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PUBLISHED BY
Microsoft Press
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Copyright © 2007 by Stephanie Krieger
All rights reserved. No part of the contents of this book may be reproduced or transmitted in any form
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This book expresses the author’s views and opinions. The information contained in this book is provided
without any express, statutory, or implied warranties. Neither the authors, Microsoft Corporation, nor its
resellers, or distributors will be held liable for any damages caused or alleged to be caused either directly
or indirectly by this book.

Acquisitions Editor: Juliana Aldous Atkinson

Developmental Editor: Sandra Haynes
Project Editor: Jenny Moss Benson
Editorial Production Services: Custom Editorial Productions, Inc.
Technical Reviewer: Beth Melton

Body Part No. X13-24131

For those two beautiful little blessings who share my desk but refuse to do any of the
writing—my Finster and Janie.

“‘Aha!’ he said, ‘I have caught nature in the act.’

But he was deceived by appearances, which happens only too often,
whether one uses a microscope or not.”
—Voltaire, Micromegas

iii
 Contents at a Glance

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . xvii Chapter 10

About the CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix Reference Tables and Tools . . . . . . . . . . . . . . 209
Conventions and Features Used Chapter 11
in This Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxi Content Controls: Creating Forms
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxiii and Then Some . . . . . . . . . . . . . . . . . . . . . . . . 229

Part 1 Document Essentials Chapter 12

Planning Your Documents . . . . . . . . . . . . . . . . 245
Chapter 1
Introducing the 2007 Microsoft Part 3 Excel
Office System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chapter 13
Chapter 2 Data-Based Documents: Formatting and
Understanding Electronic Documents . . . . . . 23 Managing Worksheets . . . . . . . . . . . . . . . . . . 263
Chapter 3 Chapter 14
Collaborating and Sharing with Others . . . . . 39 Working with Data . . . . . . . . . . . . . . . . . . . . . 287

Part 2 Word Chapter 15

Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Chapter 4
Building Easy-to-Manage, Chapter 16
Robust Documents . . . . . . . . . . . . . . . . . . . . . . . 55 Powerful Reporting, Easier Than You Think:
A PivotTable Primer . . . . . . . . . . . . . . . . . . . . 345
Chapter 5
Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Chapter 17
The Excel–Visio Connection . . . . . . . . . . . . . 365
Chapter 6
Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Part 4 PowerPoint
Chapter 7 Chapter 18
Managing Graphics . . . . . . . . . . . . . . . . . . . . . . 137 Creating Professional
Chapter 8 Presentation Graphics . . . . . . . . . . . . . . . . . . . 391
Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Chapter 19
Chapter 9 Slides and Presentations . . . . . . . . . . . . . . . . 441
Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

v
vi Contents at a Glance

Part 5 Templates, Automation, Chapter 23

and Customization Using VBA and XML Together to
Create Add-Ins . . . . . . . . . . . . . . . . . . . . . . . . . 627
Chapter 20
The Many Faces of Microsoft
Index to Troubleshooting Topics. . . . . . . . . . . 647
Office Templates . . . . . . . . . . . . . . . . . . . . . . . 489
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
Chapter 21
VBA Primer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Chapter 22
Office Open XML Essentials . . . . . . . . . . . . . . 579
 Table of Contents

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
About the CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix
Conventions and Features Used in This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii

Part 1 Document Essentials

Chapter 1 Introducing the 2007 Microsoft Office System. . . . . . . . . . . . . . . . . . . . . . 3
Redefining Documents for Today’s Business Demands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Creating Documents Across the Office System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
What’s New for Your Documents in the 2007 Office Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Word, Excel, and PowerPoint. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Excel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
PowerPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Introducing the Office Open XML File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The File Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Choosing Your Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
What Else Do I Need to Know About These File Formats?. . . . . . . . . . . . . . . . . . . . . . . 12
The New User Interface: Ribbons and Then Some . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Getting Comfortable in Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
The Quick Access Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
The Customizable Status Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
The Mini Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
New Keyboard Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Documents 101: Understanding How the Office Programs “Think” . . . . . . . . . . . . . . . . . . . . 16
The Benefits of Being Lazy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Less Work In = Better Results Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Using the 2007 Office Suite Effectively: Never Do the Same Work Twice . . . . . . . . . . 20

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vii
viii Table of Contents

Chapter 2 Understanding Electronic Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Differences to Consider When Sharing Documents Electronically . . . . . . . . . . . . . . . . . . . . . 23
Document Construction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Document Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Securing the Private Information in Your Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
The Simple Truth About Document Metadata and Hidden Content . . . . . . . . . . . . . . 27
Options for Managing Hidden Data in the 2007 Office System . . . . . . . . . . . . . . . . . . 28
Securing Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Restricting Permission to Your Documents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Protecting Documents from Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Signing Documents and Using the Trust Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Chapter 3 Collaborating and Sharing with Others . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Understanding and Using the 2007 Office System Collaboration Environments . . . . . . . . . 39
Creating and Using Shared Workspaces with Windows SharePoint Services . . . . . . . . . . . . 41
Understanding the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Accessing or Adding Content in a WSS Document Library . . . . . . . . . . . . . . . . . . . . . . 43
Creating or Editing a WSS Shared Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Creating and Using Groove Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Understanding Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Creating a Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Inviting Others to Join a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using Office OneNote 2007 as a Collaboration Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Shared Notebooks and Live Sharing Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Part 2 Word
Chapter 4 Building Easy-to-Manage, Robust Documents . . . . . . . . . . . . . . . . . . . . . 55
Staying in Control: Be the Boss of Your Documents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
The Three Levels of Word Formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Understanding Objects and Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Finding the Simple Approach to Any Task . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Document Logic: Bringing Yourself to the Document. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Working with Formatting Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Using Views Effectively. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Monitoring the Health of Your Document. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
What Is Document Corruption? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Using Open And Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
The Five Tools You Need to Create Any Word Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Chapter 5 Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
What’s New for Styles in Word 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Paragraph and Character Quick Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
The Styles Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Creating Effective Style Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Consider Built-In vs. Custom Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
 Table of Contents ix

Benefits of Using Character Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Making Effective Use of Base and Following Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Understanding Linked Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Styles That Make User-Friendly Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Using Quick Style Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Working with Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
The Style–Theme Relationship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Making Your Documents Theme-Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Customizing Themes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Sharing Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Mastering Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
What’s New for Single-Level Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Differentiating List Styles and Multilevel Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Creating and Using List Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Sharing Lists Between Documents and Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Working with Table Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Creating Table Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Setting a Default Table Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Managing Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
The Wonderful New World of the Manage Styles Dialog Box. . . . . . . . . . . . . . . . . . . 103
Introducing The Style Inspector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Chapter 6 Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
What’s New for Tables in Word 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
The Great Document Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Key Practices for Creating Tables That Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Choosing Between Paragraph Formatting and Table Formatting . . . . . . . . . . . . . . . 111
Using Table Properties to Simplify Table Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
What You Need to Know About AutoFit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Using Tables to Create Page Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Creating an Effective Host Table. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Using Nested Tables vs. Text Wrap Around Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Managing Nested Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Formatting Financial Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Decimally Align Numbers and Currency Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Managing Tables from Other Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Considerations for Tables That Originate in Excel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Considerations for Tables That Originate on the Web . . . . . . . . . . . . . . . . . . . . . . . . . 136

Chapter 7 Managing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
What’s New for Graphics in Office Word 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Using the Best Program for the Graphic Task . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Objects vs. Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Linked and Embedded Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Converting Embedded or Linked Objects to Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . 145
x Table of Contents

Editing Linked and Embedded Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Determining the Best Picture Type for Your Graphic . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Graphic Layout Simplified. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Using the In Line With Text Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Using Table Cells as Graphic Placeholders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Formatting Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Using Text Boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Chapter 8 Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
What’s New For Section Formatting in Word 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Are You Sure You Need a Section Break?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Formatting Changes That Require a Section Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
When Not to Use a Section Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Keeping Sections Simple. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Understanding How Section Formatting Is Stored . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Understanding Section Break Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Using Headers and Footers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Managing Different First Page and Different Odd & Even Headers and Footers . . 176
Understanding Link To Previous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Simplifying Book-Style Page Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Creating Watermarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Chapter 9 Quick Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Understanding Building Blocks: The Evolution of Documents. . . . . . . . . . . . . . . . . . . . . . . . 186
Creating Your Own Building Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Inserting Building Block Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Managing Building Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Document Property Quick Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Working with Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Understanding Field Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Creating Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Editing Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Nesting Fields. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Chapter 10 Reference Tables and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
What’s New for Reference Tools in Word 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Editing Reference Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Managing Tables of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Using TC Entry Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Creating Multiple Tables of Contents in One Document . . . . . . . . . . . . . . . . . . . . . . . 217
Creating a Table of Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Working with Indexes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Using Index Entry Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Marking an Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
 Table of Contents xi

Creating an Index from an AutoMark File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Creating a Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Creating and Managing Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Working with Citations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Creating a Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
A Footnote About Footnotes and Endnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Chapter 11 Content Controls:Creating Forms and Then Some . . . . . . . . . . . . . . . . . 229

