DEFINITION
A description of distinguishing or identifying physical markings, lettering,
annotations, texts, or labels that are a part of a work or are affixed,
applied, stamped, written, inscribed, or attached to the work, excluding
any mark or text inherent in materials (record watermarks in MATERIALS
AND TECHNIQUES).
SUBCATEGORIES
GENERAL
DISCUSSION
This category includes all words, numbers, symbols, stamps, and marks
applied to the object during or after creation, whether by the artist
or architect, his agent, or an owner or other later hand. It includes
inscribed signatures, dates of execution, scale, explanatory texts, and
other remarks. It also includes texts that are considered part of the
art work, such as calligraphy in a Chinese painting, text on a medieval
manuscript page, or text written on a statue, as on the scroll held in
the hand of a Romanesque sculpted prophet. Watermarks and other marks
inherent in the materials should be recorded and indexed in MATERIALS
AND TECHNIQUES - WATERMARKS.
Specificity and Exhaustivity
A precise transcription or a prose description of the inscription is important
to provide clarity and explain unusual features of the inscription. The
information in this transcription should then be indexed in other subcategories
as appropriate (e.g., inscribed date should be recorded in CREATION -
DATE); this makes it possible to formulate queries about types of inscriptions
and their authors, as well as their locations, dates, and scripts.
When
transcribing an inscription, care should be taken to transcribe the inscription
as it is written, with little or no subjective interpretation. While inscriptions,
stamps, marks, labels, annotations, graffito, and other texts found on
a work may provide information that may improve understanding of a work,
their interpretation is often disputed. An accurate transcription or description
is critical to the use of an inscription as evidence. All explanatory
text that accompanies the inscription (e.g., the location or medium) should
be clearly distinguished from the transcription. For example, editorial
text could be separated from the transcription by using a colon, as in
the following text: signed lower right, below the image: A. Kertész;
inscribed by the artist lower right: Paris
[Figure 12].
When
an inscription or mark is documented, the following characteristics are
important: Who made it; the way in which it was made (materials and technique);
its location on the object; and an indication of what the inscription
says or what the mark looks like. This may include a transcription, transliteration
(if it is not in the Roman alphabet), description, or translation. Remarks
about the significance of an inscription or mark, and citations to any
sources used to identify or describe an inscription or mark, can also
be recorded. This category is also used to record the content of works
that are primarily textual.
Note
that the information found in an inscription is not always accurate. Often
"signatures," such as those on a number of works purported to be by Rembrandt,
were added later. Inscribed dates, such as those on Corot's prints, may
not reflect the actual date of the printing. Inscriptions may also be
difficult to decipher: For example, Joseph Hecht's inscription 1:2
means something different from impression number or scale, which would
typically be expressed in a similar way as 1/2. The location of
an inscription may give it meaning, as is the case of the Gray collection
at Harvard. The colophon in a manuscript may be copied in later editions
without regard for its accuracy. Inscriptions may have been added to works
at sales, such as the Degas estate sale, or by dealers, such as stock
numbers or coded prices.
Inscriptions
and marks are transcribed during a detailed examination of the object.
They may also have been transcribed and published elsewhere. Secondary
or primary research sources may have to be consulted to identify the purpose
and origin of certain types of inscriptions, such as an inscribed lot
number from a sale.
Cataloging
rules
For the subcategories in this section, basic recommendations
and discussion are provided below. For a fuller, more prescriptive
set of cataloging rules for some of the subcategories, see
Chapter 3: Physical Characteristics in
Cataloging Cultural Objects (CCO), which deals with a
critical subset of the CDWA.
RELATED
CATEGORIES and ACCESS
Inscriptions and marks are important aids in authenticating a work or
object. They also assist in interpretation and dating, and provide information
about a work's history. Inscriptions may also help to identify the subject
or purpose of a work of art or architecture. Marks
and inscriptions can provide clues to the provenance of a work and the
history of its use by establishing relationships between works. For example,
works that were all in the same collection sometimes bear the same collector's
mark. Works that were all in the same sketchbook may have consecutive
numbering in the same hand. Metalwork often bears an identifiable hallmark,
and similar seals may link various scrolls.
