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Adobe®
®
Dreamweaver CS4

Gary B. Shelly
Dolores J. Wells

Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States
Adobe® Dreamweaver® CS4 © 2010 Course Technology, Cengage Learning
Introductory Concepts and Techniques, ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be
Gary B. Shelly, Dolores J. Wells reproduced, transmitted, stored or used in any form or by any means graphic, elec-
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1 2 3 4 5 14 13 12 11 10
 Dreamweaver CS4
Contents
Preface vii CHAPTER ONE
Creating a Dreamweaver Web Page and
Adobe Dreamweaver CS4 Local Site
Objectives DW 33
INTRODUCTION What Is Adobe Dreamweaver CS4? DW 34
Project — Alaska Parks Web Site Home Page DW 34
Web Site Development and Adobe
Overview DW 35
Dreamweaver CS4 Starting Dreamweaver DW 36
Objectives DW 1
To Start Dreamweaver DW 36
The Internet DW 2
The Dreamweaver Environment and
The World Wide Web and Web Browsers DW 2
Workspace DW 38
Accessing the Web DW 2
Document Tab DW 39
Web Browsers DW 3
Document Window DW 39
Types of Web Sites DW 5
Panels and Panel Groups DW 39
Planning a Web Site DW 7
Status Bar DW 40
Planning Basics — Purpose DW 7
Vertical/Horizontal Bars DW 40
Planning Basics — Content DW 7
Application Bar DW 41
Web Site Navigation DW 8
Toolbars DW 41
Design Basics — Navigation Map DW 8
Opening and Closing Panels DW 42
Developing a Web Site DW 11
To Display the Standard Toolbar, Change the
Development Basics — Typography, Images,
Icon Colors, and Close and Open Panels DW 43
Page Layout, and Color DW 12
Defining a Local Site DW 45
Reviewing and Testing a Web Site DW 14
Creating the Local Root Folder and Subfolders DW 45
Publishing a Web Site DW 14
Using Site Definition to Create a Local Site DW 46
Publishing Basics — Domain Name, Server
To Use Site Definition to Create a Local Web Site DW 47
Space, and Uploading DW 14
To Copy Data Files to the Local Web Site DW 52
Maintaining a Web Site DW 17
Removing or Editing a Web Site DW 55
Methods and Tools Used to Create Web Sites DW 17
Preparing Your Workspace and Saving a
Web Site Languages DW 17
Web Page DW 55
Web Page Authoring Programs DW 20
Rulers DW 55
Adobe Dreamweaver CS4 DW 20
The Index Page DW 55
Chapter Summary DW 22
To Hide the Rulers, Change the .html Default,
Learn It Online DW 23
and Save a Document as a Web Page DW 56
Apply Your Knowledge DW 23
Web Page Backgrounds DW 59
Extend Your Knowledge DW 25
To Add a Background Image to the Index Page DW 60
Make It Right DW 25
Adding Text to a Web Page DW 61
In the Lab DW 26
To Hide the Panel Groups DW 62
Cases and Places DW 30
Adding Text DW 63
To Add a Heading and Introductory
Paragraph Text DW 63
Formatting Features DW 66
Property Inspector Features DW 66

iii
Contents iv Adobe Dreamweaver CS4 Introductory

Collapsing/Hiding the Property Inspector DW 66 Adding Pages to a Web Site DW 108

Applying Text-Related Features DW 68 To Open a New Document Window DW 108
Text Headings DW 68 Creating the Alaska National Preserves
To Format Text with the Heading 1 Style DW 69 Web Page DW 111
Centering Text DW 70 To Create the Alaska National Preserves
To Center the Web Page Heading DW 71 Web Page DW 111
Types of Lists DW 72 To Format the Alaska National Preserves
To Create an Unordered List DW 72 Web Page DW 112
Bold Formatting DW 73 Creating the Alaska Historical Sites Web Page DW 113
To Bold Text DW 74 To Open a New Document Window DW 113
Understanding Line Breaks DW 74 Entering Text for the Alaska National Historical
To Add a Line Break DW 75 Sites Web Page DW 113
To Add Your Name and Date DW 76 To Create the Alaska National Historical Sites
Web Page Titles DW 77 Web Page DW 114
To Change the Web Page Title DW 77 Images DW 115
Other Web Page Enhancements DW 78 Image File Formats DW 115
Special Characters DW 78 Background Colors and Background Images DW 116
Check Spelling DW 78 To Add a Background Image to the Alaska
To Check Spelling DW 79 National Historical Sites Web Page DW 117
Previewing a Web Page in a Browser DW 80 To Add a Background Image to the Alaska
Selecting a Browser DW 80 National Preserves Web Page DW 118
To Select Primary and Secondary Target Assets Panel DW 118
Browsers DW 81 Accessibility DW 119
Previewing a Web Page DW 83 Invisible Elements DW 119
To Preview the Web Page DW 83 To Set Invisible Element Preferences and
Printing a Web Page DW 83 Turn on Visual Aids DW 120
To Print a Web Page DW 84 Opening a Web Page DW 123
Dreamweaver Help System DW 85 To Open a Web Page from a Local Web Site DW 124
Disabling the Welcome Screen and Quitting Inserting an Image into a Web Page DW 124
Dreamweaver DW 85 To Insert an Image into the Index Page DW 125
To Disable the Welcome Screen, Close the Property Inspector Image Tools DW 127
Web Site, and Quit Dreamweaver DW 85 Aligning the Image and Adjusting the
Starting Dreamweaver and Opening a Image Size DW 128
Web Page DW 86 To Align an Image DW 129
Chapter Summary DW 87 Adjusting Space Around Images DW 130
Learn It Online DW 87 To Adjust the Image Size and the Horizontal
Apply Your Knowledge DW 88 and Vertical Space DW 130
Extend Your Knowledge DW 89 To Insert the Second Image DW 131
Make It Right DW 90 To Insert and Align Images in the Alaska
In the Lab DW 92 National Preserves Web Page DW 134
Cases and Places DW 98 To Insert and Align Images in the Alaska
National Historical Parks Web Page DW 136
CHAPTER TWO Image Editing Tools DW 140
Adding Web Pages, Links, and Images To Crop and Modify the Brightness/Contrast
Objectives DW 101 of an Image DW 141
Introduction DW 102 Understanding Different Types of Links DW 144
Project — Two New Pages, Links, and Images DW 102 Relative Links DW 145
Overview DW 103 To Add Text for Relative Links DW 146
Copying Data Files to the Local Web Site DW 104 To Create a Relative Link Using Point to File DW 147
To Copy Data Files to the Parks Web Site DW 105 To Create a Relative Link Using the
Starting Dreamweaver and Opening a Context Menu DW 148
Web Site DW 105 To Create a Relative Link to the Home Page DW 151
To Start Dreamweaver and Open the Alaska Creating an Absolute Link DW 153
Parks Web Site DW 106 To Create Absolute Links DW 153
Managing a Web Site DW 107 E-Mail Links DW 154
The Files Panel DW 107 To Add an E-Mail Link DW 155
The Home Page DW 107 Changing the Color of Links DW 157
Editing and Deleting Links DW 157
 Adobe Dreamweaver CS4 Introductory Contents v

Dreamweaver Views DW 157 To Specify Column Width DW 201

Using Code View and Design View DW 157 Adding an ID DW 201
To Use Design View and Code View To Add a Table ID to the Denali National
Simultaneously DW 158 Park and Preserve Table DW 202
Modifying Source Code DW 159 Adding Text to the Denali National Park
Live View DW 159 and Preserve Web Page DW 202
To Use Live View DW 159 To Add Text to the Denali National Park and
Quitting Dreamweaver DW 160 Preserve Web Page DW 203
To Close the Web Site and Quit Dreamweaver DW 160 Adding a Second Table to the Denali National
Chapter Summary DW 161 Park and Preserve Web Page DW 205
Learn It Online DW 161 To Add a Second Table to the Denali National
Apply Your Knowledge DW 162 Park and Preserve Web Page DW 205
Extend Your Knowledge DW 163 Adjusting the Table Width DW 207
Make It Right DW 164 To Adjust the Table Width, Center the Text,
In the Lab DW 165 and Add the Table ID DW 208
Cases and Places DW 173 To Add Links to the Denali National Park and
Preserve Web Page DW 209
CHAPTER THREE Editing and Modifying Table Structure DW 210
Tables and Page Layout Merging Cells and Adding Images DW 211
Objectives DW 175 To Merge Two Cells in a Table DW 212
Introduction DW 176 To Disable the Image Tag Accessibility
Project — Formatted Tables with Images DW 176 Attributes Dialog Box DW 213
Overview DW 179 To Add Images to a Table DW 214
Starting Dreamweaver and Opening a Creating the Gates of the Arctic National
Web Site DW 180 Park and Preserve Web Page DW 221
To Start Dreamweaver and Open the Alaska To Open a New Document Window and
Parks Web Site DW 180 Add a Background Image to the Gates of
Copying Data Files to the Local Web Site DW 180 the Arctic National Park and Preserve
To Copy Data Files to the Parks Web Site DW 181 Web Page DW 221
Adding Pages to a Web Site DW 182 To Insert and Center a Table DW 222
To Open a New Document Window DW 182 To Adjust the Cell Alignment and
Creating the Denali National Park and Column Width DW 223
Preserve Web Page DW 183 To Merge Cells in Row 1 DW 224
To Add a Background Image to the Denali Adding Text to the Table DW 224
National Park and Preserve Web Page DW 183 To Add and Format Text for the Gates of the
To Insert and Format the Heading DW 184 Arctic National Preserve and Park
Understanding Tables and Page Layout DW 184 Web Page DW 225
Inserting a Table into the Denali National Adding Images and Image Borders DW 228
Park and Preserve Page DW 185 To Add Images, Image Borders, and a Table
The Insert Bar DW 186 Border DW 228
To Display the Insert Bar and Select the To Add Links to and Spell Check the Gates of
Layout Tab DW 186 the Arctic National Park and Preserve
Layout Tab DW 187 Web Page DW 232
Table Defaults and Accessibility DW 188 Head Content DW 234
Table Layout DW 189 Head Content Elements DW 234
To Insert a Table DW 189 To Add Keywords and a Description to the
Property Inspector Table Features DW 191 Index Page DW 235
Cell, Row, and Column Properties DW 192 To Add Links to the Index Page DW 237
Table Formatting Conflicts DW 193 Publishing a Web Site DW 238
Understanding HTML Structure in a Table DW 194 Quitting Dreamweaver DW 239
Selecting the Table and Selecting Cells DW 194 To Close the Web Site and Quit Dreamweaver DW 239
Centering a Table DW 197 Chapter Summary DW 240
To Select and Center a Table DW 197 Learn It Online DW 240
Changing the Default Cell Alignment for Text DW 198 Apply Your Knowledge DW 241
To Change Vertical Alignment from Middle Extend Your Knowledge DW 243
to Top DW 199 Make It Right DW 244
Specifying Column Width DW 200 In the Lab DW 246
Cases and Places DW 255
Contents vi Adobe Dreamweaver CS4 Introductory

Appendices APPENDIX C
Publishing to a Web Server
APPENDIX A Publishing to a Remote Site APP 23
Adobe Dreamweaver CS4 Help Defining a Remote Site APP 24
Getting Help with Dreamweaver CS4 APP 1 To Define a Remote Site APP 24
The Dreamweaver Help Menu APP 1 Connecting to a Remote Site APP 27
Exploring the Dreamweaver CS4 Help System APP 3 To Connect to a Remote Site APP 27
Using the Contents Panel APP 5 Uploading Files to a Remote Server APP 28
To Find Help Using the Contents Panel APP 5 To Upload Files to a Remote Server APP 29
Using the Search Feature APP 6 Remote Site Maintenance and Site
To Use the Search Feature APP 7 Synchronization APP 30
Context-Sensitive Help APP 8 Apply Your Knowledge APP 31
To Display Context-Sensitive Help on Text Using
the Question Mark APP 9
APPENDIX D
To Use the Options Menu to Display
Context-Sensitive Help for the Files Panel APP 10
Customizing Adobe Dreamweaver CS4
Changing Screen Resolution APP 33
Using the Reference Panel APP 10
To Change the Screen Resolution APP 34
To Use the Reference Panel APP 11
Apply Your Knowledge APP 13
APPENDIX E
APPENDIX B Steps for the Windows XP User
For the XP User of this Book APP 36
Dreamweaver and Accessibility
To Start Dreamweaver APP 36
Web Accessibility APP 14
To Save a Web Page APP 38
Using Screen Readers with Dreamweaver APP 14
To Copy Data Files to the Local Web Site APP 40
Activating the Accessibility Dialog Boxes APP 15
To Activate the Image Tag Accessibility
Attributes Dialog Box APP 15
Index IND 1
Inserting Accessible Images APP 17
To Insert Accessible Images APP 17
Quick Reference Summary QR 1
Navigating Dreamweaver with the Keyboard APP 19
Using the Keyboard to Navigate Panels APP 19
To Use the Keyboard to Hide and Display the
Property Inspector APP 19
Operating System Accessibility Features APP 20
To Turn On High Contrast APP 21
Preface
The Shelly Cashman Series® offers the finest textbooks in computer education. We are
proud of the fact that our previous Dreamweaver books have been so well received. With
each new edition of our Dreamweaver books, we have made significant improvements based
on the comments made by instructors and students. The Adobe Dreamweaver CS4 books
continue with the innovation, quality, and reliability you have come to expect from the
Shelly Cashman Series.
In 2006 and 2007, the Shelly Cashman Series development team carefully reviewed
our pedagogy and analyzed its effectiveness in teaching today’s student. An extensive cus-
tomer survey produced results confirming what the series is best known for: its step-by-
step, screen-by-screen instructions, its project-oriented approach, and the quality of
its content.
We learned, though, that students entering computer courses today are different
than students taking these classes just a few years ago. Students today read less, but need
to retain more. They need not only to be able to perform skills, but to retain those skills
and know how to apply them to different settings. Today’s students need to be continually
engaged and challenged to retain what they’re learning.
As a result, we’ve renewed our commitment to focusing on the user and how they learn
best. This commitment is reflected in every change we’ve made to our Dreamweaver book.

