The Oldgerm Package for Use with Latex2ε

The oldgerm package for use with LATEX 2ε∗

Frank Mittelbach

2000/08/02

1 Introduction

This file defines commands to use the old German fonts for Fraktur, Schwabacher, and Gothic designed by Yannis Haralambous. To access them, use the package oldgerm in a \usepackage command. \gothfamily This package option defines the commands \gothfamily, \frakfamily and \frakfamily \swabfamily to switch to the corresponding font families (thus these commands \swabfamily behave similar as \sffamily or \ttfamily). Since these families only consist of one shape in one series, commands like \bfseries or \itshape have no effect when typesetting in these families. However, size changing commands are honoured. \textgoth In addition the package defines the corresponding font commands with argu- \textfrak ments, that is \textgoth, \textfrak, and \textswab. \textswab 1.1 Important notes These fonts are currently encoded in a way that does not correspond to any standard encoding (for this reason they are classified by NFSS as U encoded. In addition the fonts uses special ligatures with the character " to access accents and sharp s. For this reason commands accessing special characters like \ss or accents like \" will not really work directly when used with these fonts. You can either declare them for the U encoding manually, e.g., by saying something like

\DeclareTextCommand{\"}{U}[1]{\UseTextAccent{OT1}#1} \DeclareTextCompositeCommand{\"}{U}{a}{"a} \DeclareTextCompositeCommand{\"}{U}{u}{"u} ... \DeclareTextCommand{\ss}{U}{"s} and so on, or you use the ligatures directly. However, declaring composite characters for the U encoding means that they are declared for every font with U encoding which might be totally inappropriate for other fonts. Please also note that while "a, etc. looks very much like the convention used by the german or babel packages the internal mechanism to produce the accents

∗This ﬁle contains a reproduction of an article by Yannis Haralambous

1 is completely different. These packages define "a to produce something like \"a which isn’t defined for the U encoding, while "a without the package is interpreted as a ligature generating the accented letter “ä”in the font. Using these packages with these fonts will therefore produce some undesired effects. Finally please note that there might be some strange hyphenations in the German examples of the article by Yannis below. The reason is that this document is typeset with standard English hyphenation patterns to ensure that it does work everywhere (this could be improved).

The following section is a reproduction of an article by Yannis about these fonts which was presented at the Cork ’90 TEXconference and was later published in TUGboat 12#1, pages 129–138. It is complete except for the picture of Emanuel Breitkopf and the appendices which have been left out. The sample code in the section on initals refers to a command \yinit to select the yinit font. In LATEX one could deﬁne this command, for example, like this:

\newcommand{\yinit}{\fontencoding{U}\fontfamily{yinit}\selectfont}

or perhaps including a \fontsize command, if one wants control over the size of the letters.

2 Typesetting old german: Fraktur, Schwabacher, Gotisch and Initials

Yannis Haralambous U. F. R. de Math´ematiques, Universit´ede Lille–Flandres–Artois, 59655 Villeneuve d’Ascq, France

Typesetting in the old style, with sented in this paper, together with an the corresponding types, besides being historical introduction to each of them. an art, is also a real pleasure. Metafont Also, a set of initials is described. Rules allows the creation of faithful copies of for typesetting in these types are given, these types and TEX gives the possibil- together with extracts from the original ity of using them in the most traditional sources. manner. In this spirit, the necessary fonts and macros to typeset in the old This paper is dedicated to german types Gotisch (also called Tex- D. E. Knuth. tur), Schwabacher and Fraktur are pre-

