RACAR Style Guide

Manuscripts which do not conform to the following guidelines may be returned to the author for corrections before the start of the editorial process. MANUSCRIPT

1. Authors must submit to the Managing Editor three (3) copies of their manuscript, along with photocopies of the illustrations and a list of captions for the illustrations. These will not normally be returned. Disks will eventually be required for articles which are accepted (WordPerfect or Microsoft Word are preferred), but please do not send them in initially. Authors will also be required eventually to submit a résumé of their article in French (250 words or less).
2. All manuscripts must be typed double-spaced on one side of the page only. This includes not only the text, but also the quotations, notes, résumé and list of captions.
3. The manuscript should begin with the title, name of author and academic affiliation of the author, all in upper and lower case type (no italics or boldface); text which is to be printed in italics should all be underlined. All pages of the manuscript should be paginated consecutively. The notes should be contained in a separate section, after the main text.
4. Manuscripts should normally be no longer than 30 pages, including apparatus, and should contain no more than 12 illustrations.
5. Authors should retain the original copy and disk of their manuscript and their photographs, sending only photocopies of the latter.
6. Changes in the galley proofs will be charged to the author at the rate of $3.25 each. When possible, authors will be alerted as to the approximate date when their manuscript will be sent to press, and they will, therefore, have ample time to attend to any last-minute changes.
7. The Editors of RACAR retain the right to make such editorial revisions as may be necessary to render the finished work suitable for publication.

COPYRIGHT

1. The author, and not RACAR or its press, is solely responsible for the entire contents of his/her contribution.
2. Manuscripts accepted for publication will not be printed until the author provides the Managing Editor with documentation showing that copyright laws for reproductive material and/or for extensive quotations have been satisfied.

TEXT STYLE

1. The spelling and hyphenation of words should conform to Canadian English usage. RACAR prefers -re rather than -er word endings (e.g. centre, not center), -our rather than -or endings (e.g. labour, not labor), and -mme rather than -m endings (e.g. programme, not program). Where both are possible, use -ize endings, not -ise endings (but note that there are words where 's' is essential: e.g. advertise, supervise, analyse, etc.). For further clarification, see the Gage Canadian Dictionary, the Houghton-Mifflin Canadian Dictionary, the Penguin Canadian Dictionary, etc. Underline all foreign words and all other words to be italicized. Foreign words which have been absorbed into the language, particularly art terms (e.g. chiaroscuro) need not be underlined, and accents can normally be omitted. Place names should generally conform to the spelling of the native country or region (e.g. Regensburg, not Ratisbonne; Livorno, not Leghorn); Anglicizations of long standing (e.g. Rome, Florence) are, however, acceptable.
2. For quotations, and for single words picked out in the text, use double quotation marks. Use single quotation marks only for quotations within quotations. Final quotation marks should always follow sense stops, such as commas or periods. Longer quotations, of more than roughly 40 words, should be differentiated from the text by indentation, and set out as extracts, without quotation marks. All shorter quotations, however, should be incorporated in the text and set within quotation marks.
3. Dates. Use nineteenth century, or nineteenth-century [art] (written in full), not 19th century, or 19th-century [art]. Use 1930s, not '30s or thirties. Use 19 July 1992, not July 19, 1992 or July 19th, 1992. For approximate dates, use ca. 1203, rather than circa 1203, c.1203 or c. 1203.
4. Other numbers. Spell out numbers less than 100, other than dates and measures, that occur in isolation in the text (arabic numerals may be used, however, when several numbers are being mentioned or for comparisons). Write all numbers of three digits or more in arabic numerals (volume numbers in notes should be in Roman numerals). When specifying a hyphenated range of numbers, include the last two digits of the final number, thus: 152-55, 1980-88.
5. Capitalization. Historical movements and generally accepted historico-stylistic categories should be capitalized (e.g. Gothic architecture, Expressionist movement, Classical art). More generally used stylistic descriptors should not be capitalized (e.g. expressionist tendencies, classic moment).
6. Abbreviations. Only abbreviations which do not end in the last letter of the word should be followed by a period, thus: cont. and Ont. but St Stephen and Dr Gachet.
7. Wherever possible, use metric rather than imperial units. Abbreviated units do not change in the plural, e.g. 3 km (not 3 kms).
8. For other points of style, consult the Chicago Manual of Style. Please note, however, that RACAR style differs from theirs in two areas: we do not endorse American spellings, as they do; and our note format also differs from theirs.