Objectives of This Textbook

Adobe Dreamweaver CS4 is intended for a course that offers an introduction to
Dreamweaver CS4 and creation of Web sites. No experience with a computer is
assumed, and no mathematics beyond the high school freshman level is required. The
objectives of this book are:
• To teach the fundamentals of Dreamweaver CS4
• To expose students to proper Web site design and management techniques
• To acquaint students with the proper procedures to create Web sites suitable for course-
work, professional purposes, and personal use
• To develop an exercise-oriented approach that allows learning by doing
• To introduce students to new input technologies
• To encourage independent study and provide help for those who are working
independently
Preface viii Adobe Dreamweaver CS4 Introductory

Distinguishing Features
A Proven Pedagogy with an Emphasis on Project Planning Each chapter presents a
practical problem to be solved, within a project planning framework. The project orien-
tation is strengthened by the use of Plan Ahead boxes, that encourage critical thinking
about how to proceed at various points in the project. Step-by-step instructions with sup-
porting screens guide students through the steps. Instructional steps are supported by the
Q&A, Experimental Step, and BTW features.
A Visually Engaging Book that Maintains Student Interest The step-by-step tasks,
with supporting figures, provide a rich visual experience for the student. Call-outs on the
screens that present both explanatory and navigational information provide students with
information they need when they need to know it.
Supporting Reference Materials (Quick Reference, Appendices) The appendices
provide additional information about the Application at hand, such as the Help Feature
and customizing the application. With the Quick Reference, students can quickly look up
information about a single task, such as keyboard shortcuts, and find page references of
where in the book the task is illustrated.
Integration of the World Wide Web The World Wide Web is integrated into the
Dreamweaver CS4 learning experience by (1) BTW annotations; (2) a Quick Reference
Summary Web page; and (3) the Learn It Online section for each vchapter.
End-of-Chapter Student Activities Extensive end of chapter activities provide a variety
of reinforcement opportunities for students where they can apply and expand their skills
through individual and group work.

Instructor Resources CD-ROM

The Instructor Resources include both teaching and testing aids.
INSTRUCTOR’S MANUAL Includes lecture notes summarizing the chapter sections, figures
and boxed elements found in every chapter, teacher tips, classroom activities, lab
activities, and quick quizzes in Microsoft Word files.
SYLLABUS Easily customizable sample syllabi that cover policies, assignments, exams,
and other course information.
FIGURE FILESIllustrations for every figure in the textbook in electronic form. Figures are
provided both with and without callouts.
POWERPOINT PRESENTATIONS A multimedia lecture presentation system that provides slides
for each chapter. Presentations are based on chapter objectives.
SOLUTIONS TO EXERCISES Includes solutions for all end-of-chapter and chapter
reinforcement exercises.
TEST BANK & TEST ENGINE Test Banks include 112 questions for every chapter, featuring
objective-based and critical thinking question types, and including page number
references and figure references, when appropriate. Also included is the test engine,
ExamView, the ultimate tool for your objective-based testing needs.
DATA FILES FOR STUDENTS Includes all the files that are required by students to complete
the exercises.
ADDITIONAL ACTIVITIES FOR STUDENTS Consists of Chapter Reinforcement Exercises,
which are true/false, multiple-choice, and short answer questions that help students gain
confidence in the material learned.
 Adobe Dreamweaver CS4 Introductory Preface ix

Preface
Content for Online Learning
Course Technology has partnered with Blackboard, the leading distance learning solution
provider and class-management platform today. In addition to providing content for
Blackboard and WebCT, Course Technology provides premium online content for
multiple learning management system platforms. To access this material, simply visit our
password-protected instructor resources available at www.cengage.com/coursetechnology.
The resources available for download may include topic reviews, case projects, review
questions, test banks, practice tests, custom syllabi, and more. For additional information
or for an instructor username and password, please contact your sales representative.

CourseCasts Learning on the Go. Always Available...Always

Relevant.
Our fast-paced world is driven by technology. You know because you are an active
participant — always on the go, always keeping up with technological trends, and
always learning new ways to embrace technology to power your life. Let CourseCasts,
hosted by Ken Baldauf of Florida State University, be your guide into weekly updates
in this ever-changing space. These timely, relevant podcasts are produced weekly and
are available for download at http://coursecasts.course.com or directly from iTunes
(search by CourseCasts). CourseCasts are a perfect solution to getting students (and
even instructors) to learn on the go!

CourseNotes
Course Technology’s CourseNotes are six-panel quick reference cards that reinforce the
most important and widely used features of a software application in a visual and user-
friendly format. CourseNotes serve as a great reference tool during and after the student
completes the course. CourseNotes for Microsoft Office 2007, Word 2007, Excel 2007,
Access 2007, PowerPoint 2007, Windows Vista, and more are available now!

Adobe Dreamweaver CS3 30-Day Trial Edition

A copy of the Dreamweaver CS4 30-Day trial edition can be downloaded from the Adobe
Web site (www.adobe.com). Point to Downloads in the top navigation bar, click Trial
Downloads, and then follow the on-screen instructions. When you activate the software,
you will receive a license that allows you to use the software for 30 days. Course Technology
and Adobe provide no product support for this trial edition. When the trial period ends,
you can purchase a copy of Adobe Dreamweaver CS4, or uninstall the trial edition and
reinstall your previous version. The minimum system requirements for the 30 day trial
edition is a 1.8GHz or faster processor; Microsoft® Windows® XP with Service Pack 2
(Service Pack 3 recommended) or Windows Vista® Home Premium, Business, Ultimate,
or Enterprise with Service Pack 1 (certified for 32-bit Windows XP and 32-bit and 64-bit
Windows Vista); 512MB of RAM (1GB recommended); 1GB of available hard-disk space
for installation; 1,024⫻768 display (1,280⫻800 recommended) with 16-bit video card;
DVD-ROM drive; QuickTime 7.2 software required for multimedia features; and
Broadband Internet connection required for online services.*
Textbook Walk-Through

Plan Ahead boxes prepare

students to create successful
projects by encouraging
them to think strategically
about what they are trying
to accomplish before they
begin working.

Step-by-step instructions now provide

a context beyond the point-and-click.
Each step provides information on why
students are performing each task, or
what will occur as a result.

Screen Shots
BTW

Callouts in screenshots give students

information they need, when they
need to know it. The Series has
always used plenty of callouts to
ensure that students don’t get lost.
Now, use color to distinguish the
content in the callouts to make them
more meaningful.

Navigational callouts in red

show students where to click.

Explanatory callouts summarize

what is happening on screen.
Textbook Walk-Through

Q&A boxes offer questions students may

have when working through the steps and
provide additional information about what
they are doing right where they need it.

Experiment Steps within our step-by-

step instructions, encourage students to
explore, experiment, and take advantage
of the features of Adobe Dreamweaver
CS4. These steps are not necessary to
complete the projects, but are
designed to increase the confidence
with the software and build problem-
solving skills.
Textbook Walk-Through

Some steps ask students to

personalize their assignments to help
them better keep track of files and
discourage academic dishonesty.

Extend Your Knowledge projects

at the end of each chapter allow
students to extend and expand on
the skills learned within the chapter.
Students use critical thinking to
experiment with new skills to
complete each project.
Textbook Walk-Through

Make It Right projects call on

students to analyze a file, discover
errors in it, and fix them using the
skills they learned in the chapter.

Found within the Cases & Places exercises,

the Make It Personal call on students to
create an open-ended project that relates
to their personal lives.
About Our New Cover Look

Learning styles of students have changed, but the

Shelly Cashman Series’ dedication to their success has
remained steadfast for over 30 years. We are committed
to continually updating our approach and content to
reflect the way today’s students learn and experience new
technology.

This focus on the user is refl ected in our bold new cover
design, which features photographs of real students
using the Shelly Cashman Series in their courses. Each
book features a different user, refl ecting the many ages,
experiences, and backgrounds of all of the students
learning with our books. When you use the Shelly
Cashman Series, you can be assured that you are learning
computer skills using the most effective courseware
available.

We would like to thank the administration and faculty

at the participating schools for their help in making
our vision a reality. Most of all, we’d like to thank the
wonderful students from all over the world who learn
from our texts and now appear on our covers.
 ® ®
Adobe Dreamweaver CS4
This page intentionally left blank
 Adobe Dreamweaver CS4

Web Site Development

and Adobe
Dreamweaver CS4

(b) Hierarchical Structure

Objectives
You will have mastered the material in this chapter when you can:
• Describe the Internet, the Web, and • Identify the methods and tools for
their associated terms creating a Web page and Web site
• Specify the difference between a • Recognize the basic elements within
Web page and a Web site HTML/XHTML
• Define Web browsers and identify • Discuss the advantages of using Web
their main features page authoring programs such as
Dreamweaver
• Identify the 12 types of Web sites
• Discuss how to plan, design, develop,
test, publish, and maintain a Web site
Microsoft
Adobe Office Word 2003
Dreamweaver CS4

Web Site Development and

Adobe Dreamweaver CS4
The Internet
The Internet, sometimes simply called the Net, is a global network connecting millions
of computers. Within this network, a user who has permission at any one computer can
access and obtain information from any other computer within the network. A network is
a group of computers and associated devices that are connected by communications facili-
ties. A network can span a global area and involve permanent connections, such as cables,
or temporary connections made through telephone or other communications links. Local,
regional, national, and international networks constitute a global network. Each of these
networks provides communications, services, and access to information.
No one person or organization is responsible for the birth of the Internet. Its origin,
however, can be traced to the early 1960s when the Advanced Research Projects Agency
(ARPA), working under the U.S. Department of Defense, began a networking project. The
purpose of the project was to create a network that would allow scientists at different loca-
tions to share military and scientific information. Today, the Internet is a public, cooperative,
and self-sustaining facility that hundreds of millions of people worldwide access.

The World Wide Web and Web Browsers

The World Wide Web (WWW), also called the Web, is one of the more popular services
on the Internet. The Web consists of a system of global network servers, also known as
Web servers, that support specially formatted documents and provide a means for sharing
these resources with many people at the same time. A network server is known as the host
computer, and your computer, from which you access the information, is called the client.
Hypertext Transfer Protocol (HTTP) enables the transfer of data from the host computer
to the client.

Accessing the Web

Users access Web resources, such as text, graphics, sound, video, and multimedia,
through a Web page. A unique address, or Uniform Resource Locator (URL), identifies
every Web page. The URL provides the global address of the location of the Web page.
URLs are discussed later in this Introduction. Viewing data contained on a Web page
requires a Web browser, a software program that requests a Web page, interprets the
code contained within the page, and then displays the contents of the Web page on your
computer display device.

DW 2
 Adobe Dreamweaver CS4

Web Browsers
Web browsers contain special buttons and other features to help you navigate
through Web sites. The more popular Web browser programs are Microsoft Internet
Explorer, Mozilla Firefox, and Netscape Navigator. This book uses Internet Explorer
as the primary browser. When you start Internet Explorer, it opens a Web page that has
been set as the start, or home, page (Figure I–1). Using the browser’s Tools menu, the
user can designate any page on the Web as the home page or start with a blank page.
Important features of Internet Explorer are summarized in Table I–1.

title bar Address bar Search box

Web page tab

Command bar

document
window

Figure I–1

Table I–1 Internet Explorer Features

Feature Definition

Title bar Displays the name of the Web page you are viewing
Search box Allows Web searches using your favorite search provider
Command bar Contains buttons, boxes, and menus that allow you to perform tasks quickly
Address bar Displays the Web site address, or URL, of the Web page you are viewing
Document window Contains the Web page content
Web page tab Provides the option to use tabs to switch from one site to another in a single browser window

DW 3
DW 4 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Nearly all Web pages have unique characteristics, but almost every Web page contains
the same basic elements. On most Web pages, you will find headings or titles, text, pictures
or images, background enhancements, and hyperlinks. A hyperlink, or link, can connect
to another place in the same Web page or site — or to an entirely different Web page on
a server in another city or country. Normally, you click the hyperlink to follow the con-
nected pathway. Figure I–2 contains a variety of link types. Clicking a link causes the Web
page associated with the link to be displayed in a browser window. Linked pages can appear
in the same browser window or in a separate browser window, depending on the HTML
or XHTML code associated with the link. HTML and XHTML are discussed later in this
Introduction.

link

link

link

links

link

links

link
link
pointer
link

links

Figure I–2

Most Web pages are part of a Web site, which is a group of related Web pages that
are linked together. Most Web sites contain a home page, which generally is the first Web
page visitors see when they enter the site. A home page (also called an index page) typi-
cally provides information about the Web site’s purpose and content. Most Web sites also
contain additional content and pages. An individual, company, or organization owns and
manages each Web site.
Accessing the Web requires a connection through a regional or national Internet
service provider (ISP), an online service provider (OSP), or a wireless service provider
(WSP). Figure I–3 illustrates ways to access the Internet using these service providers. An
Internet service provider (ISP) provides temporary connections to individuals, companies,
or other organizations through its permanent Internet connection. Similar to an ISP, an
online service provider (OSP) provides additional member-only services such as finan-
cial data and travel information. America Online and CompuServe are examples of OSPs.
A wireless service provider (WSP) provides Internet access to users with Web-enabled
devices or wireless modems. Generally, all of these providers charge a fee for their services.
 Types of Web Sites DW 5

Dreamweaver Introduction
Screen
T.K.