2 This article shows the first results of a sequently, the first types he created longterm project on reconstructing old had to imitate manuscript characters, types and typesetting following the old to be able to concurrence the beauti- rules, with TEX and Metafont. The ful manuscript bibles produced by the work presented in this paper has been monasteries themselves. This explains done on a Mac SE/30 with OzTEX and the fact that Gutenberg’s font is so elab- MacMetafont. orated. A similar situation arose with Venetian greek renaissance types, which had to imitate alexandrinian and byzan- 2.1 General Introduction to tine greek handwriting: hundreds of lig- the Project: What’s the atures were used. Use of Reconstructing Gutenberg’s font had 288 characters: Old Types besides the 25 uppercase (there is no distinction between I and J) and 27 low- Old types are beautiful. Until now, one ercase (there are two kinds of s), all the could find either modernized copies of others are variant types, accented char- them (for decorative use) or facsimiles of acters and ligatures. historical books. With T X and Meta- E The font ygoth presented here, is font at last we have the possibility to not an exact copy of Gutenberg’s font. approach these types in the manner — It merely follows Gutenberg’s guidelines and with the care— of a collectionneur. on lowercase characters and selects the Since there is no commercial scope, no uppercase ones from different 15th cen- compromise needs to be made in the cre- tury types. Please note that these up- ation of the fonts. And once the Meta- percase characters are not suitable for fonting is done, we can bring the fonts “all capitals” typesetting. Here are the back to life, by using them in typeset- basic upper and lowercase characters: ting texts, new or old ones. TEX and Metafont are strong enough to achieve a ABCDEFGH faithful reproduction of old works, and what’s more, delicate enough to allow a IKLMNOPQR personal tone and new ideas. Thanks to D. E. Knuth’s work, typesetting be- STUVWXYZ comes an interpretative art at the reach a b c d e f g h i j of everybody. And you can believe me, it is the same pleasure to read (resp. k l m n o p q r typeset) Goethe’s poems in Breitkopf’s s ‘ t u v w x y z Fraktur as to hear (resp. play) Mozart’s Sonatas on a Stein’s Pianoforte. For all old german types there is no distinction between I and J; also there 2.2 Old German Types are two kinds of s: the middle and initial Gotisch “long s” and the final “short s” Gutenberg choosed the bible as his first s ‘ work for merely commercial reasons: only the churches and monasteries could In composite words, a short s is used afford to buy quantities of books. Con- when some component of the word ends

3 on s: black-letter fonts, a differentiation of Au‘gang, but Ancursive gothic letter, with certain pe- a short s, like in Aus:gang or Alles:. culiarities —the closed a, looped b, The following ligatures are part of d, h, and l, and a tailed f ans s. the font: The first type was called “fraktur.”  ` ´ ˆ ˜ ¨ ˝ The second was ultimately known as “schwabacher.” Schwabacher was in ˚ ˇ ˘ ¯ ˙ „ some extend the “boldface” font, com- pared to the usual Fraktur. The font ¸ ˛ ‚ ‹ › — fl presented here is called yswab; it is ff « » – # $ based on 18th century types. Neverthe- & + < > ‰ ffi ffl less, some characters (like the “hebrew- Beside the ones shown beyond, there are like question mark ?) have been taken variant forms from a contemporary book: A. Wiken- * / = hauser [1948], Das Evangelium nach Jo- at positions ’052, ’057, ’075 of the hannes, where John’s text is written in font. Because of the many ligatures, Schwabacher and comments in Fraktur. there is no place left for special char- Here are the basic upper and lowercase acters (I used only 128-character fonts); characters: you’ll have to switch to CM for #, $, %, ABCDEFGHIKLMN &, *, +, = etc. For the vowels a, e, o, OPQRSTUVWXYZ u with Umlaut and for the ß, I followed abcdefghijklmn Partl’s [1988] convention: just type "a, o p q r Ŋ s t u v w x y z. "e, "o, "u, "s (ëis used in flemish) to The following ligatures are included obtain in the font: [ \ ] ^ ı. Ď, Č, Ą, Ć,  The difference with Partl’s approach For the vowels a, e, o, u with Um- is that in our case "a, "e, etc are liga- laut, you have the choice between two tures. Since ß historically comes from forms: for the older one (a small “e” the ligature s+z (ß is called es-zet), by over the letter) you need to type a * + typing either "s or sz, you get the same vowel combination, and for the newer output. one a " + vowel combination. So, by In Appendix A you can find a sample typing *a, *e, *o, *u, "a, "e, "o, "u of the font; it is an extract of Luther’s you get bible (1534), in the original orthograph. Ľ Ř Ź đ Ł Ś Ž § respectively. 2.3 Schwabacher 2.4 Fraktur The name comes from Schwabach, a little german town on the south of The first Fraktur type was created by Nürnberg. According to Updike [1927], Johann Schönsperger in Augsburg to in fifteenth century German gothic or typeset the book of prayers of Kaiser

