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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..3a0248d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #67428 (https://www.gutenberg.org/ebooks/67428) diff --git a/old/67428-0.txt b/old/67428-0.txt deleted file mode 100644 index 498891f..0000000 --- a/old/67428-0.txt +++ /dev/null @@ -1,2330 +0,0 @@ -The Project Gutenberg eBook of Type and Presses in America, by -Frederick W. Hamilton - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Type and Presses in America - A Brief Historical Sketch of the Development of Type Casting and - Press Building in the United States - -Author: Frederick W. Hamilton - -Release Date: February 17, 2022 [eBook #67428] - -Language: English - -Produced by: Richard Tonsing, Barbara Tozier, Bill Tozier, and the - Online Distributed Proofreading Team at - https://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK TYPE AND PRESSES IN -AMERICA *** - - - TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART VIII, NO. 55 - - - - - TYPE AND PRESSES IN AMERICA - A BRIEF HISTORICAL SKETCH OF THE DEVELOPMENT OF TYPE CASTING AND PRESS - BUILDING IN THE UNITED STATES - - - BY - FREDERICK W. HAMILTON, LL.D. - EDUCATION DIRECTOR - UNITED TYPOTHETAE OF AMERICA - -[Illustration] - - PUBLISHED BY THE COMMITTEE ON EDUCATION - UNITED TYPOTHETAE OF AMERICA - 1918 - - - - - Copyright, 1918 - United Typothetae of America - Chicago, Ill. - - - Composition and electrotypes contributed by - POOLE BROS. - Chicago - - - - - CONTENTS - - - PAGE - INTRODUCTION 5 - - CHAPTER I - THE PIONEER TYPE FOUNDERS 8 - - CHAPTER II - THE ESTABLISHMENT OF TYPE FOUNDING 14 - - CHAPTER III - COMPOSING AND TYPE-CASTING MACHINES 29 - - CHAPTER IV - ELECTROTYPING 32 - - CHAPTER V - THE DEVELOPMENT OF THE PRINTING PRESS 34 - - - - - INTRODUCTION - - -A study of type founding and of the development of presses and other -printers’ machinery in America presents many interesting considerations. -If the attempt were made to give in detail the story of American type -founding and the accomplishments of the notable American type founders, -and at the same time to chronicle the improvements and inventions which -American genius has contributed to the machines and processes used in -printing and the allied industries, a very large book might readily be -produced. While such a book would not be without interest and would -certainly have very great value, it would be valuable mainly as a work -of reference and would lack the interest which ought to attach to a book -of the sort contained in this series. It has seemed to the writer best, -therefore, not to attempt to collect an encyclopedia of information, but -to give a brief sketch of the development of types and presses in the -United States, with a special view to the beginnings in both -departments. It is greatly to be hoped that a more competent hand may -later be set to the production of such an encyclopedic volume as has -been indicated, but such a work does not belong in this series. - -In these matters, as in so many others, we find a definite course of -development going on. Originally American dependence upon Europe was -complete. The political dependence of the colonies in those days was -much more thorough-going than anything we know at present. The political -and economic ideas of the eighteenth century were so different from -those with which we are familiar that it is difficult for the ordinary -man who is not widely read in the literature and history of that period -to understand them at all. Briefly it may be said that the prevailing -idea, not only in England, but elsewhere, was that all colonies should -be governed from the mother country; that they should send their raw -materials to the mother country and receive all of their manufactured -products from the mother country; and that they should not trade -directly with any other part of the world, but that the mother country -should act as a receiving and forwarding station for trade in both -directions. This dependence extended much further than to politics and -business. The American colonists, for example, got their literature, -their art, their fashions, and many of their ideas from the mother -country. The nearer the good people of Boston, New York, and -Philadelphia could get to the ways of thinking, speaking, dressing, and -acting which prevailed in London, the happier they considered -themselves. - -Accordingly we find that at first type and presses were all imported. -Later we find that although type founding was being successfully carried -on in this country, foreign models, especially in type, long continued -to be followed. In machinery, American independence very soon asserted -itself. Although some important machines and presses were not invented -in this country, many were invented and nearly all were materially -improved in American hands. This remark applies to the machines for -producing type as well as to other mechanical operations. In the matter -of type faces and typographical design America followed English models -until comparatively recently. Indeed, it may be questioned whether there -are more than a very few type faces now in use in this country which can -be said to be American inventions. Many type faces have been designed, -however, which were modifications and improvements of European designs. -So true is this that probably the greater part of the type in use in -this country would be considered as of American design, although its -indebtedness to Caslon, to Baskerville, to Bodoni, or to Jensen, as a -remote original, might be recognized. As a matter of fact, the original -designing of letter faces, regardless of any previously existing design, -has been of very rare occurrence in this country. Within the last -generation, however, we are pretty well emancipated from this following -of foreign originals. We still study the products of the foreign type -foundries and printing offices, but as sources of suggestion, not as -models for imitation. - -The great American printing houses of today are more and more the -masters of their own craft, not the imitators of others. This condition -is also true of the type founders and manufacturers of machines and -materials used in the industry. The sentiment of independence is bound -to become more marked, and the originality of American printing more -pronounced, with the development of a generation of better printers. - - - - - CHAPTER I - THE PIONEER TYPE FOUNDERS - - -During all the early years of American printing, as has already been -said, all type used was imported. The first type cast in this country -appears to have been made by Christopher Sauer, in Germantown, -Pennsylvania, about 1735. Sauer (the family afterward anglicized the -spelling of the name into Sower) was one of those Germans, colloquially -known as Pennsylvania Dutch, who were an important element in the -population of the colony of Pennsylvania and are still numerous in the -State. Sauer printed books, and in 1739 we find him beginning a -newspaper, all or nearly all in German. As an auxiliary to his printing -business he seems to have cast his own German type or at least a part of -it. His work had no particular commercial importance, but deserves -record as the beginning of type founding in America. - -In 1768 a Scotchman named Mitchelson came to Boston bringing the tools -for type founding with him. We have no record that he ever cast any -type. Probably he lacked capital to go into business and there was no -one to employ him. - -In 1769 Abel Buel submitted to the Legislature of Connecticut a document -printed from the first English type known to have been made in the -United States. This sheet, which is still in the archives of -Connecticut, is printed in a very well-cut long primer (ten-point) roman -of Buel’s own casting. We have no evidence that Buel ever cast a great -deal of type, but his personality is so interesting, and his character -so typical of the proverbial “Connecticut Yankee” that it is worth while -to recall the story of his life. - -Buel appears to have been born in Connecticut, not far from 1750, and -apparently early learned the printing trade. With more than his share of -youthful irresponsibility, though he appears not to have been a really -bad man at heart, he proceeded to counterfeit the State currency of -Connecticut. This was not a difficult operation, as the early colonial -currency was printed from ordinary type with stock ornaments upon -ordinary paper by means of the ordinary printing press. The first -definite record that we find of him is that he was pardoned in 1766 from -a life sentence for counterfeiting these bills. The lesson that he got -on this occasion seems to have cured him not only of counterfeiting, but -of printing, as he apparently never again did either, although it was by -no means the last time that he found himself at odds with the -authorities. - -He then invented a method of polishing crystals and precious stones. The -amount of this valuable material in the hands of the good people of -Connecticut was apparently not sufficient to afford him a livelihood, -and we find him next engaged as an undertaker and a singing master. In -this latter connection he was summoned before the authorities by certain -good people who were greatly scandalized because while in charge of a -church choir he had introduced the use of a bass viol into the services. -This was deemed little short of blasphemy, but apparently no technical -charge could be sustained against the culprit. - -Buel early interested himself in the cause of the freedom of the -colonies. Meantime he had evidently been experimenting in type founding, -for the petition of 1769 sets forth that the petitioner has discovered -the art of casting type, but that he lacks the capital and is, -therefore, unable to go into business commercially. He accordingly -petitions the Legislature to advance to him the necessary funds. The -Legislature voted him a loan of £100 for seven years and promised him -£100 more after he had been carrying on the business successfully for -one year. As we shall see in a moment, before the year was out Buel’s -interest transferred itself elsewhere and we hear no more of his type -casting. When the seven years were up Mrs. Buel paid back the £100. -Where and how she raised it is something of a mystery, as she asserted -when she made the payment that she did not know where her husband was. -He was not permanently lost, however. - -Buel, as we have seen, had interested himself in the cause of American -independence, and in 1770 he was arrested for participating in the -tearing down of a lead statue of George III which had stood in New York. -With true Yankee thrift Buel tried to combine his patriotism and his -type founding, for a considerable portion of George III was found in -Buel’s house in the process of being cast into type. Things were not -lively enough in Connecticut to suit our friend. He went to Boston, -where we find him participating in the Boston Tea Party, serving a -cannon in the Concord fight, and wounded at Bunker Hill. Later he fell -into the hands of the British and was confined in one of the prison -ships of unhallowed memory which were moored in Wallabout Bay, Brooklyn. -Very likely he was in one of those floating wooden tombs when his wife -declared that she did not know where he was. How long he remained as a -prisoner of war and what his later military experiences were we do not -know. - -We hear of him next, after the war was over, being appointed to make a -map of the coast from Maine to Florida and then appointed master of the -mint for Connecticut, where he devised and erected the machinery for -striking the copper cents then coined. One wonders if the master of the -mint often thought of his youthful conviction for counterfeiting the -money of the same community. - -Later, when the world was becoming interested in cotton spinning under -the stimulus of Arkwright’s invention, Buel went to England to learn how -to spin cotton. He came back, bought some machinery, and set up in New -Haven the second cotton mill in America, the first being Samuel Slater’s -mill in Pawtucket, Rhode Island. This seems to have been the last shift -in Buel’s varied life. He died in 1825 at the age of about seventy-five. -He was an interesting product of his time and its conditions and as such -his story deserves record, for it must be remembered that he was not a -“sport,” but a “type.” - -In 1774 Jacob Bay attempted type founding in Philadelphia, but he also -was apparently only an experimenter. - -In 1775 an experiment was made which, from the conditions and from the -character of the maker, we should expect to find successful, but which -failed nevertheless. At this time Benjamin Franklin brought out from -France a full set of tools and punches and undertook, with his -son-in-law, Bache, to establish a type foundry, there being then no type -founding done in this country if we may except what was being done in -Sauer’s establishment. The Franklin-Bache foundry was well equipped with -roman, italic, Greek, and Hebrew matrices. Bache had received some -instruction from Fournier, the great French type founder, from whom -Franklin had purchased the tools. They had for their workman a man named -Frederick Geiger. Geiger was what is known as a “redemptioner,” or a man -who in return for his passage money to America, his board, and a small -amount of money wages agreed to be the bond servant of his creditor for -a certain period. These arrangements were very common at this time and -reflected no discredit upon the young men who made them. Geiger was a -mathematical instrument maker by profession, but became with study and -practice a very expert matrix cutter and founder. Franklin had brought -him out and he served his time with Franklin, but appears to have left -him as soon as his time was out and to have gone to the Philadelphia -mint. Like many another skilled mechanic, however, he became interested -in the search for a perpetual motion machine and finally died an insane -pauper. - -For some reason, the Franklin foundry was not successful. It has been -conjectured that one reason may have been that Franklin was very much -influenced by French models in his designs, and that the printers and -the reading public were so accustomed to English type faces that they -did not take kindly to the new forms. Curiously enough American printers -have never taken kindly to French type faces although many of them, from -Garamond down, are very beautiful. Some of the French types designed, -not far from 1875, seem to have become Americanized and are among the -most legible and beautiful in use, but the American printers have never -been very willing to use them. Whatever the reason, the Franklin foundry -was added to the list of unsuccessful attempts at type founding. - -One more attempt was to be made before type founding was permanently -established in America. This time the attempt was successful, but not -permanent. In 1783 John Bain (or Baine) sent his grandson to -Philadelphia with an outfit of type founder’s tools. Bain had been -associated with one of the famous type founders of the time, Alexander -Wilson, of Glasgow. Wilson not only had a market in Scotland and -England, but also in Ireland and in North America. Bain had been chosen -by lot to start a foundry in Dublin, but after remaining there a time he -went to Edinburgh, whence he turned his attention to the other side of -the Atlantic. Encouraged by the reports from his grandson, Mr. Bain soon -went, himself, to Philadelphia. He was further encouraged by the firm of -Young & McCullough, then a leading house of Philadelphia printers. In -1785 he opened business under the quaint title of John Bain & Grandson -in Company. Their work was good and the firm was immediately successful, -theirs being the first commercially successful attempt to cast type in -America. Bain, however, died in 1790, and the business was soon given up -by his family. - -About the same time that Bain began business Adam Gerard Mappa made an -unsuccessful attempt to start a foundry in New York. Mappa was born in -Belgium in 1750. He spent his early life in the army, from which he -retired after twelve years of service with the rank of lieutenant. He -then purchased a part interest in the old firm of Voskens & Clerk. This -firm was established some time before 1677, and had long been one of the -principal sources of supply of type for England. As pointed out -elsewhere in this series (No. 52, A Short History of Printing in -England) many of the types used in England for a long period came from -continental foundries, particularly Dutch. Shortly after the purchase -the Government underwent important changes, in consequence of which -Mappa left the country. He landed in New York somewhere about 1787, -bringing with him his complete outfit of tools and matrices. He had a -number of very handsome Dutch and German faces, some ordinary roman -type, and seven varieties of Orientals. For these last Voskens & Clerk -undoubtedly had found considerable use, but America was as yet far from -needing any considerable supply of Oriental types. Mappa’s capital had -apparently been absorbed in his purchase and lost in emigration. In 1798 -he was very ready to take himself and his equipment into the service of -Binney & Ronaldson. Probably Mappa had no practical knowledge of type -founding and very little interest in it, for he left the service of -Binney & Ronaldson in 1800 to go into that of the great Holland Land -Company. He seems there to have found his place and served in important -positions until the end of his life. - - - - - CHAPTER II - THE ESTABLISHMENT OF TYPE FOUNDING - - -So far our story has been one of failure. There is, however, plenty of -evidence that the time was ripe for success. The new country was growing -rapidly. The Americans, then as now, were insatiable readers, especially -of newspapers. The demand for type was constantly increasing. America -was becoming more and more independent, more and more desirous of -supplying her own wants, and more and more impatient of the -inconvenience, expense, and delay involved in ordering such merchandise -as type from England. If the persistency and courage of the elder Bain -had been shared by his family unquestionably fortune would have been -easily within their grasp, but they paid the penalty of their lack of -good business qualities. - -We come now to the story of the first permanently successful type -foundry in America, a foundry which continued in vigorous existence -until the erection of the Jersey City foundry of the American Type -Founders Company, with which it was merged. There met one day in an ale -house in Philadelphia two men whose lives were thenceforth to run -together. I suspect that they were drawn together in the first place by -the fact that they were both Scotchmen, and that in their first contact -they showed each other the qualities which bound them together. They -were Archibald Binney and James Ronaldson. Binney had learned and -practiced the trade of type founding in Edinburgh, Scotland. Ronaldson -was a biscuit-maker, out of business because of the burning of his -establishment, but with some ready money in hand. It seemed to Binney -that here was a heaven-sent opportunity to combine his knowledge with -Ronaldson’s capital and enter under the most favorable circumstances the -business of type founding. At this date there was no active foundry in -America. The successful Bain concern had been closed out. The Sauer -business, if active at all at this time, was only an adjunct to a -printing office, while Mappa was finding it impossible to get started. -They accordingly agreed to enter the business as equal partners, Binney -putting in his tools, which were appraised at $888.88, while Ronaldson -put in the same amount in cash. - -With this they started business, the first entry in their account book -being November 1, 1796. We learn that they rented a frame house on -“Cedar Street atwixt ninth and tenth streets” at $17.33 a month. In 1800 -the frame house was valued at $40.00 and cost $82.09½ “to shove it to -its present location.” It must be remembered that at this time a -half-cent coin was in circulation and that accounts were kept down to a -quarter of a cent. At the time of the moving of the house the firm -bought the property and built a new house on the same lot. The new house -cost $2,500 and they paid $72 a year ground rent, apparently for -additional land not included in the purchase. Entries in their first -account book show that one or both members of the firm lived in the -house. They started with a small assortment of type, but of the most -important faces. These faces appear to have included brevier -(eight-point), bourgeois (nine-point), long primer (ten-point), small -pica (eleven-point), pica (twelve-point), and some two-line letters. -They probably employed as matrix cutter one Fürst, a die maker in the -Philadelphia mint, who afterward cut a medal bearing Binney’s face on -the obverse and an appropriate design on the reverse. - -At an early period, as we have seen, they took over Mappa and his -outfit, and in 1799 they bought the tools of the Bain concern, paying -$300 for them. In 1806 the excellent Franklin outfit was in the hands of -a man by the name of Duane. Duane became interested in Binney & -Ronaldson and offered to lend them any of the Franklin tools and -matrices which they desired to use. Ronaldson was so impressed with the -superiority of a part at least of the Franklin equipment that, fearing -that Duane might change his mind and not being willing to take any -chances, he himself borrowed a wheelbarrow and moved the material over -to Cedar Street in the middle of a very hot summer day. - -Binney & Ronaldson were enterprising, thrifty, and obliging. They did -good work, took good care of their customers, and were immediately and -permanently successful. They prospered greatly from the beginning and -both of them made fortunes, as fortunes went in those days, within -twenty years. - -A study of their account books is extremely interesting. Among other -things they give the names of 114 customers who found their way onto -their books in the first five years of the business. It would hardly be -worth while here to give the names of these customers, but it is -interesting to see where they were. They were located as follows: - - Philadelphia 49 - Pennsylvania (outside of Philadelphia) 6 - New York City 22 - Albany, New York 1 - Delaware 4 - Virginia 7 - New Jersey 2 - Maryland 4 - District of Columbia (Washington and Georgetown) 2 - Connecticut 1 - Massachusetts (Concord) 1 - Georgia 1 - Augusta (state not given; probably Georgia) 1 - Tennessee (Knoxville) 1 - Location not given 12 - -In 1811 Binney invented an improved type mold which increased the output -of the caster fifty per cent and saved labor. He experimented with a -machine for rubbing type, but in this was not successful. - -In 1812 Binney & Ronaldson published a specimen book which is -interesting as showing the development of their business. This book -shows eleven faces larger than pica, fifteen kinds of body type, the -smallest being pearl (5 point), two sizes of Anglo-Saxon, four sizes of -Greek, four sizes of Hebrew, two sizes of German text, six sizes of -black letter, three sizes of German, four sizes of Oriental letter, one -size of script and 120 kinds of “flowers” or borders, the greatest -number of these being on English (14-point) body. It is not unlikely -that some if not all of the foreign letters may have come from the -Franklin and Mappa stocks. We know that Franklin had Greek and Hebrew -and that Mappa had German. Mappa’s Orientals did not appear. Probably -even if Binney & Ronaldson still had the matrices it would not have been -worth while to include them in their specimen book. The preface says -that they were obliged, contrary to their inclinations, to imitate -European taste. Evidently America had not yet become independent except -politically. They gave two examples of erroneously formed faces in long -primer and small pica, which were really condensed faces as we should -now call them. They appear to have invented the dollar mark $ in 1797 -and the abbreviation l̶b̶ for weight pounds in 1798. - -In 1819 Mr. Binney retired with an ample competence. Mr. Ronaldson ran -the business alone for a while, but in 1823 he was succeeded by his -brother Richard, who conducted the business for ten years. - -In 1833 the business was taken over by Lawrence Johnson and George E. -Smith. Johnson was able, enterprising, and energetic, and introduced new -vigor into the conduct of the concern. Contemporaneously with Jedediah -Howe he introduced stereotyping into Philadelphia. Smith retired in 1845 -and Johnson took in as partners Thomas MacKellar, John F. Smith, and -Richard Smith, young men who had grown up in the business and were -thoroughly interested in it and devoted to it. The firm continued to -prosper greatly. Johnson died in 1860, but his partners took in Peter A. -Jordan, changing the firm name to MacKellar, Smiths & Jordan. By this -time the house had acquired a great reputation and a leading position -among American type founders. Mr. Johnson died in 1884 and the next year -the firm was still further increased by the addition of William B. -MacKellar, G. Frederick Jordan and Carl F. Huch. The firm name was again -changed to The MacKellar, Smiths & Jordan Company. During all this time, -however, the house was known among printers as the Johnson Type Foundry. -For many years it had acquired great distinction for its diligence in -electrotyping foreign designs as well as in originating new faces for -ornamental types and borders. The fashion of the time for typographical -decoration was largely developed by the publication of a house organ -called the “Typographic Advertiser,” a quarterly journal, edited by -Thomas MacKellar, which contained a fund of matter of interest to -printers and a vast quantity of fanciful borders and other material now -out of fashion. - -In 1892, when the American Type Founders Company was organized by the -consolidation of some twenty foundries, the MacKellar, Smiths & Jordan -Company entered the combination and became the Philadelphia branch. - -Now that we have told the story of this great house in detail, we may go -back to consider some more of the early firms. The success of Binney & -Ronaldson was due to a combination of personal qualities and favorable -conditions. The increase of printed matter was very great. Americans -have always been a newspaper-loving people, and after the independence -of the colonies the founding of new newspapers went on apace. It must -not be forgotten that all printing in the early days of the last century -was done with foundry type, hand set. The demand for type, therefore, -was not only large, but was increasing. Up to the outbreak of the war of -1812 the few type foundries in America were regularly from three to four -months behind their orders, so greatly did demand outrun production. - -Under such circumstances Binney & Ronaldson could not have the field to -themselves. In 1805 we find Samuel Sower & Company at work at Baltimore. -Sower belonged to the family of Christopher Sauer, and used the material -of the old firm with additions. He made some fonts of roman and italic -and appears to have made a specialty of small type faces such as diamond -(4½-point), brilliant (4-point), and excelsior (3-point). - -In 1809 the second permanently successful foundry was started by Elihu -White and a man by the name of Wing in Hartford, Connecticut. Here again -we have a sample of characteristic Yankee courage, resource, and -ingenuity, qualities which have enabled Americans at all times to -accomplish the apparently impossible. Neither White nor Wing knew the -business of type founding. They had certain ideas of their own and for -the rest they apparently worked backward from the finished type. Their -attempt was to cast several letters at once, to be afterwards separated, -instead of casting the letters singly as was the general practice. -Probably partly for that reason and partly because of ignorance, perhaps -also because of their confidence in their ability to improve on accepted -methods, they did not use the approved moulds. The attempt to cast -letters by wholesale, as it were, was not successful and their entire -progress was slow and unsatisfactory. After many failures, they sent a -man to Philadelphia in order that he might learn the trade secrets. In -those days type founding, like many other trades, was to a great extent -a secret trade and one of the chief duties of the workman was to keep -his employer’s secrets. Their attempt to steal the trade failed and they -were thrown back upon their own resources again. Finally, however, their -efforts were crowned with success and they began to turn out -commercially successful type. In 1810 White separated from Wing and went -to New York, where he and his brother Julius established a business -under the firm name of E. & J. White. From this time on they were -steadily and brilliantly successful. - -In 1820 they opened branches in Buffalo and in Cincinnati to meet the -requirements of an expanding trade. The business remained in the family -until 1854, when it was bought out by three employees who continued it -under the later well-known firm name of Farmer, Little & Co. - -Another famous name in the annals of American type founding appears at -about the same time as that of White. This was the name of Bruce. David -Bruce was born in 1750, in Wick, Caithness, Scotland. When a mere boy -Bruce was impressed into the British navy after the bad old custom of -that day and served for a while in the Channel Fleet under the command -of Lord Howe, afterwards well known, together with his brother General -Howe, for their part in the Revolutionary War. After he left the navy -Bruce was apprenticed to a printer. He came to New York in 1793 and -obtained work on a newspaper. Shortly afterward he sent for his brother -George and apprenticed him to a printer. - -In 1806, after George had become a journeyman printer, the brothers were -offered by publishers the printing of Lavoisier’s Chemistry. The fact -that they had no plant, no equipment, and no money did not deter them -from accepting the offer. Bruce managed somehow to secure a place and a -press, and he borrowed a font of type. He introduced the standing press -for dry pressing his sheets, and he turned out so good a piece of work -that the publishers offered him all the printing that he could do. From -this start he set up a successful business. - -In 1811 Bruce, with his usual business acumen, recognized the importance -of stereotyping and went to England to study it. As we have seen, -however, it was not easy to learn other people’s trades in those days -and Bruce met with great difficulty. He did, however, succeed in -learning something from a Scotch workman, perhaps helped by a certain -sense of kinship, which is common among the Scotch, and returned home to -make experiments for himself. Times were not favorable for keeping -business running, to say nothing of starting new business. The -conditions preceding the war of 1812 were disastrous for business in the -United States. American commerce was crushed between the upper and -nether millstones of England and France, who had been at war for many -years and were attempting to fight each other’s commerce and industries -as well as each other’s soldiers. The condition was very similar to that -which preceded the entrance of the United States into the great war of -1917, excepting that it continued much longer and, owing to the -comparative weakness of the United States, was much more serious than -the later difficulty. The war did not mend things industrially and its -close in 1815 left the United States in a bad business condition for a -good many years. Nevertheless, the courage and persistency of the Bruces -enabled them to weather the storm, and they not only held their own but -developed along new lines. - -In 1814 and 1815 Bruce produced the first two sets of stereotype plates -made in America. They were a common school testament in bourgeois type -and a 12mo Bible in nonpareil. Bruce invented a machine for planing the -backs of the plates to make them of uniform height. This was a great -improvement and was so successful that it is said that of the entire two -sets of plates only a single plate needed a slight overlay. - -The development of the stereotyping process, however, brought to light -difficulties with type. Foundry type was sold with the shoulder beveled -off for ordinary printing and this was not favorable for stereotyping. -The type founders would not make the high spaces and quads which were -needed. As the best way of meeting these difficulties, Bruce, in 1815, -went into company with the Starr brothers for the manufacture of type. -It soon appeared that type founding and stereotyping promised to be more -profitable than printing and Bruce sold out his printing establishment -to devote himself to the other branches. Bruce and the Starrs were -unable to agree and the partnership was soon dissolved, Bruce deciding -to carry on the business alone in spite of the difficulties of every -sort which surrounded it. In addition to the business conditions of the -time, neither of the Bruces had any practical knowledge of type founding -and the matrices of their only complete font were stolen, presumably by -someone who was interested to secure their failure. It needed more than -that, however, to discourage this persistent Scotchman. George Bruce set -himself at work to learn punch cutting and mould making. His first -efforts were crude, but he had an artistic temperament, a critical -spirit, and a practical knowledge of printers’ needs. By these qualities -and his own persistence he soon became very proficient. - -By 1820 the Bruce foundry was the best in the country, doing better work -than even Binney & Ronaldson at that time. In 1822 Bruce undertook to -remedy the confusion in sizes which was then and for a good many years a -source of difficulty, annoyance and expense to printers. He devised a -scientifically correct system by which the size doubled with every seven -sizes of the system. This was uniform throughout, so that wherever you -touched the system, you found any given type twice as large as the -seventh below and half as large as the seventh above. In spite of the -fact of the simplicity and scientific correctness of the system it did -not prove suited to commercial work and was not adopted. - -In 1828 William M. Johnson had invented a type-casting machine in which -a pump forced the liquid metal into the mould, giving the type a sharper -face than was possible with hand casting. The machine was a step in the -right direction, but was crude and imperfect. White took it up and tried -to improve it, but he did not succeed in removing its fundamental -defects. The types were not cast solid. Being hollow they were light and -too weak to withstand the pressure of the presses. The first successful -type-casting machine was made by David Bruce, Jr., in 1838, in -development of the Johnson idea. George Bruce bought David Bruce’s -patents and used the machine until 1845, when David Bruce made further -improvements and produced the type of machine which is now in general -use not only in this country but in Europe, where the method was soon -adopted. - -James Conner, a printer of New York, began business as a stereotyper in -that city in the year 1827. His was the first stereotype edition of the -New Testament. He also earned a good reputation as the publisher in the -United States of the Bible in folio form. To the business of -stereotyping he soon after added that of type founding, in which he was -remarkably successful. With the aid of Edwin Starr, then in his employ, -he made the electrotype matrices which enabled him largely to increase -the stock of his foundry. After the death of James Conner, in 1861, the -foundry was managed by his sons and grandsons, who finally merged the -business in that of the American Type Founders Company. - -Meantime the business of type founding spread from its original centers -and new fields were occupied. By 1818 the Boston Type Foundry had been -founded by Beddington & Ewer, and undertook to cast types, set types, -and make stereotype plates. Samuel N. Dickinson was taught the trade of -a printer in the State of New York, but afterward was employed as a -compositor in the Boston Type and Stereotype Foundry. In 1829 he began -business as a master printer and in 1839 he began type founding after -having designed for an Edinburgh foundry a series of Scotch-cut letters. -The success of this face determined him to cast type for himself. In -1845 he had a full assortment of types and issued a specimen book. -Dickinson was not a strong man, however, and died of consumption in -1848, at the age of forty-seven. The business was continued by Sewall -Phelps and Michael Dalton. Both the Boston Type Foundry and the -Dickinson Type Foundry had unusually successful careers and were later -absorbed in the American Type Founders Company. - -Type foundries were started in Albany, Buffalo, Pittsburgh, Louisville, -St. Louis, Cincinnati, Philadelphia, Baltimore, and in New York, where -there were at least seven foundries. This led to over-production, -competition, and the failure of many weak concerns, a condition of -things which was not entirely remedied until the organization of the -American Type Founders Company in 1892. - -In 1840 Augustus Ladew and George Charles opened at St. Louis the first -foundry west of Cincinnati. This firm continued in successful operation -until it was merged into the American Type Founders Company at its -organization. - -In 1806 Robert Lothian, of Scotland, tried and failed to establish a -type foundry in New York. His son George B. Lothian, who had been taught -the trade of stereotyping in the stereotype foundries of John Watts, of -New York, and B. & J. Collins, of Philadelphia, had also received -instruction from his father and from Elihu White in type founding, -undertook to establish a type foundry in Pittsburgh, Pennsylvania. It -was an unsuccessful enterprise and Lothian returned to New York. In 1822 -he undertook to make type for the old firm of Harper & Brothers. The -face of Greek, which he cut for the Anthon Classical Series, was very -much admired. He died in 1851, but the foundry continued in business -under other hands until 1875. - -The next year Louis Pelouze, the founder of a distinguished family of -type founders, started a business in Philadelphia. This was another of -the successes from both a commercial and artistic point of view, and was -another of the constituents of the American Type Founders Company. - -The Boston Type Foundry, which started as a stereotyping plant, passed -through an experience as a co-operative concern under the direction of -the employees who owned the stock. As is usually the case with such -enterprises, it was unsuccessful until finally the majority of the stock -got into the possession of Gorham Rogers, from which time it was -operated as in the ordinary way and attained a high degree of success, -doing very fine work. Mr. Conner, foreman in this foundry, who had -started as a stereotyper in 1827, was sent to St. Louis to open a branch -establishment which was very successful and later became famous as the -Central Type Foundry. Conner invented an electrotype matrix to take the -place of the matrices which had formerly been made by driving a steel -punch into copper. - -The Dickinson Type Foundry also did work of a very high grade. Perhaps -the most fortunate thing that ever happened to it was the entrance into -its service in 1868 of Mr. Joseph W. Phinney. Mr. Phinney was born in -1848, and after a varied experience as a printer in several places, went -to Boston in 1868, later entering the employ of the old Dickinson Type -Foundry, in the selling department. He soon distinguished himself in the -service of the Dickinson Company and after a time became one of its -partners. His skill, artistic taste, and ability soon made him one of -the leaders in type design as well as one of the great figures in the -type founding business. For many years Mr. Phinney has exercised an -influence for good in type founding which it would be difficult to -overestimate. On the establishment of the American Type Founders Company -in 1892 the Dickinson concern became one of the constituent firms and -Mr. Phinney’s leadership was recognized by his election to the position -of Vice-President of the new concern. Mr. Phinney has remained in Boston -as the head of the New England branch of the business and is one of the -active and leading officers of the great type founding company. - - -Certain improvements in the manufacture of type which have brought it to -its present perfection remain to be recorded. The most important of -these were made by Barth, Marder, Benton, and Nicholas J. Werner. Henry -Barth was born in Leipsic, Germany, in 1823, and learned the trade of -mathematical instrument maker. Before 1840 the Bruce type caster was -seen in Germany and (not being protected by German patents) was imitated -by German type founders. Barth was engaged by Brockhaus, one of the more -important German printers, who maintained his own bindery and type -foundry and now added a machine shop primarily for the purpose of -building Bruce machines. Barth spent several years in the employ of -Brockhaus making type foundry tools and had two years’ service in the -German navy. He came to America in 1849 and at first practiced his trade -as a maker of mathematical instruments, but before long connected -himself with the Cincinnati Type Foundry. Here he invented a machine to -cast type by direct steam pressure without the pump. The machine was -successful, but for various reasons did not come into general use. He -then built a 14 × 18 job press, long well known as the Wells jobber. -During his service with the Cincinnati Type Foundry the hand-casting -machines were entirely replaced by steam machines, and in 1853 he -invented the kerning machine. About the same time the first shaved leads -were made under Barth’s direction. At first the shaving was done on a -hand machine, but later he devised a steam shaving machine. During the -course of a long service to the industry Barth was the author of many -important inventions and improvements in the details of type founding. -He died in 1907. - -To John Marder we owe the development of the American point system of -type bodies. The Marder system was not immediately adopted, but as -developed by later inventions its superiority was so great that in spite -of the trouble and expense involved in the standardization of type it -finally became universal. - -L. B. Benton introduced the use of accurate unit width of type. -Previously the width of the letters had varied with each character. This -resulted in a multiplicity of widths of type. Benton’s theory was that -quicker typesetting and more uniform spacing could be obtained by having -the types standardized on a minimum number of widths and securing the -proper space between characters by modifying the shapes of certain -letters to conform to these widths. Benton’s type was popularly called -“self-spacing” although the name was misapplied. Another disadvantage -then existing was that similar style type faces from different foundries -did not line, and even the height-to-paper of types varied. Type sizes -which were supposedly the same, in reality varied considerably in -different foundries. The confusion and difficulty for the printer -arising out of this lack of standards may easily be imagined. Each -foundry had its own width and size of type, and in many cases its size -varied by a considerable fraction of a point from that of other -foundries. Very probably this condition was deliberately maintained by -some foundries for the purpose of holding the entire trade of their -customers, the idea being that if the types coming from different -foundries did not go together well the customer would naturally be led -to buy all of his type in the same place. The improvement of these -conditions was brought about by the introduction of the point system of -bodies, Benton’s unit width, and the perfection of the lining and unit -set systems now in use. - -Some important foundries held out against these improvements for years, -but the demands of their customers, who perceived the great advantages -of the standardized type, finally compelled adhesion to the new system. -One important result of these changes was the invention of the -punch-cutting or engraving machine. The adoption of the improved system -required the production of a vast number of new punches which had -formerly been cut by hand. It was impossible to find enough skilled -workmen to meet this demand and the engraving machine now used for -making punches was accordingly devised by Benton. - -The field for the artistic development of type is inexhaustible, but it -is difficult to imagine how type, as a mechanical product, can be -improved beyond its present condition. The completeness and perfection -of the system, the excellence of the machinery, and the skill in -processes which have been developed make the product apparently perfect. - - - - - CHAPTER III - COMPOSING AND TYPE-CASTING MACHINES - - -With the great expansion of printing in the early part of the nineteenth -century, and with the invention of greatly improved presses, there -appeared a natural impatience with the slow process of hand composition. -It seemed a strange comment on human inventiveness that while new -machines had been found for doing so many kinds of man’s work, while the -simple screw press of Gutenberg had developed into the steam-driven -platen and cylinder, and while so many improvements had been made in the -manufacture of type, the setting of type was exactly where it was in -1450. More than 350 years had introduced practically no changes in the -primary process of arranging type into words and sentences. What could -be done to apply human ingenuity to this process? - -This question was asked by inventors all over the world. Naturally the -first line of approach to the answer was from the direction of a machine -which should mechanically take up the types and place them in the stick, -in other words, a mechanical composer or typesetting machine. -Unsuccessful attempts in this line were made as early as 1820 or 1822. -The experimenters were not deterred by failures and commercially -successful typesetting machines were finally invented, among which may -be named the Rogers, the Thorne, and the Simplex. The mechanical -typesetter was successful for certain kinds of work and went a long way -toward meeting the general need. - -It would probably have been developed to the point of meeting it far -more fully had it not been for the epoch-making invention of the type -caster. The first successful type composing and casting machine to be -put on the market was invented by Ottmar Mergenthaler. Mr. Mergenthaler -was born in Germany in 1854, and there learned the trade of an -electrical instrument maker. In 1872, when he was eighteen years old, he -came in sight of the period when the law would call him into military -service. The war of 1870 with France was a very fresh memory. The -political stability of Europe seemed then much less assured than it did -at a later date. Young Mergenthaler had no desire to expose himself to -the danger of being called upon to participate in another great war. -Therefore, like many other young Europeans, he came to America to avoid -military service. - -Arrived in this country, he worked for some time at his trade. The -turning point in his career came in 1876 when he was engaged as an -expert mechanic to work on the development of a typewriter transfer -machine in which a group of people were interested. His work on this -machine, although long continued, was not successful, but his study and -experimentation led him to conceive the idea of a type-casting machine -which should be controlled from a keyboard similar to that of a -typewriter, but larger on account of the greater number of characters -necessary. The first model was produced in 1884. The machine was far -from perfect, but was sufficiently developed to make it clear that he -was on the track of a revolutionary invention. Two years later, in 1886, -Mergenthaler produced his first successful machine. This was put into -the composing room of the New York Tribune. Whitelaw Reid, the -distinguished editor of the Tribune, afterward American ambassador to -Great Britain, and other wealthy gentlemen became interested in -Mergenthaler’s work and formed a syndicate, making a contract with the -inventor whereby he was hired to work for them with a share in the -profits of the business. The machine was named by Mr. Reid himself the -linotype because it cast a “line o’ type.” The great success of the -machine and the enormous growth of the business of manufacturing it are -too familiar to need description, while the consequences of the -invention in making possible an enormous increase in the output of -printed matter can hardly be estimated.