NOTE STYLE

1. Notes should be used sparingly. Where lengthy notes are deemed essential by the author, consideration should be given either to adjusting the text or to the addition of an addendum or addenda.
2. Acknowledgements should be made in an unnumbered note at the beginning of the Notes section.
3. In all references, the choice between given name(s) and/or initial(s) for authors should follow the author's own practice, as reflected in their published works. Titles of published books and periodicals should be underlined. All important words, both in titles and subtitles, should be capitalized. If a book is part of a series, the series name should not be underlined. All volume numbers should be in Roman numerals. Where both exist, the volume number and the date of periodicals are required; however, individual issue numbers should not be included, unless they are particularly germane. Note that quotation marks always follow sense stops. Page numbers are not preceded by p. or pp. See below for detailed exemplars. If a reference is not covered in this list, adapt it as closely as possible to the most similar exemplar.
4. A full reference should be given initially. All subsequent note references to the same work should be in standard shortened title form: author's last name, the key word(s) of the title, page number(s). In particular, shortened titles should be used in place of ibid., op. cit., etc. See examples below.
5. In exceptional cases where a single work is discussed at length or cited repeatedly, bracketed page references may be inserted directly in the text, once the full citation has been made in a note.

Monograph

• François Souchal, Les Slodtz, sculpteurs et décorateurs du Roi (1685-1764) (Paris, 1967), 172-74, 650-51.
• Lucy Freeman Sandler, Gothic Manuscripts 1285-1385, A Survey of Manuscripts Illuminated in the British Isles V, ed. J.J.G. Alexander, 2 vols (London, 1986), I, 30-32, fig. 32.

Multi-Authored Work

• John Blair and Nigel Ramsey, eds, English Medieval Industries: Craftsmen, Techniques, Products (London, 1991), 78.
• Ernst Cassirer, Paul Oskar Kristeller and John Herman Randall, Jr., eds, The Renaissance Philosophy of Man (Chicago, 1948), 112-22.
• [where there are more than three authors or editors, list the first, followed by "et al.,"]

Exhibition Catalogue

• Joan Murray, The Art of Tom Thomson, exh. cat., Toronto, Art Gallery of Ontario (Toronto, 1971), 51.
• Jean Clair, ed., The 1920s: Age of the Metropolis, exh. cat., Montreal Museum of Fine Arts (Montreal, 1991), 450-71.
• The Romantics to Rodin: French Nineteenth-Century Sculpture from North American Collections, exh. cat., Los Angeles County Museum of Art (Los Angeles, 1980), 246.
• [exhibition locations are not required for travelling exhibitions]

Books in a Series

• Francis Muel, et al., La Tenture de l'Apocalypse d'Angers, Cahiers de l'Inventaire IV (Paris, 1987), 45.
• E.H. Gombrich, Art and Illusion, Bollingen Series XXXV, 5, 2nd edn (Princeton, 1961), 223-28.

Translations ]

• Edmond and Jules de Goncourt, French Eighteenth Century Painters, trans. Robin Ironside (London, 1948), 32.
• Incunabula
• H. Badesius, De Sacello Sixti. V. Pont. Max. In Exquiliis ad praesepe Domini extructo (Rome, 1588), 6, 8, 11.
• I. Castalionus in H. Badesius, De ... Sacello Sixti V. Pont. Max. (n.p., n.d.), 17.

Re-Edition

• P. Fabricio, Delle allusioni, imprese, et emblemi ... sopra la vita, opere, et attioni di Gregorio XIII ... Libri VI (1st edn, 1585; Rome, 1588), 331, Emblem CCXXII.
• Martin Shaw Briggs, Baroque Architecture (1913; repr. New York, 1967), 33-52.
• Dissertation
• M.L. Shapiro, "Studies in the Iconology of the Sculptures in the Tempio Malatestiano," Ph.D. diss., New York University, 1958, 196.

Article in a Periodical

• Norman D. Ziff, "Jeanne d'Arc and French Restoration Art," Gazette des Beaux-Arts, series 6, XCIII (January 1979), 38.
• Maureen Ryan, "Picturing Canada's Native Landscape: Colonial Expansion, National Identity, and the Image of a 'Dying Race,' " RACAR (Revue d'art canadienne/Canadian Art Review), XVII, 2 (1990), 150-57, fig. 85-91.

