The decision to print "The Yellow Book" in Caslon-old face further signified the ties which "The Yellow Book" held to the Revivalists. Caslon-old face, "an eighteenth-century revival of a seventeenth-century typographical style" became "the type-face of deliberate and principled reaction or anachronism". A type-face generally reserved for devotional and ecclesiastical work, its use in the pages of "The Yellow Book" at once identified it with the "Religion of Beauty". The use of catch-words on every page enhanced "The Yellow Book"&apos;s link to the obsolescent. Both antiquated and obtrusive, the catch-phrase interrupts the cognitive process of reading: “making-transparent ... the physical sign which constitutes the act of reading; and in doing this, catch-words participate in the ‘pictorialization’ of typography”. By interrupting readers through the very use of irrelevant text, catch-words lend the printed word a solidity of form which is otherwise ignored.