[1] - -Footnote 1: - - See Text Book No. 23, “Type-Casting and Composing Machines.” - -Mr. Mergenthaler severed his active connection with the syndicate in -1888, although he continued interested in it and made from time to time -such minor improvements in the machine as suggested themselves to him. -He died in 1899 at the early age of forty-five. - -While Mergenthaler was at work Tolbert Lanston was experimenting along -the lines of a different machine. His aim was not the production of a -machine which should cast type, by lines, but of a machine which should -cast type and spaces separately and at the same time arrange them in -galleys ready for taking proof. Obviously, the line slug is of use only -for the special purpose for which it was cast, while the separate types -cast by the monotype can be distributed just as if they were foundry -types and can also be used for hand composition. The type thus produced -is not quite as perfect as foundry type, but is substantially as useful -for many purposes. - -Each machine has some advantages of its own and their use is dictated by -the result which it is desired to produce. The Lanston machine appeared -in 1892. These two machines are representative of the types of -type-casting machines in the market. Other successful machines of the -same general types have been invented and are in extensive use. - - - - - CHAPTER IV - ELECTROTYPING - - -Electrotyping is an American invention. As long ago as 1830 the -laboratory discovery was made that when copper was deposited upon the -side of a voltaic battery and then removed, it furnished a reproduction -of the surface upon which it had been deposited. In the development of -this discovery very interesting experiments in reproduction were -performed by Thomas Spencer of Liverpool, J. C. Jordan of London, and -Prof. Jacobi, a Russian. These experiments were purely scientific, with -no commercial end in view. In 1839 Joseph A. Adams, a wood engraver -connected with Harper & Brothers, the New York publishers, conceived the -idea of applying this principle to the printing industry and made an -electrotype from a wood cut which was used for a magazine illustration -in 1841. He also made the illustrations for Harper’s great family Bible, -which was published in 1842–1844. Adams’s method was to take an -impression of his block in an alloy of soft metal, probably largely -bismuth. The process, however, destroyed the block, and although -experimentally successful it was not commercially practicable. The -invention of Smee’s battery and the use of wax for the moulds made the -process commercially sound and practical. - -In 1848 John W. Wilcox, of Boston, using these methods, began business -as the first commercial electrotyper and was successful from the -beginning. His first work contained all the essentials known for many -years. Improvements soon followed. In 1855 John Gay, of New York, -introduced the use of tin foil for soldering the back of copper shells -and the same year Adams invented a dry brush black-leading machine to -take the place of the hand method which had hitherto been necessary. In -1856 Filmer, of Boston, invented the process of backing up the shells by -holding the shell down with springs. - -In 1868 Stephen D. Tucker invented the type of dry brush black-leading -machine which is now in use and ten years later Edward A. Blake, of -Chicago, invented the air blast black-leading machine. - -As early as 1871 Silas P. Knight, of Harper & Brothers, invented the wet -black-leading process. It was successful, but, as sometimes happens, -attracted no particular attention. Its merits in comparison with other -methods do not appear to have been appreciated and the discovery was -forgotten for more than a quarter of a century. In 1908 Frank H. -Learman, of Buffalo, invented a wet black-leading machine which was -adopted by the industry and improved by later patents. The wet process -is now considered the best. Perhaps the greatest single step forward in -the development of the electrotype was the substitution of the dynamo -for Smee’s battery, a change accomplished by Leslie, of New York, in -1872. - -R. Hoe & Company, of New York, were greatly interested in electrotyping -machinery and were leaders in encouraging its development and in putting -it on the market. - - - - - CHAPTER V - THE DEVELOPMENT OF PRINTING PRESSES - - -The development of printing machinery has already been described to a -considerable extent in two of the preceding volumes of this series (No. -6, Platen Printing Presses, and No. 7, Cylinder Printing Machines). It -may be worth while, however, to review briefly in this place the main -points of progress in this direction. As we already know, American -printers originally and for many years imported all their presses as -well as their type. This condition, however, could not be permanent. As -early as 1775 good presses were being made at Philadelphia and Hartford. -These presses were of the Blaeu or “Dutch” type. They were wooden -machines with stone beds and had undergone practically no change for a -couple of centuries. The best known builder of these old presses in -America was Adam Ramage, who came from Scotland to Philadelphia in 1790. -Ramage was not only a good workman, but of an inventive turn of mind, -and introduced several improvements, notably the substitution of an iron -bed for the stone one. The iron press was invented by Lord Stanhope, in -England, about the year 1800 and was the beginning of the improvements -in printing machinery which were to go so far in the course of a -century. - -Mr. Henry L. Bullen is authority for the statement that no Stanhope -press was ever brought to America. The reason lies probably in the fact -that an American invented an iron press at about the same time. This was -George Clymer, of Philadelphia, who after much experimenting produced -the Columbian Press, an iron machine which came into general use in -England as well as in the United States about 1816. It was a complicated -machine, but in spite of its complexity was very durable and beautiful -as well as powerful. It was worked on the ordinary hand-lever principle, -but the leverage system gave a fine chance for the pressman’s skill. It -had wonderful possibilities in the production of the most perfect work -when in the hands of a skillful workman. It won and long kept -well-deserved favor. It was introduced into England in 1807, and in 1817 -Clymer himself followed it to England, where he spent the remainder of -his life. - -In spite of the capacity of the Columbian press for the production of -artistically perfect work there was a great and increasing demand for -presses of a different type. The demand was for a simpler press and also -for one that would mechanically turn out larger quantities of work than -were possible under the old leverage system. The first demand was met by -the invention of Peter Smith, of New York, who built a press somewhat on -the lines of the Columbian, which was very heavy, carried larger forms, -and used shorter levers, and by Samuel Reid, who, in 1824, invented the -simple but excellent Washington hand press, which is still in common -use. - -From this point on there are two lines of development which may be -followed separately, one the development of the power printing press in -which the bed and platen are brought together by a power-driven gear -rather than by a hand-moved lever, the other the development of the -cylinder press. - -The first known attempt to apply power to a printing press was made by -William Nicholson, of London, in 1790, in connection with his abortive -attempt at the invention of a cylinder press, to which reference will be -made later. - -The first American attempt to use power was made by Nathan Hale, father -of the famous Edward Everett Hale, who took possession of the Boston -Advertiser in 1814. - -Daniel Treadwell, of Boston, invented and built for Hale the first power -press used in America. It was a very large platen with a wooden frame. -The presses of Isaac Adams (1830) and Otis Tufts (1834) also had -originally wooden frames, but later were built with iron frames. Very -few Treadwell presses were ever used. At first they were driven by -horsepower, later by steam. The early power presses were worked by -horses, by men known as crank-men, and even in the case of small -machines by dogs. These crude power appliances soon gave way to steam, -and within a few years steam has been largely supplanted by the electric -drive, with a tendency to a preponderance of individual motor-driven -machines. The electric drive, by the way, is an American invention. - -In 1830 Samuel Adams, of Boston, built a platen power press, which was -long the only power press capable of fine work and exact register. Not -long later S. P. Ruggles, of Boston, invented the Diamond, a small, -rapid machine for the quick production of cards, envelopes, and other -small work, and later, in 1839, the Ruggles rotary, a successful and -popular power jobber. In 1856 George P. Gordon began the line of Gordon -presses, still made in improved models by the Chandler & Price Company, -of Cleveland, and very extensively used. The advantages of the Gordon -were simplicity of design, a strong impression, high speed, and -lightness of running. - -In 1869 Merritt Gally invented the Universal press, using a different -mechanical system and producing a perfectly parallel impression. Gally’s -invention was later improved by John Thomson, who produced a machine -which has been extensively used and is well known as the John Thomson -press. In 1875 Gally also invented a heavy press for embossing, cutting, -and creasing heavy stock. In 1885 the Colt’s Armory universal press, a -very excellent machine especially adapted to heavy work, was placed on -the market. - -In 1885 Wellington P. Kidder invented a platen press of the Gordon type, -with automatic feed and delivery. - -In 1890 Albert Harris invented the Harris press, the first really -successful high-speed automatic jobber. Two other familiar high-speed -presses, the Auto Press and the Kelly, are small high-speed cylinders. - -The first known attempt to make a cylinder press was that of William -Nicholson, of London, who invented, in 1789, a machine that should apply -the paper to the type by means of a cylinder. As we have seen, Nicholson -went so far as to invent application of power to his machine, forseeing -that power would be necessary for the use of any successful cylinder -presses. Nicholson was not a printer, and his idea, although it had -attracted attention, did not assume practical shape. - -Ten years, or so, later Dr. Kinsley, a Connecticut man, developed -Nicholson’s idea and produced a cylinder press, which is described at -considerable length by Isaiah Thomas in his History of Printing. Thomas -seems to have been a good deal interested in the machine, although he -appears to have regarded it as promising rather than successful. He says -that it saved labor and did good work. He was sufficiently interested to -print a picture of it although his book is not otherwise illustrated. In -a general way it was not unlike a modern cylinder proof press. It -printed on one side only and was not so arranged as to secure perfect -register if an impression was desired on the other side. - -Several other attempts were made at the invention of cylinder presses, -which attracted considerable attention, but which were not commercially -successful. The first real success was made by Fredrick König, a native -of Saxony, who, in 1814, invented a cylinder press which was immediately -put into use in the press room of the _London Times_. König’s invention, -like most first inventions in a new field, was susceptible of -improvement, especially in the direction of simplicity. These -improvements, however, were soon made, and the cylinder press started on -its career of wonderful development. The first cylinder press used in -America was a Napier brought out from England in 1825, and set up in the -office of the _National Intelligencer_ in Washington. - -The development of the cylinder press in America is largely connected -with the name of Hoe. Robert Hoe, a Leicestershire farmer’s son, was -born in 1784, and in due time was apprenticed to a carpenter. In 1803 he -came to New York, where he worked at his trade. After a time he became -associated in business with his brother-in-law, Matthew Smith, Jr. Smith -was a carpenter and a printer’s joiner (that is to say, a maker of press -frames and other wood work used by printers) and a brother of Peter -Smith, the press inventor, who has already been mentioned. Through this -association the firm got into the business of building presses, first of -wood and later of iron. - -Both the Smiths died in 1823 and Hoe inherited the business, which he -carried on in the name of Robert Hoe & Company. Hoe was always -enterprising and his attention was quickly drawn to the Napier press, -which had been set up in Washington in 1825. As usual, this machine was -not patented in this country and Hoe proceeded to imitate it, with such -changes as occurred to him, and put on the market, in 1827 and 1828, the -first flat bed and cylinder press made in the United States. - -Robert Hoe retired on account of failing health in 1832, but he left the -business in the capable hands of Richard M. Hoe and Matthew Smith, the -son of Matthew, Jr., Robert Hoe’s original partner. The concern went on -building and improving presses and in 1842 they patented a new -bed-driving motion of which the well-known Meihle press of today is a -development. - -In 1845 Hoe & Company brought out the Hoe type-revolving machine. This -was the first press distinctively for large newspaper circulations, -which they afterward developed to so wonderful a degree, and which -henceforth was their leading line of production. In this machine the -type forms were imposed on turtles and fastened on a central cylinder, -against which revolved as many impression cylinders, from two to ten, as -were required. This machine put American printing machinery in the first -rank. In 1858 the Hoe firm bought out the Isaac Adams patents and -business. - -About this time two other important inventions were made, both of which -were later utilized by the Hoes. In 1853 Pratt built for the Brooklyn -_Daily Advertiser_ the first perfecting press, or press printing both -sides of the paper without removing the sheet. In 1860 William Bullock -began to experiment on a rotary self-feeding or web printing press, and -finally succeeded in achieving success in 1865. The Bullock machine was -self-feeding, but cut the sheets from a web before printing. - -In 1847 Hoe & Company began work on a rotary printing press to print -from the web without first cutting it into sheets. This involved all the -essential parts which had been discovered and gathered them into one -machine. The experiment was successful, resulting in the production of -the wonderful multiple press, which may be seen today in the press room -of any great newspaper. - -The invention of the Hoe press, the development of the autoplate, a -machine invented in 1900 by Henry A. Wise Wood, of New York, whereby the -process of stereotyping is made in a practical way subsidiary to -newspaper printing, and the invention of wood pulp paper have made -possible the modern newspaper. - - -We have thus very hastily traced the process of development in types and -presses in the United States. Much might be said, if space permitted and -the purpose of this series required it, of the invention of other -presses, appliances, and methods, and of the improvements which are -constantly being made in the tools and materials used in printing and -the allied industries. These matters, however, are of only secondary -historic interest. So much as the apprentice needs to know about them he -will learn in the course of his work, as he comes in contact with them -and learns their use. Perhaps the purpose of this book has been -sufficiently accomplished in showing the milestones along the historical -development of the two great tools of the printer, his type and his -press. - -The list which follows is a brief statement of the most important -contributions of American inventors to the art of printing: - - Web rotary presses. - Automatic stereotyping machines. - Printing machinery under electrical control. - Two-revolution cylinder presses. - Sheet feed rotary presses. - Multicolor presses. - Rotary direct and rotary offset presses for lithographic work. - -This, of course, includes only the inventions which are fundamental and -original. Improvements of some fundamental invention, made elsewhere or -earlier, are not included, although in this connection it is worth while -to mention one important thing which owes to America almost everything -except its original invention. This is process printing, both in black -and white and in colors. Process printing was not an American invention. -It is safe to say that it would be only a scientific experiment if it -had not been made practical by American inventions, such as coated -paper, first made for half-tone work by the Cumberland Mills Company for -Mr. De Vinne, ruling machines for half-tone work, which were first made -by Max Levy, of Philadelphia, about 1880, and three-color process -plates, which were first made by Frederick Ives, of Philadelphia, in -1881. - - - - - REVIEW QUESTIONS - SUGGESTIONS TO STUDENTS AND INSTRUCTORS - - The following questions, based on the contents of this pamphlet, are - intended to serve (1) as a guide to the study of the text, (2) as an - aid to the student in putting the information contained into definite - statements without actually memorizing the text, (3) as a means of - securing from the student a reproduction of the information in his own - words. - - A careful following of the questions by the reader will insure full - acquaintance with every part of the text, avoiding the accidental - omission of what might be of value. These primers are so condensed - that nothing should be omitted. - - In teaching from these books it is very important that these questions - and such others as may occur to the teacher should be made the basis - of frequent written work, and of final examinations. - - The importance of written work cannot be overstated. It not only - assures knowledge of material, but the power to express that knowledge - correctly and in good form. - - If this written work can be submitted to the teacher in printed form - it will be doubly useful. - - - QUESTIONS - -1. What general course of development do we find in the United States in -relation to European influence? - -2. How has this worked out in the case of type and presses? - -3. Who cast the first type made in this country? - -4. Who was Mitchelson, the type founder, and what did he do? - -5. Tell the story of Adam Buell. - -6. Tell about Benjamin Franklin’s attempt at type founding. - -7. Tell the story of the first successful type foundry in the United -States. - -8. Tell of the attempt of Mappa to start a type foundry in the United -States. - -9. What were the prospects for successful type founding in America about -1795? - -10. Tell the story of the starting of the first permanently successful -type foundry in America. - -11. What were the first steps taken to enlarge its facilities? - -12. What inventions did the senior partner work on? - -13. Give a brief sketch of the firm from the retirement of the senior -partner to the present time. - -14. What other type founder was at work in 1805, and what was he doing? - -15. Tell the story of the starting of the second successful type foundry -in the United States. - -16. Who were the Bruces, and how did they start in business? - -17. What