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Dilleniidae

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A botanical name is a formal scientific name conforming to the International Code of Nomenclature for algae, fungi, and plants (ICN) and, if it concerns a plant cultigen , the additional cultivar or Group epithets must conform to the International Code of Nomenclature for Cultivated Plants (ICNCP). The code of nomenclature covers "all organisms traditionally treated as algae, fungi , or plants, whether fossil or non-fossil, including blue-green algae ( Cyanobacteria ), chytrids , oomycetes , slime moulds and photosynthetic protists with their taxonomically related non-photosynthetic groups (but excluding Microsporidia )."

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45-476: Dilleniidae is a botanical name at the rank of subclass . Circumscription of the subclass will vary with the taxonomic system being used; the only requirement being that it includes the family Dilleniaceae . A well-known system that uses this name is the Cronquist system , and in the original 1981 version of the system the circumscription was: Recent molecular systematic studies have shown that this group

90-508: A script typeface where a more decorative form was preferred. He made an attempt to promote the idea by commissioning the typeface Perpetua from Eric Gill with a sloped roman rather than an italic, but came to find the style unattractive; Perpetua's italic when finally issued had the conventional italic a , e and f . Morison wrote to his friend, type designer Jan van Krimpen , that in developing Perpetua's italic "we did not give enough slope to it. When we added more slope, it seemed that

135-744: A business dispute, cut a version for printer Girolamo "Gershom" Soncino , and other copies appeared in Italy and in Lyons . The Italians called the character Aldino, while others called it Italic. Italics spread rapidly; historian H. D. L. Vervliet dates the first production of italics in Paris to 1512. Some printers of Northern Europe used home-made supplements to add characters not used in Italian, or mated it to alternative capitals, including Gothic ones. Besides imitations of Griffo's italic and its derivatives,

180-511: A career as a printer in Rome, and also by Giovanni Antonio Tagliente of Venice, with imitations rapidly appearing in France by 1528. Chancery italics faded as a style over the course of the sixteenth century, although revivals were made beginning in the twentieth century. Chancery italics may have backward-pointing serifs or round terminals pointing forwards on the ascenders. Italic capitals with

225-547: A careful check is needed to see which circumscription is being used (for example Fabaceae , Amygdaloideae , Taraxacum officinale ). Depending on rank , botanical names may be in one part ( genus and above), two parts (various situations below the rank of genus) or three parts (below the rank of species). The names of cultivated plants are not necessarily similar to the botanical names, since they may instead involve "unambiguous common names" of species or genera. Cultivated plant names may also have an extra component, bringing

270-410: A distinct style of type used entirely separately from roman type , but they have come to be used in conjunction—most fonts now come with a roman type and an oblique version (generally called "italic" though often not true italics). In this usage, italics are a way to emphasise key points in a printed text, to identify many types of creative works, to cite foreign words or phrases, or, when quoting

315-463: A maximum of four parts: A botanical name in three parts, i.e., an infraspecific name (a name for a taxon below the rank of species) needs a "connecting term" to indicate rank. In the Calystegia example above, this is "subsp.", an abbreviation for subspecies . In botany there are many ranks below that of species (in zoology there is only one such rank, subspecies, so that this "connecting term"

360-632: A more eccentric alternative. This italic face was designed by Alfred Fairbank and named "Bembo Condensed Italic", Monotype series 294 . Some Arts and Crafts movement -influenced printers such as Gill also revived the original italic system of italic lower-case only from the nineteenth century onwards. The Chicago Manual of Style suggests that parentheses and brackets surrounding text that begins and ends in italic or oblique type should also be italicised (as in this example) , to avoid problems such as overlapping and unequally spaced characters. An exception to this rule applies when only one end of

405-521: A plant species which is native to most of the countries of Europe and the Middle East , where it has accumulated various names in many languages. Later, the plant was introduced worldwide, bringing it into contact with more languages. English names for this plant species include: daisy, English daisy, and lawn daisy. The cultivar Bellis perennis 'Aucubifolia' is a golden-variegated horticultural selection of this species. The botanical name itself

450-453: A run of italics needs to be italicised itself, the type is normally switched back to non-italicized ( roman ) type: " I think The Scarlet Letter had a chapter about that , thought Mary." In this example, the title (" The Scarlet Letter ") is within an italicised thought process and therefore this title is non-italicised. It is followed by the main narrative that is outside both. It is also non-italicised and therefore not obviously separated from