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Working with Content Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Types of Content Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Built-In Features That Use Content Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Using Content Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Creating Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Formatting Controls and Editing Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Nesting Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Understanding Document Protection Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Content Controls and Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 12 Planning Your Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Design Considerations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
How Will Your Document Be Delivered? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Focus On the Content. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Making the Right Statement About You and Your Business . . . . . . . . . . . . . . . . . . . . 249
Content Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Making Choices About Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Using Layout and Design to Organize Your Content . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Using OneNote for Document Planning and Outlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Setting Up a OneNote Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
From OneNote Page to Word Document Without Hardly Typing . . . . . . . . . . . . . . . 256
When Should a Document Live in OneNote?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Other Document Assists from OneNote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Part 3 Excel
Chapter 13 Data-Based Documents: Formatting and Managing Worksheets . . . . 263
Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
What’s New for Worksheets in Excel 2007. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
When Your Document Lives in Excel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Streamlining Worksheet Formatting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Working with Themes in Excel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Using Cell Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Formatting Ranges as Tables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Increasing Your Options with Conditional Formatting . . . . . . . . . . . . . . . . . . . . . . . . . 278
Managing Page Layout Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Treat Your Workbooks Like the Documents They Are . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
xii Table of Contents

Chapter 14 Working with Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
What’s New for Number Crunching in Excel 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Using Tables as a Data Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Creating Formulas—Working with Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
If There’s Logic to It, Excel Functions Can Do It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Nesting Formulas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Defining Names and Using Structured References . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Managing Formulas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Simplifying Data Organization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
When You Need to Use External Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Chapter 15 Charts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
What’s New for Charts in Excel 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
The New Essentials for Creating Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Fighter-Pilot Cool Chart Formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Using Chart Quick Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Customizing Chart Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Combining Chart Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Using Secondary Axes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Adding Drawing Objects to Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Timesaving Techniques for Adding or Editing Chart Data . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Reorder Data Series and Set Data Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Creating Advanced Chart Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Bubble Charts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Price/Volume Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Creating Charts for Use in Other Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Resizing Charts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Getting Your Chart into Word. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Getting Your Chart into PowerPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Chapter 16 Powerful Reporting, Easier Than You Think: A PivotTable Primer . . . . 345
Why Use a PivotTable?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Creating a PivotTable. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Setting Up Your Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Creating the Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Understanding PivotTable Field Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Managing PivotTables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Field Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Table Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Formatting PivotTables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Using PivotCharts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Creating and Using a PivotChart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Managing the Connection Between PivotTable and PivotChart . . . . . . . . . . . . . . . . . 363
Quick Reference—Create and Format a PivotTable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
 Table of Contents xiii

Chapter 17 The Excel–Visio Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Visio Essentials—A Quick Reference Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Creating a Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Working with Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Using Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Formatting Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Creating a Visio Organization Chart from Worksheet Data . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Creating a PivotDiagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Generating a PivotDiagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Formatting and Managing a PivotDiagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Using Shape Data and Data Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Creating Shape Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Generating a Data Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Linking Data to Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Creating and Managing Data Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
More Visio Data Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Part 4 PowerPoint
Chapter 18 Creating Professional Presentation Graphics. . . . . . . . . . . . . . . . . . . . . . 391
Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
What’s New for Presentation Graphics in PowerPoint 2007? . . . . . . . . . . . . . . . . . . . . . . . . . 393
Determining the Best Diagram for Your Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Making Smart Choices with SmartArt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Creating a SmartArt Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Selecting a Diagram Layout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Understanding and Using SmartArt Styles and Formatting . . . . . . . . . . . . . . . . . . . . 403
Editing SmartArt Diagram Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Using Drawing Tools to Their Fullest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
“Perfect” Is Easier than “Close Enough” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Managing Shapes with the Selection And Visibility Pane . . . . . . . . . . . . . . . . . . . . . . 415
Formatting Shapes Effectively. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Using the Size And Position Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Organize Content Precisely with the Arrange Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Using Drawing Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Editing Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Changing Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Edit Points to Create Virtually Anything . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
WordArt as a Powerful Design Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Ungrouping Clip Art to Create Custom Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Getting Your Graphic into Other Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Chapter 19 Slides and Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
What’s New for Slide Presentations in PowerPoint 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
When Your Document Lives in PowerPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Effective Document Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
xiv Table of Contents

Control the Layout—Don’t Let It Control You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Page Setup Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Understanding Headers and Footers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Working with Masters, Layouts, and Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
The New Master-Layout Relationship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Managing Masters and Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Customizing Slide Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Customizing and Creating Slide Layouts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Creating Effective Slides and Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Managing Slides and Slide Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
A Note About Legacy Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Working with Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
PowerPoint Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Working with Embedded Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Managing Slides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Reusing Slides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
The Themes—PowerPoint Connection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Why Create Themes in PowerPoint? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
The Master—Theme Relationship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Setting a Default Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Putting on a Show—Slide Show Setup and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Slide Show Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Animations and Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Using Animation Effectively. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Part 5 Templates, Automation, and Customization

Chapter 20 The Many Faces of Microsoft Office Templates . . . . . . . . . . . . . . . . . . . 489
Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
What’s New for Templates in the 2007 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
What Type of Template Do You Need? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Content Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Design Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Form Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Feature-Specific Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Differentiating Between Automated Templates, Global Templates,
and Add-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Understanding Template Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Considerations for Word Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Considerations for Excel Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Considerations for PowerPoint Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Sharing Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
The Office 2007 Automation Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Chapter 21 VBA Primer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

When and Why to Use VBA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
 Table of Contents xv

Introduction to the VBA Language and Code Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Recording Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
How to Read VBA Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Statements, Procedures, Modules, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Understanding and Using the Visual Basic Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
The Code Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Project Explorer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
The Properties Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Setting Up Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Writing, Editing, and Sharing Simple Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Creating Modules and Starting Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Objects, Properties, and Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Object Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Using Auto Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Variables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Constants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Collection Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
Grouping Statements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Conditional Structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Message Boxes and Input Boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Running One Macro from Another . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Setting Macros to Conditionally Stop Executing Commands . . . . . . . . . . . . . . . . . . . 555
Running Macros and Compiling Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Understanding Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Creating Error Handlers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Getting Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Saving and Sharing Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Using VBA to Save Time on Document Production and Troubleshooting . . . . . . . . . . . . . . 565
Using the Immediate Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Introduction to Using Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Creating UserForms (Dialog Boxes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Designing a UserForm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Automating a UserForm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Next Steps for Working with Automation in Microsoft Office . . . . . . . . . . . . . . . . . . . . . . . . 577

Chapter 22 Office Open XML Essentials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
XML Basics for Reading Your Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Reading a Markup Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Understanding Key Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
XML Editing Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Getting to Know the Office Open XML Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Breaking into Your Document. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
The Office Open XML File Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Taking a Closer Look at Key Document Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
Building a Basic Word Document from Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
xvi Table of Contents

Editing and Managing Documents Through XML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Before You Begin Editing a Document Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Editing Text and Formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Editing Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Removing a Document Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Customizing the Ribbon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
The Basic Components of Ribbon Customization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Adding a Ribbon Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Add a Group to a Built-In Ribbon Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Binding Data to Content Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
The Components of a Bound Content Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Binding a Control to Custom XML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Next Steps for Working with the Office Open XML Formats . . . . . . . . . . . . . . . . . . . . . . . . . 624

Chapter 23 Using VBA and XML Together to Create Add-Ins . . . . . . . . . . . . . . . . . . 627

Chapter Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Adding Your Macros to the Ribbon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Creating Simple Add-Ins for Word, Excel, or PowerPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Do You Need an Add-In? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Word: Global Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Excel Add-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
PowerPoint Add-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Using the Trust Center. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Understanding Digital Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645

Index to Troubleshooting Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

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Acknowledgments
When I’ve mentioned that I’m working on this large book, people have often asked if I
have a co-author or if I’m writing it by myself. What they don’t realize is that a book like
this is anything but a sole effort simply because it has a sole author. So, thank you…
To my family—Mom, Dad, Elise, Michael, Ari, and Jared—for believing in me
even when you hardly ever see me. I love you all. And special thanks to Mom,
who worked overtime throughout this project as my unofficial shrink and
sounding board.
To everyone at MS Press and CEP who contributed to this project. In particular,
thank you Lucinda Rowley, Sandra Haynes, and Jenny Moss Benson for your
confidence in this book.
To Beth Melton, technical reviewer extraordinaire, for your marvelous contributions
to this project. The book and I are both better for knowing you.
To Jan Clavey, for jumping in to catch the Hail Mary pass.
To Stuart Stuple, for allowing me to randomize when I know you didn’t have the
time for it; to Tristan Davis, for responding to emails from the other side of the
world; to Roberto Taboada for reading my novel-length emails; and to the many
other members of the 2007 Office release product team whose knowledge, insights,
and generosity have helped make this a better book, including Jessica Arnold, Jon
Bailor, Krista Bendig, Savraj Dhanjal, Joe Friend, Mike Maxey, Margaret Plumley,
Scott Rockfeld, Alex Simmons, and Brandon Taylor. And, the thanks extend as well
to the patient support engineers who worked as test engineers throughout the beta,
especially Jagadeesh Parameswaran and Irfan Parwez.
To the wonderful people I have the pleasure to work with both at Microsoft and
among my other clients (with thanks for many reasons, not the least of which
has often been your patience and understanding in the face of book deadlines),
including Nathalie Alfred, Cameron Anderson, Gonzalo Arellano, Roger Baerwolf,
Alex Blanton, Sue Cahill, Otto Cate, Tawni Christensen, Danielle Damasius, Sheila
Davis, John Donnarumma, Tish Gilvey, Lynn Haller, Lisa Holland Smith, Jessica
Iben, Kari Jackson-Klönther, Mark Johnson, Angela Johnson, Sheridan Jones, Tess
Kander, Amilcar Kaufman, Dan Klinglesmith, Jason Kozleski, Amanda Lefebvre,
Pam Mauseth, Krista McClimans, Blanka Michalski, Charlie Montgomery, Lisa Pere,
Jessica Reading, Becca Robinson, Elsa Rosenberg, and John Smithwick.
To the Microsoft MVP program that I am so privileged to be a part of, and that asso-
ciation that’s made me better at what I do by enabling me to be part of a community
of generous and talented experts, with special thanks to my MVP Lead, Ed Hickey.
To David Rubin and Jeff Bucari for technical support and photography (respectively)
above and beyond the call of friendship.
And, to Gayle Madeira, the lazy operator herself.

xvii
About the CD
The companion CD that ships with this book contains many tools and resources to
help you get the most out of your Inside Out book.