did the Bruces do in 1814 and 1815? - -18. How did the Bruces become type founders? - -19. What improvement did the Bruces attempt in 1822, and with what -result? - -20. What was W. M. Johnson’s invention, and what became of it? - -21. What development took place in the type founding business, and what -was the result? - -22. Who was Augustus Ladew, and what did he do? - -23. Who was Louis Pelouze, and what did he do? - -24. What can you tell about the Boston Type Foundry? - -25. Tell about the work of J. W. Phinney. - -26. Who was Henry Barth, and what did he do? - -27. What do we owe to John Marder? - -28. What do we owe to L. R. Benton? - -29. What invention followed the work of Benton and Werner, and why? - -30. What need became acute in composing room, and what was done to meet -it? - -31. What invention changed the course of development along this line? - -32. Tell the story of Ottmar Mergenthaler. - -33. What did Tolbert Lanston invent? - -34. Tell the story of the discovery of the electrotyping process. - -35. Who was the first to apply this process to printing, and what were -the defects of his method? - -36. Give a sketch of the development of the process of electrotyping, -naming five principal inventions with dates. - -37. What was the greatest single step in advance, and when, where, and -by whom was it made? - -38. Where did the first American presses come from? - -39. How soon were presses made in America, and what were they like? - -40. Who was the best known American press builder before 1800, and what -improvement did he make? - -41. Who invented the iron press, and when? - -42. Who invented the Columbian hand press? - -43. What demand soon arose, and how was it met? - -44. Who invented the Washington hand press and when? - -45. What was the first attempt to use power in press operation? - -46. What was the first American attempt to use power in press operation? - -47. What sort of power was originally used? - -48. Tell about the inventions of Adams, Ruggles, and Gordon. - -49. Tell about the invention of Merritt Gally. - -50. What were the inventions of Kidder and Harris? - -51. What types of high-speed small presses are made? - -52. What was the first attempt to build a cylinder press? - -53. What was the first American attempt to build a cylinder press? - -54. Who invented the first successful cylinder press? - -55. Tell the story of Hoe & Co. down to 1845. - -56. What important invention did Hoe & Co. bring out in 1845? - -57. What were the inventions of Pratt and Bullock? - -58. What did Hoe & Co. produce in 1847? - -59. What did Henry A. Wise Wood invent? - -60. Give a list of the most important American inventions in printing -machinery. - -61. Why is the list not longer? - - - - - TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES - - -The following list of publications, comprising the TYPOGRAPHIC TECHNICAL -SERIES FOR APPRENTICES, has been prepared under the supervision of the -Committee on Education of the United Typothetae of America for use in -trade classes, in course of printing instruction, and by individuals. - -Each publication has been compiled by a competent author or group of -authors, and carefully edited, the purpose being to provide the printers -of the United States—employers, journeymen, and apprentices—with a -comprehensive series of handy and inexpensive compendiums of reliable, -up-to-date information upon the various branches and specialties of the -printing craft, all arranged in orderly fashion for progressive study. - -The publications of the series are of uniform size, 5 × 8 inches. Their -general make-up, in typography, illustrations, etc., has been, as far as -practicable, kept in harmony throughout. A brief synopsis of the -particular contents and other chief features of each volume will be -found under each title in the following list. - -Each topic is treated in a concise manner, the aim being to embody in -each publication as completely as possible all the rudimentary -information and essential facts necessary to an understanding of the -subject. Care has been taken to make all statements accurate and clear, -with the purpose of bringing essential information within the -understanding of beginners in the different fields of study. Wherever -practicable, simple and well-defined drawings and illustrations have -been used to assist in giving additional clearness to the text. - -In order that the pamphlets may be of the greatest possible help for use -in trade-school classes and for self-instruction, each title is -accompanied by a list of Review Questions covering essential items of -the subject matter. A short Glossary of technical terms belonging to the -subject or department treated is also added to many of the books. - -These are the Official Text-books of the United Typothetae of America. - -Address all orders and inquiries to COMMITTEE ON EDUCATION, UNITED -TYPOTHETAE OF AMERICA, CHICAGO, ILLINOIS, U. S. A. - - - - - PART I—_Types, Tools, Machines, and Materials_ - - -1. =Type: a Primer of Information= By A. A. Stewart - -Relating to the mechanical features of printing types; their sizes, font -schemes, etc., with a brief description of their manufacture. 44 pp.; -illustrated; 74 review questions; glossary. - -2. =Compositors’ Tools and Materials= By A. A. Stewart - -A primer of information about composing sticks, galleys, leads, brass -rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 -review questions; glossary. - -3. =Type Cases, Composing Room Furniture= By A. A. Stewart - -A primer of information about type cases, work stands, cabinets, case -racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 -review questions; glossary. - -4. =Imposing Tables and Lock-up Appliances= By A. A. Stewart - -Describing the tools and materials used in locking up forms for the -press, including some modern utilities for special purposes. 59 pp.; -illustrated; 70 review questions; glossary. - -5. =Proof Presses= By A. A. Stewart - -A primer of information about the customary methods and machines for -taking printers’ proofs. 40 pp.; illustrated; 41 review questions; -glossary. - -6. =Platen Printing Presses= By Daniel Baker - -A primer of information regarding the history and mechanical -construction of platen printing presses, from the original hand press to -the modern job press, to which is added a chapter on automatic presses -of small size. 51 pp.; illustrated; 49 review questions; glossary. - -7. =Cylinder Printing Presses= By Herbert L. Baker - -Being a study of the mechanism and operation of the principal types of -cylinder printing machines. 64 pp.; illustrated; 47 review questions; -glossary. - -8. =Mechanical Feeders and Folders= By William E. Spurrier - -The history and operation of modern feeding and folding machines; with -hints on their care and adjustments. Illustrated; review questions; -glossary. - -9. =Power for Machinery in Printing Houses= By Carl F. Scott - -A treatise on the methods of applying power to printing presses and -allied machinery with particular reference to electric drive. 53 pp.; -illustrated; 69 review questions; glossary. - -10. =Paper Cutting Machines= By Niel Gray, Jr. - -A primer of information about paper and card trimmers, hand-lever -cutters, power cutters, and other automatic machines for cutting paper, -70 pp.; illustrated; 115 review questions; glossary. - -11. =Printers’ Rollers= By A. A. Stewart - -A primer of information about the composition, manufacture, and care of -inking rollers. 46 pp.; illustrated; 61 review questions; glossary. - -12. =Printing Inks= By Philip Ruxton - -Their composition, properties and manufacture (reprinted by permission -from Circular No. 53, United States Bureau of Standards); together with -some helpful suggestions about the everyday use of printing inks by -Philip Ruxton. 80 pp.; 100 review questions; glossary. - -13. =How Paper is Made= By William Bond Wheelwright - -A primer of information about the materials and processes of -manufacturing paper for printing and writing. 68 pp.; illustrated; 62 -review questions; glossary. - -14. =Relief Engravings= By Joseph P. Donovan - -Brief history and non-technical description of modern methods of -engraving; woodcut, zinc plate, half-tone; kind of copy for -reproduction; things to remember when ordering engravings. Illustrated; -review questions; glossary. - -15. =Electrotyping and Stereotyping= By Harris B. Hatch and A. A. -Stewart - -A primer of information about the processes of electrotyping and -stereotyping. 94 pp.; illustrated; 129 review questions; glossaries. - - - - - PART II—_Hand and Machine Composition_ - - -16. =Typesetting= By A. A. Stewart - -A handbook for beginners, giving information about justifying, spacing, -correcting, and other matters relating to typesetting. Illustrated; -review questions; glossary. - -17. =Printers’ Proofs= By A. A. Stewart - -The methods by which they are made, marked, and corrected, with -observations on proofreading. Illustrated; review questions; glossary. - -18. =First Steps in Job Composition= By Camille DeVéze - -Suggestions for the apprentice compositor in setting his first jobs, -especially about the important little things which go to make good -display in typography. 63 pp.; examples; 55 review questions; glossary. - -19. =General Job Composition= - -How the job compositor handles business stationery, programs and -miscellaneous work. Illustrated; review questions; glossary. - -20. =Book Composition= By J. W. Bothwell - -Chapters from DeVinne’s “Modern Methods of Book Composition,” revised -and arranged for this series of text-books by J. W. Bothwell of The -DeVinne Press, New York. Part I: Composition of pages. Part II: -Imposition of pages. 229 pp.; illustrated; 525 review questions; -glossary. - -21. =Tabular Composition= By Robert Seaver - -A study of the elementary forms of table composition, with examples of -more difficult composition. 36 pp.; examples; 45 review questions. - -22. =Applied Arithmetic= By E. E. Sheldon - -Elementary arithmetic applied to problems of the printing trade, -calculation of materials, paper weights and sizes, with standard tables -and rules for computation, each subject amplified with examples and -exercises. 159 pp. - -23. =Typecasting and Composing Machines= A. W. Finlay, Editor - -Section I—The Linotype By L. A. Hornstein - -Section II—The Monotype By Joseph Hays - -Section III—The Intertype By Henry W. Cozzens - -Section IV—Other Typecasting and Typesetting Machines By Frank H. Smith - -A brief history of typesetting machines, with descriptions of their -mechanical principles and operations. Illustrated; review questions; -glossary. - - - - - PART III—_Imposition and Stonework_ - - -24. =Locking Forms for the Job Press= By Frank S. Henry - -Things the apprentice should know about locking up small forms, and -about general work on the stone. Illustrated; review questions; -glossary. - -25. =Preparing Forms for the Cylinder Press= By Frank S. Henry - -Pamphlet and catalog imposition; margins; fold marks, etc. Methods of -handling type forms and electrotype forms. Illustrated; review -questions; glossary. - - - - - PART IV—_Presswork_ - - -26. =Making Ready on Platen Presses= By T. G. McGrew - -The essential parts of a press and their functions; distinctive features -of commonly used machines. Preparing the tympan, regulating the -impression, underlaying and overlaying, setting gauges, and other -details explained. Illustrated; review questions; glossary. - -27. =Cylinder Presswork= By T. G. McGrew - -Preparing the press; adjustment of bed and cylinder, form rollers, ink -fountain, grippers and delivery systems. Underlaying and overlaying; -modern overlay methods. Illustrated; review questions; glossary. - -28. =Pressroom Hints and Helps= By Charles L. Dunton - -Describing some practical methods of pressroom work, with directions and -useful information relating to a variety of printing-press problems. 87 -pp.; 176 review questions. - -29. =Reproductive Processes of the Graphic Arts= By A. W. Elson - -A primer of information about the distinctive features of the relief, -the intaglio, and the planographic processes of printing. 84 pp.; -illustrated; 100 review questions; glossary. - - - - - PART V—_Pamphlet and Book Binding_ - - -30. =Pamphlet Binding= By Bancroft L. Goodwin - -A primer of information about the various operations employed in binding -pamphlets and other work in the bindery. Illustrated; review questions; -glossary. - -31. =Book Binding= By John J. Pleger - -Practical information about the usual operations in binding books; -folding; gathering, collating, sewing, forwarding, finishing. Case -making and cased-in books. Hand work and machine work. Job and -blank-book binding. Illustrated; review questions; glossary. - - - - - PART VI—_Correct Literary Composition_ - - -32. =Word Study and English Grammar= By F. W. Hamilton - -A primer of information about words, their relations, and their uses. 68 -pp.; 84 review questions; glossary. - -33. =Punctuation= By F. W. Hamilton - -A primer of information about the marks of punctuation and their use, -both grammatically and typographically. 56 pp.; 59 review questions; -glossary. - -34. =Capitals= By F. W. Hamilton - -A primer of information about capitalization, with some practical -typographic hints as to the use of capitals. 48 pp.; 92 review -questions; glossary. - -35. =Division of Words= By F. W. Hamilton - -Rules for the division of words at the ends of lines, with remarks on -spelling, syllabication and pronunciation. 42 pp.; 70 review questions. - -36. =Compound Words= By F. W. Hamilton - -A study of the principles of compounding, the components of compounds, -and the use of the hyphen. 34 pp.; 62 review questions. - -37. =Abbreviations and Signs= By F. W. Hamilton - -A primer of information about abbreviations and signs, with classified -lists of those in most common use. 58 pp.; 32 review questions. - -38. =The Uses of Italic= By F. W. Hamilton - -A primer of information about the history and uses of italic letters. 31 -pp.; 37 review questions. - -39. =Proofreading= By Arnold Levitas - -The technical phases of the proofreader’s work; reading, marking, -revising, etc.; methods of handling proofs and copy. Illustrated by -examples. 59 pp.; 69 review questions; glossary. - -40. =Preparation of Printers’ Copy= By F. W. Hamilton - -Suggestions for authors, editors, and all who are engaged in preparing -copy for the composing room. 36 pp.; 67 review questions. - -41. =Printers’ Manual of Style= - -A reference compilation of approved rules, usages, and suggestions -relating to uniformity in punctuation, capitalization, abbreviations, -numerals, and kindred features of composition. - -42. =The Printer’s Dictionary= By A. A. Stewart - -A handbook of definitions and miscellaneous information about various -processes of printing, alphabetically arranged. Technical terms -explained. Illustrated. - - - - - PART VII—_Design, Color, and Lettering_ - - -43. =Applied Design for Printers= By Harry L. Gage - -A handbook of the principles of arrangement, with brief comment on the -periods of design which have most influenced printing. Treats of -harmony, balance, proportion, and rhythm; motion; symmetry and variety; -ornament, esthetic and symbolic. 37 illustrations; 46 review questions; -glossary; bibliography. - -44. =Elements of Typographic Design= By Harry L. Gage - -Applications of the principles of decorative design. Building material -of typography: paper, types, ink, decorations and illustrations. -Handling of shapes. Design of complete book, treating each part. Design -of commercial forms and single units. Illustrations; review questions; -glossary; bibliography. - -45. =Rudiments of Color in Printing= By Harry L. Gage - -Use of color: for decoration of black and white, for broad poster -effect, in combinations of two, three, or more printings with process -engravings. Scientific nature of color, physical and chemical. Terms in -which color may be discussed: hue, value, intensity. Diagrams in color, -scales and combinations. Color theory of process engraving. Experiments -with color. Illustrations in full color, and on various papers. Review -questions; glossary; bibliography. - -46. =Lettering in Typography= By Harry L. Gage - -Printer’s use of lettering: adaptability and decorative effect. -Development of historic writing and lettering and its influence on type -design. Classification of general forms in lettering. Application of -design to lettering. Drawing for reproduction. Fully illustrated; review -questions; glossary; bibliography. - -47. =Typographic Design in Advertising= By Harry L. Gage - -The printer’s function in advertising. Precepts upon which advertising -is based. Printer’s analysis of his copy. Emphasis, legibility, -attention, color. Method of studying advertising typography. -Illustrations; review questions; glossary; bibliography. - -48. =Making Dummies and Layouts= By Harry L. Gage - -A layout: the architectural plan. A dummy: the imitation of a proposed -final effect. Use of dummy in sales work. Use of layout. Function of -layout man. Binding schemes for dummies. Dummy envelopes. Illustrations; -review questions; glossary; bibliography. - - - - - PART VIII—_History of Printing_ - - -49. =Books Before Typography= By F. W. Hamilton - -A primer of information about the invention of the alphabet and the -history of bookmaking up to the invention of movable types. 62 pp.; -illustrated; 64 review questions. - -50. =The Invention of Typography= By F. W. Hamilton - -A brief sketch of the invention of printing and how it came about. 64 -pp.; 62 review questions. - -51. =History of Printing—Part I= By F. W. Hamilton - -A primer of information about the beginnings of printing, the -development of the book, the development of printers’ materials, and the -work of the great pioneers. 63 pp.; 55 review questions. - -52. =History of Printing—Part II= By F. W. Hamilton - -A brief sketch of the economic conditions of the printing industry from -1450 to 1789, including government regulations, censorship, internal -conditions and industrial relations. 94 pp.; 128 review questions. - -53. =Printing in England= By F. W. Hamilton - -A short history of printing in England from Caxton to the present time. -89 pp.; 65 review questions. - -54. =Printing in America= By F. W. Hamilton - -A brief sketch of the development of the newspaper, and some notes on -publishers who have especially contributed to printing. 98 pp.; 84 -review questions. - -55. =Type and Presses in America= By F. W. Hamilton - -A brief historical sketch of the development of type casting and press -building in the United States. 52 pp.; 61 review questions. - - - - - PART IX—_Cost Finding and Accounting_ - - -56. =Elements of Cost in Printing= By Henry P. Porter - -A primer of information about all the elements that contribute to the -cost of printing and their relation to each other. Review questions. -Glossary. - -57. =Use of a Cost System= By Henry P. Porter - -The Standard Cost-Finding Forms and their uses. What they should show. -How to utilize the information they give. Review questions. Glossary. - -58. =The Printer as a Merchant= By Henry P. Porter - -The selection and purchase of materials and supplies for printing. The -relation of the cost of raw material and the selling price of the -finished product. Review questions. Glossary. - -59. =Fundamental Principles of Estimating= By Henry P. Porter - -The estimator and his work; forms to use; general rules for estimating. -Review questions. Glossary. - -60. =Estimating and Selling= By Henry P. Porter - -An insight into the methods used in making estimates, and their relation -to selling. Review questions. Glossary. - -61. =Accounting for Printers= By Henry P. Porter - -A brief outline of an accounting system for printers; necessary books -and accessory records. Review questions. Glossary. - - - - - PART X—_Miscellaneous_ - - -62. =Health, Sanitation, and Safety= By Henry P. Porter - -Hygiene in the printing trade; a study of conditions old and new; -practical suggestions for improvement; protective appliances and rules -for safety. - -63. =Topical Index= By F. W. Hamilton - -A book of reference covering the topics treated in the Typographic -Technical Series, alphabetically arranged. - -64. =Courses of Study= By F. W. Hamilton - -A guidebook for teachers, with outlines and suggestions for classroom -and shop work. - - - - - ACKNOWLEDGMENT - - -This series of Typographic Text-books is the result of the splendid -co-operation of a large number of firms and individuals engaged in the -printing business and its allied industries in the United States of -America. - -The Committee on Education of the United Typothetae of America, under -whose auspices the books have been prepared and published, acknowledges -its indebtedness for the generous assistance rendered by the many -authors, printers, and others identified with this work. - -While due acknowledgment is made on the title and copyright pages of -those contributing to each book, the Committee nevertheless felt that a -group list of co-operating firms would be of interest. - -The following list is not complete, as it includes only those who have -co-operated in the production of a portion of the volumes, constituting -the first printing. As soon as the entire list of books comprising the -Typographic Technical Series has been completed (which the Committee -hopes will be at an early date), the full list will be printed in each -volume. - -The Committee also desires to acknowledge its indebtedness to the many -subscribers to this Series who have patiently awaited its publication. - - COMMITTEE ON EDUCATION, - UNITED TYPOTHETAE OF AMERICA. - - HENRY P. PORTER, _Chairman_, - E. LAWRENCE FELL, - A. M. GLOSSBRENNER, - J. CLYDE OSWALD, - TOBY RUBOVITS. - - FREDERICK W. HAMILTON, _Education Director_. - - - - - CONTRIBUTORS - - -=For Composition and Electrotypes= - - ISAAC H. BLANCHARD COMPANY, New York, N. Y. - S. H. BURBANK & CO., Philadelphia, Pa. - J. S. CUSHING & CO., Norwood, Mass. - THE DEVINNE PRESS, New York, N. Y. - R. R. DONNELLEY & SONS CO., Chicago, Ill. - GEO. H. ELLIS CO., Boston, Mass. - EVANS-WINTER-HEBB, Detroit, Mich. - FRANKLIN PRINTING COMPANY, Philadelphia, Pa. - F. H. GILSON COMPANY, Boston, Mass. - STEPHEN GREEN & CO., Philadelphia, Pa. - W. F. HALL PRINTING CO., Chicago, Ill. - J. B. LIPPINCOTT CO., Philadelphia, Pa. - MCCALLA & CO. INC., Philadelphia, Pa. - THE PATTESON PRESS, New York, New York - THE PLIMPTON PRESS, Norwood, Mass. - POOLE BROS., Chicago, Ill. - EDWARD STERN & CO., Philadelphia, Pa. - THE STONE PRINTING & MFG. CO., Roanoke, Va. - C. D. TRAPHAGEN, Lincoln, Neb. - THE UNIVERSITY PRESS, Cambridge, Mass. - -=For Composition= - - BOSTON TYPOTHETAE SCHOOL OF PRINTING, Boston, Mass. - WILLIAM F. FELL CO., Philadelphia, Pa. - THE KALKHOFF COMPANY, New York, N. Y. - OXFORD-PRINT, Boston, Mass. - TOBY RUBOVITS, Chicago, Ill. - -=For Electrotypes= - - BLOMGREN BROTHERS CO., Chicago, Ill. - FLOWER STEEL ELECTROTYPING CO., New York, N. Y. - C. J. PETERS & SON CO., Boston, Mass. - ROYAL ELECTROTYPE CO., Philadelphia, Pa. - H. C. WHITCOMB & CO., Boston, Mass. - -=For Engravings= - - AMERICAN TYPE FOUNDERS CO., Boston, Mass. - C. B. COTTRELL & SONS CO., Westerly, R. I. - GOLDING MANUFACTURING CO., Franklin, Mass. - HARVARD UNIVERSITY, Cambridge, Mass. - INLAND PRINTER CO., Chicago, Ill. - LANSTON MONOTYPE MACHINE COMPANY, Philadelphia, Pa. - MERGENTHALER LINOTYPE COMPANY, New York, N. Y. - GEO. H. MORRILL CO., Norwood, Mass. - OSWALD PUBLISHING CO., New York, N. Y. - THE PRINTING ART, Cambridge, Mass. - B. D. RISING PAPER COMPANY, Housatonic, Mass. - THE VANDERCOOK PRESS, Chicago, Ill. - -=For Book Paper= - - AMERICAN WRITING PAPER CO., Holyoke, Mass. - WEST VIRGINIA PULP & PAPER CO., Mechanicville, N. Y. - ------------------------------------------------------------------------- - - - - - TRANSCRIBER’S NOTES - - - 1. P. vii, changed “The Standard Cost-Finding Forms and their uses. - What they should show. How to utilize the information they give. - Review questions. Glossary.” to “A primer of information about all - the elements that contribute to the cost of printing and their - relation to each other. Review questions. Glossary.” - [See https://www.gutenberg.org/ebooks/65596.] - 2. Silently corrected obvious typographical errors and variations in - spelling. - 3. Retained archaic, non-standard, and uncertain spellings as printed. - 4. Enclosed italics font in _underscores_. - -*** END OF THE PROJECT GUTENBERG EBOOK TYPE AND PRESSES IN -AMERICA *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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Hamilton</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Type and Presses in America</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>A Brief Historical Sketch of the Development of Type Casting and Press Building in the United States</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Frederick W. Hamilton</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: February 17, 2022 [eBook #67428]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Richard Tonsing, Barbara Tozier, Bill Tozier, and the Online Distributed Proofreading Team at https://www.pgdp.net</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK TYPE AND PRESSES IN AMERICA ***</div> - -<div class='tnotes covernote'> - -<p class='c000'><strong>Transcriber’s Note:</strong></p> - -<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES—PART VIII, NO. 55</div> - </div> -</div> - -<div class='titlepage'> - -<div> - <h1 class='c001'>TYPE AND PRESSES IN AMERICA<br /> <span class='xlarge'>A BRIEF HISTORICAL SKETCH OF THE DEVELOPMENT OF TYPE CASTING AND PRESS BUILDING IN THE UNITED STATES</span></h1> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><span class='small'>BY</span></div> - <div><span class='large'>FREDERICK W. HAMILTON, LL.D.