National Wireless
Online Service
ISP Internet
(special members-only
Regional Service
content)
ISP Provider

Online
Service
Provider
local call

local call
wireless connection

toll-free call cable television connection DSL connection

Figure I–3

Types of Web Sites

Web sites are classified as 12 basic types: portal, news, informational, business/marketing,
educational, entertainment, advocacy, blog, wiki, social networks, content aggregator, and
personal. A portal Web site (Figure I–4a) provides a variety of Internet services from a single,
convenient location. Most portals offer free services such as search engines; local, national,
and worldwide news; sports; weather; reference tools; maps; stock quotes; newsgroups; chat
rooms; and calendars. A news Web site (Figure I–4b) contains news articles relating to current
events. An informational Web site (Figure I–4c) contains factual information, such as research
and statistics. Governmental agencies and nonprofit organizations are the primary providers of
informational Web pages. A business/marketing Web site (Figure I–4d) contains content that
promotes or sells products or services. An educational Web site (Figure I–4e) provides exciting,
challenging avenues for formal and informal teaching and learning. An entertainment Web site
(Figure I–4f) offers an interactive and engaging environment and contains music, video, sports,
games, and other similar features. Within an advocacy Web site (Figure I–4g), you will find
content that describes a cause, opinion, question, or idea. A blog (Figure I–4h), which is short
for Weblog, uses a regularly updated journal format to reflect the interests, opinions, and per-
sonality of the author and sometimes of site visitors. A wiki (Figure I-4i) is a collaborative
Web site that allows users to create, add to, modify, or delete the Web site content via their
Web browser. Most wikis are open to modification by the general public. A social network
(Figure I–4j) is an online community that encourages members to share their interests, stories,
photos, music, and videos with other members. A content aggregator (Figure I–4k) is a busi-
ness that gathers and organizes Web content and then distributes the content to subscribers
free or for a fee. A personal Web site (Figure I–4l) is published by an individual or family and
generally is not associated with any organization. As you progress through this book, you will
have an opportunity to learn more about different types of Web pages.
 DW 6 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

(b) news

(a) portal (c) informational

(e) educational
(d) business/marketing (f) entertainment

(h) blog
(i) wiki
(g) advocacy

(k) content aggegator

(j) online social network (l) personal

Figure I–4
 Planning a Web Site DW 7

Dreamweaver Introduction
Planning a Web Site
Thousands of individuals create and publish Web pages every day, some using word processing
software or markup languages, such as XHTML, to create their pages. Others use professional
design and management editors such as Dreamweaver. Although publishing a Web page or a
Web site is easy, advanced planning is paramount in ensuring a successful Web site. Publishing
a Web site, which makes it available on the Internet, is discussed later in this Introduction.

Planning Basics — Purpose

Those who rush into the publishing process without proper planning tend to design
Web sites that are unorganized and difficult to navigate. Visitors to this type of Web site
often lose interest quickly and do not return. As you begin planning your Web site, consider
the following guidelines to ensure that you set and attain realistic goals.

Purpose and Goal Determine the purpose and goal of your Web site. Create a focus
by developing a purpose statement, which communicates the intention of the Web site.
Consider the 12 basic types of Web sites mentioned previously. Will your Web site consist
of just one basic type or a combination of two or more types?

Target Audience Identify your audience. The people who visit your Web site will
determine the success of your site. Although you welcome all visitors, you need to know
as much as possible about the primary group of people you wish to reach — your target
audience. To learn more about the visitors to your Web site, determine whether you want
to attract people with similar interests, and consider the gender, education, age range,
income, profession/job field, and computer proficiency of your target audience.

Web Technologies Evaluate whether your potential visitors have access to high-speed
broadband media or to baseband media, and use this information to determine what ele-
ments to include within your Web site. Broadband can transmit a large number of mov-
ing images or a vast quantity of data simultaneously at a high speed. Media and hardware
such as T1 lines, DSL (digital subscriber lines), ISDN (Integrated Services Digital
Network), fiber optics, and cable modems work with broadband. Baseband transmits
one signal at a time over a telephone line and includes media and hardware such as 28K
to 56K modems. Baseband works well with a Web site composed mostly of text and small
images. Web sites that contain many images or multimedia, such as video and animations,
generally require that visitors have a broadband connection.

Web Site Comparison Visit other Web sites that are similar to your proposed site.
What do you like about these sites? What do you dislike? Look for inspirational ideas.
How can you make your Web site better?

Planning Basics — Content

To ensure a successful Web experience for your visitors, consider the following
guidelines to provide appropriate content and other valuable Web page elements.

Value-added Content Consider the different types of content you can include
within your Web site. Use the following questions as guidelines:
• What topics do you want to cover?
• How much information will you present about each topic?
• What will attract your target audience to your Web site?

t
 DW 8 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

• What methods will you use to keep your audience returning to your site?
• What changes will you have to make to keep your site updated?

Text Text accounts for the bulk of all content on most Web pages, so be brief and
incorporate lists whenever possible. Statistical studies indicate that most people tend to
scan the page, picking out individual words and sentences. Use common words and simple
language, and check your spelling and grammar. Create your textual content to accom-
plish your goals effectively by highlighting key words, using bulleted lists, maintaining
one idea per paragraph, and including meaningful subheadings.

Images After text, images constitute the next most commonly included content. Ask
yourself these questions with respect to your use of images:
• Will you have a common logo or theme on all of your Web pages?
• Are these images readily available?
• What images will you have to locate?
• What images will you have to create?
• How many images per page will you have?

Color Palette The color palette you select for your Web site can enhance or detract
from your message or goal. Do not think in terms of your favorite colors. Instead, consider
how color can support your goal. Ask yourself the following questions:
• Do your selected colors work well with your goal?
• Are the colors part of the universal 216-color, browser-safe color palette?
• Did you limit the number of colors to a selected few?

Multimedia Multimedia adds interactivity and action to your Web pages. Animation,
audio, and video are types of multimedia. If you plan to add multimedia, determine
whether the visitor will require plug-ins. A plug-in extends the capability of a Web
browser. Some of the more commonly used plug-ins are Shockwave Player, Adobe Flash,
and Windows Media Player. Most plug-ins are free and can be downloaded from the Web.

Web Site Development

Web Site Navigation
BTW

To develop a Web site,

start with and organize
your content. Then create Predicting how a visitor will access a Web site or at what point the visitor will enter the Web
your navigation map. site structure is not possible. Visitors can arrive at any page within a Web site by a variety of
ways: a hyperlink, a search engine, a directory, typing a Web address directly, and so on. On
every page of your Web site, you must provide clear answers to the three basic questions your
visitors will ask: Where am I? Where do I go from here? How do I get to the home page? A
well-organized Web site provides the answers to these questions. Once the visitor arrives at a
Web site, navigation, the pathway through your site, must be obvious and intuitive. Individual
Web pages cannot be isolated from the rest of the site if you want it to be successful. At all
times and on all pages in your site, you must give the visitor a sense of place, of context within
the site. Most Web designers use a navigation map to visualize the navigation pathway.

Design Basics — Navigation Map

A navigation map, or site map, outlines the structure of the entire Web site,
showing all pages within the site and the connections from one page to the others. The
navigation map acts as a road map through the Web site, but does not provide details of
 Web Site Navigation DW 9

Dreamweaver Introduction
the content of the individual pages. Web site navigation should be consistent from page
to page, so your visitors do not have to guess where they are within the site each time
they encounter a new page. All pages in the site should contain a link to the home page.
Consider the following for site navigation:

Structure The goal and the type of Web site often determine the structure selected for
a specific Web site. Create a navigation map to serve as a blueprint for your navigational
structure. Consider the following navigational structures and determine which one best
meets your needs:
• In a linear structure (Figure I–5a) the user navigates sequentially, moving from one
page to the next. Information that flows as a narrative, as a timeline, or in logical order
is ideal for sequential treatment. Simple sequential organization, however, usually
works only for smaller sites. Many online tutorials use a linear structure.
• A hierarchical structure (Figure I–5b) is one of the better ways to organize complex
bodies of information efficiently. Because many visitors are familiar with hierarchi-
cal charts, many Web sites employ this structure. Be aware that effective hierarchical
structures require thorough organization of the content.
• A Web structure (Figure I–5c), which also is called a random structure, places few
restrictions on organizational patterns. This type of structure is associated with the
free flow of ideas and can be confusing to a user. A random structure is better suited
for experienced users looking for further education or enrichment and is not recom-
mended if your goal is to provide a basic understanding of a particular topic. If a Web
site is relatively small, however, a random structure could work well.
• Use a grid structure if your Web site consists of a number of topics of equal importance
(Figure I–5d). Procedural manuals, events, and item lists work well in a grid structure.

(a) Linear Structure

(b) Hierarchical Structure

(c) Web Structure (d) Grid Structure

Figure I–5
DW 10 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

• Large Web sites frequently use a hybrid structure, a combination of the previous
listed structures, to organize information. See Figure I–6.

Course Technology
Search text box

site
navigation

menu
links

contact

footer

Figure I–6

Tools Determine the tool necessary to create the navigation map (Figure I–7). For
small Web sites, you might want to consider using the organizational chart included in the
Microsoft PowerPoint application.
 Developing a Web Site DW 11

Dreamweaver Introduction
Figure I–7

For larger, more diverse Web sites, you can chart and organize your content using
Visio Professional, Flow Charting PDQ, FlowCharter Professional, and SmartDraw.

Navigation Elements The more common types of navigation elements include text,
buttons, images, image maps, a site index, a menu, a search feature, navigation bars, and
frames. Depending on the complexity of your Web site, you may want to include some or
all of these elements.

Developing a Web Site

Once you have established a structure for your Web site, you can begin developing the
site. Make text and images the main focus because they are the more common elements.
Then consider page layout and color.
 DW 12 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Development Basics — Typography, Images, Page Layout,

and Color
Typography, images, page layout, and color are the key design elements that will
make up your finished Web site. Correct use of these elements plays an important part in
the development process. Consider the following guidelines:

Typography As in all media, good typography, the appearance and arrangement of

the characters that make up your text, is vital to the success of your Web page. A font
consists of all the characters available in a particular style and weight for a specific design.
Text should always be easy to read, whether in a book, magazine, Web page, or billboard.
Keep readability in mind as you select fonts, especially when you consider that some of
your visitors might only be viewing them on screen, and others might print them.
When selecting a font, determine its purpose on your Web page. Is it to be used for
a title? For on-screen reading? Is it likely to be printed? Will the font fit in with the theme
of the Web site? Is it a Web-safe font, such as Times New Roman, Courier, or Arial?
Web-safe fonts are the more popular fonts and the ones that most visitors are likely to
have installed on their computers. Also, while visitors to your Web page may never con-
sciously notice the design of the text characters, or the typeface, it often subconsciously
affects their reaction to the page.

Images Images can enhance almost any Web page if used appropriately. Without
the visual impact of shape, color, and contrast, Web pages can be visually uninterest-
ing and will not motivate the visitor to investigate their contents. Consider the balance
between the number of images and page performance as you develop your site. When
adding images, consider your potential audience and the technology they have available.
Remember that a background image or a graphical menu increases visitor download time.
You may lose visitors who do not have broadband access if your Web page contains an
excessive number of graphical items.

Keep the Page Simple Page Layout The importance of proper page layout cannot be overemphasized. A
BTW

Some Web pages take a

suitable design draws visitors to your Web site. Although no single design system is appro-
long time to download
or view if they contain priate for all Web pages, establish a consistent, logical layout that allows you to add text
multiple elements and and images easily. The Web page layouts shown in Figure I–8 illustrate two different lay-
appear very “busy.” outs. The layout on the left (Figure I–8a) shows a plain page with a heading and text. The
Simple pages download page layout on the right (Figure I–8b) presents strong visual contrast by using a variety of
faster and make an
immediate impression on
layout elements.
the reader.
 Developing a Web Site DW 13

Dreamweaver Introduction
(a) (b)
Figure I–8

Maintaining consistency and updating changes throughout a site are two of the biggest
challenges faced by Web designers. A template, a special type of document, can help with
these challenges. Dreamweaver provides several page layout templates that can be modified
easily. In laying out your Web pages, consider the following guidelines to ensure that visitors
have the best viewing experience:
• Include only one topic per page.
• Control the vertical and horizontal size of the page.
• Start text on the left to match the way most people read text.
• Use concise statements and bulleted points to get your point across; studies indicate
most people scan the text.

Color When creating a Web page, use color to add interest and vitality to your site.
Include color in tables, as backgrounds, and with fonts. Use the right combination of
colors to decorate the layout and tie the Web site pages together.
DW 14 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Reviewing and Testing a Web Site

Some Web site developers argue that reviewing and testing should take place throughout
the developmental process. While this may be true, it also is important to review and test
the final product. This ongoing process ensures that you identify and correct any prob-
lems before publishing to the Web. When reviewing and testing your Web site, ask the
following questions:
• Is the Web site free of spelling and grammatical errors?
• Is the page layout consistent, and does it generate a sense of balance and order?
• Are any links broken?
• Do multimedia interactivity and forms function correctly?
• Do the more widely used browsers display the Web site properly?
• Does the Web site function properly in different browsers, including older browser
versions?
• Have you initiated a group test, in which you have asked other individuals to test
your Web site and provide feedback?

Publishing a Web Site

After your Web site has been tested thoroughly, it can be published. Publishing a Web
site, making it available to your visitors, involves the actual uploading of the Web site to a
server. After you complete the uploading process, all pages within the Web site should be
tested again.