4 Maximilian (1513). Some years later, and HerauŊ auŊ der SĚriftverelendung! (No Hieronymus Andreæ created a new more degenerate writing!) by T. Fraktur type, used by Dürerfor the Thormeyer [1934] (...die Rundungen haben printing of his theoretical works. In niĚtŊ mit dem deutsĚen SpannungŊbed§rfniŊ gemein- the 17th century, Fraktur had a pe- sam. DaŊ SĚwelgen in abgerundeten Formen kann riod of decline. It was only in the fall man andern Nationen §berlaĄen...) show that of the 18th century that some progres- nazists tried to use Fraktur as a symbol sive typographers like G. I. Breitkopf of the german nation. But —an histor- and J. F. Unger gaved Fraktur a new ical paradox— it was the nazis them- breath, by creating new fonts with the selves who abolished Fraktur in 19411. aesthetic standards of their time. Espe- In a not too old edition of the Brock- cially Unger’s font seems to lay more in haus, one can find the sentence “Die na- the 19th century spirit. tionalsozialist. Regierung ließ die Frak- Gottlob Immanuel Breitkopf (1719– tur 1941 aus Zweckmäßigkeitsgründen 1794) lived in Leipzig. He travelled a von Amts wegen abschaffen. Ob sie lot, studied french, english and other damit eine Entscheidung traf, die ohne- foreign fonts and wrote himself an arti- hin im Zuge der Entwicklung lag, ist cle (Breitkopf [1793]) on the situation of schwer zu beurteilen...” (it is hard to typographers and typography in Leipzig say if the nazi decision of abolishing at his time. In 1754 he was to first to Fraktur was really in the sense of devel- use removable types to typeset music. opment...); there is a certain nostalgy in His name is familiar to all musicians and these words. friends of music, because of the famous Today Fraktur is used mainly for Breitkopf & Härteleditions of complete decorative purposes (a nice counterex- works of Bach, Beethoven etc. ample is the dtv pocket edition of After Breitkopf, the “official” ver- Mozart’s correspondence: his letters are sion of Fraktur (newspapers and official in Fraktur and the comments in An- documents) didn’t evolved very much. tiqua). Also there are methods for In the 19th century, with all its social the old german handwriting (Süterlin) —and artistic— turbulences many dec- which also include Fraktur (for example orative Fraktur types have been made, Wir lesen deutsĚe SĚrift, bei A. Kiewel et al most of them are monstruous (for exam- [1989]). ple see Knebel [1870]). A final renova- Let’s return now to TEX: the font tive effort has been made in the twen- yfrak which I propose is in the old Bre- ties of our century by artists like Wal- itkopf style. Here are the basic upper ter Tiemann and others. Unfortunately, and lowercase characters the destructive trend for uniformisation ABCDEFGHIKLMN of nazism didn’t left much place for æs- OPQRSTUVWXYZ thetic improvements or changements. abcdefghijklmn Texts like Warum deutsĚe SĚrift? (Why o p q r Ŋ s t u v w x y z. german type?) by G. Barthel [1934], It contains the same ligatures and 1There seems to have been some secrecy around this decision of the nazis. The only data I could find is a short and cryptical reference in the 1941 DIN-booklet on typographic standards: “Bekanntgebung II EM 8408/41 vom 26 Juli 1941 des Reichswirtschaftsministers an den Deutschen Normenauschluß”. I would be very obliged if some reader could provide me with more informations.