</span></div> - <div><span class='small'>EDUCATION DIRECTOR</span></div> - <div><span class='small'>UNITED TYPOTHETAE OF AMERICA</span></div> - </div> -</div> - -<div class='figcenter id001'> -<img src='images/publogo.jpg' alt='' class='ig001' /> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>PUBLISHED BY THE COMMITTEE ON EDUCATION</div> - <div>UNITED TYPOTHETAE OF AMERICA</div> - <div>1918</div> - </div> -</div> - -</div> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div><span class='small'>Copyright, 1918</span></div> - <div><span class='small'>United Typothetae of America</span></div> - <div><span class='small'>Chicago, Ill.</span></div> - <div class='c002'><span class='small'>Composition and electrotypes contributed by</span></div> - <div><span class='small'><span class='sc'>Poole Bros.</span></span></div> - <div><span class='small'>Chicago</span></div> - </div> -</div> - -<div class='chapter'> - <h2 class='c004'>CONTENTS</h2> -</div> - -<table class='table0'> - <tr> - <th class='c005'></th> - <th class='c006'><span class='small'>PAGE</span></th> - </tr> - <tr> - <td class='c005'><span class='sc'>Introduction</span></td> - <td class='c006'><a href='#Page_5'>5</a></td> - </tr> - <tr> - <td class='c005'> </td> - <td class='c006'> </td> - </tr> - <tr><td class='c007' colspan='2'><span class='sc'>Chapter I</span></td></tr> - <tr> - <td class='c005'><span class='sc'>The Pioneer Type Founders</span></td> - <td class='c006'><a href='#Page_8'>8</a></td> - </tr> - <tr> - <td class='c005'> </td> - <td class='c006'> </td> - </tr> - <tr><td class='c007' colspan='2'><span class='sc'>Chapter II</span></td></tr> - <tr> - <td class='c005'><span class='sc'>The Establishment of Type Founding</span></td> - <td class='c006'><a href='#Page_14'>14</a></td> - </tr> - <tr> - <td class='c005'> </td> - <td class='c006'> </td> - </tr> - <tr><td class='c007' colspan='2'><span class='sc'>Chapter III</span></td></tr> - <tr> - <td class='c005'><span class='sc'>Composing and Type-Casting Machines</span></td> - <td class='c006'><a href='#Page_29'>29</a></td> - </tr> - <tr> - <td class='c005'> </td> - <td class='c006'> </td> - </tr> - <tr><td class='c007' colspan='2'><span class='sc'>Chapter IV</span></td></tr> - <tr> - <td class='c005'><span class='sc'>Electrotyping</span></td> - <td class='c006'><a href='#Page_32'>32</a></td> - </tr> - <tr> - <td class='c005'> </td> - <td class='c006'> </td> - </tr> - <tr><td class='c007' colspan='2'><span class='sc'>Chapter V</span></td></tr> - <tr> - <td class='c005'><span class='sc'>The Development of the Printing Press</span></td> - <td class='c006'><a href='#Page_34'>34</a></td> - </tr> -</table> - -<div class='chapter'> - <span class='pageno' id='Page_5'>5</span> - <h2 class='c004'>INTRODUCTION</h2> -</div> - -<p class='drop-capa0_0_6 c008'>A study of type founding and of the development -of presses and other printers’ machinery in -America presents many interesting considerations. -If the attempt were made to give in detail the story -of American type founding and the accomplishments -of the notable American type founders, and at the -same time to chronicle the improvements and inventions -which American genius has contributed to the -machines and processes used in printing and the -allied industries, a very large book might readily be -produced. While such a book would not be without -interest and would certainly have very great value, -it would be valuable mainly as a work of reference -and would lack the interest which ought to attach to -a book of the sort contained in this series. It has -seemed to the writer best, therefore, not to attempt -to collect an encyclopedia of information, but to give -a brief sketch of the development of types and -presses in the United States, with a special view to -the beginnings in both departments. It is greatly to -be hoped that a more competent hand may later be -set to the production of such an encyclopedic volume -as has been indicated, but such a work does not -belong in this series.</p> - -<p class='c009'>In these matters, as in so many others, we find a -definite course of development going on. Originally -American dependence upon Europe was complete. -The political dependence of the colonies in those days -was much more thorough-going than anything we -know at present. The political and economic ideas of -the eighteenth century were so different from those -with which we are familiar that it is difficult for the -<span class='pageno' id='Page_6'>6</span>ordinary man who is not widely read in the literature -and history of that period to understand them at all. -Briefly it may be said that the prevailing idea, not -only in England, but elsewhere, was that all colonies -should be governed from the mother country; that -they should send their raw materials to the mother -country and receive all of their manufactured products -from the mother country; and that they should -not trade directly with any other part of the world, -but that the mother country should act as a receiving -and forwarding station for trade in both directions. -This dependence extended much further than to -politics and business. The American colonists, for -example, got their literature, their art, their fashions, -and many of their ideas from the mother country. -The nearer the good people of Boston, New York, -and Philadelphia could get to the ways of thinking, -speaking, dressing, and acting which prevailed in -London, the happier they considered themselves.</p> - -<p class='c009'>Accordingly we find that at first type and presses -were all imported. Later we find that although type -founding was being successfully carried on in this -country, foreign models, especially in type, long continued -to be followed. In machinery, American -independence very soon asserted itself. Although -some important machines and presses were not -invented in this country, many were invented and -nearly all were materially improved in American -hands. This remark applies to the machines for -producing type as well as to other mechanical operations. -In the matter of type faces and typographical -design America followed English models until comparatively -recently. Indeed, it may be questioned -whether there are more than a very few type faces -now in use in this country which can be said to be -American inventions. Many type faces have been -designed, however, which were modifications and -improvements of European designs. So true is this -that probably the greater part of the type in use in -this country would be considered as of American -<span class='pageno' id='Page_7'>7</span>design, although its indebtedness to Caslon, to -Baskerville, to Bodoni, or to Jensen, as a remote -original, might be recognized. As a matter of fact, -the original designing of letter faces, regardless of any -previously existing design, has been of very rare -occurrence in this country. Within the last generation, -however, we are pretty well emancipated from this -following of foreign originals. We still study the products -of the foreign type foundries and printing -offices, but as sources of suggestion, not as models for -imitation.</p> - -<p class='c009'>The great American printing houses of today are -more and more the masters of their own craft, not -the imitators of others. This condition is also true of -the type founders and manufacturers of machines -and materials used in the industry. The sentiment -of independence is bound to become more marked, -and the originality of American printing more pronounced, -with the development of a generation of -better printers.</p> - -<div class='chapter'> - <span class='pageno' id='Page_8'>8</span> - <h2 class='c004'>CHAPTER I<br /> <span class='large'><span class='sc'>The Pioneer Type Founders</span></span></h2> -</div> - -<p class='drop-capa0_0_6 c008'>During all the early years of American printing, -as has already been said, all type used was -imported. The first type cast in this country appears -to have been made by Christopher Sauer, in Germantown, -Pennsylvania, about 1735. Sauer (the family -afterward anglicized the spelling of the name into -Sower) was one of those Germans, colloquially known -as Pennsylvania Dutch, who were an important element -in the population of the colony of Pennsylvania -and are still numerous in the State. Sauer printed -books, and in 1739 we find him beginning a newspaper, -all or nearly all in German. As an auxiliary -to his printing business he seems to have cast his -own German type or at least a part of it. His work -had no particular commercial importance, but -deserves record as the beginning of type founding in -America.</p> - -<p class='c009'>In 1768 a Scotchman named Mitchelson came to -Boston bringing the tools for type founding with him. -We have no record that he ever cast any type. -Probably he lacked capital to go into business and -there was no one to employ him.</p> - -<p class='c009'>In 1769 Abel Buel submitted to the Legislature of -Connecticut a document printed from the first English -type known to have been made in the United States. -This sheet, which is still in the archives of Connecticut, -is printed in a very well-cut long primer (ten-point) -roman of Buel’s own casting. We have no -evidence that Buel ever cast a great deal of type, -but his personality is so interesting, and his character -so typical of the proverbial “Connecticut Yankee” -that it is worth while to recall the story of his life.</p> - -<p class='c009'><span class='pageno' id='Page_9'>9</span>Buel appears to have been born in Connecticut, -not far from 1750, and apparently early learned the -printing trade. With more than his share of youthful -irresponsibility, though he appears not to have -been a really bad man at heart, he proceeded to -counterfeit the State currency of Connecticut. This -was not a difficult operation, as the early colonial -currency was printed from ordinary type with stock -ornaments upon ordinary paper by means of the -ordinary printing press. The first definite record that -we find of him is that he was pardoned in 1766 from -a life sentence for counterfeiting these bills. The -lesson that he got on this occasion seems to have -cured him not only of counterfeiting, but of printing, -as he apparently never again did either, although it -was by no means the last time that he found himself -at odds with the authorities.</p> - -<p class='c009'>He then invented a method of polishing crystals -and precious stones. The amount of this valuable -material in the hands of the good people of Connecticut -was apparently not sufficient to afford him a -livelihood, and we find him next engaged as an undertaker -and a singing master. In this latter connection -he was summoned before the authorities by certain -good people who were greatly scandalized because -while in charge of a church choir he had introduced -the use of a bass viol into the services. This was -deemed little short of blasphemy, but apparently no -technical charge could be sustained against the -culprit.</p> - -<p class='c009'>Buel early interested himself in the cause of the -freedom of the colonies. Meantime he had evidently -been experimenting in type founding, for the petition -of 1769 sets forth that the petitioner has discovered -the art of casting type, but that he lacks the capital -and is, therefore, unable to go into business commercially. -He accordingly petitions the Legislature to -advance to him the necessary funds. The Legislature -voted him a loan of £100 for seven years and promised -him £100 more after he had been carrying on the -<span class='pageno' id='Page_10'>10</span>business successfully for one year. As we shall see -in a moment, before the year was out Buel’s interest -transferred itself elsewhere and we hear no more of -his type casting. When the seven years were up -Mrs. Buel paid back the £100. Where and how she -raised it is something of a mystery, as she asserted -when she made the payment that she did not know -where her husband was. He was not permanently -lost, however.</p> - -<p class='c009'>Buel, as we have seen, had interested himself in -the cause of American independence, and in 1770 he -was arrested for participating in the tearing down of -a lead statue of George III which had stood in -New York. With true Yankee thrift Buel tried to -combine his patriotism and his type founding, for a -considerable portion of George III was found in -Buel’s house in the process of being cast into type. -Things were not lively enough in Connecticut to suit -our friend. He went to Boston, where we find him -participating in the Boston Tea Party, serving a -cannon in the Concord fight, and wounded at Bunker -Hill. Later he fell into the hands of the British and -was confined in one of the prison ships of unhallowed -memory which were moored in Wallabout Bay, -Brooklyn. Very likely he was in one of those floating -wooden tombs when his wife declared that she did -not know where he was. How long he remained as -a prisoner of war and what his later military experiences -were we do not know.</p> - -<p class='c009'>We hear of him next, after the war was over, being -appointed to make a map of the coast from Maine -to Florida and then appointed master of the mint for -Connecticut, where he devised and erected the -machinery for striking the copper cents then coined. -One wonders if the master of the mint often thought -of his youthful conviction for counterfeiting the money -of the same community.</p> - -<p class='c009'>Later, when the world was becoming interested in -cotton spinning under the stimulus of Arkwright’s -invention, Buel went to England to learn how to spin -<span class='pageno' id='Page_11'>11</span>cotton. He came back, bought some machinery, -and set up in New Haven the second cotton mill in -America, the first being Samuel Slater’s mill in -Pawtucket, Rhode Island. This seems to have been -the last shift in Buel’s varied life. He died in 1825 -at the age of about seventy-five. He was an interesting -product of his time and its conditions and as -such his story deserves record, for it must be remembered -that he was not a “sport,” but a “type.”</p> - -<p class='c009'>In 1774 Jacob Bay attempted type founding in -Philadelphia, but he also was apparently only an -experimenter.</p> - -<p class='c009'>In 1775 an experiment was made which, from the -conditions and from the character of the maker, we -should expect to find successful, but which failed -nevertheless. At this time Benjamin Franklin brought -out from France a full set of tools and punches and -undertook, with his son-in-law, Bache, to establish a -type foundry, there being then no type founding done -in this country if we may except what was being -done in Sauer’s establishment. The Franklin-Bache -foundry was well equipped with roman, italic, Greek, -and Hebrew matrices. Bache had received some -instruction from Fournier, the great French type -founder, from whom Franklin had purchased the tools. -They had for their workman a man named Frederick -Geiger. Geiger was what is known as a “redemptioner,” -or a man who in return for his passage money -to America, his board, and a small amount of money -wages agreed to be the bond servant of his creditor -for a certain period. These arrangements were very -common at this time and reflected no discredit upon -the young men who made them. Geiger was a -mathematical instrument maker by profession, but -became with study and practice a very expert matrix -cutter and founder. Franklin had brought him out -and he served his time with Franklin, but appears to -have left him as soon as his time was out and to have -gone to the Philadelphia mint. Like many another -<span class='pageno' id='Page_12'>12</span>skilled mechanic, however, he became interested in -the search for a perpetual motion machine and finally -died an insane pauper.</p> - -<p class='c009'>For some reason, the Franklin foundry was not -successful. It has been conjectured that one reason -may have been that Franklin was very much influenced -by French models in his designs, and that the printers -and the reading public were so accustomed to English -type faces that they did not take kindly to the new -forms. Curiously enough American printers have -never taken kindly to French type faces although -many of them, from Garamond down, are very beautiful. -Some of the French types designed, not far from -1875, seem to have become Americanized and are -among the most legible and beautiful in use, but -the American printers have never been very willing -to use them. Whatever the reason, the Franklin -foundry was added to the list of unsuccessful attempts -at type founding.</p> - -<p class='c009'>One more attempt was to be made before type -founding was permanently established in America. -This time the attempt was successful, but not permanent. -In 1783 John Bain (or Baine) sent his grandson -to Philadelphia with an outfit of type founder’s tools. -Bain had been associated with one of the famous type -founders of the time, Alexander Wilson, of Glasgow. -Wilson not only had a market in Scotland and -England, but also in Ireland and in North America. -Bain had been chosen by lot to start a foundry in -Dublin, but after remaining there a time he went to -Edinburgh, whence he turned his attention to the -other side of the Atlantic. Encouraged by the -reports from his grandson, Mr. Bain soon went, -himself, to Philadelphia. He was further encouraged -by the firm of Young & McCullough, then a leading -house of Philadelphia printers. In 1785 he opened -business under the quaint title of John Bain & Grandson -in Company. Their work was good and the -firm was immediately successful, theirs being the first -<span class='pageno' id='Page_13'>13</span>commercially successful attempt to cast type in -America. Bain, however, died in 1790, and the -business was soon given up by his family.</p> - -<p class='c009'>About the same time that Bain began business -Adam Gerard Mappa made an unsuccessful attempt -to start a foundry in New York. Mappa was born in -Belgium in 1750. He spent his early life in the army, -from which he retired after twelve years of service -with the rank of lieutenant. He then purchased a -part interest in the old firm of Voskens & Clerk. This -firm was established some time before 1677, and had -long been one of the principal sources of supply of -type for England. As pointed out elsewhere in this -series (No. 52, A Short History of Printing in England) -many of the types used in England for a long period -came from continental foundries, particularly Dutch. -Shortly after the purchase the Government underwent -important changes, in consequence of which Mappa -left the country. He landed in New York somewhere -about 1787, bringing with him his complete outfit -of tools and matrices. He had a number of very -handsome Dutch and German faces, some ordinary -roman type, and seven varieties of Orientals. For -these last Voskens & Clerk undoubtedly had found -considerable use, but America was as yet far from -needing any considerable supply of Oriental types. -Mappa’s capital had apparently been absorbed in his -purchase and lost in emigration. In 1798 he was very -ready to take himself and his equipment into the -service of Binney & Ronaldson. Probably Mappa -had no practical knowledge of type founding and very -little interest in it, for he left the service of Binney & -Ronaldson in 1800 to go into that of the great Holland -Land Company. He seems there to have found his -place and served in important positions until the end -of his life.</p> - -<div class='chapter'> - <span class='pageno' id='Page_14'>14</span> - <h2 class='c004'>CHAPTER II<br /> <span class='large'><span class='sc'>The Establishment of Type Founding</span></span></h2> -</div> - -<p class='drop-capa0_0_6 c008'>So far our story has been one of failure. There -is, however, plenty of evidence that the time -was ripe for success. The new country was growing -rapidly. The Americans, then as now, were insatiable -readers, especially of newspapers. The demand -for type was constantly increasing. America was -becoming more and more independent, more and -more desirous of supplying her own wants, and more -and more impatient of the inconvenience, expense, -and delay involved in ordering such merchandise as -type from England. If the persistency and courage -of the elder Bain had been shared by his family -unquestionably fortune would have been easily -within their grasp, but they paid the penalty of their -lack of good business qualities.