Publishing Basics — Domain Name, Server Space, and

Uploading
With your Web site thoroughly tested and any problems corrected, you must make
the site available to your audience by obtaining a domain name, acquiring server space,
and uploading the site. Consider the following to ensure site availability:

Obtain a Domain Name To allow visitors to access your Web site, you must obtain
a domain name. Visitors access Web sites by an IP address or a domain name. An IP
address (Internet Protocol address) is a number that uniquely identifies each computer
or device connected to the Internet. A domain name is the text version of an IP address.
The Domain Name System (DNS), an Internet service, translates domain names into
their corresponding IP addresses. The Uniform Resource Locator (URL), also called
a Web address, tells the browser on which server the Web page is located. A URL con-
sists of a communications protocol, such as Hypertext Transfer Protocol (HTTP), the
domain name, and sometimes the path to a specific Web page (Figure I–9).
 Publishing a Web Site DW 15

Dreamweaver Introduction
protocol domain name path Web page name

http://www.usps.com/household/stampcollecting/welcome.htm

Address bar

Web page that

is displayed after
the Web address
is entered

Figure I–9

Domain names are unique and must be registered. The Accredited Registrar
Directory provides a listing of Internet Corporation for Assigned Names and
Numbers (ICANN) accredited domain name registrars. Your most difficult task likely
will be to find a name that is not registered. You can locate a name by using a specialized
search engine at one of the many accredited domain name registrars listed on the ICANN
Web site (icann.org/registrars/accredited-list.html). In addition to registering your busi-
ness name as a domain name, you may want to register the names of your products,
services, or other related names. Expect to pay approximately $10 to $35 per year for a
domain name.
Consider the following guidelines when selecting a domain name:
• Select a name that is easy to pronounce, spell, and remember.
• Select a name that relates to the Web site content and suggests the nature of your
product or service.
• If the Web site is a business, use the business name whenever possible.
• Select a name that is free and clear of trademark issues.
• Purchase variations and the .org, .net, and .mobi versions of your domain name.
• Some ISPs will obtain a domain name for you if you use their service to host your
Web site.
DW 16 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Acquire Server Space Locate an ISP that will host your Web site. Recall that an ISP
is a business that has a permanent Internet connection. ISPs offer connections to individuals
and companies free or for a fee.
If you select an ISP that provides free server space, most likely your visitors will be
subjected to advertisements and pop-up windows. Other options to explore for free or
inexpensive server space include the provider from which you obtain your Internet con-
nection; online communities, such as Yahoo! GeoCities (geocities.yahoo.com), Tripod
(tripod.lycos.com), and MSN Web Communities (members.freewebs.com/); and your
educational institution’s Web server. If the purpose of your Web site is to sell a product
or service or to promote a professional organization, you should consider a fee-based ISP.
Use a search engine such as Google (google.com) and search for Web site hosting, or
visit the Web Site Host Directory (www.websitehostdirectory.com), where you will find
thousands of Web hosting plans, as well as reviews and ratings of Web hosting providers.
Selecting a reliable provider requires investigation on your part. Many providers offer
multiple hosting plans. When selecting an ISP, consider the following questions and how
they apply to your particular situation and Web site:
1. What is the monthly fee? Is a discount available for a year-long subscription? Are
setup fees charged?
2. How much server space is provided for the monthly fee? Can you purchase addi-
tional space? If so, how much does it cost?
3. What is the average server uptime on a monthly basis? What is the average server
downtime?
4. What are the server specifications? Can the server handle many users? Does it
have battery backup power?
5. Are server logs, which keep track of the number of accesses, available?
6. What is the ISP’s form of connectivity — that is, how does it connect to the
Internet: OC3, T1, T3, or some other way?
7. Is a money-back guarantee offered?
8. What technical support does the ISP provide, and when is it available? Does it
have an online knowledge base?
9. Does the server on which the Web site will reside have CGI capabilities and
Active Server Page (ASP) support?
10. Does the server on which the Web site will reside support e-commerce, multi-
media, and Secure Sockets Layer (SSL) for encrypting confidential data such as
credit card numbers? Are additional fees required for these capabilities?
11. Does the ISP support Dreamweaver or other Web site development software
programs?
12. Are mailboxes included in the package? If so, how many?

Publish the Web Site You must publish, or upload, the files from your computer to a
server where your Web site will then be accessible to anyone on the Internet. Publishing,
or uploading, is the process of transmitting all the files that make up your Web site from
your computer to the selected server or host computer. The files that make up your Web
site can include Web pages, PDF documents, images, audio, video, animation, and others.
A variety of tools and methods exist to manage the upload task. Some of the more
popular of these are FTP programs, Windows Web Publishing Wizard, Web Folders, and
Web authoring programs such as Dreamweaver. These tools allow you to link to a remote
server, enter a password, and then upload your files. Dreamweaver contains a built-in
function similar to independent FTP programs. The Dreamweaver FTP function to
upload your Web site is covered in Chapter 3 and in Appendix C.
 Web Site Languages DW 17

Dreamweaver Introduction
Maintaining a Web Site
Most Web sites require maintenance and updating. Some types of ongoing Web maintenance
include the following:
• Changing content, either by adding new text and images or by deleting obsolete
material
• Checking for broken links and adding new links
• Documenting the last change date (even when no revisions have been made)
Use the information from the server logs provided by your ISP to determine what
needs to be updated or changed. Statistics contained within these logs generally include
the number of visitors trying to access your site at one time, what resources they request,
how long they stay at the site, at what point they enter the site, what pages they view, and
what errors they encounter. Learning to use and apply the information contained within
the server log will help you to make your Web site successful.
After you make updates or changes to the site, notify your viewers with a What’s
New announcement.

Methods and Tools Used to Create Web Sites

Web developers have several options for creating Web pages: a text editor, an HTML or
XHTML editor, software applications, or a WYSIWYG text editor (discussed in detail
on page DW 20). Microsoft Notepad and WordPad are each examples of a text editor.
These simple, easy-to-use programs allow the user to enter, edit, save, and print text. An
HTML or XHTML editor is a more sophisticated version of a text editor. In addition to
basic text-editing functions, these programs include more advanced features such as syntax
highlighting, color coding, and spell checking. Software applications such as Microsoft
Word, Excel, and Publisher provide a Save as Web Page command. This feature con-
verts the application document into a file Web browsers are able to display. Examples of
a WYSIWYG text editor are programs such as Microsoft Expression Web, and Adobe
Dreamweaver. These programs provide an integrated text editor with a graphical user
interface that allows the user to view both the code and the document as you create it.
A Web developer can use any of these options to create Web pages. Regardless of
the option selected, however, it still is important to understand the specifics of HTML
and XHTML.

Web Site Languages

Web pages are written in plain text and saved in the American Standard Code for
Information Interchange, or ASCII (pronounced ASK-ee), format — the most widely
used coding system to represent data. Using the ASCII format makes Web pages univer-
sally readable by different Web browsers regardless of the computer platform on which
they reside. W3C
BTW

The language of the Web is not static; it evolves just like most other languages. The World Wide Web
Consortium (W3C) devel-
HTML (Hypertext Markup Language) has been the primary language of the Web and
ops and updates Web pro-
most likely will continue to be so for at least the near future. HTML is useful for creating tocols. For example, they
headings, paragraphs, lists, and so on, but is limited to these general types of formatting. specified the most recent
XHTML is a rewritten version of HTML using XML (Extensible Markup Language). changes to XHTML, and
are directing an effort to
Unlike HTML, Extensible Hypertext Markup Language (XHTML) is an
make it easier for people
authoring language that defines the structure and layout of a document so that it displays to browse the Web on
as a Web page and is compatible with Web browsers such as Microsoft Internet Explorer, mobile devices.
 DW 18 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Test Web Pages Mozilla Firefox, or Netscape Navigator. Browser rules for interpreting HTML are flexible.
BTW

When considering which

XHTML, however, requires Web designers to adhere strictly to its markup language rules.
browsers you should use
to test a Web page, be Two components constitute a Web page: source code and document content. The
sure you use the most source code, which contains elements, acts as the program instructions. The elements
recent versions of the within the source code control the appearance of the document content. Browsers display
more popular browsers,
the document content, or the text and images. The browser interprets the elements
such as Internet Explorer
and Firefox. contained within the code, and the code instructs the browser how to display the Web
page. For instance, if you define a line of text on your Web page as a heading, the browser
knows to display this line formatted as a heading.
All XHTML element formats and HTML tags start with a left angle bracket (< or
less than symbol), are followed by the name of the element, and end with a right angle
bracket (> or greater than symbol). Most elements have a start and an end element and
are called two-sided elements. End elements are the same as start elements except they
are preceded by a forward slash (/). Some XHTML elements, such as the one used to
indicate a line break <br />, do not have an end element. Instead, the right angle bracket
is preceded by a space and forward slash. These are known as one-sided elements, or
self-closing elements. In some browsers, the end element can be omitted from certain
elements, such as the end element for a new paragraph, </p>. Unlike HTML, however,
XHTML standards require you to include both the start and end elements for all two-
sided elements.
Some elements can contain an attribute, or property, which is additional information
placed within the angle brackets. Attributes are not repeated or contained in the end element.
Some attributes are used individually, while other attributes can include a value modifier. A
value modifier specifies conditions within the element, and should always be enclosed in
double quotation marks. For example, you can use a value modifier to specify the font type
or size or the placement of text on the page. To create and display a centered heading, for
instance, you would use the following code:

<h1 style=”text-align:center”>This is the largest header

element and the text will be centered</h1>

In this example, h1 is the XHTML element, align is the attribute, and center is the
value modifier. Notice that the attribute does not appear as part of the end element, </h1>.
You can use the Dreamweaver Code window and Microsoft Notepad or WordPad
(text editors) to create XHTML documents. Place each element in a pair around the text
or section that you want to define (mark up) with that element. Use lowercase characters
when typing XHTML elements.
XHTML elements also format the hyperlinks that connect information on the
World Wide Web. While XHTML elements number in the hundreds, some are used
more than others. All documents, however, require four basic elements. Figure I–10 illus-
trates the basic elements required for all XHTML documents. Table I–2 summarizes the
more commonly used XHTML elements.
 Web Site Languages DW 19

Dreamweaver Introduction
version of HTML
used in current
document

initial
elements

start <body>
element

end </body> and

</html> elements

Figure I–10

Table I–2 Commonly Used XHTML Elements

Element (tags) Structure

<html>...</html> Encloses the entire XHTML document

<head>...</head> Encloses the head of the XHTML document
<body>...</body> Encloses the body of the XHTML document

Element (tags) Title and Headings

<title>...</title> Indicates the title of the document

<h1>...</h1> Heading level 1
<h2>...</h2> Heading level 2
<h3>...</h3> Heading level 3
<h4>...</h4> Heading level 4
<h5>...</h5> Heading level 5
<h6>...</h6> Heading level 6

Element (tags) Paragraphs, Breaks, and Separators

<p>...</p> Paragraph
<br /> Line break
<hr /> Horizontal rule
<ol>...</ol> Ordered, numbered list
<ul>...</ul> Unordered, bulleted list
DW 20 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Table I–2 Commonly Used XHTML Elements (continued)

Element (tags) Paragraphs, Breaks, and Separators

<li>...</li> List item, used with <ol>, <ul>, <menu>, and <dir>
<dl>...</dl> Definition of glossary list
<dt>...</dt> Definition term; part of a definition list
<dd>...</dd> Definition corresponding to a definition term

Element (tags) Character Formatting

<b>...</b> Bold text

<u>...</u> Underlined text
<i>...</i> Italic text

Element (tags) Links

<a>...</a> Combined with the href attribute, creates a link to another document or anchor
<a>...</a> Combined with the name attribute, creates an anchor to which elements can be linked

Element (tags) Image

<img /> Inserts an image into the document

Web Page Authoring Programs

Many of today’s Web page authoring programs, including Dreamweaver, are What You See
Is What You Get (WYSIWYG) text editors. As mentioned earlier, a WYSIWYG text editor
allows a user to view a document as it will appear in the final product and to edit the text,
images, or other elements directly within that view. Before programs such as Dreamweaver
existed, Web page designers were required to type, or hand-code, Web pages. Educators
and Web designers still debate the issue surrounding the necessity of knowing HTML and
XHTML. Technically, you do not need to know either HTML or XHTML to create Web
pages in Dreamweaver; however, an understanding of HTML and XHTML will help you
if you need to alter Dreamweaver-generated code. If you know HTML and XHTML, then
you can make changes to the code and Dreamweaver will accept the changes.

Adobe Dreamweaver CS4

The standard in visual authoring, Adobe Dreamweaver CS4 is part of the Adobe Creative
Suite, which includes Adobe Flash, ColdFusion, Fireworks, and other programs depend-
ing on the particular suite. Dreamweaver provides features that access these separate
products. Some of the new features of Dreamweaver CS4 include the following:
• New user interface
• New rendering mode that displays the design like a standard-based browser
• Related Files feature that displays all the documents associated with your current page
• Integration with Adobe PhotoShop CS4 and Adobe Contribute CS4
• The new code navigator element available in a pop-up window
• Code hinting available for Ajax and JavaScript objects
• User-created interface
Dreamweaver makes it easy to get started and provides you with helpful tools to
enhance your Web design and development experience. Working in a single environment,
 Adobe Dreamweaver CS4 DW 21

Dreamweaver Introduction
you create, build, and manage Web sites and Internet applications. In Dreamweaver, you
can customize the workspace environment to fit your particular needs.
Dreamweaver contains coding tools and features that include references for
HTML, XHTML, XML, CSS, and JavaScript as well as code editors that allow you to
edit the code directly. Using Adobe Roundtrip technology, Dreamweaver can import
Microsoft Office or other software Web pages and delete the unused code. Downloadable
extensions from the Adobe Web site make it easy to add functionality to any Web site.
Examples of these extensions include shopping carts and online payment features.
Instead of writing individual files for every page, you can use a database to store content
and then retrieve the content dynamically in response to a user’s request. Implementing and
using this feature, you can update the information once, in one place, instead of manually edit-
ing many pages. Another key feature is Cascading Style Sheets styles (CSS styles). CSS
styles are collections of formatting definitions that affect the appearance of Web page elements.
You can use CSS styles to format text, images, headings, tables, and so forth. Implementing
and applying this feature, you can update the formatting one time across many Web pages.
Dreamweaver provides the tools that help you author accessible content. These
accessible pages comply with government guidelines and Section 508 of the Federal
Rehabilitation Act. Accessibility is discussed in more detail as you progress through the book.
Dreamweaver allows you to publish Web sites with relative ease to a local area network,
which connects computers in a limited geographical area, or to the Web, so that anyone with
Internet access can see them. The concepts and techniques presented in this book provide the
tools you need to plan, develop, and publish professional Web sites, such as those shown in
Figure I–11 and Figure I–12 on the next page.