5 Umlauts as yswab. The symbols $ 2.6 Typesetting Rules (which means “etc”) and (an attempt to differentiate I and J) are in font In the following text, taken from the positions ’044 and ’100 respectively. Duden (Mülsingand Schmidt [1919]) You can a find a sample of the font in many fine points of typesetting in Frak- Appendix B; it is the begining of the tur are explained. The essential points second part of Carl Philipp Emanuel are the following: 1) don’t use liga- Bach’s treatise on the true art of playing tures in latin antiqua words, use them the keyboard (meant is the harpsichord in french antiqua and in french Fraktur; and/or clavichord) “VersuĚ §ber die wahre Art 2) in a composite word, do not use lig- daŊ Clavier zu spielen” [1762]. atures between adjacent letters of two components 3) the antiqua ß is to be used in german words and names re- 2.5 Initials gardless of the language; 4) the latin “etc” is to be translated as usw. and its The chancery initials which you can see older form $ should not be used any- on Appendix B and C are a revival more; 5) concerning foreign words in of baroque designs. This makes them german, use Fraktur when the word has suitable for old and new texts as well. been “germanized”, and else antiqua; 6) They form the font yinit. You have the hyphen should always be in Fraktur, the choice of creating characters with except when it appears between two an- depth zero, or characters with height tiqua words; 7) in 1879, Daniel Sanders equal to cap_height of cmr10 (with proposed as an alternative to I for the the corresponding magnification) and letter J, it would be nice if the authori- the biggest part of the character un- ties recognize it. der the baseline. For this there is a EinzelvorsĚriften f§r den SĚriftsaŃ boolean parameter zero_depth in the yinit.mf parameter file. To typeset the initial D of Appendix B, I used the In diesem AbsĚnitte Ćellen wir einige macro \yinitial{D} as follows (with EinzelvorsĚriften zusammen, deren allgemeine Be- zero_depth:=false) folgung f§r die EinheitliĚkeit bei der HerĆellung von DruĘsaĚen sehr w§nsĚenŊwert wŁre. Ligaturen Æ, æ, Œ, œ Ćatt Ae, ae, \def\yinitial#1 In lateinisĚen WŽrtern sind die Ligaturen {\hangindent=2.54cm Oe, oe. \hangafter=-4 niĚt anzuwenden, z. B. Caelius mons, Asa \hskip-3.24cm foetida. In franzŽsisĚen WŽrtern, die im deutsĚen \lower-2.7mm SaŃ verĆreut vorkommen, mu, wie im franzŽsisĚen \hbox{\yinit #1} SaŃ §berhaupt, ĆetŊ Œ und œ geseŃt werden, \hskip1.5mm} z. B. Œuvres, sœur. SelbĆ bei FraktursaŃ darf auf daŊ kleine oe niĚt verziĚtet werden, z. B. Of course all these parameters will need HorŊd’oeuvre. some adjustment, according to the in- SonĆige Ligaturen. In WortversĚmelzun- terline skip and the textfont you are us- gen wie SĚiĎahrt, SĚnellŁufer, alliebend, d. h. ing. Note also that \par stops the exe- also in WŽrtern, die von drei gleiĚen Mitlauten einen cution of \hangafter; you should better auŊgeĆoen haben, iĆ die Ligatur anzuwenden, wenn use \hfill\break\indent instead. sie in der betreĎenden SĚriftgattung vorhanden iĆ.

