name in all capital letters. The template will not be able to transclude the text until it has had its sections formatted and been saved.

• | volume =
  • Type in the number of the volume the entry appears in. Use Arabic numerals without leading zeroes: 1, 2, 3, &c.
• | start page =
  • Type in the number of the page with the beginning of the entry IN THE SCANNED TEXT. This will always be several numbers higher than the page number in the original text. Use Arabic numerals without leading zeroes: 1, 2, 3, &c.
• | start section =
  • Type in the name of the section where the entry begins in the scanned text. (You can find or change this name by editing the scanned text. It will be the name ## inside hash marks ## at the top of the entry.
    If this term is omitted, the template default is to use the article's name IN ALL CAPS.
• | end page =
  • Type in the number of the page with the end of the entry IN THE SCANNED TEXT. Use Arabic numerals without leading zeroes: 1, 2, 3, &c.
    If this term is omitted, the template default is to use same value as the start page. (In other words, you don't need to include this for entries which begin and end on the same page.)
• | end section =
  • Type in the name of the section where the entry ends in the scanned text. (You can find or change this name as above.)
    If this term is omitted, the template default is to use the same value as the start section. (In other words, you don't need to include this for entries which begin and end on the same page or keep the same section names on all of their pages.)

Examples

Typical

 {{EB9 Transclusion | 7 | 13 | DEADLY NIGHTSHADE | 13 | DEADLY NIGHTSHADE }} 

DEADLY NIGHTSHADE. See Belladonna.

{{EB9 Transclusion
| volume		= 3
| start page	= 157
| start section	= AUTOGRAPH
| end page	= 158
| end section	= AUTOGRAPH
}}

AUTOGRAPH (ἀυτός and γράφειν), that which is written with a person's own hand, an original manuscript as opposed to an apograph or copy, is used to designate either a whole document (e.g., a letter) or a signature only. The latter is perhaps the more common use of the term. The interest attaching to the possession of autographs of distinguished men, which has created a new branch of industry, is partly historical, partly psychological. The signatures or original manuscripts are interesting and valuable elements in the representation of the life of any individual; and it has been thought that from the autograph some conclusions might be drawn as to the mental characteristics of the writer. It is doubtless true that temperament will in some degree affect handwriting, but the conditions to be taken into account are so numerous and variable that the attempt to infer the one from the other seems practically hopeless. Poe, in his ingenious "Chapter on Autography" (Works, Ed. Ingram, vol. iv.), speaks very strongly on this subject. He thinks that none but the unreflecting can deny "that a strong analogy does generally and naturally exist between every man's chirography and character," and to support his statement compares the signatures and mental characteristics of a large number of contemporary American writers. In many cases, however, he is obliged to confess that no inference whatever can be drawn, in some others the analogy is extremely forced, and in others, again, the knowledge of the writer's character has evidently furnished the key for the interpretation of the handwriting. The value placed by an amateur on any autograph will, of course, vary with the celebrity of its author and the scarcity of genuine specimens. The taste for collecting autographs is not confined to modern times; many large collections, e.g., those of Loménie de Brienne, of Lacroix du Maine, and others, were formed in the 16th century, and during the same period we know that albums used to be carried about for the purpose of obtaining the signatures of famous personages. One of these albums preserved in the British Museum is of date 1578. There are at present many valuable public and private collections, while state papers and archives, of course, contain a rich harvest of royal and noble signatures. Fac-similes of original manuscripts appear first to have been printed in Forbes's Full View of the Public Transactions in the Reign of Queen Elizabeth, 1740-41; and soon after, several were given in Fenn's Original Letters from the Archives of the Paston Family, 1787.

The following are, perhaps, the most useful works on the subject:—J. G. Nichol's Autographs of Royal, Noble, Learned, and Remarkable Personages conspicuous in English History, from the Reign of Richard II. to that of Charles II., Lond. 1829; Autographic Mirror, 1864, sqq.; Netherclift, Handbook of Autographs; Phillips and Netherclift, Autographic Album; Simms, Autographic Souvenir; Netherclift and Simms, Autographic Miscellany; Isographie des Hommes Célebrès, 4 vols. 1829-43; Iconographie des Contemporains, 2 vols. 1823-32; Feuillet de Conches, Causeries d'un Curieux, 3 vols. 1862-64; Lescure, Les Autographes, 1865; Günther und Schulz, Handbuch für Autographensammler, 1856; Sammlumg historisch berühmter Autographen, 1846; Autographen Album zur 200 jähr. Gedächtnissfeier des Westphälischen Friedens-schlusses, 1848.

Abbreviations

• {{EB9tr}}
• {{eb9tr}}

See also

• Help:Transclusion
• {{EB9.7 Transclusion}}