Figure I–11
DW 22 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Figure I–12

Chapter Summary
The Introduction to Web Site Development and Adobe Dreamweaver CS4 provided an overview of the Internet and
the World Wide Web and the key terms associated with those technologies. An overview of the 12 basic types of Web
pages also was presented. The Introduction furnished information on developing a Web site, including planning basics.
The process of designing a Web site and each phase within this process were discussed. Information about testing, pub-
lishing, and maintaining a Web site also was presented, including an overview of obtaining a domain name, acquiring
server space, and uploading a Web site. Methods and tools used to create Web pages were introduced. A short over-
view of HTML and XHTML and some of the more commonly used HTML tags and XHTML elements were pre-
sented. Finally, the advantages of using Dreamweaver in Web development were discussed. These advantages include
a WYSIWYG text editor; a visual, customizable development environment; accessibility compliance; downloadable
extensions; database access capabilities; and Cascading Style Sheets.
 Apply Your Knowledge DW 23

STUDENT ASSIGNMENTS Dreamweaver Introduction

Learn It Online
Test your knowledge of chapter content and key terms.

Instructions: To complete the Learn It Online exercises, start your browser, click the Address bar, and then
enter the Web address scsite.com/dwcs4/learn. When the Dreamweaver CS4 Learn It Online page
is displayed, click the link for the exercise you want to complete and then read the instructions.

Chapter Reinforcement TF, MC, and SA Who Wants To Be a Computer Genius?

A series of true/false, multiple choice, and short An interactive game that challenges your
answer questions that test your knowledge of the knowledge of chapter content in the style of a
chapter content. television quiz show.

Flash Cards Wheel of Terms

An interactive learning environment where An interactive game that challenges your
you identify chapter key terms associated with knowledge of chapter key terms in the style of the
displayed definitions. television show Wheel of Fortune.

Practice Test Crossword Puzzle Challenge

A series of multiple choice questions that test your A crossword puzzle that challenges your knowledge
knowledge of chapter content and key terms. of key terms presented in the chapter.

Apply Your Knowledge

Reinforce the skills and apply the concepts you learned in this chapter.

Creating a Web Site

Instructions: As discussed in this Introduction, creating a Web site involves planning, designing,
developing, reviewing and testing, publishing, and maintaining the site. Open the document Apply I-1
Web Site Creation from the Data Files for Students. See the inside back cover of this book for instruc-
tions for downloading the Data Files for Students, or contact your instructor for information about
accessing the required files.
As shown in Table I–3, the Apply I-1 Web Site Creation file contains information about the Web
site creation process. Use the information contained in this table to develop a plan for creating a Web site.

Table I–3 Creating a Web Site

Planning

Web site name What is your Web site name?

Web site type What is the Web site type: portal, news, informational, business/marketing, educational, enter-
tainment, advocacy, blog, wiki, social network, content aggregator, or personal?
Web site purpose What is the purpose of your Web site?
Target audience How can you identify your target audience?
Web technologies to be used Will you design for broadband, baseband, or mobile? Explain your selection.
Content What topics will you cover? How much information will you present on each topic? How will
you attract your audience? What will you do to entice your audience to return to your Web site?
How will you keep the Web site updated?
Text, images, and multimedia Will your site contain text only? What type of images will you include? Where will you obtain
your images? Will you have a common logo? Will plug-ins be required?
 DW 24 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Apply Your Knowledge continued

Table I–3 Creating a Web Site (continued)

Designing

Navigation map What type of structure will you use? What tools will you use to design your navigation map?
Navigational elements What navigational elements will you include?

Developing
STUDENT ASSIGNMENTS

Typography What font will you use? How many different fonts will you use on your site?
Images How will you use images to enhance your site? Will you use a background image?
Page layout What type of layout will you use? How many topics per page? How will text be presented:
bulleted or paragraph style? Will the audience need to scroll the page?
Color What color combinations will you use for your site? To what elements will you apply the
color(s) — fonts, background, tables, other elements?

Reviewing and Testing

Review What elements will you review? Will you use a group review?
Testing What elements will you test? Will you use self-testing? Will you use group testing?

Publishing

Domain name What is your domain name? Have you registered your domain name? What ISP will host your
Web site? What criteria did you use to select the ISP?

Maintaining

Ongoing maintenance How often will you update your Web site? What elements will you update? Will you add addi-
tional features? Does your ISP provide server logs? Will you use the server logs for maintenance
purposes?

Perform the following tasks:

1. With the Apply I-1 Web Site Creation file open in your word processing program, select a name
for your Web site.
2. Use a specialized search engine at one of the many accredited domain name registrars to verify that
your selected Web site name is available.
3. Answer each question in the Planning table. Use complete sentences to answer the questions. Type
your answers in column 3.
4. Save the document with the file name Apply I-1_your initials. Submit the document in the format
specified by your instructor.
 Make It Right DW 25

STUDENT ASSIGNMENTS Dreamweaver Introduction

Extend Your Knowledge
Extend the skills you learned in this chapter and experiment with new skills. You may need to
use Help to complete the assignment.

Identifying Web Site Types

Instructions: As you learned in this Introduction, Web sites can be classified into 12 basic types. Use a
browser such as Internet Explorer to identify Web site types.

Perform the following tasks:

Part 1: Web Site Types

1. Review the different types of Web sites described on pages DW 5–6.
2. Select three of the Web site types.

Part 2: Search for Web Sites

1. Start your word processing program.
2. Start your browser and search for each of your three selected Web site types. Locate at least two
examples of each type.
3. Copy and paste the Web site address for each example, and then compose a short paragraph
explaining how this Web site meets the selected criteria.

Make It Right
Analyze a Web site structure and suggest how to improve the organization or design.

Improving Navigation Structures

Instructions: Start your Web browser. Select and analyze a Web site and determine the navigation
structure used within the Web site.
Figure I–5 (a) through (d) on page DW 9 contains examples of four types of navigation structures.
This figure is reproduced as Figure I–13 on the next page. Select a Web site and review the structure of
the Web site. Start your word processing program. Describe the structure used in your selected Web
site. Include any suggestions you may have on how this structure could be improved. If you are using
Microsoft Office Word 2007, click the Insert tab on the Ribbon. In the Illustrations group, use the Shapes
or SmartArt options to create an image of the structure. Save your document and submit it in the format
specified by your instructor.
 DW 26 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

Make It Right continued

STUDENT ASSIGNMENTS

(a) Linear Structure

(b) Hierarchical Structure

(c) Web Structure (d) Grid Structure

Figure I–13

In the Lab
Design and/or create a document using the guidelines, concepts, and skills presented in this
chapter. Labs are listed in order of increasing difficulty.

Lab 1: Using Internet Explorer

Problem: Microsoft Internet Explorer (IE) has many features that can make your work on the Internet
more efficient. Using the Media feature, for example, you can play music, video, or multimedia files;
listen to your favorite Internet radio station; and enhance your browsing experience. You can customize
the image toolbar that appears when you point to an image on a Web page. IE also includes other
enhancements. Visit the Microsoft Internet Explorer: The Features Web page (Figure I–14) and select
three articles concerning topics with which you are not familiar. Read the articles and then create a
word processing document detailing what you learned.
 In the Lab DW 27

STUDENT ASSIGNMENTS Dreamweaver Introduction

Figure I–14

Perform the following tasks:

1. Start your browser. Open the Microsoft Internet Explorer: The Features Web page (microsoft.
com/windows/products/winfamily/ie/features.mspx).
2. Scroll down the page.
3. Select three features with which you are not familiar.
4. Click the link for each article and read the article.
5. Start your word processing program.
6. List three important points that you learned from this Web site.
7. Write a summary of what you learned from each article. Include within your summary your opinion
of the article and if you will apply what you learned or use it with your Web browser.
8. Save the document on a USB flash drive using the file name Lab I-1 IE Features.
9. Submit the document in the format specified by your instructor.
 DW 28 Dreamweaver Introduction Web Site Development and Adobe Dreamweaver CS4

In the Lab
Lab 2: Identifying Types of Web Pages
Problem: A Web designer should be familiar with different types of Web pages and the sort of
information displayed on these types of Web pages. The Introduction describes 12 types of Web pages.
Search the Internet and locate at least one example of each type of Web page.
STUDENT ASSIGNMENTS

Perform the following tasks:

1. Start your browser. Open the Google (google.com) search engine Web page (Figure I–15) and
search for an example of each of the following types of Web pages: portal, news, informational,
business/marketing, educational, entertainment, advocacy, blog, wiki, online social networks,
content aggregator, and personal.

Figure I–15

2. Start your word processing program.

3. Copy and paste the link for each of these Web page types into your word processing document.
4. Identify the type of Web page for each link.
5. Explain why you selected this Web page and how it fits the definition of the specific type.
6. Save the document with the file name Lab I-2 Web Page Types.
7. Submit the document in the format specified by your instructor.
Random documents with unrelated
content Scribd suggests to you:
maintain the internal heat at only twenty-five degrees during a
century.”
“You forget that our monkeys will be sealed in a vacuum,” he
answered. “There is an inner and an outer case of vanadium steel
mixed with a secret composition which will resist even thermite. And
even if the temperature does rise—well, if a homely instance may be
allowed—you are aware that canned beef, as the Americans term it,
will remain fresh in an air-tight tin even in the tropics. That is dead
matter, while our monkeys will be millions of living cells. The
vacuum is created by simply screwing on this cap.”
“But not a perfect vacuum,” I interposed. “That is impossible.”
“Sufficiently near to eliminate the aerobic bacilli which flourish on
oxygen, and the infinitesimal amount of that remaining in the
cylinder is probably absorbed and transmuted by the surface
capillaries and lungs, leaving simply carbon dioxide, neon, crypton,
et cetera.”
I examined the cylinder nearest me with interest. A small dial was
set into its cap. Lazaroff anticipated my question.
“That is the most ingenious part of the mechanism,” he explained.
“It is a hundred-year clock, made specially for me by Jurgensen, of
Copenhagen, and, to salve your conscience, paid for, like the
cylinders, out of my private purse. It runs true to within three-tenths
of a second. The alarm can be set to any year, if necessary. A good
alarm clock for lazy people, Miss Esther. This one, you see, I have
already set to a hundred years ahead. This is at sixty-five; I shall set
that to a hundred presently, for we don’t want one of our monkeys to
awaken several generations ahead of his friends. This one is not set.
Now, observe, I turn the hands on the dials. The large figures are
years. The smaller ones are days. Now as soon as the cap is screwed
on, the internal vacuum causes this lever to fall, catching this cam
and starting the mechanism. We have then a bottled monkey in an
indestructible shell, for really I do not know what could make much
impression on steel of this thickness, which is both resistant and
malleable, and fireproof too. It is impossible, in short, to release the
inmate before the appointed time, and, even then, immediate death
would ensue.”
“Why?” I asked.
 “Because resuscitation must be gradual. I base my hopes upon the
chance that the lungs and heart will automatically resume their
functions, being in their most perfect medium. But if air were
admitted before the bodily machine had become, so to say,
synchronized, the swarm of micro-organisms would make short work
of our subject. Besides, the hasty respiration produced by this rush of
air would produce immediate death by its transformation into
carbon dioxide. The air must enter under slight pressure, in minute
quantities, during a period of about ten days. Very well! As the
timepiece gradually runs down, the cap slowly unscrews, and a tiny
quantity of filtered air leaks in. It is so arranged that, at the exact end
of the period, the cap flies off, and the subject awakes.”
“Herman,” said Esther, hurriedly, “I don’t like this. It isn’t right.
And I am sure my father does not know about it.”
“My dear Miss Esther, I assure you that it is a very ordinary
scientific experiment,” Lazaroff answered, laughing. “Come, Arnold,”
he added, “why not get in yourself and try how it feels? You are not
afraid?”
“In my clothes?”
“Certainly.”
“Arnold, I don’t want you to get into that thing,” Esther protested.
“Of course, if our friend is afraid that I am going to screw him up
for a century—” began Lazaroff.
“I am not at all afraid,” I returned, a little nettled. “How do I get
in?”
“I’ll have to help you,” Lazaroff answered. “It was not made for a
big man in clothes. Button your coat. Now—put your arms down by
your sides.” He rolled a cylinder upon the floor, and I put my feet
inside rather reluctantly and squeezed down to the bottom. Lazaroff
looked at me and burst into loud laughter.
“Not much room to turn round, is there?” he said, raising the
cylinder with an effort and standing it on its base again.
“Come out, Arnold,” pleaded Esther; and I saw that her face was
white with fear.
But I was quite helpless, and above me I saw Lazaroff, smiling at
my predicament.
 “Now if I were going to be so unkind as to send you into the next
century,” he said, “to be the only animist, with a defective skull, in a
world of vile materialism—”
“Please, Herman, for my sake!” Esther implored.
“I should put on the cap,” he said, and fitted it.
He must have touched some mechanism that I had not seen, for
instantly the cap began to whir on the screw. Through the glass face I
caught a last glimpse of Esther’s terrified eyes. The image blurred
and vanished as my breath dimmed the glass and frosted it. I heard
the swift jar of the cap mechanism end in a jarring click. I gasped for
air; there was none. My head swam, my throat was closed; the
blackness was pricked into flecks of fire. I groped for memory
through unconsciousness—and ceased.
 CHAPTER III
IN THE CELLAR