Researchers
will primarily be interested in reading an accurate transcription of the
inscription, along with explanatory text. When researchers wish to query
indexed information contained in the inscription, they will search mainly
by the author's name or inscription type, in combination with other characteristics
of a work. This would make it possible to identify, for example, all drawings
signed by David, or all paintings signed by Velázquez. Specialists
may wish to search a defined set of works, such as drawings from a certain
date, for inscriptions in a certain medium or location, to find, for example,
all works bearing a particular seal of Ito Jakuchu. [1]
Identifying
numbers, such as model numbers and serial numbers, should also be recorded
in CREATION - NUMBERS. Watermarks are treated as a characteristic of the
material used as a support and, if they are mentioned in INSCRIPTIONS/MARKS,
they should also be recorded in MATERIALS AND TECHNIQUES - MATERIALS -
WATERMARKS. Inscriptions or marks found on an object may also provide
information recorded in CREATION - CREATOR, CREATION - COMMISSION, CREATION
- DATE, SUBJECT MATTER, CONTEXT, SCALE, STATE, OWNERSHIP, and other categories.
8.1. Inscription Transcription
or Description
DEFINITION
The
transcription or description of the content of the inscription, mark,
or text, which includes the material or medium in which the inscription,
mark, or text was executed; its support if it is on a separate piece affixed
to the object; the method by which the inscription, mark, or text was
produced; and a brief description of the content or appearance of the
inscription or mark.
EXAMPLES
signed
and dated lower left: 1505 / AD [monogram] [Figure
15]
signed lower left below the image: A Kertész; inscribed by
the artist lower right: Paris [Figure
12]
inscribed in frame: ECCE ANCILLA DOMINI FIAT MIHI SECUNDUM VERBUM
TUU[M]; words projecting from angel's mouth: AVE GRATIA PLENA DOM[INUS
TECUM]; text from Isaiah 7:14 is inscribed on book held by the Virgin
[Figure 28]
inscribed by the artist, right to left across the top, in brown
ink: jicipit liber. endaborum. assauasorda. judeo inebraicho coposit[us]
et a platone / tiburtinj inlatin sermone translat[us] anno. arabu. dx.
mse sap h ar / capi tulu pimu ingeometrice arihmetice (p) vnyversalia
proposita: franco. o dif. [referring to a geometry book by Abraham bar
Hiyya Savasorda in library of San Marco, Florence]; bottom left corner,
collection mark of Sir Thomas Lawrence: L.2445 [Figure
30]
stamped under the back seat rail: IAVISSE [for Jean Avisse] [Figure 14]
lid is painted with monogram and coat of arms of 8th daughter of
Louis XV of France, Madame Louise; bowl is marked on bottom with painter's
mark of Méraud père and the date letter "L" (for the year
1764) [Figure 1]
Latin text in Carolingian minuscule, arranged in columns of 20 lines
[Figure 31]
"I didn't take no stereos";/ "You are in North America when you
don't know where you are";/ "Why don't you go back to where you come
from?" [2]
Within the floral wreath, the plate is embossed with the letters
'QR' under a crown, with the marking '1st AMN'.[3]
DISCUSSION
and GUIDELINES
Optional: Record an exact transcription or accurate transliteration
of an inscription, or a description of a mark found on a work.
All marks or written words added to the object at the time
of production or in its subsequent history should be noted,
including signatures, dates, dedications, texts, and colophons,
as well as marks, such as the stamps of silversmiths, publishers,
or printers. Inscriptions, marks, or annotations found on
any secondary support, mat, mount, frame, or plaque adjacent
to the work or on paper or other types of labels attached
to the work may also be described here. Record watermarks
and other marks inherent in the materials in MATERIALS AND
TECHNIQUES.
Among the various types of inscriptions, it is a priority to record signatures,
dates, and inscribed titles. Inscribed titles should be recorded in TITLES,
but they may be repeated or recorded in fuller form in INSCRIPTION.