6 Die Ligatur iĆ ferner §berall da anzuwenden, wo sie B. C-Dur. die spraĚliĚe RiĚtigkeit niĚt ĆŽrt, z. B. benuŃen, abflauen, Billard, niĚt aber in einfaĚen Zusammenset- 2. Wenn ein Fremdwort deutsĚe LautbezeiĚ- zungen wie entzwei, Kaufleute, vielleiĚt. nung oder deutsĚe Biegung annimmt oder mit einem Der BuĚĆabe  in fremdspraĚiĚem Satz. deutsĚen Worte zusammengeseŃt wird, so seŃe man eŊ Wenn auŊ einem DeutsĚen Namen, in dem  aiŊ Fraktur, z. B. adagio, aber: daŊ Adagio, vorkommt, durĚ Anf§gung einer LateinisĚen Endung die AdagioŊ; a conto, aber: die Akontozahlung; ein LateinisĚeŊ Wort gebildet wird, so bleibt daŊ  dolce far niente, aber: daŊ Dolcefarniente. erhalten, eŊ ersĚeint also alŊ ß (in Antiqua). So wird z. B. auŊ Weienburg: Weißenburgen- Anwendung deŊ BindeĆriĚŊ in Fraktur- sis (der Codex Weißenburgensis). Ebenso satz, der mit Antiqua vermisĚt iĆ. Wenn in wird ß geseŃt, wenn deutsĚe Eigennamen mit  in FraktursaŃ bei WorŃusammenseŃungen der eine Teil fremdspraĚliĚem SaŃ ersĚeinen, z. B.: Mon- der ZusammenseŃung auŊ Antiqua geseŃt werden sieur Aßmann a étéàParis. Ho trovato mu, so sind etwa vorkommende BindeĆriĚe auŊ der il Signor Große a Venezia. TextsĚrift, also auŊ Fraktur, zu seŃen, z. B. usw. { $ { etc. Im deutsĚen SaŃe iĆ \und CGS-MasyĆem. Eine AuŊnahme wird nur dann so weiter" der amtliĚen VorsĚrift gemŁ durĚ usw. gemaĚt, wenn der mit dem BindeĆriĚ sĚlieende er- abzuk§rzen, und zwar sowohl in Fraktur wie in Anti- Će (Antiqua-) BeĆandteil an daŊ Ende einer Zeile qua. Die Form $, die siĚ innerhalb der LautsĚrift wie oder in Klammern zu Ćehen kommt; in diesem Falle iĆ eine Hieroglyphe, wie ein Vertreter der ZeiĚensĚrift, der BindeĆriĚ auŊ Antiqua zu seŃen. In besonderen ausnimmt, iĆ veraltet und niĚt mehr anzuwenden. FŁllen kann auĚ eine VermisĚung von Fraktur- und Die Form etc darf nur im AntiquasaŃ angewandt AntiquabindeĆriĚen Ćattfinden, z. B. Hoftheater- werden, wird aber beĄer durĚ usw. erseŃt. F§r Corps-de-ballet; denn innerhalb deŊ auŊ Anti- lateinisĚen SaŃ, also innerhalb lateinisĚen TexteŊ, iĆ qua geseŃten WorteŊ m§Ąen auĚ die BindeĆriĚe auŊ etc. selbĆverĆŁndliĚ. Ferner sei erwŁhnt, da die Antiqua geseŃt werden. Franzosen und EnglŁnder &c., die Italiener ecc. und die Spanier etc. verwenden, und zwar seŃen I (SelbĆlaut) und J (Mitlaut) in der alle ĆetŊ einen BeiĆriĚ vor diese Abk§rzungen, waŊ lateinisĚen DruĘsĚrift. In der lateinisĚen im DeutsĚen niĚt §bliĚ iĆ. DruĘsĚrift wird zwisĚen dem SelbĆlaut und dem Anwendung der Antiqua im Fraktursatz. Mitlaut I genau untersĚieden, und zwar Ćeht I Um dem bisherigen SĚwanken in der Wahl zwisĚen auŊsĚlieliĚ f§r den SelbĆlaut, J auŊsĚlieliĚ f§r Antiqua und Fraktur ein Ende zu maĚen, empfiehlt den Mitlaut. Diese UntersĚeidung maĚen alle neueren eŊ siĚ folgende GrundsŁŃe zu beobaĚten: SpraĚen. Da die deutsĚe DruĘsĚrift einen Unter- 1. Alle FremdwŽrter romanisĚen UrsprungŊ, die sĚied zwisĚen I (SelbĆlaut) und J (Mitlaut) niĚt niĚt durĚ Annahme deutsĚer Biegung oder deutsĚer kennt, iĆ ein groer Mangel. Diesen Mangel zu be- LautbezeiĚnung alŊ eingedeutsĚt ersĚeinen, seŃe man seitigen versuĚte sĚon 1879 Daniel SanderŊ, indem auŊ Antiqua, z. B. en avant, en arrière,en er f§r den Mitlaut daŊ ZeiĚen empfahl. DieseŊ Ze- vogue, in praxi, in petto; a conto, dolce iĚen iĆ heute nur vereinzelt in DruĘen zu finden, hat far niente; ferner Verbindungen wie Agent siĚ also niĚt allgemein eingeb§rgert und iĆ auĚ niĚt provocateur, Tempi passati, Lapsus lin- amtliĚ anerkannt worden. EŊ wŁre sehr zu w§nsĚen, guae, Agnus Dei. AuĚ alle italienisĚen teĚnis- da auĚ in deutsĚer SĚrift ein UntersĚied zwisĚen Ěen AuŊdr§Ęe auŊ der TonkunĆ, wie andante, I (SelbĆlaut) und J (Mitlaut) gesĚaĎen und von adagio, moderato, vivace, seŃe man auŊ An- der zuĆŁndigen BehŽrde anerkannt w§rde, und zwar tiqua. Die der lateinisĚen SpraĚe entĆammenden um so mehr, alŊ er bei den kleinen BuĚĆaben sowohl BezeiĚnungen Dur und Moll sind alŊ eingedeutsĚte in deutsĚer (i, j) wie in lateinisĚer (i, j) SĚrift HauptwŽrter aufzufallen und daher gro zu seŃen, z. bereitŊ seit langem beĆeht.