495-410: A second wave appeared of "chancery" italics , most popular in Italy, which Vervliet describes as being based on "a more deliberate and formal handwriting [with] longer ascenders and descenders, sometimes with curved or bulbous terminals, and [often] only available in the bigger sizes." Chancery italics were introduced around 1524 by Arrighi, a calligrapher and author of a calligraphy textbook who began

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540-549: A slope were introduced in the sixteenth century. The first printer known to have used them was Johann or Johannes Singriener in Vienna in 1524, and the practice spread to Germany, France and Belgium. Particularly influential in the switch to sloped capitals as a general practice was Robert Granjon , a prolific and extremely precise French punchcutter particularly renowned for his skill in cutting italics. Vervliet comments that among punchcutters in France "the main name associated with

585-411: A speaker, a way to show which words they stressed. One manual of English usage described italics as "the print equivalent of underlining "; in other words, underscore in a manuscript directs a typesetter to use italic. In fonts which do not have true italics, oblique type may be used instead. The difference between true italics and oblique type is that true italics have some letterforms different from

630-515: A true italic a and e in his sans-serif Bliss due to finding them "too soft", while Hoefler and Frere-Jones have described obliques as more "keen and insistent" than true italics. Adrian Frutiger has described obliques as more appropriate to the aesthetic of sans-serifs than italics. In contrast, Martin Majoor has argued that obliques do not contrast enough from the regular style. Almost all modern serif fonts have true italic designs. In

675-514: A varying circumscription , depending on the taxonomic system , thus, the group that a particular botanical name refers to can be quite small according to some people and quite big according to others. For example, the traditional view of the family Malvaceae has been expanded in some modern approaches to include what were formerly considered to be several closely related families. Some botanical names refer to groups that are very stable (for example Equisetaceae , Magnoliaceae ) while for other names

720-410: Is polyphyletic . The APG II system does not use formal botanical names above the rank of order but assigns the plants involved to various orders in the asterids and rosids clades. Botanical name The purpose of a formal name is to have a single name that is accepted and used worldwide for a particular plant or plant group. For example, the botanical name Bellis perennis denotes

765-547: Is a cursive font based on a stylised form of calligraphic handwriting . Along with blackletter and roman type , it served as one of the major typefaces in the history of Western typography . Owing to the influence from calligraphy , italics normally slant slightly to the right, like so . Different glyph shapes from roman type are usually used – another influence from calligraphy – and upper-case letters may have swashes , flourishes inspired by ornate calligraphy. Historically, italics were

810-483: Is a classification, not a formal botanical name. The botanical name is Saxifraga aizoon subf. surculosa Engl. & Irmsch. ( ICN Art 24: Ex 1). Generic, specific, and infraspecific botanical names are usually printed in italics . The example set by the ICN is to italicize all botanical names, including those above genus, though the ICN preface states: "The Code sets no binding standard in this respect, as typography

855-438: Is a matter of editorial style and tradition not of nomenclature". Most peer-reviewed scientific botanical publications do not italicize names above the rank of genus, and non-botanical scientific publications do not, which is in keeping with two of the three other kinds of scientific name : zoological and bacterial ( viral names above genus are italicized, a new policy adopted in the early 1990s). For botanical nomenclature,

900-472: Is always given in single quotation marks. The cultivar, Group, or grex epithet may follow either the botanical name of the species, or the name of the genus only, or the unambiguous common name of the genus or species. The generic name, followed by a cultivar name, is often used when the parentage of a particular hybrid cultivar is not relevant in the context, or is uncertain. (specific to botany) (more general) Italics In typography , italic type

945-401: Is fixed by a type , which is a particular specimen (or in some cases a group of specimens) of an organism to which the scientific name is formally attached. In other words, a type is an example that serves to anchor or centralize the defining features of that particular taxon. The usefulness of botanical names is limited by the fact that taxonomic groups are not fixed in size; a taxon may have

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990-428: Is mathematical typesetting. Font families with an upright or near-upright italic only include Jan van Krimpen 's Romanée, Eric Gill 's Joanna , Martin Majoor 's FF Seria and Frederic Goudy 's Deepdene . The popular book typeface Bembo has been sold with two italics: one reasonably straightforward design that is commonly used today, and an alternative upright 'Condensed Italic' design, far more calligraphic, as