Form and Syntax
Record an indication of the nature and position of the inscription (e.g.,
lower center, recto, or verso) if known, followed by a colon,
and then the accurate transcription of the inscribed text. Record the
transcription so that it accurately reflects case and abbreviations of
the inscription on the work. Indicate missing or illegible text with ellipses,
question marks, or other conventional notation. Fill in abbreviated text
if necessary for clarity, but place all editorial additions in square
brackets to distinguish them from the actual transcription. Indicate line
breaks with a forward slash.
The
transcription may be accompanied by additional explanatory information
or a translation. Use brackets for any editorial comment that appears
after the colon in the body of the transcription. Use a semi-colon to
separate descriptions of multiple inscriptions. For descriptive text (e.g.,
signed and dated), avoid abbreviations and use lower case.
Signatures and dates should be clearly distinguished from other inscriptions.
Examples of terminology for this editorial comment includes the following:
For type of inscription: signed, dated, titled, maker's mark, colophon,
collector's mark, impressed, graffito, not inscribed.
For the location on the work: lower right; upper center verso; below
the left handle; within printing plate.
For typeface/letterform: Helvetica 9 pt bold, open letters, Carolingian
minuscule, rustic capitals, dotted delta.
Note
unusual or important features, such as when the medium is unusual or different
from that of the image, when an artist's name is not a signature, when
the signature is in the plate rather than on the sheet of a print, when
a date is incorrect, etc. Clearly indicate any uncertainty. Use words
such as probably when scholarly opinion varies or the transcription
is uncertain.
If the cataloger or a source has translated the text from the original
language (e.g., if the original text is in a non-Roman alphabet), clearly
indicate the translation by placing it in brackets.
If
it is not possible to transcribe a lengthy inscription, describe or characterize
it. In the case of groups, volumes, and heavily inscribed items, inscriptions
may be summarized. For example, a complex Chinese scroll may have many
seals; rather than transcribe or describe each one, it may be preferable
to indicate seals present and list the names of the collectors
represented. Describe stamps or other marks according to their shape and
motifs.
TERMINOLOGY/FORMAT
Free
text: This is not a controlled field. However, transcriptions,
lacunae, illegible words, line breaks, etc. should be indicated in a consistent
way.
RELATED
CATEGORIES and ACCESS
Index
any important information in the inscription in the other subcategories
of INSCRIPTIONS/MARKS, in TITLE, CREATOR, or any other appropriate category.
It should be possible to do word searches on the text of the inscription.
Researchers may wish to find all works, for example, where the artist
is Rembrandt but the signature is in a later hand, or where a specific
Mayan glyph appears.
8.2. Inscription Type
DEFINITION
The
kind of inscription, stamp, mark, or text written on or applied to the
work.
EXAMPLES
inscribed
not inscribed
not examined
signed
dated
titled
annotated
DISCUSSION
and GUIDELINES
Optional: Record a term indicating if there
is an inscription and what kind of inscription it is.
Form and syntax
Record terms in lower case. If this subcategory is used, it
is a priority to note the presence or absence of inscriptions
(e.g., inscribed or not inscribed). It
is recommended to also record the specific type(s) of inscriptions
or marks, particularly signatures and dates. An inscription
may be of more than one type, as for example, when a work
is both signed and dated. Use the following terms:
inscribed
not inscribed
not examined
signed
dated
titled
annotated
bookplate
calculations
carved
collector's mark
colophon
color notes
dedicated
details labeled
device
dimensions given
foundry mark
graffito
hallmark
handwritten
iconograph notation
impressed
imprinted
initialed
|
inscribed dimensions
inscribed stamp
instructions
keylabeled
location of subjectmaker's mark
marked
materials labeled
monogrammed
notes
numbered
office address
painted
parts labeled
place of execution
printer's chops
production mark
revisions
rooms labeled
rubber stamped
schedule
specifications
stamped
stenciled
title block
transferred
|
Use
INSCRIPTION TYPE to indicate the presence of an artist's signature, date
mark, maker's mark, and other types of marks and inscriptions. Each type
of mark should be identified as required by the needs of the cataloging
institution, so that it will be possible to search for specific types
of inscriptions or marks, such as all monograms, or all works that have
dates. It is often difficult to identify whether a signature is an autograph
or not. For example, Dürer's monogram has been added to many works
by other artists. It must be possible to accommodate uncertainty in this
category.