I have heard patients, emerging from the chloroform swoon,

describe how, before awakening, they had seemed to view
themselves lying unconscious upon their beds, detailing the posture
of their motionless bodies and inert limbs. In this way, now, I
seemed to see myself.
I am sure that was no dream of the vague borderland between
death and life. I saw the pallid face, so shrunken that the skin clung
to the edged bones, and the dry hair, the pinched lips and waxen
hands. I saw myself as if from some non-spatial point, and with
singular indifference, except that one fragment of knowledge,
detached from my serene omniscience, troubled me. I had to return
within that physical envelope; and behind me lay dim memories,
quite untranslatable, but ineffably rapturous, which made that
projected incarnation an event of dread.
Vague images of earthly things began to float upward out of the
dark, as it were, symbols of physical life whose meaning remained
obscure. I pictured a spring-board, on which a swimmer stood
poised, waiting to dive into the sea and set the plank behind him
quivering, and a large roll of some material, like a carpet, blocking a
cellar door.
Gradually, through an alternation of dreams and blankness, I
began to be aware of the parched and withered body that cloaked me.
The point of consciousness had shrunk within its earthly envelope.
Soon it diffused itself throughout my members. Now I could
translate my symbols into ideas. That coiled-up substance that
blocked the door was my tongue, fallen back into the throat. And the
spring-board on which the swimmer stood—that was my heart,
waiting to beat. And unless and until the swimmer—I—made that
plunge into life’s ocean, it could not. Slowly the need of physical
resurrection urged me onward.
A thousand darts were stabbing in my flesh, like purgatorial fire.
No motor nerve had yet awakened, but the capillaries, opening,
pricked me like red-hot needles. Faint memories of the past flashed
through my mind, and, though I recalled no intervening period, I
was sensible that those events had happened infinitely long before.
Suddenly I plunged. I felt as if a sword had pierced my body. I felt
the waters of that living ocean close over my face, and gasped. I
breathed. Simultaneously, with a loud click, the cap of the cylinder
flew off, air rushed in, a stabbing light broke through my closed
eyelids; I fainted.
It was, of course, the gradual unscrewing of the cylinder cap as the
mechanism ran down, and the consequent admission of minute
quantities of oxygen, that had begun to restore me. I must have
passed several days in semi-consciousness before the cylinder
opened. When the last thread of the screw was traversed, the inrush
of air caused the respiration to begin.
I was breathing when I became conscious once more, and my heart
was straining in my breast. I got my eyes open. There followed hours
of light-tortured delirium, during which I struggled to regain the
motor powers. With infinite endeavor I placed one hand upon the
other and passed it up the wrist and forearm. The muscles were all
gone. The ulna and radius were perfectly distinguishable, and I could
encircle either with my fingers, after I had managed to flex them. I
noticed that my joints creaked like rusty hinges.
I tried to bend my elbows, and this next grim battle lasted an
incalculable time. Gradually I became aware of some obstacle on
each side of me. Then, for the first time since my awakening, I knew
that I was inside the cylinder. But I did not know that it had fallen
upon its side until it slid forward, and my puny struggles dislodged
me and flung me free into a pool of water. I drew in a deep breath,
feeling my lungs crackle like old parchment, and plunged my face
and shoulders beneath the surface. My skin sucked up the moisture
like a sponge, and I contrived to get a few drops past my swollen
tongue. I had just sense enough and time to turn my face upward
before I became unconscious again.
 I must have slept long, for, on my next awakening, the light was
brighter and still more torturing. Memory began to stir. I recalled my
conversation with Sir Spofforth, our journey into the annex,
Lazaroff’s invitation to me to enter the cylinder. He must have shut
me in for a moment by way of a practical joke, and gone away with
Esther, persuading himself and her that I could free myself and
would follow. I tried to call him. But only a croaking gasp came from
my lips. I tried again and again, gradually regaining the power of
vocal utterance. But there came no answer, and each time that I
called, the echoing, hoarse susurrus brought me nearer to the
realization of some terror at hand which I did not dare to face.
I looked about me. Beside me lay the cylinder, almost buried in
mud. I was still within the secret vault, but a part of the brick
partition had fallen inward in such a way as to screen the few visible
inches of the steel case that had housed me, so that nobody would
have suspected its presence in the mud of the little chamber. I
remembered that there had been two more; I looked about me, but
there was no sign of them.
Now I began to realize that there had been a considerable change
in my surroundings since I became unconscious. The light which had
distressed me came through a hole in the roof of the adjoining cellar,
filtering thence through the aperture in the broken wall, and was of
the dimmest. In place of the concrete floor there was a swamp of
mud, with pools of water here and there, and the dirt was heaped up
in the corners and against the walls. Moss and splotched fungi grew
among the tumbled bricks, and everywhere were spore stains and
microscopic plant growth.
I was bewildered by these signs of dilapidation everywhere. The
guinea-pigs and monkeys were gone; the cellar was empty, save for
some low, rough planks of wood fitted on trestles and set about the
floor. On the wall at the far end hung something that gradually took
form as I strained my aching eyes to a focus.
It was a crucifix. The cellar had become a subterranean chapel.
The cross was hewn coarsely of pine, and the figure that hung upon it
grotesquely carven; yet there was the pathos of wistful, ignorant
effort in the workmanship that bespoke the sincerity of the artist.
 I made my difficult way
toward the stairs

I made my difficult way upon hands and knees through the gap in
the wall, across the mud floor of the cellar, toward the stairs, resting
several times from weariness before I reached my destination. But
when I arrived at the far end, where the stairs should have been, I
received a shock that totally unnerved me. The stairs were gone. In
place of them was a debris of rubble and broken stones, as firmly set
as if workmen had built it into the wall. The mass must have been
there for years, because, out of the thin soil that had drifted in, a
little oak tree sprang, twisting its spindling stem to rear its crown
toward the patch of daylight.
At last I understood. I had come to realize the fact that my sleep
had been a prolonged one; it might have lasted weeks—even months,
I had thought, as with cataleptics; but an entire century! that idea
had been too incredibly grotesque for consideration. That Sir
Spofforth, with whom, it seemed, I had dined almost yesterday, had
gone, ages ago, to his long home; Lazaroff; Esther, whom I loved;
that generations had come into birth and died ... it seemed too cruel
a jest. I wept. I raved and called for Esther. Surely a hundred years
had never passed, turning her brown hair to gray, lining her gentle
face, bringing at last the gift of death to her, while I lay underground,
encased in steel and air!
 I cried aloud in terror. I hammered helplessly upon the walls.
Again I called Esther, Lazaroff, George. There was no answer of any
kind.
Presently a ray of light quivered through the hole, falling upon the
heap of debris that blocked the stairway. The yellow beam moved
onward, and now it bathed the thin branches of the little twisted tree
that, by the aid of those few minutes of sunlight daily, had ventured
into life. It had grown cunningly sidewise, so as to expose the
maximum of wood to the light. I watched the ray till it went out; I
wanted to show the plant to Lazaroff, to ask him whether the
mechanics of heliotropism could suffice to answer the problem of the
tree’s brainless consciousness; and my chagrin that this whim could
not be fulfilled assumed an absurd significance. It was, in fact, the
realization of this loss of responsiveness to the reality of the situation
that constantly urged me to find some way of escape when I might
have relapsed otherwise into an acquiescence which would have
brought insanity and death.
The stairs being gone, I turned my consideration to the cellar roof.
To reach this it would be necessary to drag one of the planks beneath
the hole and scramble up, clinging to the sides with my fingers and
bracing my feet against the wall. This feat was not a difficult one for a
normal man, but for me clearly impossible. I must wait until I
became stronger.
It is a strange thing, but I had not associated the need of waiting
with the idea of food until I found the box of biscuit. I stumbled upon
the box by the accident of scratching my wrist against the edge as I
crawled along the wall. I saw the corner projecting from a mound of
earth, and, scraping some of the dirt away, I lifted the pine-wood lid.
Inside the box I found a quantity of biscuit which seemed to have
been baked recently. It was crisp, and too hard for me to break. I
dipped a piece in the stagnant water, and, as I swallowed the first
morsels, became aware of my ravenous hunger.
I can hardly estimate the duration of the imprisonment that
followed. It was of days and nights which succeeded each the other in
monotonous succession, during which, like a hibernating beast, I
crouched and groped within the cellar, dozing and shivering, and
gnawing incessantly at my food. Only those few minutes of sunshine
daily saved my reason, I am convinced now. My evening clothes,
which at first had appeared to have suffered no injury during my
century of sleep, had begun to disintegrate, and hung upon me in
tattered fragments. It was a period of despair, with very little
alternating hope. Sometimes I prayed wildly beneath the crucifix,
sometimes, in an access of madness, I cried for Esther and Lazaroff
again. And for whole hours I convinced myself that this was a dream.
But my strength returned with amazing swiftness. As in the case of
a typhoid convalescent, every particle of food seemed to build up my
body. I must have put on pounds each day. The barrel framework of
my ribs filled out, the muscles showed their old outlines beneath the
skin, the fluid rushed into the joints and restored their suppleness.
And daily I practiced exercises. I managed to drag one of the benches
beneath the hole at last, and, standing on this, tried often to draw
myself up; but on each occasion my struggles only brought down a
shower of earth and stones, and I resigned myself to a period of
further waiting, watching for dawn like a troglodyte, and for the sun
like a fire-worshiper.
In the end my escape developed in a manner the least imaginable.
It began with my discovery of a second box in another of the
mounds. I opened it hastily, in the greedy anticipation of finding
something more palatable than biscuit.
Instead of this I found a number of strange batons of wood. They
resembled policemen’s truncheons, but each had a tiny rounded
plate of glass near the head, and there evidently was some sort of
mechanism near the handle, for there was a push-button, fitted with
a heavy guard of brass, so strong that I could not raise it with my
fingers. It was indeed providential that I was unable to do so.
I carried the strange implement beneath the hole in the roof and
laid it on the bench, intending to examine it more carefully as soon
as the sun appeared. Meanwhile, this being the time for my daily
exercise, I mounted the bench and tried to pull myself up. I failed;
yet I detected a considerable improvement in my muscular power,
and, becoming exhausted, I prepared to descend. Inadvertently, but
without anticipating any serious result, I placed my foot against the
truncheon in such a way as to elevate the guard.
I heard it click as it rose into position, and, in setting down my foot
again, depressed the push-button.
 The truncheon tipped to the ground, pointing upward. I saw a ray
of blinding light, of intense whiteness tipped with mauve, shoot from
the head, and, with a crash, a shower of stones fell on me, bearing me
to the ground and enveloping me in a cloud of dust.
I must have lain half stunned for some minutes. I was aroused by
feeling the sunlight on my eyelids. I started to my feet. The hole in
the roof was nearly twice the former size, and a heap of fallen stones
and pieces of brick afforded me a perfect stepway. I was scratched by
the falling debris, but happily the explosion, as I deemed it, seemed
to have been in an upward direction.
In a moment I was scrambling up the stones. I slipped and
clutched and struggled; I got my head and shoulders in the air and
pulled my body after me; I trod upon leaves; I looked about me.
I was standing in the midst of what appeared to be an ancient
forest of oak and beech trees, whose bare boughs, covered with snow,
shook under a gray sky above a carpet of withered, snow-spread
leaves, and under these were endless heaps of disintegrating bricks.
In vain I looked about me for the Institute. There was no sign of it,
nor of Sir Spofforth’s house. Nowhere was anything to be seen but
the same forest growth, the dead leaves scurrying before the chill
wind, and the vast brick piles. I had emerged from the cellar into a
trackless wilderness.
And now at last my final doubt, which had bred hope, was gone. I
ran through the forest, on and on, shouting like a madman and
beating my breast, stumbling over the brick heaps that lay
everywhere, plunging through thorny undergrowth, heedless of any
course. I must have been running for ten minutes when my strength
failed me, and I collapsed beside an ancient road, overgrown with
shrubs and saplings, yet discernible in its course between the tall
trees that bordered it. Before me, far away through the vista line, I
saw a white bank against the gray horizon.
I flung myself upon my face and prayed, with all my will, to die.
 CHAPTER IV
THE ROAD TO LONDON