1035-463: Is not used in zoology). A name of a "subdivision of a genus" also needs a connecting term (in the Acacia example above, this is "subg.", an abbreviation for subgenus ). The connecting term is not part of the name itself. A taxon may be indicated by a listing in more than three parts: " Saxifraga aizoon var. aizoon subvar. brevifolia f. multicaulis subf. surculosa Engl. & Irmsch." but this

1080-526: The <em> element, because it conveys that the content is to be emphasised, even if it cannot be displayed in italics. Conversely, if the italics are purely ornamental rather than meaningful, then semantic markup practices would dictate that the author use the Cascading Style Sheets declaration font-style: italic; along with an appropriate, semantic class name instead of an <i> or <em> element. In Unicode ,

1125-504: The ital feature tag to substitute a character to italic form with single font. In addition, the OpenType Font Variation has ital axis for the transition between italic and non-italic forms and slnt axis for the oblique angle of characters. In HTML , the <i> element is used to produce italic (or oblique ) text. When the author wants to indicate emphasised text, modern Web standards recommend using

1170-420: The ICN prescribes a two-part name or binary name for any taxon below the rank of genus down to, and including, the rank of species. Taxa below the rank of species get a three part ( infraspecific name ). A binary name consists of the name of a genus and an epithet. In the case of cultivated plants, there is an additional epithet which is an often non-Latin part, not written in italics. For cultivars, it

1215-481: The Satires of Juvenal and Persius in a very small format, so that they may more conveniently be held in the hand and learned by heart (not to speak of being read) by everyone. Manutius' italic was different in some ways from modern italics, being conceived for the specific use of replicating the layout of contemporary calligraphers like Pomponio Leto and Bartolomeo Sanvito . The capital letters were upright capitals on

1260-465: The Aldine Dante and Virgil of 1501. Italic typefaces of the following century used varying but reduced numbers of ligatures. Italic type rapidly became very popular and was widely (and inaccurately) imitated. The Venetian Senate gave Aldus exclusive right to its use, a patent confirmed by three successive Popes , but it was widely counterfeited as early as 1502. Griffo, who had left Venice in

1305-430: The change is Granjon's." The evolution of use of italic to show emphasis happened in the sixteenth century and was a clear norm by the seventeenth. The trend of presenting types as matching in typefounders' specimens developed also over this period. Italics developed stylistically over the following centuries, tracking changing tastes in calligraphy and type design. One major development that slowly became popular from

1350-503: The end of the seventeenth century was a switch to an open form h matching the n , a development seen in the Romain du roi type of the 1690s, replacing the folded, closed-form h of sixteenth- and seventeenth-century italics, and sometimes simplification of the entrance stroke. True italic styles are traditionally somewhat narrower than roman fonts. Here is an example of normal ( roman ) and true italics text: In oblique text,

1395-692: The font required a little more cursive to it." A few other type designers replicated his approach for a time: Van Krimpen's Romulus and William Addison Dwiggins ' Electra were both released with obliques. Morison's Times New Roman typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to Didot than dogma". Some serif designs primarily intended for headings rather than body text are not provided with an italic, Engravers and some releases of Cooper Black and Baskerville Old Style being common examples of this. In addition, computer programmes may generate an 'italic' style by simply slanting

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1440-441: The former. The reader must find additional criteria to distinguish between these. Here, apart from using the attribute of italic–non-italic styles, the title also employs the attribute of capitalization. Citation styles in which book titles are italicised differ on how to deal with a book title within a book title; for example, MLA style specifies a switch back to roman type, whereas The Chicago Manual of Style (14.94) specifies

1485-402: The inter-war period is the display face Koch Antiqua . With a partly oblique lower case, it also makes the italic capitals inline in the style of blackletter capitals in the larger sizes of the metal type. It was developed by Rudolph Koch, a type designer who had previously specialised in blackletter font design (which does not use italics); Walter Tracy described his design as "uninhibited by

1530-528: The italic font has the top of the letter leaning to the left, instead of leaning to the right. Some font families, such as Venus , Roemisch, Topografische Zahlentafel, include left leaning fonts and letters designed for German cartographic map production, even though they do not support Arabic characters. In the 1950s, Gholamhossein Mosahab invented the Iranic font style , a back-slanted italic form to go with