TERMINOLOGY/FORMAT
Controlled
list: Control this subcategory with an extensible controlled list,
including the terms in Examples above and other terminology as necessary.
Controlled terminology may be found in the AAT (especially the Processes and Techniques and Information Forms hierarchies).
8.3. Inscription Author
DEFINITION
The
name or a phrase identifying the author or person responsible for the
mark, inscription, or text found on a work.
EXAMPLES
Gogh, Theo van
Margaret, Duchess of Newcastle
Painter of Grolier 49
Mayan 8th century
unknown 19th century
unknown
DISCUSSION
and GUIDELINES
Optional: Identify the person responsible for
a particular inscription.
Form and syntax
Use the rules for constructing names in the PERSON/CORPORATE
BODY AUTHORITY.
Since a work may have many different inscriptions, each should be distinguished
by identifying the individual(s) who made it. This subcategory
makes it possible to associate the person who wrote an inscription,
or applied a mark, with a transcription or description of
that inscription. Often it is difficult to identify the author
of an inscription definitively; in many cases, those who added
inscriptions on an object are identified in relative terms,
or by the time when the inscription was made.
TERMINOLOGY/FORMAT
Authority: Ideally, this subcategory should
be linked to the PERSON/CORPORATE BODY AUTHORITY, which may
be populated with terminology from published sources, such
as ULAN, LC Name Authorities, and Canadiana Authorities.
Free text: If this category is free-text, the use of consistent
forms of personal and corporate names is recommended. Controlled
vocabulary or consistent syntax should be used to indicate
"unknown hands." See CREATION - CREATOR - IDENTITY.
8.4. Inscription Location
DEFINITION
The position on the work where an inscription or mark is found.
EXAMPLES
upper left
lower right
verso, upper center
below the left handle
along the bottom edge
lower-left leg
on underside of base
within printing plate
within letter block
DISCUSSION
and GUIDELINES
Optional: Record a term or phrase indicating
the location of an inscription or mark. Use lower case. The
location generally refers to a section of the object; it may
refer to a position relative to the subject, if necessary
(e.g., under the angel's wing).
Include this information if it is required for retrieval.
The place in which an inscription and/or mark appears on a
work of art may be important to its interpretation. For example,
the alignment of the seals on Chinese scrolls can be significant.
An inscription found within the image of a print [Figure
34] has a different significance than printed letters
that were added to the plate later, or that may have been
printed with a different plate. Both these types of inscriptions
may appear on many different impressions of a print, while
an inscription added to the sheet after it was printed may
be unique to a particular impression.
The
location of inscriptions and marks can be thought of in many different
ways, and the system used to describe it will vary depending on the type
of object. For two-dimensional works, the first concern is whether an
inscription appears on the recto or the verso of the work. On works consisting
of one plane, systems that divide the work into quadrants from upper left
to lower right are often used. With three-dimensional objects, phrases
such as below the lip or on the base may be used.
TERMINOLOGY/FORMAT
Controlled
list: Control this subcategory with an extensible controlled list,
using the terms in the Examples above, and others as needed.
8.5. Inscription Language
DEFINITION
The language of the inscription or the language of the text
in a primarily textual work.
EXAMPLES
Latin
Italian
French
Sanskrit
DISCUSSION
and GUIDELINES
Optional: Record a term indicating the language of the inscription
or text. Capitalize the names of languages.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list. Values may be derived from a source such
as Ethnologue: Languages of the World. 14th edition.
Barbara F. Grimes, ed. Dallas, Texas: SIL International, 2000.
The ISO-639 standard may be used for language codes; however,
if ISO codes are used, values must be translated into legible
form for end-users.
8.6. Typeface/Letterform
DEFINITION
The name or a descriptive phrase that identifies the typeface
or script used in an inscription.