</p> - -<p class='c009'>We come now to the story of the first permanently -successful type foundry in America, a foundry which -continued in vigorous existence until the erection of -the Jersey City foundry of the American Type -Founders Company, with which it was merged. -There met one day in an ale house in Philadelphia -two men whose lives were thenceforth to run together. -I suspect that they were drawn together in the first -place by the fact that they were both Scotchmen, -and that in their first contact they showed each other -the qualities which bound them together. They -were Archibald Binney and James Ronaldson. -Binney had learned and practiced the trade of type -founding in Edinburgh, Scotland. Ronaldson was a -biscuit-maker, out of business because of the burning -of his establishment, but with some ready money in -hand. It seemed to Binney that here was a heaven-sent -<span class='pageno' id='Page_15'>15</span>opportunity to combine his knowledge with -Ronaldson’s capital and enter under the most favorable -circumstances the business of type founding. -At this date there was no active foundry in America. -The successful Bain concern had been closed out. -The Sauer business, if active at all at this time, was -only an adjunct to a printing office, while Mappa was -finding it impossible to get started. They accordingly -agreed to enter the business as equal partners, -Binney putting in his tools, which were appraised at -$888.88, while Ronaldson put in the same amount -in cash.</p> - -<p class='c009'>With this they started business, the first entry in -their account book being November 1, 1796. We -learn that they rented a frame house on “Cedar -Street atwixt ninth and tenth streets” at $17.33 a -month. In 1800 the frame house was valued at -$40.00 and cost $82.09½ “to shove it to its present -location.” It must be remembered that at this time -a half-cent coin was in circulation and that accounts -were kept down to a quarter of a cent. At the time -of the moving of the house the firm bought the -property and built a new house on the same lot. -The new house cost $2,500 and they paid $72 a year -ground rent, apparently for additional land not -included in the purchase. Entries in their first -account book show that one or both members of the -firm lived in the house. They started with a small -assortment of type, but of the most important faces. -These faces appear to have included brevier (eight-point), -bourgeois (nine-point), long primer (ten-point), -small pica (eleven-point), pica (twelve-point), -and some two-line letters. They probably employed -as matrix cutter one Fürst, a die maker in the Philadelphia -mint, who afterward cut a medal bearing -Binney’s face on the obverse and an appropriate -design on the reverse.</p> - -<p class='c009'>At an early period, as we have seen, they took -over Mappa and his outfit, and in 1799 they bought -the tools of the Bain concern, paying $300 for them. -<span class='pageno' id='Page_16'>16</span>In 1806 the excellent Franklin outfit was in the -hands of a man by the name of Duane. Duane -became interested in Binney & Ronaldson and offered -to lend them any of the Franklin tools and matrices -which they desired to use. Ronaldson was so -impressed with the superiority of a part at least of -the Franklin equipment that, fearing that Duane -might change his mind and not being willing to take -any chances, he himself borrowed a wheelbarrow and -moved the material over to Cedar Street in the -middle of a very hot summer day.</p> - -<p class='c009'>Binney & Ronaldson were enterprising, thrifty, and -obliging. They did good work, took good care of -their customers, and were immediately and permanently -successful. They prospered greatly from the -beginning and both of them made fortunes, as -fortunes went in those days, within twenty years.</p> - -<p class='c009'>A study of their account books is extremely -interesting. Among other things they give the names -of 114 customers who found their way onto their -books in the first five years of the business. It would -hardly be worth while here to give the names of these -customers, but it is interesting to see where they -were. They were located as follows:</p> - -<table class='table1'> - <tr> - <td class='c005'>Philadelphia</td> - <td class='c006'>49</td> - </tr> - <tr> - <td class='c005'>Pennsylvania (outside of Philadelphia)</td> - <td class='c006'>6</td> - </tr> - <tr> - <td class='c005'>New York City</td> - <td class='c006'>22</td> - </tr> - <tr> - <td class='c005'>Albany, New York</td> - <td class='c006'>1</td> - </tr> - <tr> - <td class='c005'>Delaware</td> - <td class='c006'>4</td> - </tr> - <tr> - <td class='c005'>Virginia</td> - <td class='c006'>7</td> - </tr> - <tr> - <td class='c005'>New Jersey</td> - <td class='c006'>2</td> - </tr> - <tr> - <td class='c005'>Maryland</td> - <td class='c006'>4</td> - </tr> - <tr> - <td class='c005'>District of Columbia (Washington and Georgetown)</td> - <td class='c006'>2</td> - </tr> - <tr> - <td class='c005'>Connecticut</td> - <td class='c006'>1</td> - </tr> - <tr> - <td class='c005'>Massachusetts (Concord)</td> - <td class='c006'>1</td> - </tr> - <tr> - <td class='c005'>Georgia</td> - <td class='c006'>1</td> - </tr> - <tr> - <td class='c005'>Augusta (state not given; probably Georgia)</td> - <td class='c006'>1</td> - </tr> - <tr> - <td class='c005'>Tennessee (Knoxville)</td> - <td class='c006'>1</td> - </tr> - <tr> - <td class='c005'>Location not given</td> - <td class='c006'>12</td> - </tr> -</table> - -<p class='c009'>In 1811 Binney invented an improved type mold -which increased the output of the caster fifty per cent -<span class='pageno' id='Page_17'>17</span>and saved labor. He experimented with a machine -for rubbing type, but in this was not successful.</p> - -<p class='c009'>In 1812 Binney & Ronaldson published a specimen -book which is interesting as showing the development -of their business. This book shows eleven faces -larger than pica, fifteen kinds of body type, the -smallest being pearl (5 point), two sizes of Anglo-Saxon, -four sizes of Greek, four sizes of Hebrew, -two sizes of German text, six sizes of black letter, -three sizes of German, four sizes of Oriental letter, one -size of script and 120 kinds of “flowers” or borders, -the greatest number of these being on English -(14-point) body. It is not unlikely that some if not -all of the foreign letters may have come from the -Franklin and Mappa stocks. We know that Franklin -had Greek and Hebrew and that Mappa had German. -Mappa’s Orientals did not appear. Probably even -if Binney & Ronaldson still had the matrices it would -not have been worth while to include them in their -specimen book. The preface says that they were -obliged, contrary to their inclinations, to imitate -European taste. Evidently America had not yet -become independent except politically. They gave -two examples of erroneously formed faces in long -primer and small pica, which were really condensed -faces as we should now call them. They appear to -have invented the dollar mark $ in 1797 and the -abbreviation l̶b̶ for weight pounds in 1798.</p> - -<p class='c009'>In 1819 Mr. Binney retired with an ample competence. -Mr. Ronaldson ran the business alone for a -while, but in 1823 he was succeeded by his brother -Richard, who conducted the business for ten years.</p> - -<p class='c009'>In 1833 the business was taken over by Lawrence -Johnson and George E. Smith. Johnson was able, -enterprising, and energetic, and introduced new vigor -into the conduct of the concern. Contemporaneously -with Jedediah Howe he introduced stereotyping into -Philadelphia. Smith retired in 1845 and Johnson -took in as partners Thomas MacKellar, John F. Smith, -and Richard Smith, young men who had grown up -<span class='pageno' id='Page_18'>18</span>in the business and were thoroughly interested in it -and devoted to it. The firm continued to prosper -greatly. Johnson died in 1860, but his partners took -in Peter A. Jordan, changing the firm name to -MacKellar, Smiths & Jordan. By this time the house -had acquired a great reputation and a leading position -among American type founders. Mr. Johnson died -in 1884 and the next year the firm was still further -increased by the addition of William B. MacKellar, -G. Frederick Jordan and Carl F. Huch. The firm -name was again changed to The MacKellar, Smiths -& Jordan Company. During all this time, however, -the house was known among printers as the Johnson -Type Foundry. For many years it had acquired -great distinction for its diligence in electrotyping -foreign designs as well as in originating new faces -for ornamental types and borders. The fashion of -the time for typographical decoration was largely -developed by the publication of a house organ called -the “Typographic Advertiser,” a quarterly journal, -edited by Thomas MacKellar, which contained a -fund of matter of interest to printers and a vast -quantity of fanciful borders and other material now -out of fashion.</p> - -<p class='c009'>In 1892, when the American Type Founders Company -was organized by the consolidation of some -twenty foundries, the MacKellar, Smiths & Jordan -Company entered the combination and became the -Philadelphia branch.</p> - -<p class='c009'>Now that we have told the story of this great -house in detail, we may go back to consider some -more of the early firms. The success of Binney & -Ronaldson was due to a combination of personal -qualities and favorable conditions. The increase of -printed matter was very great. Americans have -always been a newspaper-loving people, and after the -independence of the colonies the founding of new -newspapers went on apace. It must not be forgotten -that all printing in the early days of the last century -was done with foundry type, hand set. The demand -<span class='pageno' id='Page_19'>19</span>for type, therefore, was not only large, but was increasing. -Up to the outbreak of the war of 1812 the few -type foundries in America were regularly from three -to four months behind their orders, so greatly did -demand outrun production.</p> - -<p class='c009'>Under such circumstances Binney & Ronaldson -could not have the field to themselves. In 1805 we -find Samuel Sower & Company at work at Baltimore. -Sower belonged to the family of Christopher Sauer, -and used the material of the old firm with additions. -He made some fonts of roman and italic and appears -to have made a specialty of small type faces such as -diamond (4½-point), brilliant (4-point), and excelsior -(3-point).</p> - -<p class='c009'>In 1809 the second permanently successful foundry -was started by Elihu White and a man by the name -of Wing in Hartford, Connecticut. Here again we -have a sample of characteristic Yankee courage, -resource, and ingenuity, qualities which have enabled -Americans at all times to accomplish the apparently -impossible. Neither White nor Wing knew the business -of type founding. They had certain ideas of -their own and for the rest they apparently worked -backward from the finished type. Their attempt was -to cast several letters at once, to be afterwards -separated, instead of casting the letters singly as -was the general practice. Probably partly for that -reason and partly because of ignorance, perhaps also -because of their confidence in their ability to improve -on accepted methods, they did not use the approved -moulds. The attempt to cast letters by wholesale, -as it were, was not successful and their entire progress -was slow and unsatisfactory. After many failures, -they sent a man to Philadelphia in order that he might -learn the trade secrets. In those days type founding, -like many other trades, was to a great extent a secret -trade and one of the chief duties of the workman -was to keep his employer’s secrets. Their attempt to -steal the trade failed and they were thrown back -upon their own resources again. Finally, however, -<span class='pageno' id='Page_20'>20</span>their efforts were crowned with success and they -began to turn out commercially successful type. In -1810 White separated from Wing and went to New -York, where he and his brother Julius established a -business under the firm name of E. & J. White. -From this time on they were steadily and brilliantly -successful.</p> - -<p class='c009'>In 1820 they opened branches in Buffalo and in -Cincinnati to meet the requirements of an expanding -trade. The business remained in the family until -1854, when it was bought out by three employees -who continued it under the later well-known firm -name of Farmer, Little & Co.</p> - -<p class='c009'>Another famous name in the annals of American -type founding appears at about the same time as -that of White. This was the name of Bruce. David -Bruce was born in 1750, in Wick, Caithness, Scotland. -When a mere boy Bruce was impressed into the -British navy after the bad old custom of that day -and served for a while in the Channel Fleet under the -command of Lord Howe, afterwards well known, -together with his brother General Howe, for their -part in the Revolutionary War. After he left the -navy Bruce was apprenticed to a printer. He came to -New York in 1793 and obtained work on a newspaper. -Shortly afterward he sent for his brother George and -apprenticed him to a printer.</p> - -<p class='c009'>In 1806, after George had become a journeyman -printer, the brothers were offered by publishers the -printing of Lavoisier’s Chemistry. The fact that they -had no plant, no equipment, and no money did not -deter them from accepting the offer. Bruce managed -somehow to secure a place and a press, and he -borrowed a font of type. He introduced the standing -press for dry pressing his sheets, and he turned out -so good a piece of work that the publishers offered him -all the printing that he could do. From this start -he set up a successful business.</p> - -<p class='c009'>In 1811 Bruce, with his usual business acumen, -recognized the importance of stereotyping and went -<span class='pageno' id='Page_21'>21</span>to England to study it. As we have seen, however, -it was not easy to learn other people’s trades in those -days and Bruce met with great difficulty. He did, -however, succeed in learning something from a Scotch -workman, perhaps helped by a certain sense of -kinship, which is common among the Scotch, and -returned home to make experiments for himself. -Times were not favorable for keeping business running, -to say nothing of starting new business. The conditions -preceding the war of 1812 were disastrous for -business in the United States. American commerce -was crushed between the upper and nether millstones -of England and France, who had been at war for -many years and were attempting to fight each other’s -commerce and industries as well as each other’s -soldiers. The condition was very similar to that -which preceded the entrance of the United States -into the great war of 1917, excepting that it continued -much longer and, owing to the comparative weakness -of the United States, was much more serious than the -later difficulty. The war did not mend things -industrially and its close in 1815 left the United States -in a bad business condition for a good many years. -Nevertheless, the courage and persistency of the -Bruces enabled them to weather the storm, and they -not only held their own but developed along new -lines.</p> - -<p class='c009'>In 1814 and 1815 Bruce produced the first two sets -of stereotype plates made in America. They were a -common school testament in bourgeois type and a -12mo Bible in nonpareil. Bruce invented a machine -for planing the backs of the plates to make them of -uniform height. This was a great improvement and -was so successful that it is said that of the entire -two sets of plates only a single plate needed a slight -overlay.</p> - -<p class='c009'>The development of the stereotyping process, however, -brought to light difficulties with type. Foundry -type was sold with the shoulder beveled off for ordinary -printing and this was not favorable for stereotyping. -<span class='pageno' id='Page_22'>22</span>The type founders would not make the high spaces -and quads which were needed. As the best way of -meeting these difficulties, Bruce, in 1815, went into -company with the Starr brothers for the manufacture -of type. It soon appeared that type founding and -stereotyping promised to be more profitable than -printing and Bruce sold out his printing establishment -to devote himself to the other branches. Bruce and -the Starrs were unable to agree and the partnership -was soon dissolved, Bruce deciding to carry on the -business alone in spite of the difficulties of every -sort which surrounded it. In addition to the business -conditions of the time, neither of the Bruces had any -practical knowledge of type founding and the matrices -of their only complete font were stolen, presumably -by someone who was interested to secure their failure. -It needed more than that, however, to discourage -this persistent Scotchman. George Bruce set himself -at work to learn punch cutting and mould making. -His first efforts were crude, but he had an artistic -temperament, a critical spirit, and a practical knowledge -of printers’ needs. By these qualities and his -own persistence he soon became very proficient.</p> - -<p class='c009'>By 1820 the Bruce foundry was the best in the -country, doing better work than even Binney & -Ronaldson at that time. In 1822 Bruce undertook -to remedy the confusion in sizes which was then -and for a good many years a source of difficulty, -annoyance and expense to printers. He devised a -scientifically correct system by which the size doubled -with every seven sizes of the system. This was -uniform throughout, so that wherever you touched -the system, you found any given type twice as large -as the seventh below and half as large as the seventh -above. In spite of the fact of the simplicity and -scientific correctness of the system it did not prove -suited to commercial work and was not adopted.</p> - -<p class='c009'>In 1828 William M. Johnson had invented a type-casting -machine in which a pump forced the liquid -metal into the mould, giving the type a sharper face -<span class='pageno' id='Page_23'>23</span>than was possible with hand casting. The machine -was a step in the right direction, but was crude and -imperfect. White took it up and tried to improve it, -but he did not succeed in removing its fundamental -defects. The types were not cast solid. Being -hollow they were light and too weak to withstand the -pressure of the presses. The first successful type-casting -machine was made by David Bruce, Jr., in -1838, in development of the Johnson idea. George -Bruce bought David Bruce’s patents and used the -machine until 1845, when David Bruce made further -improvements and produced the type of machine -which is now in general use not only in this country -but in Europe, where the method was soon adopted.</p> - -<p class='c009'>James Conner, a printer of New York, began business -as a stereotyper in that city in the year 1827. -His was the first stereotype edition of the New -Testament. He also earned a good reputation as -the publisher in the United States of the Bible in -folio form. To the business of stereotyping he soon -after added that of type founding, in which he was -remarkably successful. With the aid of Edwin Starr, -then in his employ, he made the electrotype matrices -which enabled him largely to increase the stock of -his foundry. After the death of James Conner, in -1861, the foundry was managed by his sons and -grandsons, who finally merged the business in that -of the American Type Founders Company.</p> - -<p class='c009'>Meantime the business of type founding spread -from its original centers and new fields were occupied. -By 1818 the Boston Type Foundry had been founded -by Beddington & Ewer, and undertook to cast types, -set types, and make stereotype plates. Samuel N. -Dickinson was taught the trade of a printer in the -State of New York, but afterward was employed as a -compositor in the Boston Type and Stereotype -Foundry. In 1829 he began business as a master -printer and in 1839 he began type founding after -having designed for an Edinburgh foundry a series -of Scotch-cut letters. The success of this face determined -<span class='pageno' id='Page_24'>24</span>him to cast type for himself. In 1845 he had -a full assortment of types and issued a specimen -book. Dickinson was not a strong man, however, -and died of consumption in 1848, at the age of forty-seven. -The business was continued by Sewall Phelps -and Michael Dalton. Both the Boston Type Foundry -and the Dickinson Type Foundry had unusually -successful careers and were later absorbed in the -American Type Founders Company.</p> - -<p class='c009'>Type foundries were started in Albany, Buffalo, -Pittsburgh, Louisville, St. Louis, Cincinnati, Philadelphia, -Baltimore, and in New York, where there -were at least seven foundries. This led to over-production, -competition, and the failure of many -weak concerns, a condition of things which was not -entirely remedied until the organization of the -American Type Founders Company in 1892.</p> - -<p class='c009'>In 1840 Augustus Ladew and George Charles -opened at St. Louis the first foundry west of Cincinnati. -This firm continued in successful operation -until it was merged into the American Type Founders -Company at its organization.</p> - -<p class='c009'>In 1806 Robert Lothian, of Scotland, tried and -failed to establish a type foundry in New York. His -son George B. Lothian, who had been taught the -trade of stereotyping in the stereotype foundries of -John Watts, of New York, and B. & J. Collins, of -Philadelphia, had also received instruction from his -father and from Elihu White in type founding, -undertook to establish a type foundry in Pittsburgh, -Pennsylvania. It was an unsuccessful enterprise and -Lothian returned to New York. In 1822 he undertook -to make type for the old firm of Harper & -Brothers. The face of Greek, which he cut for the -Anthon Classical Series, was very much admired. -He died in 1851, but the foundry continued in business -under other hands until 1875.</p> - -<p class='c009'>The next year Louis Pelouze, the founder of a distinguished -family of type founders, started a business -in Philadelphia. This was another of the successes -<span class='pageno' id='Page_25'>25</span>from both a commercial and artistic point of view, -and was another of the constituents of the American -Type Founders Company.