1575-466: The late nineteenth and early twentieth centuries, a number of type foundries such as American Type Founders and Genzsch & Heyse offered serif typefaces with oblique rather than italic designs, especially display typefaces but these designs (such as Genzsch Antiqua) have mostly disappeared. An exception is American Type Founders' Bookman , offered in some releases with the oblique of its metal type version. An unusual example of an oblique font from

1620-439: The model of Roman square capitals , shorter than the ascending lower-case italic letters, and were used at the start of each line followed by a clear space before the first lower-case letter. While modern italics are often more condensed than roman types , historian Harry Carter describes Manutius' italic as about the same width as roman type. To replicate handwriting, Griffo cut at least sixty-five tied letters ( ligatures ) in

1665-427: The parenthetical is italicised (in which case roman type is preferred, as on the right of this example ). In The Elements of Typographic Style , however, it is argued that, since Italic delimiters are not historically correct, the upright versions should always be used, while paying close attention to kerning . In media where italicization is not possible, alternatives are used as substitutes: OpenType has

1710-444: The regular style if they cannot find an italic or oblique style, though this may look awkward with serif fonts for which an italic is expected. Professional designers normally do not simply tilt fonts to generate obliques but make subtle corrections to correct the distorted curves this introduces. Many sans-serif families have oblique fonts labelled as italic, whether or not they include "true italic" characteristics. If something within

1755-549: The right-to-left direction of the script. Since italic styles clearly look different from regular (roman) styles, it is possible to have 'upright italic' designs that have a cursive style but remain upright. In Latin-script countries, upright italics are rare but are sometimes used in mathematics or in complex texts where a section of text already in italics needs a 'double italic' style to add emphasis to it. Donald Knuth 's Computer Modern has an alternate upright italic as an alternative to its standard italic, since its intended use

1800-480: The roman type, but in oblique type letters are just slanted without changing the roman type form. The name comes from the fact that calligraphy-inspired typefaces were first designed in Italy , to replace documents traditionally written in a handwriting style called chancery hand . Aldus Manutius and Ludovico Arrighi (both between the 15th and 16th centuries) were the main type designers involved in this process at

1845-623: The same type is used as in normal type, but slanted to the right: Oblique type (or slanted roman, sloped roman) is type that is slanted, but lacking cursive letterforms, with features like a non-descending f and double-storey a , unlike "true italics". Many sans-serif typefaces use oblique designs (sometimes called "sloped roman" styles) instead of italic ones; some have both italic and oblique variants. Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer Jeremy Tankard stated that he had avoided

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1890-557: The time. Italic type was first used by Aldus Manutius and his press in Venice in 1500. Manutius intended his italic type to be used not for emphasis but for the text of small, easily carried editions of popular books (often poetry), replicating the style of handwritten manuscripts of the period. The choice of using italic type, rather than the roman type in general use at the time, was apparently made to suggest informality in editions designed for leisure reading. Manutius' italic type

1935-407: The traditions of roman and italic". The printing historian and artistic director Stanley Morison was for a time in the inter-war period interested in the oblique type style, which he felt stood out in text less than a true italic and should supersede it. He argued in his article Towards an Ideal Italic that serif book typefaces should have as the default sloped form an oblique and as a complement

1980-666: The use of quotation marks ( A Key to Whitehead's " Process and Reality " ). An alternative option is to switch to an 'upright italic' style if the typeface used has one; this is discussed below. Left-leaning italics are now rare in Latin script , where they are mostly used for the occasional attention-grabbing effect. They were once more common, however, being used for example in legal documents. They are more common in Arabic script. In certain Arabic fonts (e.g.: Adobe Arabic, Boutros Ads),

2025-529: Was cut by his punchcutter Francesco Griffo (who later, following a dispute with Manutius, claimed to have conceived it). It replicated handwriting of the period following from the style of Niccolò de' Niccoli , possibly even Manutius' own. The first use in a complete volume was a 1501 edition of Virgil dedicated to Italy, although it had been briefly used in the frontispiece of a 1500 edition of Catherine of Siena 's letters. In 1501, Aldus wrote to his friend Scipio: We have printed, and are now publishing,

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