EXAMPLES
Helvetica 9 pt bold
Univers
Gothic script
open letters
Carolingian minuscule [Figure
31]
rustic capitals
dotted delta
three-bar sigma
DISCUSSION and GUIDELINES
Optional: If it is required for retrieval, record a term identifying
the typeface or letter form used in the inscription. Use lower
case, but capitalize proper names and script names that are
used as proper names in authoritative sources.
Knowing the type of typeface or letterform is useful in the authentication and
attribution of inscriptions and makes it possible for the
reader to create a mental picture of it. In works that are
primarily textual, the typeface or letterform reflects aesthetic
choices.
Typefaces and letter forms are identified by names or phrases.
If it is not possible to identify a typeface or letter form
definitively, note this in REMARKS (e.g., Typeface is close
to Gill Sans).
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list populated with terminology from the following
sources, and others as required; consult ACRL/RBMS Printing
and Publishing Evidence and ACRL/RBMS Type Evidence.
8.7. Mark Identification
DEFINITION
An identification of the mark type or name.
EXAMPLES
Sèvres double Louis
Grindley Tunstall
R.S. Prussia with star
DISCUSSION and GUIDELINES
Optional: Record a term or reference to a mark on the work (e.g.,
a porcelain mark). Use a name for the mark as found in a mark
authority, if possible. Use lower case, but capitalize proper
names.
If a mark authority is cited, list the citation for the authority
in the CITATIONS subcategory.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list of standard mark descriptions based on published
catalogs and mark dictionaries.
8.8. Inscription Date
DEFINITION
The date or range of dates when an inscription or mark was added to
a work .
EXAMPLES
12 December 1991
May 1970
1993
between 1700 and 1798
by 1848-ca. 1880
1940/1949
17th century
Christmas 1492
20 August 1542
Summer 1956
DISCUSSION
and GUIDELINES
Optional: Record the date when the inscription
or mark was applied. Include references to uncertainty or
ambiguity as necessary.
Form and syntax
Follow the applicable rules for display dates in CREATION
- CREATION DATE.
If required for retrieval, record the date when the inscription
was applied, if known. This is particularly pertinent for
inscriptions that were added after the completion of the art
work. Include references to uncertainty or ambiguity as necessary.
Knowing the date when an inscription was made assists in the
authentication and assessment of the inscription.
TERMINOLOGY/FORMAT
Free
text: This is not a controlled field. Maintain consistent capitalization,
punctuation, and syntax where possible. Index the dates in the controlled
EARLIEST and LATEST DATE subcategories.
8.8.1. Earliest Date
DEFINITION
The earliest date when the inscription or mark could have been added.
EXAMPLES
1991
-525
DISCUSSION and GUIDELINES
Optional: Record the earliest year indicated by the display
DATE.
Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. It is optional to record EARLIEST
DATE; however, if you record a value here, you must also record
LATEST DATE. For rules, see CREATION - CREATION DATE - EARLIEST
DATE.
TERMINOLOGY/FORMAT
Controlled format: Date information must be formatted consistently
to allow retrieval. Local rules should be in place. Suggested formats
are available in the ISO Standard and W3 XML Schema Part 2.
ISO 8601:2004 Representation of dates and times. International Organization
for Standardization. Data Elements and Interchange Formats. Information
Interchange. Representation of Dates and Times. Geneva, Switzerland:
International Organization for Standardization, 2004.
XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.
8.8.2. Latest Date
DEFINITION
The latest date when the inscription or mark could have been added.
EXAMPLES
1991
-500
DISCUSSION and GUIDELINES
Optional: Record the latest year indicated by the display
DATE.
Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. It is optional to record EARLIEST
DATE; however, if you record a value here, you must also record
LATEST DATE. For rules, see CREATION - CREATION DATE - EARLIEST
DATE.
TERMINOLOGY/FORMAT
Controlled format: Date information must be formatted consistently
to allow retrieval. Local rules should be in place. Suggested formats
are available in the ISO Standard and W3 XML Schema Part 2.
ISO 8601:2004 Representation of dates and times. International Organization
for Standardization. Data Elements and Interchange Formats. Information
Interchange. Representation of Dates and Times. Geneva, Switzerland:
International Organization for Standardization, 2004.
XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.
8.9. Remarks
DEFINITION
Additional notes or comments pertinent to information in this category..