</p> - -<p class='c009'>The Boston Type Foundry, which started as a -stereotyping plant, passed through an experience as -a co-operative concern under the direction of the -employees who owned the stock. As is usually the -case with such enterprises, it was unsuccessful until -finally the majority of the stock got into the possession -of Gorham Rogers, from which time it was operated -as in the ordinary way and attained a high degree of -success, doing very fine work. Mr. Conner, foreman -in this foundry, who had started as a stereotyper in -1827, was sent to St. Louis to open a branch establishment -which was very successful and later became -famous as the Central Type Foundry. Conner -invented an electrotype matrix to take the place of -the matrices which had formerly been made by driving -a steel punch into copper.</p> - -<p class='c009'>The Dickinson Type Foundry also did work of a -very high grade. Perhaps the most fortunate thing -that ever happened to it was the entrance into its -service in 1868 of Mr. Joseph W. Phinney. Mr. -Phinney was born in 1848, and after a varied experience -as a printer in several places, went to Boston -in 1868, later entering the employ of the old Dickinson -Type Foundry, in the selling department. He -soon distinguished himself in the service of the -Dickinson Company and after a time became one of -its partners. His skill, artistic taste, and ability soon -made him one of the leaders in type design as well -as one of the great figures in the type founding -business. For many years Mr. Phinney has exercised -an influence for good in type founding which -it would be difficult to overestimate. On the establishment -of the American Type Founders Company -in 1892 the Dickinson concern became one of the -constituent firms and Mr. Phinney’s leadership was -recognized by his election to the position of Vice-President -of the new concern. Mr. Phinney has -<span class='pageno' id='Page_26'>26</span>remained in Boston as the head of the New England -branch of the business and is one of the active and -leading officers of the great type founding company.</p> - -<p class='c010'>Certain improvements in the manufacture of type -which have brought it to its present perfection remain -to be recorded. The most important of these were -made by Barth, Marder, Benton, and Nicholas J. -Werner. Henry Barth was born in Leipsic, Germany, -in 1823, and learned the trade of mathematical instrument -maker. Before 1840 the Bruce type caster was -seen in Germany and (not being protected by German -patents) was imitated by German type founders. -Barth was engaged by Brockhaus, one of the more -important German printers, who maintained his own -bindery and type foundry and now added a machine -shop primarily for the purpose of building Bruce -machines. Barth spent several years in the employ -of Brockhaus making type foundry tools and had -two years’ service in the German navy. He came to -America in 1849 and at first practiced his trade as a -maker of mathematical instruments, but before long -connected himself with the Cincinnati Type Foundry. -Here he invented a machine to cast type by direct -steam pressure without the pump. The machine was -successful, but for various reasons did not come into -general use. He then built a 14 × 18 job press, long -well known as the Wells jobber. During his service -with the Cincinnati Type Foundry the hand-casting -machines were entirely replaced by steam machines, -and in 1853 he invented the kerning machine. About -the same time the first shaved leads were made -under Barth’s direction. At first the shaving was -done on a hand machine, but later he devised a steam -shaving machine. During the course of a long -service to the industry Barth was the author of many -important inventions and improvements in the details -of type founding. He died in 1907.</p> - -<p class='c009'>To John Marder we owe the development of the -American point system of type bodies. The Marder -<span class='pageno' id='Page_27'>27</span>system was not immediately adopted, but as developed -by later inventions its superiority was so great that -in spite of the trouble and expense involved in the -standardization of type it finally became universal.</p> - -<p class='c009'>L. B. Benton introduced the use of accurate unit -width of type. Previously the width of the letters had -varied with each character. This resulted in a multiplicity -of widths of type. Benton’s theory was that -quicker typesetting and more uniform spacing could -be obtained by having the types standardized on a -minimum number of widths and securing the proper -space between characters by modifying the shapes of -certain letters to conform to these widths. Benton’s -type was popularly called “self-spacing” although -the name was misapplied. Another disadvantage then -existing was that similar style type faces from different -foundries did not line, and even the height-to-paper -of types varied. Type sizes which were supposedly -the same, in reality varied considerably in different -foundries. The confusion and difficulty for the printer -arising out of this lack of standards may easily be -imagined. Each foundry had its own width and -size of type, and in many cases its size varied by a -considerable fraction of a point from that of other -foundries. Very probably this condition was deliberately -maintained by some foundries for the purpose of -holding the entire trade of their customers, the idea -being that if the types coming from different foundries -did not go together well the customer would naturally -be led to buy all of his type in the same place. The -improvement of these conditions was brought about -by the introduction of the point system of bodies, -Benton’s unit width, and the perfection of the lining -and unit set systems now in use.</p> - -<p class='c009'>Some important foundries held out against these -improvements for years, but the demands of their -customers, who perceived the great advantages of the -standardized type, finally compelled adhesion to the -new system. One important result of these changes -was the invention of the punch-cutting or engraving -<span class='pageno' id='Page_28'>28</span>machine. The adoption of the improved system -required the production of a vast number of new -punches which had formerly been cut by hand. It -was impossible to find enough skilled workmen to meet -this demand and the engraving machine now used for -making punches was accordingly devised by Benton.</p> - -<p class='c009'>The field for the artistic development of type is -inexhaustible, but it is difficult to imagine how type, -as a mechanical product, can be improved beyond its -present condition. The completeness and perfection -of the system, the excellence of the machinery, and -the skill in processes which have been developed make -the product apparently perfect.</p> - -<div class='chapter'> - <span class='pageno' id='Page_29'>29</span> - <h2 class='c004'>CHAPTER III<br /> <span class='large'><span class='sc'>Composing and Type-Casting Machines</span></span></h2> -</div> - -<p class='drop-capa0_0_6 c008'>With the great expansion of printing in the -early part of the nineteenth century, and with -the invention of greatly improved presses, there -appeared a natural impatience with the slow process -of hand composition. It seemed a strange comment -on human inventiveness that while new machines -had been found for doing so many kinds of man’s -work, while the simple screw press of Gutenberg -had developed into the steam-driven platen and -cylinder, and while so many improvements had been -made in the manufacture of type, the setting of type -was exactly where it was in 1450. More than 350 -years had introduced practically no changes in the -primary process of arranging type into words and -sentences. What could be done to apply human -ingenuity to this process?</p> - -<p class='c009'>This question was asked by inventors all over the -world. Naturally the first line of approach to the -answer was from the direction of a machine which -should mechanically take up the types and place them -in the stick, in other words, a mechanical composer -or typesetting machine. Unsuccessful attempts in -this line were made as early as 1820 or 1822. The -experimenters were not deterred by failures and commercially -successful typesetting machines were finally -invented, among which may be named the Rogers, -the Thorne, and the Simplex. The mechanical typesetter -was successful for certain kinds of work and -went a long way toward meeting the general need.</p> - -<p class='c009'>It would probably have been developed to the -point of meeting it far more fully had it not been for -<span class='pageno' id='Page_30'>30</span>the epoch-making invention of the type caster. The -first successful type composing and casting machine -to be put on the market was invented by Ottmar -Mergenthaler. Mr. Mergenthaler was born in Germany -in 1854, and there learned the trade of an -electrical instrument maker. In 1872, when he was -eighteen years old, he came in sight of the period -when the law would call him into military service. -The war of 1870 with France was a very fresh memory. -The political stability of Europe seemed then much -less assured than it did at a later date. Young -Mergenthaler had no desire to expose himself to the -danger of being called upon to participate in another -great war. Therefore, like many other young -Europeans, he came to America to avoid military -service.</p> - -<p class='c009'>Arrived in this country, he worked for some time -at his trade. The turning point in his career came -in 1876 when he was engaged as an expert mechanic -to work on the development of a typewriter transfer -machine in which a group of people were interested. -His work on this machine, although long continued, -was not successful, but his study and experimentation -led him to conceive the idea of a type-casting machine -which should be controlled from a keyboard similar -to that of a typewriter, but larger on account of the -greater number of characters necessary. The first -model was produced in 1884. The machine was far -from perfect, but was sufficiently developed to make -it clear that he was on the track of a revolutionary -invention. Two years later, in 1886, Mergenthaler -produced his first successful machine. This was put -into the composing room of the New York Tribune. -Whitelaw Reid, the distinguished editor of the -Tribune, afterward American ambassador to Great -Britain, and other wealthy gentlemen became interested -in Mergenthaler’s work and formed a syndicate, -making a contract with the inventor whereby he was -hired to work for them with a share in the profits of -the business. The machine was named by Mr. Reid -<span class='pageno' id='Page_31'>31</span>himself the linotype because it cast a “line o’ type.” -The great success of the machine and the enormous -growth of the business of manufacturing it are too -familiar to need description, while the consequences -of the invention in making possible an enormous -increase in the output of printed matter can hardly -be estimated.<a id='r1'></a><a href='#f1' class='c011'><sup>[1]</sup></a></p> - -<div class='footnote' id='f1'> -<p class='c009'><a href='#r1'>1</a>. See Text Book No. 23, “Type-Casting and Composing Machines.”</p> -</div> - -<p class='c009'>Mr. Mergenthaler severed his active connection -with the syndicate in 1888, although he continued -interested in it and made from time to time such -minor improvements in the machine as suggested -themselves to him. He died in 1899 at the early -age of forty-five.</p> - -<p class='c009'>While Mergenthaler was at work Tolbert Lanston -was experimenting along the lines of a different -machine. His aim was not the production of a -machine which should cast type, by lines, but of a -machine which should cast type and spaces separately -and at the same time arrange them in galleys ready -for taking proof. Obviously, the line slug is of use -only for the special purpose for which it was cast, -while the separate types cast by the monotype can -be distributed just as if they were foundry types and -can also be used for hand composition. The type thus -produced is not quite as perfect as foundry type, but -is substantially as useful for many purposes.</p> - -<p class='c009'>Each machine has some advantages of its own and -their use is dictated by the result which it is desired -to produce. The Lanston machine appeared in 1892. -These two machines are representative of the types -of type-casting machines in the market. Other -successful machines of the same general types have -been invented and are in extensive use.</p> - -<div class='chapter'> - <span class='pageno' id='Page_32'>32</span> - <h2 class='c004'>CHAPTER IV<br /> <span class='large'><span class='sc'>Electrotyping</span></span></h2> -</div> - -<p class='drop-capa0_0_6 c008'>Electrotyping is an American invention. -As long ago as 1830 the laboratory discovery was -made that when copper was deposited upon the side -of a voltaic battery and then removed, it furnished -a reproduction of the surface upon which it had -been deposited. In the development of this discovery -very interesting experiments in reproduction were -performed by Thomas Spencer of Liverpool, J. C. -Jordan of London, and Prof. Jacobi, a Russian. -These experiments were purely scientific, with no -commercial end in view. In 1839 Joseph A. Adams, -a wood engraver connected with Harper & Brothers, -the New York publishers, conceived the idea of -applying this principle to the printing industry and -made an electrotype from a wood cut which was -used for a magazine illustration in 1841. He also -made the illustrations for Harper’s great family Bible, -which was published in 1842–1844. Adams’s method -was to take an impression of his block in an alloy of -soft metal, probably largely bismuth. The process, -however, destroyed the block, and although experimentally -successful it was not commercially practicable. -The invention of Smee’s battery and the use -of wax for the moulds made the process commercially -sound and practical.</p> - -<p class='c009'>In 1848 John W. Wilcox, of Boston, using these -methods, began business as the first commercial -electrotyper and was successful from the beginning. -His first work contained all the essentials known for -many years. Improvements soon followed. In 1855 -John Gay, of New York, introduced the use of tin -<span class='pageno' id='Page_33'>33</span>foil for soldering the back of copper shells and the -same year Adams invented a dry brush black-leading -machine to take the place of the hand method which -had hitherto been necessary. In 1856 Filmer, of -Boston, invented the process of backing up the shells -by holding the shell down with springs.</p> - -<p class='c009'>In 1868 Stephen D. Tucker invented the type of -dry brush black-leading machine which is now in use -and ten years later Edward A. Blake, of Chicago, -invented the air blast black-leading machine.</p> - -<p class='c009'>As early as 1871 Silas P. Knight, of Harper & -Brothers, invented the wet black-leading process. It -was successful, but, as sometimes happens, attracted -no particular attention. Its merits in comparison -with other methods do not appear to have been -appreciated and the discovery was forgotten for more -than a quarter of a century. In 1908 Frank H. -Learman, of Buffalo, invented a wet black-leading -machine which was adopted by the industry and -improved by later patents. The wet process is now -considered the best. Perhaps the greatest single step -forward in the development of the electrotype was -the substitution of the dynamo for Smee’s battery, -a change accomplished by Leslie, of New York, in -1872.</p> - -<p class='c009'>R. Hoe & Company, of New York, were greatly -interested in electrotyping machinery and were -leaders in encouraging its development and in putting -it on the market.</p> - -<div class='chapter'> - <span class='pageno' id='Page_34'>34</span> - <h2 class='c004'>CHAPTER V<br /> <span class='large'><span class='sc'>The Development of Printing Presses</span></span></h2> -</div> - -<p class='drop-capa0_0_6 c008'>The development of printing machinery has -already been described to a considerable extent -in two of the preceding volumes of this series (No. 6, -Platen Printing Presses, and No. 7, Cylinder Printing -Machines). It may be worth while, however, to -review briefly in this place the main points of progress -in this direction. As we already know, American -printers originally and for many years imported all -their presses as well as their type. This condition, -however, could not be permanent. As early as 1775 -good presses were being made at Philadelphia and -Hartford. These presses were of the Blaeu or -“Dutch” type. They were wooden machines with -stone beds and had undergone practically no change -for a couple of centuries. The best known builder -of these old presses in America was Adam Ramage, -who came from Scotland to Philadelphia in 1790. -Ramage was not only a good workman, but of an -inventive turn of mind, and introduced several -improvements, notably the substitution of an iron -bed for the stone one. The iron press was invented -by Lord Stanhope, in England, about the year 1800 -and was the beginning of the improvements in printing -machinery which were to go so far in the course -of a century.</p> - -<p class='c009'>Mr. Henry L. Bullen is authority for the statement -that no Stanhope press was ever brought to America. -The reason lies probably in the fact that an American -invented an iron press at about the same time. This -was George Clymer, of Philadelphia, who after much -experimenting produced the Columbian Press, an -<span class='pageno' id='Page_35'>35</span>iron machine which came into general use in England -as well as in the United States about 1816. It was a -complicated machine, but in spite of its complexity -was very durable and beautiful as well as powerful. -It was worked on the ordinary hand-lever principle, -but the leverage system gave a fine chance for the -pressman’s skill. It had wonderful possibilities in -the production of the most perfect work when in the -hands of a skillful workman. It won and long kept -well-deserved favor. It was introduced into England -in 1807, and in 1817 Clymer himself followed it to -England, where he spent the remainder of his life.</p> - -<p class='c009'>In spite of the capacity of the Columbian press for -the production of artistically perfect work there was -a great and increasing demand for presses of a different -type. The demand was for a simpler press and also -for one that would mechanically turn out larger -quantities of work than were possible under the old -leverage system. The first demand was met by the -invention of Peter Smith, of New York, who built a -press somewhat on the lines of the Columbian, which -was very heavy, carried larger forms, and used shorter -levers, and by Samuel Reid, who, in 1824, invented -the simple but excellent Washington hand press, -which is still in common use.</p> - -<p class='c009'>From this point on there are two lines of development -which may be followed separately, one the -development of the power printing press in which -the bed and platen are brought together by a power-driven -gear rather than by a hand-moved lever, the -other the development of the cylinder press.</p> - -<p class='c009'>The first known attempt to apply power to a printing -press was made by William Nicholson, of London, -in 1790, in connection with his abortive attempt at -the invention of a cylinder press, to which reference -will be made later.</p> - -<p class='c009'>The first American attempt to use power was made -by Nathan Hale, father of the famous Edward -Everett Hale, who took possession of the Boston -Advertiser in 1814.</p> - -<p class='c009'><span class='pageno' id='Page_36'>36</span>Daniel Treadwell, of Boston, invented and built -for Hale the first power press used in America. It -was a very large platen with a wooden frame. The -presses of Isaac Adams (1830) and Otis Tufts (1834) -also had originally wooden frames, but later were -built with iron frames. Very few Treadwell presses -were ever used. At first they were driven by horsepower, -later by steam. The early power presses -were worked by horses, by men known as crank-men, -and even in the case of small machines by dogs. -These crude power appliances soon gave way to -steam, and within a few years steam has been largely -supplanted by the electric drive, with a tendency to -a preponderance of individual motor-driven machines. -The electric drive, by the way, is an American -invention.</p> - -<p class='c009'>In 1830 Samuel Adams, of Boston, built a platen -power press, which was long the only power press -capable of fine work and exact register. Not long -later S. P. Ruggles, of Boston, invented the Diamond, -a small, rapid machine for the quick production of -cards, envelopes, and other small work, and later, -in 1839, the Ruggles rotary, a successful and popular -power jobber. In 1856 George P. Gordon began the -line of Gordon presses, still made in improved models -by the Chandler & Price Company, of Cleveland, and -very extensively used. The advantages of the Gordon -were simplicity of design, a strong impression, high -speed, and lightness of running.</p> - -<p class='c009'>In 1869 Merritt Gally invented the Universal press, -using a different mechanical system and producing -a perfectly parallel impression. Gally’s invention -was later improved by John Thomson, who produced -a machine which has been extensively used and is well -known as the John Thomson press. In 1875 Gally -also invented a heavy press for embossing, cutting, -and creasing heavy stock. In 1885 the Colt’s -Armory universal press, a very excellent machine -especially adapted to heavy work, was placed on the -market.</p> - -<p class='c009'><span class='pageno' id='Page_37'>37</span>In 1885 Wellington P. Kidder invented a platen -press of the Gordon type, with automatic feed and -delivery.</p> - -<p class='c009'>In 1890 Albert Harris invented the Harris press, the -first really successful high-speed automatic jobber. -Two other familiar high-speed presses, the Auto Press -and the Kelly, are small high-speed cylinders.</p> - -<p class='c009'>The first known attempt to make a cylinder press -was that of William Nicholson, of London, who -invented, in 1789, a machine that should apply the -paper to the type by means of a cylinder. As we -have seen, Nicholson went so far as to invent application -of power to his machine, forseeing that power -would be necessary for the use of any successful -cylinder presses. Nicholson was not a printer, and -his idea, although it had attracted attention, did not -assume practical shape.</p> - -<p class='c009'>Ten years, or so, later Dr. Kinsley, a Connecticut -man, developed Nicholson’s idea and produced a -cylinder press, which is described at considerable -length by Isaiah Thomas in his History of Printing. -Thomas seems to have been a good deal interested -in the machine, although he appears to have regarded -it as promising rather than successful. He says that -it saved labor and did good work. He was sufficiently -interested to print a picture of it although his book -is not otherwise illustrated. In a general way it was -not unlike a modern cylinder proof press. It printed -on one side only and was not so arranged as to secure -perfect register if an impression was desired on the -other side.