What’s On the CD
Your Inside Out CD includes the following:
Sample files. Click the Install Sample Files button on the CD’s Welcome tab to
install the documents, templates, code samples, and other exercise-related re-
sources referenced in the book.
Articles and additional documentation on a variety of document production and
customization topics.
Recorded webcasts from the author demonstrating many of the tasks covered
throughout this book.
Links to a wide range of free online resources, including articles, community and
support Web sites, downloadable tools, and trial software.
Links to expert blogs and other Web sites directly from members of the 2007
Office release product team as well as several Microsoft MVPs.
Additional eBooks. In this section you’ll find the fully searchable electronic ver-
sion of this book along with the following resources:
Microsoft Computer Dictionary, Fifth Edition
First Look 2007 Microsoft Office System (Katherine Murray, 2006)
Sample chapter and poster from Look Both Ways: Help Protect Your Family on
the Internet (Linda Criddle, 2007)
Windows Vista Product Guide

System Requirements
Following are the minimum system requirements necessary to run the CD:
Microsoft Windows Vista, Windows XP with Service Pack (SP) 2, Windows Server
2003 with SP1, or later operating system
500 megahertz (MHz) processor or higher
2 gigabyte (GB) storage space; a portion of this disk space will be freed after in-
stallation if the original download package is removed from the hard drive.
256 megabytes (MB) RAM

The CD that accompanies the print edition of this book is not available with this eBook edition, although select xix
CD content is available for download at http://go.microsoft.com/fwlink/?LinkId=91316&clcid=0x409.
xx About the CD

CD-ROM or DVD-ROM drive

1024x768 or higher resolution monitor
Microsoft Windows or Windows Vista–compatible sound card and speakers
Microsoft Internet Explorer 6 or higher
Microsoft Mouse or compatible pointing device

Note
An Internet connection is necessary to access the hyperlinks on the CD. Connect time
charges may apply.

Support Information
Every effort has been made to ensure the accuracy of the contents of the book and
of this CD. As corrections or changes are collected, they will be added to a Microsoft
Knowledge Base article. Microsoft Press provides support for books and companion
CDs at the following Web site:
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If you have comments, questions, or ideas regarding the book or this CD, or questions
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Conventions and Features Used in This Book
This book uses special text and design conventions to make it easier for you to find the
information you need.

Text Conventions
Convention Meaning
Abbreviated commands For your convenience, this book uses abbreviated commands.
for navigating the Ribbon For example, “Click Home, Insert, Insert Cells” means that you
should click the Home tab on the Ribbon, then click the Insert
button, and finally click the Insert Cells command.
Boldface type Boldface type is used to indicate text that you type.
Initial Capital Letters The first letters of the names of tabs, dialog boxes, dialog box
elements, and commands are capitalized. Example: the Save As
dialog box.
Italicized type Italicized type is used to indicate new terms.
Plus sign (+) in text Keyboard shortcuts are indicated by a plus sign (+) separating
two key names. For example, CTRL+ALT+DELETE means that
you press the Ctrl, Alt, and Delete keys at the same time.

Design Conventions

SIDE OUT
These are the book’s signature tips. In these tips, you’ll get the straight scoop on what’s
going on with the software—inside information about why a feature works the way it
does. You’ll also find handy workarounds to deal with software problems.

TROUBLESHOOTING
OU S OO G
Look for these sidebars to find solutions to common problems you might encounter.
Troubleshooting sidebars appear next to related information in the chapters.

xxi
xxii Conventions and Features Used in This Book

Cross-references point you to other locations in the book that offer additional information
about the topic being discussed.

CAUTION !
Cautions identify potential problems that you should look out for when you’re
completing a task or problems that you must address before you can complete a task.

Note
Notes offer additional information related to the task being discussed.
Introduction
Each time a new version of Microsoft Office is released, a flurry of books, training
courses, and other resources quickly follow. Almost always—whether those resources
are identified as being for beginner, intermediate, or advanced users—they expect that
you need to learn everything again from the ground up. But, just because there’s a new
version of Microsoft Office, doesn’t mean that Microsoft Office is new to you.
As a trainer and document consultant, I’ve often been frustrated by the lack of available
resources that move beyond ‘click here’ or ‘point there’ to explain why things work the
way they do, which best practices can make a real difference to your work, and what
tools you may be missing that could simplify your work and expand your possibilities.
So, I decided that was exactly the book I wanted to write for the 2007 Microsoft Office
system.
With the release of the 2007 Office system, the programs you know have become more
powerful, more flexible, and easier to use than ever before. If ever there was a time for
experienced Microsoft Office users to take their work to a new level and learn to get
more out of these incredible programs, this is it.
Throughout this book, you’ll learn about new features across the 2007 release. You’ll
also learn how to put what you already know together with both new and existing
methods and concepts to work the way the experts do, how to create the kind of docu-
ments and templates you’ve always wanted, and how to take full advantage of the capa-
bilities in these programs to find the simple solutions you’ve often wondered about. It’s
all about doing less work, getting better results, and expanding your possibilities.

Who Will Benefit Most from This Book

You’re an experienced Microsoft Office user and you don’t need to start from scratch.
This book takes you at your word, so the basics you already know are not repeated here.
Though a few chapters that are specific to advanced tasks (such as Microsoft Office Ex-
cel 2007 PivotTables) do start from the beginning and move at an advanced pace, you’ll
find far more lists of key tips, hands-on concepts, and advanced timesaving or trouble-
shooting methods in most chapters than step-by-step instructions for using the basics
of a feature. Following are just a few examples of what you’ll find here.
The Microsoft Office Word 2007 chapter on styles (Chapter 5, “Styles”) does not
walk you through steps for how to use the New Style dialog box. Instead, the
chapter addresses the way that styles are structured, how to create effective style
sets, and how to manage styles in documents and templates. It introduces the
new Themes feature with everything you need to make use of this powerful new
formatting tool and provides guidance for more advanced tasks, such as how
to simplify your work with the often overcomplicated list styles feature (outline
numbered lists).

xxiii
xxiv Introduction

The Office Excel 2007 chapter on charts (Chapter 15, “Charts”) does not step you
through creating a basic chart or explain basics such as what an axis is. Instead,
the chapter gives you the direction you need to use the new charting engine ef-
ficiently; timesaving tips for creating effective charts; help for more advanced
tasks such as managing data, combining chart types, and working with second-
ary axes; and step by step instructions and troubleshooting for creating complex
chart types such as price/volume charts and bubble charts.
The Microsoft Office PowerPoint 2007 chapter on creating presentations (Chapter
19, “Slides and Presentations”) does not step you through the basics of applying a
layout or explain the difference between adding your logo to a master or an indi-
vidual slide. Instead, this chapter explains how to set up either a presentation or
a slide show so that it will behave the way you want it to; how to work effectively
with masters, layouts, and designs; how to manage various content types (such as
charts or embedded Office Word 2007 tables) in your presentation; and how to
take advantage of new features such as custom slide layouts and the unique ben-
efits of Themes that you get when working in Office PowerPoint 2007.
Assuming that you are an experienced Microsoft Office user looking for new ways
to both simplify and expand on your use of Word, Excel, and PowerPoint, this
book also provides extensive introductions to using Microsoft Visual Basic for
Applications (VBA) (Chapter 21, “VBA Primer”) and the new Office Open XML
Formats (Chapter 22, “Office Open XML Essentials”).
I strongly believe that the programming capabilities built-in to the 2007 Office re-
lease programs can greatly simplify your work and save you time. You absolutely
don’t need to be a programmer to make use of this powerful functionality. That
said, an understanding of core features and experience working with the 2007
release programs is essential to being able to capitalize on the available program-
mability and customization options in Word, Excel, and PowerPoint. So, those
who have mastered the essentials of complex document production (covered in
Parts 1 through 4 of this book) will get the most from Part 5 of this book, titled
“Templates, Automation, and Customization.”

