The way is now cleared for a serviceable definition of language. Language is a purely human and non-instinctive method of communicating ideas, emotions, and desires by means of a system of voluntarily produced symbols. These symbols are, in the first instance, auditory and they are produced by the so-called “organs of speech.” There is no discernible instinctive basis in human speech as such, however much instinctive expressions and the natural environment may serve as a stimulus for the development of certain elements of speech, however much instinctive tendencies, motor and other, may give a predetermined range or mold to linguistic expression. Such human or animal communication, if “communication” it may be called, as is brought about by involuntary, instinctive cries is not, in our sense, language at all.

Typography is the work of typesetters (also known as compositors), typographers, graphic designers, art directors, manga artists, comic book artists, graffiti artists, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from clerical workers and newsletter writers to anyone self-publishing materials. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of previously unrelated designers and lay users, and David Jury, head of graphic design at Colchester Institute in England, states that “typography is now something everybody does.” Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed.

Such are the main features of a Doric temple (those last mentioned not being peculiar to the Doric style). Little has been said thus far of variation in these features. Yet variation there was. Not to dwell on local differences, as between Greece proper and the Greek colonies in Sicily, there was a development constantly going on, changing the forms of details and the relative proportions of parts and even introducing new features originally foreign to the style. Thus the column grows slenderer from century to century. In early examples it is from four to five lower diameters in height in the best period (fifth and fourth centuries) about five and one half, in the post classical period, six to seven.

In accordance with a custom of the time, he was placed as a page in the house of a nobleman of Antwerp. To the talented and restless boy this life was intolerable, and he soon induced his mother to allow him to enter the studio of Van der Haeght, a resident artist of some repute and a close follower of Italian Art. He was only thirteen at this time. Here he learned to draw skillfully and, through the influence of his teacher, he acquired a love of landscape art which never left him. From Van der Haeght and his mild but correct art, Rubens, feeling his weakness in figure work, went to the studio of the irascible and forcible painter Van Noort, about whom critics have delighted to tell stories of brutality.