Article in a Multi-Authored Work

• Wyly Grier, "Canadian Art: A Résumé," The Year Book of Canadian Art, 1913, ed. Alan Sullivan (Toronto, 1914), 243.
• Claude Blair and John Blair, "Copper Alloys," English Medieval Industries: Craftsmen, Techniques, Products, eds John Blair and Nigel Ramsay (London, 1991), 81-106, esp. 93-95.
• Millard Meiss, "Jan van Eyck and the Italian Renaissance" in Meiss, The Painter's Choice: Problems in the Interpretation of Renaissance Art (New York, 1976), 19-35

Sales Catalogue

• Sotheby Parke Bernet and Co., London, The Thomas F. Flannery, Jr., Collection: Medieval and Later Works of Art (1 Dec. 1983: lot 5; 2 Dec. 1983: lot 403).

Newspaper Article

• Mario Proth, "Voyage au pays des peintres," Le Réveil, 1 May 1885, 1.

Shortened Titles

• After a source has been cited in full, subsequent references consist of the author's last name and a shortened form of the title, usually (but not necessarily) consisting of the first words of the title. RACAR does not make use of "ibid." or "op. cit." in its notes. Some shortened titles from the above examples are listed below:
• Souchal, Les Slodtz, 172-74.
• Blair and Ramsay, eds, English Medieval Industries, 145.
• Murray, The Art of Tom Thomson, 45.
• Ziff, "Jeanne d'Arc," 38.

CAPTION STYLE

• Text references to illustrations should take the form (fig. 2). For all captions, appropriate photographic credits and/or permissions must be included. It is the contributor's responsibility to obtain such permissions. Only actual titles of works, not descriptions (such as the names of buildings), are to be italicized. Please check that titles and/or descriptions used in captions exactly match the relevant reference in the text of the article. Exemplars for the main sorts of captions are listed below:
• Figure 1. Lucius O'Brien, Lords of the Forest, 1874. Watercolour on paper, 67.2 x 46.6 cm. Toronto, Art Gallery of Ontario, The Bert and Barbara Stitt Family Collection (Photo: Art Gallery of Ontario).
• Figure 2. Jusepe de Ribera, Saint Jerome, 1629. Oil on canvas, 125 x 100 cm. Rome, Galleria Doria Pamphili (Photo: reproduced from Jonathan Brown, Jusepe de Ribera: Prints and Drawings, Princeton, 1973).
• Figure 3. Anonymous, Die Wittenbergisch Nachtigall, 1st edn, 1523, title-page (Photo: Göttingen, Universitätsbibliothek).
• Figure 4. Henry II entering a church. Pontifical of Henry II, ca. 1007-24. Bamberg, Staatsbibliothek, Lit. 53, fol. 2v (Photo: Hirmer Fotoarchiv, Munich).
• Figure 5. Mainz Cathedral. Tomb slab of Archbishop Siegfried III von Eppstein, ca. 1250 (Photo: Marburg/Art Resource, New York).
• Figure 6. Bishop Sigebert of Minden accompanied by two priests and two deacons, ca. 1030. Ivory plaque, 14 x 7 cm. Berlin, Staatsbibliothek Preußischer Kulturbesitz, Ms. germ. qu. 42, bookcover (Photo: Rheinisches Bildarchiv, Cologne).
• Figure 7. St. Paul's, Halifax. The interior as it appeared in 1987 [chancel of 1872] (Photo: T.U.N.S./ P. Toman).
• Figure 8. St Paul's, Halifax. Reconstruction of the ground plan as built in 1750 (Photo: author).
• Figure 9. James Gibbs, Mary'bone Chapell [St. Peter, Vere Street]. Engraving: The North Side, with the plan in small (Photo: reproduced from A Book of Architecture, London, 1728, pl. XXIV).

OFFPRINTS

1. Authors of articles and extended review articles will receive ten (10) offprints free of charge.
2. Authors of standard book reviews will receive five (5) offprints free of charge.
3. Additional offprints are available at a nominal charge. They may be ordered from the Managing Editor prior to publication.