Additional Resources for Reviewing the Basics

At the beginning of most feature-specific chapters throughout this book, I’ve referenced
this introduction as the place to find recommendations of additional resources for
those who want more basic information on a given topic. The Step by Step book series is
a good place to start for core basics.
Microsoft Office Word 2007 Step by Step, by Joyce Cox and Joan Preppernau
Microsoft Office Excel 2007 Step by Step, by Curtis D. Frye
Microsoft Office PowerPoint 2007 Step by Step, by Joyce Cox and Joan Preppernau
 Introduction xxv

For detailed coverage that starts from the beginning, you may also want to check out
the program-specific books of the Inside Out series, including Microsoft Office Excel 2007
Inside Out and Microsoft Office Word 2007 Inside Out.
For additional resources at all levels, including links to blogs and other Web sites from
some of the members of the 2007 Office release product team as well as several Micro-
soft MVPs, see the Expert Tips tab of this book’s CD.

What You Can Expect from This Book

This book is a comprehensive guide to advanced document and template production,
troubleshooting, and customization using Word, Excel, and PowerPoint.
Approximately 30 percent of this book’s content covers Word topics, and about 15
percent each is devoted to topics within Excel, PowerPoint, and big-picture concepts
that cross multiple programs (such as managing electronic documents or creating tem-
plates). Approximately 20 percent of this book’s content is devoted to programmability
topics (VBA and XML). And, the remaining 5 percent covers other programs in the 2007
Office system, including Microsoft Office Visio 2007, Microsoft Office OneNote 2007,
Microsoft Office Groove 2007, and Microsoft Windows SharePoint Services, which are
introduced where appropriate to complement the work you do with documents.
The most important distinction I want to make for those venturing into this book is
that it’s not a general guide to the 2007 Office system. For example, you will learn how
to lay out complex pages, create professional graphics, customize the Ribbon, and trou-
bleshoot documents more easily, but you won’t learn how to configure email settings or
create a database here.
So, if you’re ready to take your work with Microsoft Office documents to the next level,
read on, and welcome to the 2007 Office system.
PART 1

Document Essentials

CHAPTER 1
Introducing the 2007 Microsoft
Office System . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
CHAPTER 2
Understanding Electronic Documents . . . . . . 23
CHAPTER 3
Collaborating and Sharing with Others . . . . . 39