A shadow swept over me, and, looking up, I saw an airplane

gliding noiselessly above; it stopped, hung poised and
motionless, and then dropped slowly and almost vertically into the
road, coming to ground within a dozen yards of where I lay.
There stepped out a man in a uniform of pale blue, having insewn
upon the breast a piece of white linen, cut to the shape of a swan. He
came toward me with hesitancy, and stood over me, staring at me
and at my clothes with an expression indicative of the greatest
bewilderment.
“Where’s your brass, friend?” he inquired after a few moments,
speaking in a high-pitched, monotonous, and rather nasal tone. He
rubbed his smooth-shaven face in thought. “Where’s your brass?” he
repeated.
I perceived that he wore about his neck a twisted cord whose ends
were tied through the loop of a brass plate, stamped with letters and
figures.
“For God’s sake tell me what year this is!” I cried.
At the profane expletive, which had been drawn from me by my
anguish, he recoiled in dismay; he seemed less shocked than
frightened; he glanced about him quickly, and then cast a very
searching look at me. But next he began to smile in a half-humorous,
kindly way.
“You’re one of the escaped defectives, aren’t you?” he inquired.
“You have nothing to fear from me, friend. We airplane scouts have
no love for the Guard. You can go on your way. But where are you
lying up? Are your friends near?”
“Will you tell me what year this is?” I demanded frantically.
 “Yap, certainly,” he answered. “This is Thirty-seven, Cold Solstice
less five.” He shook his head and began staring at me again.
I laughed hysterically. “I don’t know what that jargon means,” I
answered, “but I went to sleep in the vault of the Biological Institute
in the year 1915.”
Perplexity had succeeded alarm. The airscout shook his head
again. He was one of those deliberate, slow-moving men whose
resolutions, tardily made, harden to inflexibility; I recognized the
type and found the individual pleasing. He was a good-looking young
fellow of about eight and twenty, with straight, dark hair and a very
frank countenance. He looked like a sailor, and the rolling, open
collar, which fell back, sailor fashion, revealed a muscular throat,
tanned, like his face, to the color of the bricks around us.
“I don’t know what to make of you,” he said thoughtfully. “I don’t
want to trap you, but you were better off in the art factories. I don’t
know what to do with you.”
I sprang to my feet, and for an instant I ceased to realize my
predicament. “Will you take me to my friends in London?” I asked.
In my mind was the memory of a university acquaintance who lived
in St. John’s Wood. But then the swift remembrance came back to
me, and I hung my head and groaned.
“Back to London!” exclaimed the airscout. “But you’ll be put to the
leather vats. Doctor Sanson is furious, and the police are searching
for you everywhere. You’re crazed! What’s the sense of running away
from painting pictures and going back to sweat ten years over the
hides?”
“Take me to London!” I implored. “I have nowhere to go. Perhaps
—I don’t know—”
I was hoping wildly that somebody whom I had known might still
survive. But by this time I was beginning to pull myself together. I
resolved to wait for his decision.
“Now, friend,” he said, as if he had made up his mind, “your top
got stuffed making those factory pictures, as was very natural. Now, I
think you had better go back to London, and I’ll take you there, since
your friends have shaken you. But of course it must be the police
station. I can’t risk my own liberty. Once more, are you sure you
want to go? If not, I haven’t seen you.”
 “I’ll go,” I answered indifferently.
“Yap? Step in, then!”
I took my seat beside him. It will seem incredible, but I had never
ridden in an airplane before. In my other days only a few had seen
these craft. It was hardly more than six years since the Wrights had
flown when my long sleep began. In spite of my oppression of mind,
or perhaps because the days of horror that I had spent in the cellar
produced the unavoidable reaction, I began to feel the exhilaration of
the flight as we ascended to a height of perhaps a thousand feet and
drove northward. The sensation was that of sitting still and seeing
the trees flit by beneath me, and would have been pleasing but for
the intense cold, which pierced through my rags and numbed me. I
perceived that the airplane was under perfect control, and could be
stayed without falling. After a while I realized that there was no
motor.
My companion saw me looking at the machine. “Improved solar
type,” he said, patting her caressingly. “Better than a bird, isn’t she?”
He turned toward me. “You’ve been sleeping in the wood these three
days?” he asked. “And find the factories best? I don’t score you for
that. Where’s the rest of you? Five, weren’t there? Why didn’t you
keep together? Where’s that bishop of yours?”
But, seeing that he could elicit no comprehensible answer to his
repeated questions—in truth, I did not know how to reply—he
relapsed into an equal silence. And now the white bank that I had
seen on the horizon began to assume crenellations, which in turn
became buildings of immense height and symmetrical aspect. And I
forgot my situation in admiration and amazement at the panorama
that began to unfold beneath us.
The county of Surrey appeared to be an extensive forest, ending
about a waste of dismantled brick, the suburbs of old London, which
extended on each side as far as I could see. Then the modern town
began: an outer ring of what I took to be enormous factories and
storage warehouses; an inner ring, no doubt, of residences; and then
the nucleus, the most splendid city that the imagination could have
devised.
London seemed to be smaller than the metropolis of a century ago.
I could see from the height of Hampstead, in the north, to the region
of Dulwich, and from Woolwich to Acton, all clearly defined, like a
great map unrolled beneath me, though I could recognize none of the
old landmarks, save the unchanging Thames. The interior city was
laid out in squares, huge buildings, sometimes enclosing interior
courts, occupying the blocks formed by the parallel and intersecting
streets. As we drove inward from the outskirts, the buildings became
higher, but always uniformly so, the city thus presenting the aspect
of a succession of gigantic steps, until the summit, the square mile
comprising the heart, was reached.
This consisted of an array of enormous edifices, with fronts
perfectly plain, and evidently constructed of brick-faced steel-work,
but all glistening a dazzling white, which, even at that height, made
my eyes water, and rising uniformly some forty-five or fifty stories.
The flat roofs were occupied by gardens or what I took to be
gymnasia, sheltered beneath tarpaulins. I saw innumerable airplanes
at rest, suspended high above the streets, while others flitted here
and there above the roofs, and a whole fleet lay, as if moored, some
distance away, apparently over the center of the city, above a singular
building, which awakened associations in my mind, though I was
unable to name it.
It had a round dome, being, in fact, the only domed building that I
could see. This covered only the central portion of the enormous
architectural mass, and appeared to float in the air above an aerial
garden, laid out with walks that radiated from a flat building, which
filled the space between the floating dome and the roof beneath it. I
surmised that this must be the new House of Parliament. The entire
mass was surrounded by a double wall, with a roofed space of
perhaps ninety feet from rear to front, castellated. Mounted on this
were what appeared to be a number of large, conical-shaped
implements, of great size. Long, graceful bridges on arches
connected this wall with the domed building; and wall and building
glistened from top to base so brilliantly that the glow seared my eyes
like sunlight.
As we were now flying at a low altitude, I turned my attention to
the streets, which appeared like canyons far beneath. Along these
swarmed a multitude of travelers, dressed in two colors only, white
and blue, the latter vastly predominating. I could see no vehicles, and
I imagined, what proved to be correct, that the streets themselves
were moving. Most of those journeying seemed content to lean back
against the railings, the lowest bars of which projected, forming a
continuous seat, and rest. Nearly all the streets were traveling in the
same direction, those that reversed this movement being small and
comparatively empty. From the presence of what seemed to be iron
stanchions, set along the edges of these moving ways, I surmised that
they were roofed with crystal.
Along the front of the buildings ran single tracks, connecting at
regular intervals with the streets beneath by means of elevators,
which shot up and down continuously, bearing their freight. These
tracks were placed above each other at ten-story intervals, so that
there were three or four rows of these aerial streets, ranging from the
ground to the upper portions of the buildings, all filled with
travelers. The buildings, each comprising an entire block, the
elevated streets, with their graceful bridges flung forth across the
chasms, the absence of any of the old poverty and dirt, and that huge
gathering of human beings, going about their business in so
systematic a fashion, fascinated me, and even aroused my
enthusiasm.
Signs evidently indicated to persons approaching in airships the
purpose of each building and landing-stage, but these were in
characters entirely unintelligible to me.
My companion stayed the vessel in the air and tapped me on the
arm. I started, to see him regarding me with the same expression of
humorous perplexity.
“I must put you off here, friend,” he said. “I think I have done the
best I could for you. You would have died in the forest, while here—
well, there’s a chance for you. And it’s better to go to the leather vats
for a few years than to die and go nowhere. I’ll know you if we meet
again. What’s your name?”
“Arnold Pennell,” I answered, clasping the hand that he held out to
me.
He almost jumped. “Don’t tell that to the Council, unless you want
the Rest Cure,” he said.
“Don’t tell them my name?”
“Not both names, friend. You know what I mean. If you don’t know
—” He shrugged his shoulders. “Mine’s Jones,” he said. “My father’s
was Williams. My grandfather’s was Jones again. They say it’s one of
our oldest names—common in the days before civilization. Now
down we go.”
The airplane swooped down and came to rest upon the roof
immediately beneath us. On this I saw a number of men, apparently
practicing gymnastic exercises; and hardly were we at a standstill
when two of them came running up to us. They were clad in blue
uniforms resembling that of the airscout, but instead of a swan each
wore a shield-shaped piece of linen upon his back and breast.
“What’s this?” they demanded in a breath, pointing at me and
bursting into bellowing laughter.
“One of your defectives,” answered Jones. “I found him in the
forest while patrolling.”
They rushed at me and dragged me from the airplane, swiftly
patting me about the body, as if in search of weapons. Satisfied that I
was unarmed, they turned to the airscout.
“You’ll share the reward!” they cried, again simultaneously.
“Keep it!” replied the airscout tartly, and rose into the air, waving
me a cordial good-bye.
They rushed me across the roof through a crowd of other men,
similarly clad, down an elevator, and into the street. They dragged
me upon one of the moving platforms and conveyed me a short
distance, descending at the entrance to one of the innumerable
shining buildings, over which was inscribed something in the same
undecipherable letters.
But, quickly as we had gone, the report of my arrest seemed to
have preceded us, for our way was blocked by a vast and constantly
increasing crowd, that came running up with lively and shameless
curiosity, and, attracted by my rags, I suppose, pressed closely about
us and uttered hoots of laughter. I heard the word “defective”
bandied from mouth to mouth.
I looked at these people attentively. There were both men and
women present, all wearing clothing of the same pale blue color,
which seemed to be prescribed, although the cut of each garment was
to some extent individual. In effect, the men wore sack suits of a
coarsely woven woolen material, with short, loose trousers fastened
with laces about the ankles, and square-cut coats having wide lapels
extending to a broad, turned-back collar that fell over the shoulders
like a sailor’s, revealing a neckpiece of blue linen. The women’s short
skirts reached to the tops of their high boots, and the fashion seemed
to run to large buttons and loose sleeves. They wore no hats. Upon
the breast, near the shoulder, each person wore a small linen badge,
indicative of his occupation.

I glanced from one to another, and met hard,

mirthless eyes, and mouths twisted in sneering
mockery

What disconcerted me was the shrewd, mocking smile upon each

face. I glanced from one to another, seeking to find something of the
same friendly interest that animated me, and met hard, mirthless
eyes, and mouths twisted in sneering mockery.
Another thing that startled and almost terrified me was the
absence of a certain conventionality of restraint that had ruled
everybody in that other world of mine. For instance, among those
gibing at me was a gray-bearded man who danced before me like a
small urchin. Another made an expressive pantomime of death. A
girl stuck out her tongue at me. I remembered the plaint, that never
since the glorious age of Greece had the code of public morality
coincided with that privately held. This we all knew; the statesman in
parliament was not on bowing terms with the same statesman in the
smoking-room. Some said it was Christianity, others respectability
that bound us in this organic hypocrisy; but now the two codes
seemed to have coalesced. A grandfather grimaced at me; a gray-
haired woman put out her foot to trip me; if there had been stones I
think they would have flung them at me. But suddenly a youngish lad
in white appeared, and the crowd, hastening to make a path for him,
shrank back with servile demeanor. Taking advantage of this, my
captors, linking their arms in mine, made a rush forward, scattering
the mob right and left, and bore me through a swinging door into a
small rotunda, in which a number of other policemen were seated
with their blue-clad prisoners.
 CHAPTER V
LONDON’S WELCOME