DISCUSSION and GUIDELINES
Optional: Record a note regarding the inscriptions
or marks. Use consistent syntax and format. For rules regarding
writing notes, see DESCRIPTIVE NOTE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
8.10. Citations
DEFINITION
A reference to a bibliographic source, unpublished document,
or individual opinion that provides the basis for the information
recorded in this category.
DISCUSSION and GUIDELINES
Optional: Record the sources used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.
TERMINOLOGY/FORMAT
Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.
8.10.1. Page
DEFINITION
Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.
DISCUSSION and GUIDELINES
Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
EXAMPLES
Inscription/Mark:
signed, lower right: Vincent
Inscription/Mark: signed in lower left: GBPiazzetta; inscribed
and dated verso, in a later hand: S. Maria dei Servi / 1735
Inscription/Mark:
signed in the plate, lower center: Iullius Parigu Inv. Iacobus
Callot F.
[medium
of inscription is included]
Inscription/Mark: printed in gold on front cover, center: PROJETS
/ POUR LA VILLE / DE / ST. PETERSBOURG; folios numbered from 1-20 on verso
in graphite at upper left
Inscription/Mark:
inscribed in pen and gray ink over graphite, upper right: hic.corona.exit.
[---] / .ob.diminuitionem. / colonna[rum]
[use
of ellipsis for partial inscription]
Inscription/Mark: inscribed lower center:
COSMO MEDICI / DVCII / FLORENTINOR.ET.SENESNS. / URBIS ROMAE / AEDIFICIORVM
ILLVSTRIVMQVAE / SVPERSVNT RELIQVIAE SVMMA [...]
[inscription
is described, not transcribed]
Inscription/Mark: inscribed on reserved edge of footplate with
partially preserved name of the potter Euphronios; underneath the foot
is an Etruscan graffito that indicates that the cup was later dedicated
to Herakles; the names of all figures were originally inscribed in the
field around them
Inscription/Mark:
rotunda Gothic script, beginning of the last canto of
Dante's Inferno, in Italian with the first line of the new section in
Latin
Inscription/Mark:text of Shakespeare's Twelfth Night, Act 1: Scene 1: IF MUSIC be the
Food / of Love, / play on; Give me / excess of it, that, surfeiting,
/ The appetite / may sicken, and so die […]
[for
a group]
Inscription/Mark: many of the sheets are inscribed
on the recto with titles, names of the rooms, and scales; on the verso,
most have inscribed titles and numerical annotations with the initials
and flourish of Jean-François-Thérèse Chalgrin
(Paris, 1739–1811). One drawing has Chalgrin's initials and flourish
on the recto
[inscription
is translated]
Inscription/Mark: inscribed in Slavonic, in upper right
on scroll held by angel: [The souls of the righteous are now in the
hands of the Lord. The heavenly powers open the gates to receive the
soul of the great Tsar Alexander.]
Inscription/Mark:
stamped under the back seat rail: IAVISSE [for Jean Avisse]
[uncertainty
is expressed]
Inscription/Mark: signed and dated upper right: Rembrandt
f. / 1635; upper left: AET.SVE [VE in monogram] .70 / 24: / [3?]
Inscription/Mark:
medicinal recipes in Arabic, owner's inscription at lower left
and marginalia are probably by the same hand
[unusual
situation is described]
Inscription/Mark: title and dedication have been burnished
clean from plate 1, with a new title engraved by a late 19th century
hand: Projet pour une ville / 1820
[additional INSCRIPTIONS/MARKS subcategories are used, because the
cataloging institution wishes to retrieve on this information]
Inscription/Mark:
Signed lower left: G. Belloni / PARIGI; dated verso, in an unknown later
hand: gen.1890
- Type: signed
Author: Belloni,
Giorgio (Italian painter, 1861-1944)
Location: lower
left
- Type: dated
Author:
unknown
later hand Typeface/
Letterform: open
letters
Date: ca.
1950 Earliest
Date: 1948
Latest
Date: 1952
NOTE: The outline numbers are subject to change; they are
intended only to organize this document.
Revised 8 September 2008
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