1
Exploring the Variety of Random
Documents with Different Content
her Majesty is most likely to be found.” But seeing that De Blenau seemed
impatient of such reply, he proceeded: “However, as you wish to know to
what my conversation tends, I will tell you. If you please, it tends to your
own good. The Cardinal wishes to see you——”
He paused, and glanced his eye over the countenance of his companion,
from which, however, he could gather no reply, a slight frown being all the
emotion that was visible.
Chavigni then proceeded. “The Cardinal wishes to see you. He entertains
some suspicion of you. If you will take my advice, you will set out for Paris
immediately, wait upon his Eminence, and be frank with him—Nay, do not
start! I do not wish you to betray any one’s secrets, or violate your own
honour. But be wise, set out instantly.”
“I suspected something of this,” replied De Blenau, “when I heard that
there were strangers inquiring for me. But whatever I do, I must first see the
Queen:” and observing that Chavigni was about to offer some opposition,
he added decidedly, “It is absolutely necessary—on business of
importance.”
“May I ask,” said Chavigni, “is it of importance to her Majesty or
yourself?”
“I have no objection to answer that at once,” replied De Blenau: “it
concerns myself alone.”
“Stop a moment,” cried Chavigni, laying his hand on the Count’s arm,
and pausing in the middle of the avenue, at the farther extremity of which a
group of three or four persons was seen approaching. “No business can be
of more importance than that on which I advise you to go.—Monsieur de
Blenau, I would save you pain. Let me, once more, press you to set out
without having any farther conversation with her Majesty than the mere
etiquette of taking leave for a day.”
De Blenau well knew the danger which he incurred, but still he could not
resolve to go, without clearing the doubts of Pauline, which five minutes’
conversation with the Queen would enable him to do. “It is impossible,”
replied he, thoughtfully; “besides, let the Cardinal send for me. I do not see
why I should walk with my eyes open into the den of a lion.”
“Well then, Sir,” answered Chavigni, with somewhat more of coldness in
his manner, “I must tell you, his Eminence has sent for you, and that,
perhaps, in a way which may not suit the pride of your disposition. Do you
see those three men that are coming down the avenue? they are not here
without an object.—Come, once more, what say you, Monsieur le Comte?
Go with me, to take leave of the Queen, for I must suffer no private
conversation. Let us then mount our horses, and ride as friends to Paris.
There, pay your respects to the Cardinal, and take Chavigni’s word, that,
unless you suffer the heat of your temper to betray you into any thing
unbecoming, you shall return safe to St. Germain’s before to-morrow
evening. If not, things must take their course.”
“You offer me fair, Sir,” replied the Count, “if I understand you rightly,
that the Cardinal has sent to arrest me; and of course, I cannot hesitate to
accept your proposal. I have no particular partiality for the Bastille, I can
assure you.”
“Then you consent?” said Chavigni. De Blenau bowed his head. “Well
then, I will speak to these gentlemen,” he added, “and they will give us their
room.”
By this time the three persons, who had continued to advance down the
avenue, had approached within the distance of a few paces of Chavigni and
the Count. Two of them were dressed in the uniform of the Cardinal’s
guard; one as a simple trooper, the other being the Lieutenant who bore the
lettre de cachet for the arrest of De Blenau. The third, we have had some
occasion to notice in the wood of Mantes, being no other than the tall
Norman, who on that occasion was found in a rusty buff jerkin, consorting
with the banditti. His appearance, however, was now very much changed
for the better. The neat trimming of his beard and mustaches, the smart turn
of his broad beaver, the flush newness of his long-waisted blue silk vest,
and even the hanging of his sword, which instead of offering its hilt on the
left hip, ever ready for the hand, now swung far behind, with the tip of the
scabbard striking against the right calf,—all denoted a change of trade and
circumstances, from the poor bravo who won his daily meal at the sword’s
point, to the well-paid bully, who fattened at his lord’s second table, on the
merit of services more real than apparent.
De Blenau’s eye fixed full upon the Norman, certain that he had seen
him somewhere before, but the change of dress and circumstances
embarrassed his recollection.
In the mean while, Chavigni advanced to the Cardinal’s officer.
“Monsieur Chauville,” said he, “favour me by preceding me to his
Eminence of Richelieu. Offer him my salutation, and inform him, that
Monsieur le Comte de Blenau and myself intend to wait upon him this
afternoon.”
Chauville bowed, and passed on, while the Norman, uncovering his head
to Chavigni, instantly brought back to the mind of De Blenau the
circumstances under which he had first seen him.
“You have returned, I see,” said Chavigni. “Have you found an occasion
of fulfilling my orders?”
“To your heart’s content, Monseigneur,” replied the Norman; “never was
such an Astrologer, since the days of Intrim of Blois.”
“Hush!” said Chavigni, for the other spoke aloud. “If you have done it,
that is enough. But for a time, keep yourself to Paris, and avoid the Court,
as some one may recognise you, even in these fine new feathers.”
“Oh, I defy them,” replied the Norman, in a lower tone than he had
formerly spoken, but still so loud that De Blenau could not avoid hearing
the greater part of what he said—“I defy them; for I was so wrapped up in
my black robes and my white beard, that the Devil himself would not know
me for the same mortal in the two costumes. But I hope, Monsieur le
Comte, that my reward may be equal to the risk I have run, for they sought
to stop me, and had I not been too good a necromancer for them, I suppose I
should have been roasting at a stake by this time. But one wave of my
magic wand sent the sword of Monsieur de Cinq Mars out of his hand, and
opened me a passage to the wood; otherwise I should have fared but badly
amongst them.”
“You must not exact too much, Monsieur Marteville,” replied Chavigni.
“But we will speak of this to-night. I shall be in Paris in a few hours; at
present, you see, I am occupied;” and leaving the Norman, he rejoined De
Blenau, and proceeded in search of the Queen.
“If my memory serves me right, Monsieur de Chavigni,” said De
Blenau, in a tone of some bitterness, “I have seen that gentleman before,
and with his sword shining at my breast.”
“It is very possible,” answered Chavigni, with the most indifferent
calmness. “I have seen him in the same situation with respect to myself.”
“Indeed!” rejoined De Blenau, with some surprise; “but probably not
with the same intention,” he added.
 “I do not know,” replied the Statesman, with a smile. “His intentions in
my favour were to run me through the body.”
“And is it possible, then,” exclaimed De Blenau, “that with such a
knowledge of his character and habits, you can employ and patronize him?”
“Certainly,” answered Chavigni, “I wanted a bold villain. Such men are
very necessary in a State. Now, I could not have better proof that this man
had the qualities required, than his attempting to cut my throat. But you do
him some injustice; he is better than you suppose—is not without feeling—
and has his own ideas of honour.”
De Blenau checked the bitter reply which was rising to his lips, and
letting the conversation drop, they proceeded, in silence, in search of the
Queen. They had not gone much farther, when they perceived her leaning
familiarly on the arm of Madame de Beaumont, and seemingly occupied in
some conversation of deep interest. However, her eye fell upon the Count
and Chavigni as they came up, and, surprised to see them together, she
abruptly paused in what she was saying.
“Look there, De Beaumont,” said she: “something is not right. I have
seen more than one of these creatures of the Cardinal hanging about the
Park to-day. I fear for poor De Blenau. He has been too faithful to his
Queen to escape long.”
“I salute your Majesty,” said Chavigni, as soon as they had come within
a short distance of the Queen, and not giving De Blenau the time to address
her: “I have been the bearer of a message from his Eminence of Richelieu
to Monsieur de Blenau, your Majesty’s Chamberlain, requesting the
pleasure of entertaining him for a day in Paris. The Count has kindly
accepted the invitation; and I have promised that the Cardinal shall not
press his stay beyond to-morrow. We only now want your Majesty’s
permission and good leave, which in his Eminence’s name I humbly crave
for Monsieur de Blenau.”
“His Eminence is too condescending,” replied the Queen. “He knows
that his will is law; and we, humble Kings and Queens, as in duty, do him
reverence. I doubt not that his intentions towards our Chamberlain are as
mild and amiable, as his general conduct towards our self.”
“The truth is, your Majesty,” said De Blenau, “the Cardinal has sent for
me, and (however Monsieur de Chavigni’s politeness may colour it) in a
way that compels my attendance.”
 “I thought so,” exclaimed the Queen, dropping the tone of irony which
she had assumed towards Chavigni, and looking with mingled grief and
kindness upon the young Cavalier, whose destruction she deemed inevitable
from the moment that Richelieu had fixed the serpent eyes of his policy
upon him—“I thought so. Alas, my poor De Blenau! all that attach
themselves to me seem devoted to persecution.”
“Not so, your Majesty,” said Chavigni, with some degree of feeling; “I
can assure you, Monsieur de Blenau goes at perfect liberty. He is under no
arrest; and, unless he stays by his own wish, will return to your Majesty’s
court to-morrow night. The Cardinal is far from wishing to give
unnecessary pain.”
“Talk not to me, Sir Counsellor,” replied the Queen, angrily: “Do I not
know him? I, who of all the world have best cause to estimate his baseness?
Have I not under his own hand, the proof of his criminal ambition? but no
more of that—“ And breaking off into Spanish, as was frequently her
custom when angry, she continued, “No sè si es la misma vanidad, la
sobervia, ó la arrogancia. Que todo esto, segun creo es el Cardenal.”
“It is useless, Madam,” said De Blenau, as soon as the Queen paused in
her angry vituperation of the Minister, “to distress you farther with this
conversation. I know not what the Cardinal wants, but he may rest assured
that De Blenau’s heart is firm, and that no human means shall induce him to
swerve from his duty; and thus I humbly take my leave.”
“Go then, De Blenau,” said the Queen: “Go, and whether we ever meet