7 2.7 Availability Hof- und Staatsdruckerei, 1880. Glaister, Geoffrey Ashall. Glaister’s Following a tradition of my friend Klaus Glossary of the Book. London: 1960. Thull, these fonts are in the public do- Kiewel, Albert, Eberhard Dietrich, main. The should be available at the Inghild Stölting, and Heinold Wach- Aston end Heidelberg archives. Also tendorf. Wir lesen deutsche Schrift. you can obtain them at my adress. The Hannover: Kallmeyer’sche Verlagsbuch- status of this software is postcard-ware: handlung, 1989. each satisfied user could send me a nice Knebel, P. Sammlung der local postcard for my collection. gebräuchlisten Schriftgattungen. Land- shut: Verlag der Jos. Thomann’schen 2.8 References Buchhandlung, 1870. Mülsing, Ernst and Schmidt Bach, Carl Philipp Emanuel. Versuch Alfred. Duden, Rechtschreibung über die wahre Art das Clavier zu spie- der deutschen Sprache und der len. Zweyter Theil, in welchem die Fremdwörter. Leipzig und Wien: Bibli- Lehre von dem Accompagnement und ographisches Institut, 1919. der freyen Fantasie abgehandelt wird. Partl, Hubert. “German TEX.” Berlin: G. L. Winter, 1762. TUGboat 9 (1), pages 70–72. Barthel, Gustav. “Warum deutsche Stiebner, Erhardt, Helmut Huber Schrift?” Schrift und Schreiben 4, pages and Heribert Zahn. Schriften + Ze- 98–130, 1934. ichen. München: Bruckmann, 1987. Breitkopf, Johann Gottlob Im- Thormeyer, Traugott. “Heraus aus manuel. “Ueber Buchdruckerey und der Schriftverelendung!” Schrift und Buchhandel in Leipzig.” Journal für Schreiben 4, pages 131–136, 1934. Fabrik, Manufaktur und Handlung 5, Updike, D. B. Printing Types. 1927. pages 1–57, 1793. Walther, Karl Klaus. Lexikon der Faulmann, Carl. Das Buch der Buchkunst und Bibliophilie. Leipzig: Schrift, enthaltend die Schriftzeichen Bibliographisches Institut, 1987. und Alphabete aller Zeiten und aller Wikenhauser, Alfred. Das Evan- Völker des Erdkreises. Wien: Druck gelium nach Johannes. Regensburg: und Verlag der kaiserlich-königlichen Friedrich Pustet, 1948.

3 The docstrip modules

The following modules are used in the implementation to direct docstrip in generating the external files: driver produce a documentation driver file package produce a package file fd produce a font definition file Uyfrak produce Yannis Fraktur Uyswab produce Yannis Schwabacher Uygoth produce Yannis Gothic Uyinit produce Yannis Initials

8 4 The implementation 4.1 The package

1 h∗packagei \gothfamily We switch to the fonts using the \usefont macro since all such fonts are only \swabfamily available in one series and one shape. \frakfamily 2 \newcommand\gothfamily{\usefont{U}{ygoth}{m}{n}} \textgoth 3 \DeclareTextFontCommand{\textgoth}{\gothfamily} \textswab 4 \newcommand\swabfamily{\usefont{U}{yswab}{m}{n}} \textfrak 5 \DeclareTextFontCommand{\textswab}{\swabfamily} 6 \newcommand\frakfamily{\usefont{U}{yfrak}{m}{n}} 7 \DeclareTextFontCommand{\textfrak}{\frakfamily} 8 h/packagei

4.2 The font deﬁnition ﬁles 4.2.1 Yannis Schwabacher

9 h∗Uyswabi 10 \DeclareFontFamily{U}{yswab}{} 11 \DeclareFontShape{U}{yswab}{m}{n}{ 12 <10> <10.95> <12> <14.4> <17.28> <20.74> <24.88> yswab }{} 13 h/Uyswabi 4.2.2 Yannis Gothic

14 h∗Uygothi 15 \DeclareFontFamily{U}{ygoth}{} 16 \DeclareFontShape{U}{ygoth}{m}{n}{ 17 <10> <10.95> <12> <14.4> <17.28> <20.74> <24.88> ygoth }{} 18 h/Uygothi 4.2.3 Yannis Fraktur

19 h∗Uyfraki 20 \DeclareFontFamily{U}{yfrak}{} 21 \DeclareFontShape{U}{yfrak}{m}{n}{ 22 <10> <10.95> <12> <14.4> <17.28> <20.74> <24.88> yfrak }{} 23 h/Uyfraki 4.2.4 Yannis Initials Since the yinit font does have a very special design size and one might have to scale it up or down to get characters in a size needed for some particular combination of body font size and leading we pretend that the font is available in any size (which in fact it is on most modern TEX installations. 24 h∗Uyiniti 25 \DeclareFontFamily{U}{yinit}{} 26 \DeclareFontShape{U}{yinit}{m}{n}{ 27 <-> yinit }{} 28 h/Uyiniti

9 The next line goes into all ﬁles and in addition prevents docstrip from adding any further code from the main source ﬁle (such as a character table). 29 \endinput