TJir Principles of Musciim Adniinistraiion. 233 



C. — FORM AND SIZIC OF I<AHKI..S. 



1 . The size and typography of the label are of the greatest importance. 

 The best written label maybe ruined by the printer. Not onl}' nutst the 

 letters be large enough to lie legii)le from the customary point of view, 

 but the tN'pe must be plea.sing in form and .so arranged as to lead the 

 e\-e of the reader with pleasure from one line to another, and .so broken 

 into paragraphs as to .separate from each other the topics discu.s.sed. 



Furthermore, a .system of subordinate sizes of type is essential, .so that 

 the most important facts .shall first meet the eye. In many of the labels 

 printed for the National Museum type of four or five different sizes is 

 used, the largest giving the name of the object, the next .size the name 

 of the locality and donor, the next its distribution, and .so on, much in 

 the order of importance of the topics already proposed, while the least 

 essential illustrated matter at the bottom of the label is placed in the 

 .smallest type. The theory is that the largest type should give the in- 

 formation desired b}^ the greatest number of visitors (by everyone); the 

 next size, that needed by tho.se who are studying the collection in a more 

 leisurely wa}-, and .so on. 



Too much can not be said of the necessity of l)reaking the descriptive 

 matter into .short paragraphs, which should never be more than half a 

 .square in length. 



Comment. —Where a label of great width is printed, it i.s believed that it is better 

 to arrange the matter in two columns, rather than to weary the eye by following 

 back and fro across the card. Labels, as a rule, .seem to be most satisfactory when 

 nearly square, or with the height less than the width. 



2. Mttch attention should be given to the selection of tj'pe and color 

 for labels, it having been found that labels printed on white cardboard 

 become dirty or turn yellow, besides being dazzling and hard to read. 

 INIany tints of cardboard, which would otherwise be available, can not be 

 u.sed becau.se of their tendency to fade, objectionable in itself and doubly 

 objectionable when it becomes nece.s.sary to put a fre.sli bright label by 

 the side of one which has become soiled in use. 



Comment. — Almost every sample of colored cardboard which has l^een tried in 

 the United States National Museum has faded after a time. The most .satisfactory 

 has been one of greenish gray. This is temporarily in use in the geological and 

 mineralogical collections, where a light gray color for the interior of the cases and 

 shelves seems preferable, and also in the collection of birds, which is in.stalled, by 

 jireference, in a somewhat dark apartment. The standard label board, however, is a 

 heavy rough-faced manila. The color, being that natural to this fiber, is unchange- 

 al)le. There is no fading, little tendency to become dirty, and the soft, rich, brownish- 

 yellow tone sets off admirably the heavy black lines of the antique-faced type which 

 is used, and harmonizes well with the Ijuffsand maroons which are favorite colors for 

 case interiors. Cartridge paper in any tint of gray or liglit brown is an admirable 

 material for labels, especially large ones. It must, however, be glued to a tablet. If 

 this is made of dark wood witli a bevel retreating from the edge of the label, forming 

 a dark border, the effect is very pleasing. Labels thus prepared and mounted upon 

 metal rods are used by the National JMuseum for general-classification labels in the 

 interior of cases. 