again or not, your faithful services and zealous friendship shall ever have
my warmest gratitude; and Anne of Austria has no other reward to bestow.”
Thus saying, she held out her hand to him. De Blenau in silence bent his
head respectfully over it, and turned away. Chavigni bowed low, and
followed the Count, to whose hotel they proceeded, in order to prepare for
their departure.
In the orders which De Blenau gave on their arrival, he merely
commanded the attendance of his Page.
“Pardon me, Monsieur de Blenau, if I observe upon your arrangements,”
said Chavigni, when he heard this order. “But let me remind you, once
more, that you are not going to a prison, and that it might be better if your
general train attended you, as a gentleman of high station about to visit the
Prime Minister of his Sovereign. They will find plenty of accommodation in
the Hotel de Bouthiliers.”
“Be it so, then,” replied De Blenau, scarcely able to assume even the
appearance of civility towards his companion. “Henry de La Mothe,” he
proceeded, “order a dozen of my best men to attend me, bearing my full
colours in their sword-knots and scarfs. Trick out my horses gaily, as if I
were going to a wedding, for Claude de Blenau is about to visit the
Cardinal; and remember,” he continued, his anger at the forced journey he
was taking overcoming his prudence, “that there be saddled for my own use
the good black barb that carried me so stoutly when I was attacked by
assassins in the wood of Mantes;” and as he spoke, his eye glanced towards
the Statesman, who sitting in the window seat, had taken up the Poems of
Rotrou, and apparently inattentive to all that was passing, read on with as
careless and easy an air, as if no more important interest occupied his
thoughts, and no contending passions struggled in his breast.
 CHAPTER X.
Shows how the Count de Blenau supped in a place that he little expected.
THOUGH the attendants of the Count de Blenau did not expend much
time in preparing to accompany their master, the evening was nevertheless
too far spent, before they could proceed, to permit the hope of reaching
Paris ere the night should have set in. It was still quite light enough,
however, to show all the preparations for the Count’s departure to the boys
of St. Germain’s, who had not beheld for many a good day such a gay
cavalcade enliven the streets of that almost deserted town.
Chavigni and De Blenau mounted their horses together; and the four or
five servants which the Statesman had brought with him from Paris,
mingling with those of De Blenau, followed the two gentlemen as they rode
from the gate. Having the privilege of the Park, Chavigni took his way
immediately under the windows of the Palace, thereby avoiding a
considerable circuit, which would have occupied more time than they could
well spare at that late hour of the evening.
The moment Pauline de Beaumont had seen her lover depart, the tears,
which she had struggled to repress in his presence, flowed rapidly down her
cheeks. The noble, candid manner of De Blenau had nearly quelled all
suspicion in her mind. The graces of his person, the tone of his voice, the
glance of his eye, had realized the day-dreams which she had nourished
from her youth.
Fame had long before told her that he was brave, high-spirited,
chivalrous; and his picture, as well as memory, had shown him as strikingly
handsome; but still it did not speak, it did not move; and though Pauline had
often sat with it in her hand, and imagined the expressions of his various
letters as coming from those lips, or tried in fancy to animate the motionless
eyes of the portrait, still the hero of her romance, like the figure of
Prometheus ere he had robbed the Sun of light to kindle it into active being,
wanted the energy of real life. But at length they had met, and whether it
was so in truth, or whether she imagined it, matters not, but every bright
dream of her fancy seemed fulfilled in De Blenau; and now that she had
cause to fear for his safety, she upbraided herself for having entertained a
suspicion.
She wept then—but her tears were from a very different cause to that
which had occasioned them to flow before. However, her eyes were still
full, when a servant entered to inform her that the Queen desired her society
with the other ladies of her scanty Court. Pauline endeavoured to efface the
marks which her weeping had left, and slowly obeyed the summons, which
being usual at that hour, she knew was on no business of import; but on
entering the closet, she perceived that tears had also been in the bright eyes
of Anne of Austria.
The circle, which consisted of Madame de Beaumont, Mademoiselle de
Hauteford, and another Lady of honour, had drawn round the window at
which her Majesty sat, and which, thrown fully open, admitted the breeze
from the Park.
“Come hither, Pauline,” said the Queen as she saw her enter, “What!
have you been weeping too? Nay, do not blush, sweet girl; for surely a
subject need not be ashamed of doing once what a Queen is obliged to do
every day. Why, it is the only resource that we women have. But come here:
there seems a gay cavalcade entering the Park gates. These are the toys with
which we are taught to amuse ourselves. Who are they, I wonder? Come
near, Pauline, and see if your young eyes can tell.”
Pauline approached the window, and took her station by the side of the
Queen, who, rising from her seat, placed her arm kindly through that of
Mademoiselle de Beaumont, and leaning gently upon her, prevented the
possibility of her retiring from the spot where she stood.
In the mean while the cavalcade approached. The gay trappings of the
horses, and the rich suits of their riders, with their silk scarfs and sword-
knots of blue and gold, soon showed to the keen eyes of the Queen’s ladies
that the young Count de Blenau was one of the party; while every now and
then a horseman in Isabel and silver appearing amongst the rest, told them,
to their no small surprise, that he was accompanied by the Count de
Chavigni, the sworn friend of Richelieu, and one of the principal leaders of
the Cardinal’s party. The Queen, however, evinced no astonishment, and her
attendants of course did not attempt to express the wonder they felt at such
a companionship.
 The rapid pace at which the two gentlemen proceeded, soon brought
them near the Palace; and Chavigni, from whose observant eye nothing
passed without notice, instantly perceived the Queen and her party at the
window, and marked his salutation with a profound inclination, low almost
to servility, while De Blenau raised his high-plumed hat and bowed, with
the dignity of one conscious that he had deserved well of all who saw him.
Chavigni led the way to Marly, and thence to Ruel, where night began to
come heavily upon the twilight; and long before they entered Paris, all
objects were lost in darkness. “You must be my guest for to-night, Monsieur
de Blenau,” said Chavigni, as they rode on down the Rue St. Honoré, “for it
will be too late to visit the Cardinal this evening.”
However, as they passed the Palais Royal (then called the Palais
Cardinal), the blaze of light, which proceeded from every window of the
edifice, told that on that night the superb Minister entertained the Court;—a
Court, of which he had deprived his King, and which he had appropriated to
himself. De Blenau drew a deep sigh as he gazed upon the magnificent
edifice, and compared the pomp and luxury which every thing appertaining
to it displayed, with the silent, desolate melancholy which reigned in the
royal palaces of France.
Passing on down the Rue St. Honoré, and crossing the Rue St. Martin,
they soon reached the Place Royale, in which Chavigni had fixed his
residence. Two of De Blenau’s servants immediately placed themselves at
the head of his horse, and held the bridle short, while Henry de La Mothe
sprang to the stirrup. But at that moment a gentleman who seemed to have
been waiting the arrival of the travellers, issued from the Hotel de
Bouthiliers, and prevented them from dismounting.
“Do not alight, gentlemen,” exclaimed he; “his Eminence the Cardinal
de Richelieu has sent me to request that Messieurs De Blenau and Chavigni
will partake a small collation at the Palais Cardinal, without the ceremony
of changing their dress.”
De Blenau would fain have excused himself, alleging that the habit
which he wore was but suited to the morning, and also was soiled with the
dust of their long ride. But the Cardinal’s officer overbore all opposition,
declaring that his Eminence would regard it as a higher compliment, if the
Count would refrain from setting foot to the ground till he entered the gates
of his Palace.
 “Then we must go back,” said Chavigni. “We are honoured by the
Cardinal’s invitation. Monsieur de Blenau, pardon me for having brought
you so far wrong. Go in, Chatenay,” he added, turning to one of his own
domestics, “and order flambeaux.”
In a few moments all was ready; and preceded by half a dozen torch-
bearers on foot, they once more turned towards the dwelling of the Minister.
As they did so, De Blenau’s feelings were not of the most agreeable nature,
but he acquiesced in silence, for to have refused his presence would have
been worse than useless.
The Palais Royal, which, as we have said, was then called the Palais
Cardinal, was a very different building when occupied by the haughty
Minister of Louis the Thirteenth, from that which we have seen it in our
days. The unbounded resources within his power gave to Richelieu the
means of lavishing on the mansion which he erected for himself, all that art
could produce of elegant, and all that wealth could supply of magnificent.
For seven years the famous Le Mercier laboured to perfect it as a building;
and during his long administration, the Cardinal himself never ceased to
decorate it with every thing rare or luxurious. The large space which it
occupied was divided into an outer and an inner court, round which, on
every side, the superb range of buildings, forming the Palace, was placed in
exact and beautiful proportion, presenting every way an external and
internal front, decorated with all the splendour of architectural ornament.
The principal façade lay towards the Rue St. Honoré, and another of
simpler, but perhaps more correct design, towards the gardens, which last
were themselves one of the wonders of Paris at the time. Extending over the
space now occupied by the Rue de Richelieu, the Rue de Valois, and several
other streets, they contained, within themselves, many acres of ground, and
were filled with every plant and flower that Europe then possessed,
scattered about amongst the trees, which, being planted long before the
formality of the Dutch taste was introduced in France, had in general been
