+We have selected the last seven measures of Bach's Fugue in G minor from
+the Well-Tempered Clavier, Book I, BWV 861. In the final draft there
+will be pitcures here, but for now please consult the appendix
+(currently pp. 12--14) for the output from both programs and images from
+four reference engravings.
+
+My findings so far:
+
+@itemize @bullet
+@item Finale rests are always at the same heights (in v1/v2 situations).
+@item Finale doesn't interlock notes nicely (mm. 28--29).
+@item Finale misses the B-flat in mm. 33!
+@item Finale's beamed stems are almost always too long when they extend
+off the staff.
+@item LilyPond 2.13.5 has a vertical spacing problem (no padding).
+@item LilyPond could use a little more space before the first note of
+mm. 30, 33--34.
+@item LilyPond's ties to beat 1 of mm. 31 are shorter than any of the
+reference scores, and Finale's are even worse.
+@item LilyPond's stems are often shorter than any of the references,
+especially RH mm. 31.
+@item In some locations, the Bärenreiter engraver(s) place rests
+further from the staff than strictly necessary in order to keep them
+vertically close to the subsequent element in that voice (e.g. mm. 28).
+@item There is some acceptable variation within the reference scores,
+although some scores are more attractive than others.
+@end itemize
+
+@c How do we go about implementing typography? If craftsmen need
+@c over ten years to become true masters, how could we simple hackers
+@c ever write a program to take over their jobs?
+
+@c The answer is: we cannot.
+
+The last two points lead into this concluding/transition paragraph:
+
+Typography relies on human judgment of