I nside the rotunda a burly man in blue, with the white shield on his
breast, was standing on guard in front of a second swinging door,
above which was painted something in the same strange characters.
A few words to him from my captors apparently secured us
precedence, for he stared at me curiously, opened the door, and
bawled to some person inside. I was pushed into a large courtroom.
It contained no seats, however, for spectators or witnesses. The only
occupants were the magistrate and his clerk, and a group of
policemen who lounged at one end of the room, joking among
themselves. The clerk, a little, obsequious man in blue, was seated at
a desk immediately opposite that of his chief, a pompous, surly
fellow in white, wearing about his shoulders a lusterless black cape,
which seemed to be a truncation of the old legal gown. Placing me on
a platform near the clerk’s desk, the two policemen who were in
charge of me stepped forward and began an explanation in low tones
which was not meant to meet my ears, and did not.
The magistrate started nervously, and, putting his hand beneath
his desk, pulled up a truncheon similar to those that I had seen in the
cellar. He handled this nervously during our interview.
“Well, what have you to say, you filthy defective?” he shouted at
me, when the police had ended.
I heard a suppressed chuckle behind me, and then became aware
that all the police had gathered about me, convulsed with
amusement at my rags.
“Stand back, you swine!” bellowed the magistrate. “Give me the
Escaped Defectives Book,” he added, to his clerk.
 The clerk handed up to him a small publication which I could see
contained numerous miniature photographs in color. He began
studying it, looking up at me from time to time. Occasionally, at his
nod, one of the policemen would seize my face and push it into
profile. At last the magistrate thrust the book away petulantly.
“This isn’t one of them,” he announced to the policemen. “Who are
you?” he continued, glaring at me. “You’re not on the defectives’ list.
Where do you come from? Tell the truth or I’ll commit you to the
leathers. Why are you in masquerade? Where’s your brass? Your
print? Your number? Your district?”
The clerk wagged his middle finger at me and, drawing a printed
form from a pile, pushed it toward me. I took it, but I could make
nothing of it, for it was in the same unknown characters.
“I can only read the old-fashioned alphabet,” I said.
The room echoed with the universal laughter. The magistrate
almost jumped out of his chair.
“What!” he yelled. “You’re lying! You know you are. You have an
accent. You’re from another province. What’s your game?”
The clerk, ignoring his superior’s outburst, pulled back the form,
and, taking in his hand a sort of fountain pen, began to fill it in with a
black fluid that dried the instant it touched the paper.
“Number, district, province, city, print, and brass?” he inquired.
He paused and looked up at me. “Brach or dolicoph? Whorl, loop, or
median? Facial, cephalic, and color indexes? Your Sanson test? Your
Binet rating?”
But, since I made no attempt to answer these utterly baffling
questions, the clerk ceased to ply me with them and looked up at the
magistrate for instructions. The magistrate, who had been leaning
forward, watching me attentively, now smiled as if he had suddenly
grasped the situation.
“I’ll tell you what you are,” he said, shaking his finger at me.
“You’re a Spanish spy, masquerading as a defective in order to get
into the workshops and corrupt the defectives there.”
“Now I should call him a Slav,” said the clerk complacently. “He’s a
brach, you see, Boss. And that makes his offense a capital one,” he
added complacently.
 “Put him up for the Council, then,” growled the magistrate.
“Standardize him,” he added to the policemen, “and commit him to
the Strangers’ House pending the Council’s ascription.”
My captors hurried me away. In the street a large crowd, which
had assembled to see me emerge, greeted me with noisy hooting.
And, looking again into these hard faces, I began to realize that some
portentous change had come over mankind since my long sleep,
whose nature I did not understand; but, whatever it was, it had not
made men better.
However, the moving platform quickly carried us away, and the
mob dwindled, so that when we reached our destination only a
nucleus remained. This, however, followed me persistently,
gathering to itself other idlers, who ran beside me, peering up into
my face, and fingering my tattered clothes, and pulling at the tails of
my coat in half-infantile and half-simian curiosity.
The building which we entered contained a single large room on
the ground floor, with desks ranged around the walls. Behind each
desk a clerk in blue was seated, either contemplating the scene
before him or listening disdainfully to applications. I was taken to a
desk near the door. One of the policemen now left me, and the other,
who had contrived, without my knowledge, to possess himself of the
gold watch that had been in my pocket for the last century, placed it
upon the desk before the clerk, who came back slowly and resentfully
from a fit of abstraction.
“Committed stranger?” he inquired.
“Yap,” said the policeman. “He had this.”
The clerk stared at the watch, raised it, and let it fall on its face.
The glass splintered, and he jumped in his seat as if a pistol had been
discharged.
“What is it?” he screamed.
“It looks like an antique chronometer,” said the policeman,
examining it curiously. “See the twelve hours on the dial.”
“Well, they aren’t listed,” the clerk grumbled.
“You lie, you thief,” retorted the policeman.
With some reluctance, but without resentment, the clerk opened a
large book in a paper cover, closely printed in fine hieroglyphics
interspersed with figures. He turned from place to place until he
found what he was trying not to find.
“Museum chronometers, first century B.C. Listed at two hektones,”
he mumbled, and began unlocking a drawer.
“B. C.!” I exclaimed. “What do you mean?”
He paused in the act of pulling the drawer out and glared at me.
“I said ‘museum chronometer of the first century before
civilization,’ you fool!” he snarled. “That’s what it is, and that’s what
it’s listed at. Here!”
Extracting some metal counters from the drawer, which he closed
with a bang, he thrust them toward me.
“What am I to do with these?” I asked.
The policeman winked at him, and I caught the word “Spain.” The
clerk’s amazement changed to malignant mirth.
“The value of your chronometer,” he screamed in my ear, as if I
were deaf.
“But I don’t intend to sell it,” I retorted.
A shriek of laughter at my side apprised me that the crowd had
gathered about me. The space about the desk was packed with the
same sneering, mirthless faces, and fifty hands were raised in
mimicry or gesticulation.
“What a barbarian!” murmured a young woman with a typewriter
badge on her shoulder.
The clerk looked at her and winked maliciously. Then he
addressed me again.
“If you don’t understand now, you will before the Council ends
ascribing you,” he said. “However, I’ll explain. Your museum
chronometer, not being an object of necessity, is the property of this
Province. This is a civilized country, and you can’t have hoard-
property here, whatever you can do in Spain. Strangers’ effects are
bought by the Province at their listed value, and your chronometer is
listed at two hundred labor units, or ones—in other words, if you
have ever heard of the metric system, two hektones.”
“Ah, give him the Rest Cure!” said the girl with the typewriter
badge, swinging about and stalking away contemptuously.
 I picked up the metal counters and began examining them. They
were crudely made, and without milled edges. Two of them appeared
to be of aluminum; on one side was an ant in relief, and under it the
inscription,
LABOR COMMON
37
on the other side, in bold letters, were the words,
HALF HEKTONE
FIFTY ONES
There were two smaller pieces, of a yellowish-gray, each stamped,
TWENTY-FIVE ONES
It did not take me more than a moment’s calculation to see that if
the hektone was a hundred units of currency, or labor hours, I had
only a hektone and a half instead of two. I told the clerk of the
deficiency.
“Don’t lie! Sign that!” he shouted, pushing an inkpad and printed
form toward me.
“I shall not sign, and I shall bring this theft to the attention of—
Doctor Sanson,” I said, suddenly recollecting the name.
It was a chance shot, but its effect was extraordinary. The mob,
which had begun to jostle me, suddenly scurried away in the greatest
confusion. The clerk turned white; he picked up the money with
trembling fingers.
“Why, that is so!” he exclaimed. “It was a mistake, Boss. I didn’t
mean it. I’m sorry. I—I thought you were a blue,” he muttered,
looking up at me beseechingly. And he returned me a whole half-
hektone too much.
I tossed this back to him and returned no answer. I was looking
about for a pen with which to sign the receipt when the policeman
took hold of my thumb in a comically obsequious manner and
pressed the inkpad against it. So I made my mark upon the paper.
In the corridor outside he turned toward me humbly.
“Are you a trapper, Boss?” he asked.
“A what?”
 “A switch. A wipe. I mean a council watcher.”
“A spy, you mean?” I asked. “Certainly not.”
He shook his head in perplexity, and seemed uncertain whether to
believe me or not. “He thought you were,” he said. “That was an old
list he used. You should have had more. Of course I couldn’t get in
bad with him by telling you, but you’d have had nothing if I hadn’t
stood up for you. Isn’t that worth something, Boss?”
I offered him one of the smaller pieces, rather in fear of giving
offense, but he pocketed it at once, and then, with a new
aggressiveness toward the gathering crowd, took me upstairs to the
Strangers’ Bureau. Here I was stripped and examined by two
physicians, and photographed in three positions; my finger prints
were taken, and the three indexes. Then a dapper little clerk in blue
passed a tape measure in several ways about my head and beckoned
to me mysteriously to come to his desk.
“It’s too bad,” he exclaimed.
“What is too bad?” I inquired.
“The difference is five centimeters, and—well, I’m afraid you’re a
brach. I’d like to help you out, but—well, if I can—”
The meaning of the word suddenly revealed itself to me. “You
mean my head is brachycephalic?” I asked.
“There is, unfortunately, no doubt,” he answered, and, coming
closer under the pretense of measuring me again, began to whisper.
“You know, the measure is flexible,” he said, glancing furtively about
him. “The revising clerk passes all my measurements without
referring back to the doctors. There’s an understanding between us.
Now I could get you into the dolicoph class—”
“The longheads?”
“Yes,” he murmured, looking at me with an expression of mutual
understanding.
“But what advantage would that be to me?” I inquired.
“They say,” he whispered, “that the Council is going to penalize the
brachs several points. It is Doctor Sanson’s new theory, you know,
that the brachs are more defective than the dolicophs. Now I’d risk
making you a dolicoph for—would it be worth a hektone to you?”
 I flushed with indignation. “Do you suppose I am going to bribe
you—?” I began loudly.
The clerk leaped back. “This subject is a brach!” he yelled, and gave
the figures to a clerk at the next desk, who made a note on a form
and looked at me with intense disgust.
So I was set down as broad-headed. Then I was made to sit before
a Binet board, containing wooden blocks of various shapes, which
had to be set in corresponding holes within a period timed on a stop-
watch. Word associations followed, a childish game at which I had
played during the course of my medical training; we had regarded
this as one of those transitory fads born in Germany and conveyed to
us through the American medium, which came and went and left no
by-products except a little wasted enthusiasm on the part of our
younger men. I accomplished both tasks easily, and I thought the
physicians seemed disappointed.
Finally I received a suit of bluish-gray color, the strangers’
uniform, I was informed, and a pair of high, soft shoes. A metal
badge, stamped with letters and figures, was hung about my neck by
a cord, and I was turned over to the charge of a blue-clad, grizzled
man of shortish stature, with a kindly look in the eyes that strongly
affected me. For I realized by now that all these persons about me, all
whom I had seen, with whom I had conversed, had lacked something
more than good-will; they gave me the impression of being animated
machines, reservoirs of intense energy, and yet not ... what? I could
not determine them.
There was a patient humility about his bearing, and yet, I fancied,
a sort of stubborn power, a consciousness of some secret strength
that radiated from him.
He came up to me after conversing with the doctors, blue-clad men
with white capes about their shoulders, all of whom had eyed me
curiously during their speech with him.
“I am the District Strangers’ Guard,” he said to me. “You are a
foreigner, I understand, and waiting to be ascribed by the Council. It
is not necessary to make any explanation to me. I am the guard, and
nothing more, and it is my task to provide you with food and lodging
in the Strangers’ House until you are sent for, S6 1845.”
 “I beg your pardon?” I asked, before I realized that he was
addressing me by the number on the brass badge that hung from my
neck.
“My pardon?” he answered, looking at me with a puzzled
expression. “That is an antique word, is it not?”
“I mean, I did not know the significance of these numbers,” I
replied.
“Your brass,” he said, still more bewildered. “That is, of course,
your temporary number until the Council assigns you to your proper
place in the community. It means, as you must be aware, Stranger of
the Sixth District. My unofficial name is David. What is yours,
friend?”
He almost jumped when I told him, and glanced nervously about
him. We had just passed through the doorway, and he drew me to
one side, looking at me in a most peculiar manner.
“You must know only one name is legal in this Province,” he
whispered. “Surely you will not hazard everything by such bravado. I
mean—”
He checked himself and searched my eyes, as if he could not
understand whether my ignorance was assumed or real.
“Arnold,” he said suddenly, as if he had reached a swift and
hazardous decision, “you are to be my private guest. If you are
assuming ignorance for safety, you shall learn that there is nothing to
fear from me. And when you trust me, you shall give me the news of
Paul and all our friends. If you are actually a Spaniard—no, tell me
nothing—it is essential that you should learn what all our inmates
know, before you go to the Council. Doctor Sanson is not tolerant of
strangers unless they learn to conform.... I shall help you in every
way that is possible. The Bureau Head has asked me to watch you
carefully. It is a special order from headquarters. There is some
rumor about you ... but it will be all right in my own apartment.”
I felt too heartbroken more than to thank him briefly. The sense of
my isolation in this new world swept over me with poignant power.
David must have guessed something of my feeling, for he said
nothing more. We halted for a moment at the entrance to the
building, and he pulled a watch from his pocket. I saw that the dial,
which was not faced with glass, and had the hands inset, was divided
into ten main sections, each comprising ten smaller ones.
“Ten hours and seventy-four,” he said. “We dine at one-fifty.
Seventy-six minutes to get home.”
 CHAPTER VI
THE STRANGERS’ HOUSE

D uring my brief journeys through the streets earlier in the day I

had been too conscious of my surprise and perplexity to
examine my surroundings with any concentration of mind. Now,
standing on the middle platform of what seemed to be one of the
principal streets and traveled at a speed of about eight miles an hour,
I looked about me with increasing astonishment. I do not know
which attracted my attention more, the crowds or the buildings. I
asked David for information as we proceeded, stating that I was
unable to read the signs, as I was acquainted only with the old
alphabet. Seeing his incredulity, I added:
“When you are willing, I shall be glad to tell you my history,
though I shall hardly hope to be believed. For the present, let me say
that I know nothing at all of your modern civilization.”
“But surely in Russia—” David began, and checked himself.
Thereafter he seemed to admit the possibility that I was not
dissembling, and to consider me as a bona fide traveler from some
interior Russian province.
“Our writing is syllabic,” he said. “We have gone the round of the
circle and now make the syllable the unit instead of the letter, as the
Assyrians did, and the Chinese.”
“And what is the purpose of this blue paint on the buildings?” I
asked, shielding my eyes from the dazzling, blue-white luster.
“Blue?” repeated David in surprise.
“There—and there.”
“Why, that is glow, of course,” he answered. “Surely you are not
color-blind, Arnold? Or can it be that in—where you came from they
have only the old seven colors in the spectrum?”
 “From red to violet.”
He shook his head and looked at me whimsically. “We have had
nine for at least twenty years,” he said. “Mull, below red, and glow,
above violet; what our ancestors called ultra-violet and believed to be
invisible, though it was staring them in the face everywhere all the
time. There used to be a theory that the color sense has developed
with civilization. Don’t make any reference to that color-blindness of
yours, Arnold,” he continued, after a brief pause.
It occurred to me that he had not explained the choice of this color,
though he had named it.
“Here is the Bureau of Statistics,” he went on, as we traveled past
another of the interminable buildings. “This is the Bureau of Prints
and Indexes; there are more than a thousand million records within.
This is the Bureau of Economics; this of Pedigrees and Relationships;
this of Defective Germ-Plasm; and this is our Sixth District School.”
The streets were scrupulously clean; they occupied only the central
part of the space between the fronts of the buildings, that which
would have been called the pavement formerly, being used as resting
and lounging places.
“Here is our district store,” he added. “Would you like to look
inside?”
I assented, and we stepped off the moving portion of the street into
an open space surrounded by telephone funnels, at which small
groups of men and women were listening. As he halted, a loud voice
began calling:
“Latest news! Rain is expected. Don’t forget Freedom Day! Muster
for your amusement in Picnic Park, or the Council will make it hot
for you! The escaped defectives all caught and sent to the leathers. A
foreign spy captured this morning after a desperate resistance and
now under guard. The miserable defective has confessed, involving
numerous others. He is a low-class brach and a filthy degenerate.
Boss Lembken is on the job. Praise him!”
“Hurrah!” shouted the mob.
“Come,” said David, plucking me by the sleeve.
It was only then I realized that the reference was to me. I must
have uttered an indignant exclamation, for he drew me away
hurriedly.
 “Hush! You must keep your tongue guarded in public,” he
whispered. “One can hear at both ends of the telephone.”
“But it is a lie!” I said indignantly. “Who can spread such news as
that, and why?”
I noticed that one or two people were watching me curiously.
Then, glancing up, I was amazed to see my face outlined upon a
screen beneath a hood that formed a dark circle around it. It was an
execrable caricature, designed to arouse hate and contempt; and yet
the likeness was plainly discernible.
Somehow David got me away. “It will be all right,” he kept
repeating. “It doesn’t mean anything. See, here is our store.”
Bewildered, I allowed him to lead me toward the entrance of a
large building, before which a woman sat within a cage of crystal.
“Change pieces!” she cried at intervals, in a high-pitched voice.
“Change pieces or show brasses!”
“We change our money here,” David explained. “Purchases of
more than half a hektone are made on the credit system. Our brasses
are identification checks. The district clearing-house keeps the
complete record of each citizen’s financial status.”
I had expected to see all the products of the world spread out
within. I found, instead, only a single sample of each kind of
merchandise, the goods themselves being stored in warehouses.
Seeing an excellent blue overcoat of fine cheviot, I paid thirty ones
for it, and David ordered a similar coat to be sent to me at the
Strangers’ House.
“Watch the street!” he said, as we emerged.
I perceived the passengers scrambling off the moving portion of
the roadway. A moment later the track began to travel in the
opposite direction.
“We reverse our streets according to the stream of travel,” said
David. “The mechanism is controlled by solar power, transmitted
from the Vosges.”
We journeyed for some five and twenty minutes by the new
reckoning—what would have been a quarter of an hour. We changed
streets frequently, and it seemed to me, although I could not be sure
of it, that David purposely selected a roundabout route. At length, we
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