allowed to fall into natural groups, unperverted into the long avenues and
straight alleys which disfigure so many of the royal parks and gardens on
the Continent.
The right wing of the first court was principally occupied by that
beautiful Theatre, so strongly connected with every classic remembrance of
the French stage, in which the first tragedies of Rotrou and Corneille were
produced,—in which many of the inimitable comedies of Molière were first
given to the world, and in which he himself acted till his death.
In the wing immediately opposite, was the Chapel, built in the Ionic
order, and ornamented in that pure and simple manner which none knew
better how to value than the Cardinal de Richelieu.
The two courts were divided from each other by a massive pile of
building, containing the grand saloon, the audience-chamber, and the
cabinet of the high council. On the ground-floor was the banqueting-room
and its antechamber; and a great part of the building fronting the gardens
was occupied by the famous gallery of portraits, which Richelieu had taken
care should comprise the best pictures that could be procured of all the
greatest characters in French history.
The rest of the Palace was filled with various suites of apartments,
generally decorated and furnished in the most sumptuous manner. Great
part of these the Cardinal reserved either for public entertainments, or for
his own private use; but what remained was nevertheless fully large enough
to contain that host of officers and attendants by which he was usually
surrounded.
On the evening in question almost every part of that immense building
was thrown open to receive the multitude that interest and fear gathered
round the powerful and vindictive Minister. Almost all that was gay, almost
all that was beautiful, had been assembled there. All to whom wealth gave
something to secure—all to whom rank gave something to maintain—all
whom wit rendered anxious for distinction—all whom talent prompted to
ambition. Equally those that Richelieu feared or loved, hated or admired,
were brought there by some means, and for some reason.
The scene which met the eyes of De Blenau and Chavigni, as they
ascended the grand staircase and entered the saloon, can only be qualified
by the word princely. The blaze of jewels, the glare of innumerable lights,
the splendid dresses of the guests, and the magnificent decorations of the
apartments themselves, all harmonized together, and formed a coup-d’œil of
surpassing brilliancy.
The rooms were full, but not crowded; for there were attendants
stationed in various parts for the purpose of requesting the visitors to
proceed, whenever they observed too many collected in one spot. Yet care
was taken that those who were thus treated with scant ceremony should be
of the inferior class admitted to the Cardinal’s fête. Each officer of the
Minister’s household was well instructed to know the just value of every
guest, and how far he was to be courted, either for his mind or influence.
To render to all the highest respect, was the general order, but some were
to be distinguished. Care was also taken that none should be neglected, and
an infinite number of servants were seen gliding through the apartments,
offering the most costly and delicate refreshments to every individual of the
mixed assembly.
De Blenau followed Chavigni through the grand saloon, where many an
eye was turned upon the elegant and manly figure of him, who on that night
of splendour and finery, presumed to show himself in a suit, rich indeed and
well-fashioned, but evidently intended more for the sports of the morning
than for the gay evening circle in which he then stood. Yet it was remarked,
that none of the ladies drew back as the Cavalier passed them,
notwithstanding his riding-dress and his dusty boots; and one fair
demoiselle, whose rank would have sanctioned it, had it been done on
purpose, was unfortunate enough to entangle her train on his spurs. The
Count de Coligni stepped forward to disengage it, but De Blenau himself
had already bent one knee to the ground, and easily freeing the spur from
the robe of Mademoiselle de Bourbon, he remained for a moment in the
same attitude. “It is but just,” said he, “that I should kneel, at once to repair
my awkwardness, and sue for pardon.”
“It was my sister’s own fault, De Blenau,” said the Duke d’Enghien,
approaching them, and embracing the young Count. “We have not met, dear
friend, since the rendering of Perpignan. But what makes you here? Does
your proud spirit bend at last to ask a grace of my Lord Uncle Cardinal?”
“No, your Highness,” replied De Blenau; “no farther grace have I to ask,
than leave to return to St. Germain’s as soon as I may.”
“What!” said the Duke, in the abrupt heedless manner in which he
always spoke, “does he threaten you too with that cursed bugbear of a
Bastille? a bugbear, that makes one man fly his country, and another betray
it; that makes one man run his sword into his heart, and another marry;”—
alluding without ceremony to his own compelled espousal of the Cardinal’s
niece. “But there stands Chavigni,” he continued, “waiting for you, I
suppose. Go on, go on; there is no stopping when once you have got within
the Cardinal’s magic circle—Go on, and God speed your suit; for the sooner
you are out of that same circle the better.”
Quitting the young hero, who had already, on more than one occasion,
displayed that valour and conduct which in after-years procured for him the
immortal name of the Great Condé, the Count de Blenau passed another
group, consisting of the beautiful Madame de Montbazon and her avowed
lover, the Duke of Longueville, who soon after, notwithstanding his
unconcealed passion for another, became the husband of Mademoiselle de
Bourbon. For be it remarked, in those days a bitter quarrel existed between
Love and Marriage, and they were seldom seen together in the same society.
It is said indeed, that in France, a coolness remains between them to this
day. Here also was the Duke of Guise, who afterwards played so
conspicuous a part in the revolution of Naples, and by his singular
adventures, his gallantry and chivalrous courage, acquired the name of
l’Hero de la Fable, as Condé had been called l’Hero de l’Histoire. Still
passing on, De Blenau rejoined Chavigni, who waited for him at the
entrance of the next chamber.
It was the great hall of audience, and at the farther extremity stood the
Cardinal de Richelieu himself, leaning for support against a gilt railing,
which defended from any injurious touch the beautiful picture of Raphael,
so well known by the title of “La Belle Jardiniere.” He was dressed in the
long purple robes of his order, and wore the peculiar hat of a Cardinal; the
bright colour of which made the deadly hue of his complexion look still
more ghastly. But the paleness of his countenance, and a certain attenuation
of feature, was all that could be discerned of the illness from which he
suffered. The powerful mind within seemed to conquer the feebleness of the
body. His form was erect and dignified, his eye beaming with that piercing
sagacity and haughty confidence in his own powers, which so distinguished
his policy; and his voice clear, deep, and firm, but of that peculiar quality of
sound, that it seemed to spread all round, and to come no one knew from
whence, like the wind echoing through an empty cavern.
It was long since De Blenau had seen the Cardinal; and on entering the
audience-chamber, the sound of that voice made him start. Its clear hollow
tone seemed close to him, though Richelieu was conversing with some of
his immediate friends at the farther end of the room.
 As the two cavaliers advanced, De Blenau had an opportunity of
observing the manner in which the Minister treated those around him: but
far from telling aught of dungeons and of death, his conversation seemed
cheerful, and his demeanour mild and placid. “And can this be the man,”
thought the Count, “the fabric of whose power is cemented by blood and
torture?”
They had now approached within a few paces of the spot where the
Cardinal stood; and the figure of Chavigni catching his eye, he advanced a
step, and received him with unaffected kindness. Towards De Blenau, his
manner was full of elegant politeness. He did not embrace him as he had
done Chavigni; but he held him by the hand for a moment, gazing on him
with a dignified approving smile. Those who did not well know the heart of
the subtle Minister, would have called that smile benevolent, especially
when it was accompanied by many kind inquiries respecting the young
nobleman’s views and pursuits. De Blenau had been taught to judge by
actions, not professions; and the Cardinal had taken care to imprint his
deeds too deeply in the minds of men to be wiped out with soft words. To
dissemble was not De Blenau’s forte; and yet he knew, that to show a
deceiver he cannot deceive, is to make him an open enemy for ever. He
replied, therefore, calmly and politely; neither repulsed the Cardinal’s
advances, nor courted his regard; and after a few more moments of
desultory conversation, prepared to pursue his way through the various
apartments.
“There are some men, Monsieur le Comte,” said the Cardinal, seeing
him about to pass on, “whom I might have scrupled to invite to such a scene
as this, in their riding-dress. But the Count de Blenau is not to be mistaken.”
“I felt no scruple,” answered De Blenau, “in presenting myself thus,
when your Eminence desired it; for the dress in which the Cardinal de
Richelieu thought fit to receive me, could not be objected to by any of his
circle.”
The Cardinal bowed; and De Blenau adding, that he would not intrude
farther at that moment, took his way through the suite of apartments to
Richelieu’s left hand. Chavigni was about to follow, but a sign from the
Cardinal stopped him, and the young Count passed on alone.
Each of the various rooms he entered was thronged with its own peculiar
groups. In one, was an assembly of famous artists and sculptors; in another,
a close convocation of philosophers, discussing a thousand absurd theories
of the day; and in the last he came to, was a buzzing hive of poets and
beaux esprits; each trying to distinguish himself, each jealous of the other,
and all equally vain and full of themselves.
In one corner was Scuderi, haranguing upon the nature of tragedy, of
which he knew nothing. In another place, Voiture, throwing off little empty
couplets and bon-mots, like a child blowing bubbles from a tobacco-pipe;
and farther on was Rotrou, surrounded by a select party more silent than the
rest, to whom he recited some of his unpublished poems, marking strongly
the verse, and laying great emphasis upon the rhyme. De Blenau stopped
for a moment to listen while the poet proceeded:—

“L’aube desia se lève, et le mignard Zephire,

Parfumant l’horizon du doux air qu’il respire,
Va d’un son agréable esveiller les oiseaux
Pour saluer le jour qui paroist sur les eaux.”

But though the verses he recited were highly poetic, the extravagant
affectation of his manner soon neutralized their effect upon De Blenau; and
passing on down a broad flight of steps, De Blenau found himself in the
gardens of the Palace. These, as well as the whole front of the building,
were illuminated in every direction. Bands of musicians were dispersed in
the different walks, and a multitude of servants were busily engaged in
laying out tables for supper with all the choicest viands of the season, and in
trimming the various lamps and tapers which hung from the branches of the
trees or were displayed on fanciful frames of wood, so placed as to give the
fullest light to the banquets which were situated near them.
Scattered about in various parts of the garden, but more especially near
the Palace, were different groups of gentlemen, all speaking of plays,
assemblies, or fêtes, and all taking care to make their conversation perfectly
audible, lest the jealous suspicion ever attendant on usurped power, should
attribute to them schemes which, it is probable, fear alone prevented them
from attempting.
Nevertheless, the gardens, as we have said, containing several acres of
ground, there were many parts comparatively deserted. It was towards these
more secluded spots that De Blenau directed his steps, wishing himself
many a league away from the Palais Cardinal and all its splendour. Just as
he had reached a part where few persons were to be seen, some one struck
him slightly on the arm, and turning round, he perceived a man who
concealed the lower part of his face with his cloak, and tendered him what
seemed to be a billet.
At the first glance De Blenau thought he recognised the Count de
Coligni, a reputed lover of Mademoiselle de Bourbon, and imagined that
the little piece of gallantry he had shown that lady on his first entrance,
might have called upon him the wrath of the jealous Coligni. But no sooner
had he taken the piece of paper, than the other darted away amongst the
trees, giving him no time to observe more, either of his person or his dress.
Approaching a spot where the number of lamps gave him sufficient light
to read, De Blenau opened the note, which contained merely these words.
“Beware of Chavigni;—they will seek to draw something from you which
may criminate you hereafter.”
As he read, De Blenau heard a light step advancing, and hastily
concealing the note, turned to see who approached. The only person near
was a lady, who had thrown a thick veil over her head, which not only
covered her face, but the upper part of her figure. She passed close by him,
but without turning her head, or by any other motion seeming to notice him;
but as she did so, De Blenau heard a low voice from under the veil, desiring
him to follow. Gliding on, without pausing for a moment, the lady led the
way to the very extreme of the garden. De Blenau followed quick upon her
steps, and as he did so, endeavoured to call to mind where he had seen that
graceful and dignified figure before. At length the lady stopped, looked
round for a moment, and raising her veil, discovered the lovely countenance
of Mademoiselle de Bourbon.
“Monsieur de Blenau,” said the Princess, “I have but one moment to tell
you, that the Cardinal and Chavigni are plotting the ruin of the Queen; and
they wish to force or persuade you to betray her. After you had left the
Cardinal, by chance I heard it proposed to arrest you even to-night; but
Chavigni said, that he had given his word that you should return to St.
Germain’s to-morrow. Take care, therefore, of your conduct while here, and
if you have any cause to fear, escape the moment you are at liberty. Fly to
Flanders, and place yourself under the protection of Don Francisco de
Mello.”
 “I have to return your Highness a thousand thanks,” replied De Blenau;
“but as far as innocence can give security, I have no reason to fear.”
“Innocence is nothing here,” rejoined the lady. “But you are the best
judge, Monsieur de Blenau. I sent Coligni to warn you, and taking an
opportunity of escaping from the supper-table, came to request that you will
offer my humble duty to the Queen, and assure her that Marie de Bourbon
is ever hers. But here is some one coming—Good God, it is Chavigni!”
As she spoke, Chavigni came rapidly upon them. Mademoiselle de
Bourbon drew down her veil, and De Blenau placed himself between her
and the Statesman, who, affecting an excess of gaiety, totally foreign to his
natural character, began to rally the Count upon what he termed his
gallantry. “So, Monsieur de Blenau,” cried he, “already paying your devoirs
to our Parisian dames. Nay, I must offer my compliments to your fair lady
on her conquest;” and he endeavoured to pass the Count towards
Mademoiselle de Bourbon.
De Blenau drew his sword. “Stand off, Sir,” exclaimed he, “or by
Heaven you are a dead man!” And the point came flashing so near
Chavigni’s breast, that he was fain to start back a step or two. The lady
seized the opportunity to pass him, for the palisade of the garden had
prevented her escaping the other way. Chavigni attempted to follow, but De
Blenau caught his arm, and held him with a grasp of iron.
“Not one step, Sir!” cried he. “Monsieur de Chavigni, you have
strangely forgot yourself. How is it you presume, Sir, to interrupt my
conversation with any one? And let me ask, what affair it is of yours, if a
lady chose to give me five minutes of her company even here! You have
slackened your gallantry not a little.”
“But was the Cardinal’s garden a place fitted for such love stories?”
demanded Chavigni, feeling, at the same time, very sure that the
conversation he had interrupted had not been of love; for in those days
politics and faction divided the heart of a Frenchwoman with gallantry, and,
instead of quarrelling for the empire of her breast, these apparently opposite
passions went hand in hand together; and exempt from the more serious
dangers incurred by the other sex in similar enterprises, women were often
the most active agents and zealous partisans in the factions and conspiracies
of the times.
 It had been Chavigni’s determination, on accompanying De Blenau to
the Palais Cardinal, not to lose sight of his companion for a moment, in
order that no communication might take place between him and any of the
Queen’s party till such time as the Cardinal had personally interrogated him
concerning the correspondence which they supposed that Anne of Austria
carried on with her brother, Philip of Spain. Chavigni, however, had been
stopped, as we have seen, by the Cardinal himself, and detained for some
time in conversation, the principal object of which was, the Count de
Blenau himself, and the means of either persuading him by favour, or of
driving him by fear, not only to abandon, but to betray the party he had
espoused. The Cardinal thought ambition would do all; Chavigni said that it
would not move De Blenau; and thus the discussion was considerably
prolonged.
As soon as Chavigni could liberate himself, he had hastened after the
Count, and found him as we have described. To have ascertained who was
his companion, Chavigni would have risked his life; but now that she had
escaped him, the matter was past recall; and willing again to throw De
Blenau off his guard, he made some excuses for his intrusion, saying he had
thought that the lady was not unknown to him.
“Well, well, let it drop,” replied De Blenau, fully more desirous of
avoiding farther inquiries than Chavigni was of relinquishing them. “But
the next time you come across me on such an occasion, beware of your
heart’s blood, Monsieur de Chavigni.” And thus saying, he thrust back his
sword into the scabbard.
Chavigni, however, was resolved not to lose sight of him again, and
passing his arm through that of the Count, “You are still too hot, Monsieur
de Blenau,” said he; “but nevertheless let us be friends again.”
“As far as we ever were friends, Sir,” replied De Blenau. “The open
difference of our principles in every respect, must always prevent our
greatly assimilating.”
Chavigni, however, kept to his purpose, and did not withdraw his arm
from that of De Blenau, nor quit him again during the whole evening.
Whether the Statesman suspected Mademoiselle de Bourbon or not,
matters little; but on entering the banquet-room, where the principal guests
were preparing to take their seats, they passed that lady with her brother and
the Count de Coligni, and the eye of Chavigni glanced from the
countenance of De Blenau to hers. But they were both upon their guard, and
not a look betrayed that they had met since De Blenau’s spur had been
entangled in her train.
At that moment the Master of the ceremonies exclaimed with a loud
voice, “Place au Comte de Blenau,” and was conducting him to a seat
higher than his rank entitled him to take, when his eye fell upon the old
Marquis de Brion; and with the deference due not only to his station but to
his high military renown, De Blenau drew back to give him precedence.
“Go on, go on, mon cher De Blenau,” said the old soldier; and lowering
his voice to a whisper, he added, “honest men like you and I are all out of
place here; so go on, and never mind. If it were in the field, we would strive
which should be first; but here there is no knowing which end of the table is
most honourable.”
“Wherever it were, I should always be happy to follow Monsieur de
Brion,” replied De Blenau; “but as you will have it, so let it be.” And
following the Master of the ceremonies, he was soon placed amongst the
most distinguished guests, and within four or five seats of the Cardinal.
Like the spot before a heathen altar, it was always the place either of honour
or sacrifice; and De Blenau scarcely knew which was to be his fate. At all
events, the distinction which he met with, was by no means pleasing to him,
and he remained in silence during greater part of the banquet.
Every thing in the vast hall where they sat was magnificent beyond
description. It was like one of those scenes in fairy romance, where
supernatural powers lend their aid to dignify some human festival. All the
apartment was as fully illuminated as if the broad sun had shone into it in
his fullest splendour; yet not a single light was to be seen. Soft sounds of
music also occasionally floated through the air, but never so loud as to
interrupt the conversation.
At the table all was glitter, and splendour, and luxury; and from the
higher end at which De Blenau sat, the long perspective of the hall, decked
out with all a mighty kingdom’s wealth and crowded with the gay, the
bright, and the fair, offered an interminable view of beauty and
magnificence.
I might describe the passing of the banquet, and the bright smiles that
were given, and the bright things that were said. I might enlarge upon the
crowd of domestics, the activity of the seneschals and officers, and tell of
the splendour of the decorations. I might even introduce the famous court
fool, L’Angeli, who stood behind the chair of his young lord the Duke
d’Enghien. But no—a master’s hand has given to the world so many
splendid pictures of such scenes, that mine would seem but a feeble
imitation. Let such things rest with Scott, whose magic wand has had power
to call up the spirit of the past with as much truth, as if it were again
substantially in being.
To pursue our theme, however. The Cardinal de Richelieu, who held in
his hand the fate of all who sat around him, yielded to his guests the most
marked attention, treating them with the profound humility of great pride;
trying to quell the fire of his eye, till it should become nothing but
affability; and to soften the deep tones of his voice, from the accent of
command to an expression of gentle courtesy; but notwithstanding all his
efforts, a degree of that haughtiness with which the long habit of despotic
rule had tinged his manners, would occasionally appear, and still show that
it was the lord entertaining his vassals. His demeanour towards De Blenau,
however, was all suavity and kindness. He addressed him several times in
the most marked manner during the course of the banquet, and listened to
his reply with one of those approving smiles, so sweet upon the lips of
power.
De Blenau was not to be deceived, it is true. Yet though he knew that
kindness to be assumed on purpose to betray, and the smile to be as false as
Hell, there was a fascination in the distinction shown him, against which he
could not wholly guard his heart. His brow unbent of its frown, and he
entered into the gay conversation which was going on around; but at that
moment he observed the Cardinal glance his eye towards Chavigni with a
meaning smile.
De Blenau marked it. “So,” thought he, “my Lord Cardinal, you deem
me your own.” And as the guests rose, De Blenau took his leave, and
returned with Chavigni to the Place Royale.
 CHAPTER XI.
Containing a Conference, which ends much as it began.
THE music of the Cardinal’s fête rang in De Blenau’s ears all night, and
the lights danced in his eyes, and the various guests flitted before his
imagination, like the figures in some great phantasmagoria. One time he
seemed wandering in the gardens with Pauline de Beaumont, and offering
up all the dearest treasures of his heart, when suddenly the lady raised her
veil, and it was Mademoiselle de Bourbon. Then again he was seated on the
Cardinal’s right hand, who poured out for him a cup of wine: he raised it to
his lips, and was about to drink, when some one dashed it from his hand,
exclaiming, “It is poison!” then, turning round to see who had thus
interposed, he beheld a figure without a head, and the overthrown cup
poured forth a stream of blood. The next moment it was all the Cardinal’s
funeral, and the fool L’Angeli appeared as chief mourner. At length,
however, towards the approach of morning, the uneasy visions died away,
and left him in deep sleep, from which he rose refreshed, and prepared to
encounter the events of a new day.
Alas! that man should still rise to sorrow and to danger, and that the
kindest gift of Heaven should be the temporary forgetfulness of existence.
Sorrow! how is it that thy coarse thread is so intimately mingled with the
web of life, that he who would tear thee out must rend the whole fabric? Oh
life, thou long sad dream! when shall we rise from all thy phantom agonies
to that bright waking which we fondly hope?
De Blenau prepared his mind, as a man arming for a battle; and sent to
notify to Chavigni, that he was about to visit the Cardinal. In a few minutes
after, the Statesman himself appeared, and courteously conducted the young
Count to his horse, but did not offer to accompany him to the Minister.
“Monsieur de Blenau,” said he, “it is better you should go alone. After your
audience, you will doubtless be in haste to return to St. Germain’s; but if
you will remain to take your noon meal at my poor table, I shall esteem
myself honoured.”
De Blenau thanked him for his courtesy, but declined, stating that he was
anxious to return home before night, if he were permitted to do so at all.
“My word is passed for your safety,” replied Chavigni; “so have no doubt
on that head. But take my counsel, Monsieur le Comte: moderate your
proud bearing towards the Cardinal. Those who play with a lion, must take
good care not to irritate him.”
On arriving at the Palais Cardinal, De Blenau left his attendants in the
outer court, and following an officer of the household, proceeded through a
long suite of apartments to a large saloon, where he found several others
waiting the leisure of the Minister, who was at that moment engaged in
conference with the Ambassador from Sweden.
De Blenau’s own feelings were not of the most comfortable nature; but
on looking round the room, he guessed, from the faces of all those with
whom it was tenanted, that such sensations were but too common there.
One had placed himself at a window, and gazed upon the stones of the
court-yard with as much earnestness as if they had inspired him with the
deepest interest. Another walked up and down his own corner with irregular
steps and downcast look. Another leaned back in his seat, with his chin
resting on his breast, and regarded intently a door in the other side of the
saloon. And another sat bending his hat into so many shapes, that he left it,
in the end, of no shape at all. But all were marked, by the knitted brow and
anxious eye, for men whose fate was hanging on the breath of another.
There was nothing consolatory in their looks, and De Blenau turned to
the portraits which covered the walls of the saloon. The first that his eye fell
upon was that of the famous Montmorency. He was represented as armed in
steel, with the head uncovered; and from his apparent age it seemed that the
picture had not been painted long before the unfortunate conspiracy, which,
by its failure, brought him to the scaffold. There was also an expression of
grave sadness in the countenance, as if he had presaged his approaching
fate. De Blenau turned to another; but it so happened that each picture in the
room represented some one of the many whom Richelieu’s unsparing
vengeance had overtaken. Whether they were placed in that waiting-room
in order to overawe those whom the Minister wished to intimidate; or
whether it was that the famous gallery, which the Cardinal had filled with
portraits of all the principal historical characters of France, would contain
no more, and that in consequence the pictures of the later dates had been
placed in this saloon, without any deeper intent, matters not; but at all
events they offered no very pleasant subject of contemplation.
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