</p> - -<p class='c009'>Several other attempts were made at the invention -of cylinder presses, which attracted considerable -attention, but which were not commercially successful. -The first real success was made by Fredrick -König, a native of Saxony, who, in 1814, invented a -cylinder press which was immediately put into use -in the press room of the <cite>London Times</cite>. König’s -invention, like most first inventions in a new field, -was susceptible of improvement, especially in the -<span class='pageno' id='Page_38'>38</span>direction of simplicity. These improvements, however, -were soon made, and the cylinder press started -on its career of wonderful development. The first -cylinder press used in America was a Napier brought -out from England in 1825, and set up in the office -of the <i>National Intelligencer</i> in Washington.</p> - -<p class='c009'>The development of the cylinder press in America -is largely connected with the name of Hoe. Robert -Hoe, a Leicestershire farmer’s son, was born in 1784, -and in due time was apprenticed to a carpenter. -In 1803 he came to New York, where he worked at -his trade. After a time he became associated in -business with his brother-in-law, Matthew Smith, Jr. -Smith was a carpenter and a printer’s joiner (that is -to say, a maker of press frames and other wood work -used by printers) and a brother of Peter Smith, the -press inventor, who has already been mentioned. -Through this association the firm got into the business -of building presses, first of wood and later of iron.</p> - -<p class='c009'>Both the Smiths died in 1823 and Hoe inherited -the business, which he carried on in the name of -Robert Hoe & Company. Hoe was always enterprising -and his attention was quickly drawn to the -Napier press, which had been set up in Washington -in 1825. As usual, this machine was not patented -in this country and Hoe proceeded to imitate it, with -such changes as occurred to him, and put on the -market, in 1827 and 1828, the first flat bed and cylinder -press made in the United States.</p> - -<p class='c009'>Robert Hoe retired on account of failing health in -1832, but he left the business in the capable hands of -Richard M. Hoe and Matthew Smith, the son of -Matthew, Jr., Robert Hoe’s original partner. The -concern went on building and improving presses and -in 1842 they patented a new bed-driving motion of -which the well-known Meihle press of today is a -development.</p> - -<p class='c009'>In 1845 Hoe & Company brought out the Hoe -type-revolving machine. This was the first press -distinctively for large newspaper circulations, which -<span class='pageno' id='Page_39'>39</span>they afterward developed to so wonderful a degree, -and which henceforth was their leading line of production. -In this machine the type forms were -imposed on turtles and fastened on a central cylinder, -against which revolved as many impression cylinders, -from two to ten, as were required. This machine -put American printing machinery in the first rank. -In 1858 the Hoe firm bought out the Isaac Adams -patents and business.</p> - -<p class='c009'>About this time two other important inventions -were made, both of which were later utilized by the -Hoes. In 1853 Pratt built for the Brooklyn <cite>Daily -Advertiser</cite> the first perfecting press, or press printing -both sides of the paper without removing the sheet. -In 1860 William Bullock began to experiment on a -rotary self-feeding or web printing press, and finally -succeeded in achieving success in 1865. The Bullock -machine was self-feeding, but cut the sheets from a -web before printing.</p> - -<p class='c009'>In 1847 Hoe & Company began work on a rotary -printing press to print from the web without first -cutting it into sheets. This involved all the essential -parts which had been discovered and gathered them -into one machine. The experiment was successful, -resulting in the production of the wonderful multiple -press, which may be seen today in the press room of -any great newspaper.</p> - -<p class='c009'>The invention of the Hoe press, the development -of the autoplate, a machine invented in 1900 by -Henry A. Wise Wood, of New York, whereby the -process of stereotyping is made in a practical way -subsidiary to newspaper printing, and the invention -of wood pulp paper have made possible the modern -newspaper.</p> - -<p class='c010'>We have thus very hastily traced the process of -development in types and presses in the United States. -Much might be said, if space permitted and the purpose -of this series required it, of the invention of -other presses, appliances, and methods, and of the -<span class='pageno' id='Page_40'>40</span>improvements which are constantly being made in -the tools and materials used in printing and the allied -industries. These matters, however, are of only -secondary historic interest. So much as the apprentice -needs to know about them he will learn in the -course of his work, as he comes in contact with them -and learns their use. Perhaps the purpose of this -book has been sufficiently accomplished in showing -the milestones along the historical development of the -two great tools of the printer, his type and his press.</p> - -<p class='c009'>The list which follows is a brief statement of the -most important contributions of American inventors -to the art of printing:</p> - -<ul class='index'> - <li class='c012'>Web rotary presses.</li> - <li class='c012'>Automatic stereotyping machines.</li> - <li class='c012'>Printing machinery under electrical control.</li> - <li class='c012'>Two-revolution cylinder presses.</li> - <li class='c012'>Sheet feed rotary presses.</li> - <li class='c012'>Multicolor presses.</li> - <li class='c012'>Rotary direct and rotary offset presses for lithographic work.</li> -</ul> - -<p class='c009'>This, of course, includes only the inventions which -are fundamental and original. Improvements of some -fundamental invention, made elsewhere or earlier, are -not included, although in this connection it is worth -while to mention one important thing which owes to -America almost everything except its original invention. -This is process printing, both in black and white -and in colors. Process printing was not an American -invention. It is safe to say that it would be only a -scientific experiment if it had not been made practical -by American inventions, such as coated paper, first -made for half-tone work by the Cumberland Mills -Company for Mr. De Vinne, ruling machines for half-tone -work, which were first made by Max Levy, of -Philadelphia, about 1880, and three-color process -plates, which were first made by Frederick Ives, of -Philadelphia, in 1881.</p> - -<div class='chapter'> - <span class='pageno' id='Page_41'>41</span> - <h2 class='c004'>REVIEW QUESTIONS<br /> <span class='large'>SUGGESTIONS TO STUDENTS AND INSTRUCTORS</span></h2> -</div> - -<p class='c013'>The following questions, based on the contents of this pamphlet, -are intended to serve (1) as a guide to the study of the text, (2) -as an aid to the student in putting the information contained into -definite statements without actually memorizing the text, (3) as -a means of securing from the student a reproduction of the information -in his own words.</p> - -<p class='c014'>A careful following of the questions by the reader will insure -full acquaintance with every part of the text, avoiding the accidental -omission of what might be of value. These primers are -so condensed that nothing should be omitted.</p> - -<p class='c014'>In teaching from these books it is very important that these -questions and such others as may occur to the teacher should -be made the basis of frequent written work, and of final -examinations.</p> - -<p class='c014'>The importance of written work cannot be overstated. It not -only assures knowledge of material, but the power to express that -knowledge correctly and in good form.</p> - -<p class='c014'>If this written work can be submitted to the teacher in printed -form it will be doubly useful.</p> - -<h3 class='c015'>QUESTIONS</h3> - -<p class='c016'>1. What general course of development do we find -in the United States in relation to European -influence?</p> - -<p class='c009'>2. How has this worked out in the case of type and -presses?</p> - -<p class='c009'>3. Who cast the first type made in this country?</p> - -<p class='c009'>4. Who was Mitchelson, the type founder, and what -did he do?</p> - -<p class='c009'>5. Tell the story of Adam Buell.</p> - -<p class='c009'>6. Tell about Benjamin Franklin’s attempt at -type founding.</p> - -<p class='c009'>7. Tell the story of the first successful type foundry -in the United States.</p> - -<p class='c009'>8. Tell of the attempt of Mappa to start a type -foundry in the United States.</p> - -<p class='c009'>9. What were the prospects for successful type -founding in America about 1795?</p> - -<p class='c009'>10. Tell the story of the starting of the first permanently -successful type foundry in America.</p> - -<p class='c009'>11. What were the first steps taken to enlarge its -facilities?</p> - -<p class='c009'><span class='pageno' id='Page_42'>42</span>12. What inventions did the senior partner work on?</p> - -<p class='c009'>13. Give a brief sketch of the firm from the retirement -of the senior partner to the present time.</p> - -<p class='c009'>14. What other type founder was at work in 1805, -and what was he doing?</p> - -<p class='c009'>15. Tell the story of the starting of the second successful -type foundry in the United States.</p> - -<p class='c009'>16. Who were the Bruces, and how did they start -in business?</p> - -<p class='c009'>17. What did the Bruces do in 1814 and 1815?</p> - -<p class='c009'>18. How did the Bruces become type founders?</p> - -<p class='c009'>19. What improvement did the Bruces attempt in -1822, and with what result?</p> - -<p class='c009'>20. What was W. M. Johnson’s invention, and what -became of it?</p> - -<p class='c009'>21. What development took place in the type -founding business, and what was the result?</p> - -<p class='c009'>22. Who was Augustus Ladew, and what did he do?</p> - -<p class='c009'>23. Who was Louis Pelouze, and what did he do?</p> - -<p class='c009'>24. What can you tell about the Boston Type -Foundry?</p> - -<p class='c009'>25. Tell about the work of J. W. Phinney.</p> - -<p class='c009'>26. Who was Henry Barth, and what did he do?</p> - -<p class='c009'>27. What do we owe to John Marder?</p> - -<p class='c009'>28. What do we owe to L. R. Benton?</p> - -<p class='c009'>29. What invention followed the work of Benton -and Werner, and why?</p> - -<p class='c009'>30. What need became acute in composing room, and -what was done to meet it?</p> - -<p class='c009'>31. What invention changed the course of development -along this line?</p> - -<p class='c009'>32. Tell the story of Ottmar Mergenthaler.</p> - -<p class='c009'>33. What did Tolbert Lanston invent?</p> - -<p class='c009'>34. Tell the story of the discovery of the electrotyping -process.</p> - -<p class='c009'>35. Who was the first to apply this process to -printing, and what were the defects of his -method?</p> - -<p class='c009'><span class='pageno' id='Page_43'>43</span>36. Give a sketch of the development of the process -of electrotyping, naming five principal inventions -with dates.</p> - -<p class='c009'>37. What was the greatest single step in advance, -and when, where, and by whom was it made?</p> - -<p class='c009'>38. Where did the first American presses come from?</p> - -<p class='c009'>39. How soon were presses made in America, and -what were they like?</p> - -<p class='c009'>40. Who was the best known American press builder -before 1800, and what improvement did he -make?</p> - -<p class='c009'>41. Who invented the iron press, and when?</p> - -<p class='c009'>42. Who invented the Columbian hand press?</p> - -<p class='c009'>43. What demand soon arose, and how was it met?</p> - -<p class='c009'>44. Who invented the Washington hand press and -when?</p> - -<p class='c009'>45. What was the first attempt to use power in -press operation?</p> - -<p class='c009'>46. What was the first American attempt to use -power in press operation?</p> - -<p class='c009'>47. What sort of power was originally used?</p> - -<p class='c009'>48. Tell about the inventions of Adams, Ruggles, and -Gordon.</p> - -<p class='c009'>49. Tell about the invention of Merritt Gally.</p> - -<p class='c009'>50. What were the inventions of Kidder and Harris?</p> - -<p class='c009'>51. What types of high-speed small presses are made?</p> - -<p class='c009'>52. What was the first attempt to build a cylinder -press?</p> - -<p class='c009'>53. What was the first American attempt to build -a cylinder press?</p> - -<p class='c009'>54. Who invented the first successful cylinder press?</p> - -<p class='c009'>55. Tell the story of Hoe & Co. down to 1845.</p> - -<p class='c009'>56. What important invention did Hoe & Co. bring -out in 1845?</p> - -<p class='c009'>57. What were the inventions of Pratt and Bullock?</p> - -<p class='c009'>58. What did Hoe & Co. produce in 1847?</p> - -<p class='c009'>59. What did Henry A. Wise Wood invent?</p> - -<p class='c009'>60. Give a list of the most important American -inventions in printing machinery.</p> - -<p class='c009'>61. Why is the list not longer?</p> - -<div class='chapter'> - <span class='pageno' id='Page_44'>44</span> - <h2 class='c004'>TYPOGRAPHIC TECHNICAL SERIES FOR APPRENTICES</h2> -</div> - -<p class='c010'>The following list of publications, comprising the <span class='sc'>Typographic -Technical Series for Apprentices</span>, has been prepared -under the supervision of the Committee on Education of the -United Typothetae of America for use in trade classes, in course of -printing instruction, and by individuals.</p> - -<p class='c009'>Each publication has been compiled by a competent author or -group of authors, and carefully edited, the purpose being to provide -the printers of the United States—employers, journeymen, -and apprentices—with a comprehensive series of handy and -inexpensive compendiums of reliable, up-to-date information upon -the various branches and specialties of the printing craft, all -arranged in orderly fashion for progressive study.</p> - -<p class='c009'>The publications of the series are of uniform size, 5 × 8 inches. -Their general make-up, in typography, illustrations, etc., has -been, as far as practicable, kept in harmony throughout. A brief -synopsis of the particular contents and other chief features of each -volume will be found under each title in the following list.</p> - -<p class='c009'>Each topic is treated in a concise manner, the aim being to -embody in each publication as completely as possible all the -rudimentary information and essential facts necessary to an understanding -of the subject. Care has been taken to make all statements -accurate and clear, with the purpose of bringing essential -information within the understanding of beginners in the different -fields of study. Wherever practicable, simple and well-defined -drawings and illustrations have been used to assist in giving -additional clearness to the text.</p> - -<p class='c009'>In order that the pamphlets may be of the greatest possible -help for use in trade-school classes and for self-instruction, each -title is accompanied by a list of Review Questions covering -essential items of the subject matter. A short Glossary of technical -terms belonging to the subject or department treated is also -added to many of the books.</p> - -<p class='c009'>These are the Official Text-books of the United Typothetae of -America.</p> - -<p class='c009'>Address all orders and inquiries to <span class='sc'>Committee on Education, -United Typothetae of America, Chicago, Illinois, U. S. A.</span></p> - -<div><span class='pageno' id='Page_45'>45</span></div> -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART I—<i>Types, Tools, Machines, and Materials</i></div> - </div> -</div> - -</div> - -<p class='c010'>1. <strong>Type: a Primer of Information</strong> By A. A. Stewart</p> - -<p class='c009'>Relating to the mechanical features of printing types; their sizes, font -schemes, etc., with a brief description of their manufacture. 44 pp.; -illustrated; 74 review questions; glossary.</p> - -<p class='c009'>2. <strong>Compositors’ Tools and Materials</strong> By A. A. Stewart</p> - -<p class='c009'>A primer of information about composing sticks, galleys, leads, brass -rules, cutting and mitering machines, etc. 47 pp.; illustrated; 50 review -questions; glossary.</p> - -<p class='c009'>3. <strong>Type Cases, Composing Room Furniture</strong> By A. A. Stewart</p> - -<p class='c009'>A primer of information about type cases, work stands, cabinets, case -racks, galley racks, standing galleys, etc. 43 pp.; illustrated; 33 review -questions; glossary.</p> - -<p class='c009'>4. <strong>Imposing Tables and Lock-up Appliances</strong> By A. A. Stewart</p> - -<p class='c009'>Describing the tools and materials used in locking up forms for the press, -including some modern utilities for special purposes. 59 pp.; illustrated; -70 review questions; glossary.</p> - -<p class='c009'>5. <strong>Proof Presses</strong> By A. A. Stewart</p> - -<p class='c009'>A primer of information about the customary methods and machines for -taking printers’ proofs. 40 pp.; illustrated; 41 review questions; glossary.</p> - -<p class='c009'>6. <strong>Platen Printing Presses</strong> By Daniel Baker</p> - -<p class='c009'>A primer of information regarding the history and mechanical construction -of platen printing presses, from the original hand press to the modern -job press, to which is added a chapter on automatic presses of small size. -51 pp.; illustrated; 49 review questions; glossary.</p> - -<p class='c009'>7. <strong>Cylinder Printing Presses</strong> By Herbert L. Baker</p> - -<p class='c009'>Being a study of the mechanism and operation of the principal types of -cylinder printing machines. 64 pp.; illustrated; 47 review questions; -glossary.</p> - -<p class='c009'>8. <strong>Mechanical Feeders and Folders</strong> By William E. Spurrier</p> - -<p class='c009'>The history and operation of modern feeding and folding machines; with -hints on their care and adjustments. Illustrated; review questions; -glossary.</p> - -<p class='c009'>9. <strong>Power for Machinery in Printing Houses</strong> By Carl F. Scott</p> - -<p class='c009'>A treatise on the methods of applying power to printing presses and allied -machinery with particular reference to electric drive. 53 pp.; illustrated; -69 review questions; glossary.</p> - -<p class='c009'>10. <strong>Paper Cutting Machines</strong> By Niel Gray, Jr.</p> - -<p class='c009'>A primer of information about paper and card trimmers, hand-lever -cutters, power cutters, and other automatic machines for cutting paper, -70 pp.; illustrated; 115 review questions; glossary.</p> - -<p class='c009'>11. <strong>Printers’ Rollers</strong> By A. A. Stewart</p> - -<p class='c009'>A primer of information about the composition, manufacture, and care of -inking rollers. 46 pp.; illustrated; 61 review questions; glossary.</p> - -<p class='c009'>12. <strong>Printing Inks</strong> By Philip Ruxton</p> - -<p class='c009'>Their composition, properties and manufacture (reprinted by permission -from Circular No. 53, United States Bureau of Standards); together with -some helpful suggestions about the everyday use of printing inks by -Philip Ruxton. 80 pp.; 100 review questions; glossary.</p> - -<p class='c009'><span class='pageno' id='Page_46'>46</span>13. <strong>How Paper is Made</strong> By William Bond Wheelwright</p> - -<p class='c009'>A primer of information about the materials and processes of manufacturing -paper for printing and writing. 68 pp.; illustrated; 62 review questions; -glossary.</p> - -<p class='c009'>14. <strong>Relief Engravings</strong> By Joseph P. Donovan</p> - -<p class='c009'>Brief history and non-technical description of modern methods of engraving; -woodcut, zinc plate, half-tone; kind of copy for reproduction; things -to remember when ordering engravings. Illustrated; review questions; -glossary.</p> - -<p class='c009'>15. <strong>Electrotyping and Stereotyping</strong> -By Harris B. Hatch and A. A. Stewart</p> - -<p class='c009'>A primer of information about the processes of electrotyping and stereotyping. -94 pp.; illustrated; 129 review questions; glossaries.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART II—<i>Hand and Machine Composition</i></div> - </div> -</div> - -</div> - -<p class='c010'>16. <strong>Typesetting</strong> By A. A. Stewart</p> - -<p class='c009'>A handbook for beginners, giving information about justifying, spacing, -correcting, and other matters relating to typesetting. Illustrated; -review questions; glossary.</p> - -<p class='c009'>17. <strong>Printers’ Proofs</strong> By A. A. Stewart</p> - -<p class='c009'>The methods by which they are made, marked, and corrected, with -observations on proofreading. Illustrated; review questions; glossary.</p> - -<p class='c009'>18. <strong>First Steps in Job Composition</strong> By Camille DeVéze</p> - -<p class='c009'>Suggestions for the apprentice compositor in setting his first jobs, -especially about the important little things which go to make good -display in typography. 63 pp.; examples; 55 review questions; glossary.</p> - -<p class='c009'>19. <strong>General Job Composition</strong></p> - -<p class='c009'>How the job compositor handles business stationery, programs and -miscellaneous work. Illustrated; review questions; glossary.</p> - -<p class='c009'>20. <strong>Book Composition</strong> By J. W. Bothwell</p> - -<p class='c009'>Chapters from DeVinne’s “Modern Methods of Book Composition,” -revised and arranged for this series of text-books by J. W. Bothwell of -The DeVinne Press, New York. Part I: Composition of pages. Part II: -Imposition of pages. 229 pp.; illustrated; 525 review questions; glossary.</p> - -<p class='c009'>21. <strong>Tabular Composition</strong> By Robert Seaver</p> - -<p class='c009'>A study of the elementary forms of table composition, with examples of -more difficult composition. 36 pp.; examples; 45 review questions.</p> - -<p class='c009'>22. <strong>Applied Arithmetic</strong> By E. E. Sheldon</p> - -<p class='c009'>Elementary arithmetic applied to problems of the printing trade, calculation -of materials, paper weights and sizes, with standard tables and rules -for computation, each subject amplified with examples and exercises. -159 pp.</p> - -<p class='c009'>23. <strong>Typecasting and Composing Machines</strong> A. W. Finlay, Editor</p> - -<p class='c009'>Section I—The Linotype By L. A. Hornstein</p> - -<p class='c009'>Section II—The Monotype By Joseph Hays</p> - -<p class='c009'>Section III—The Intertype By Henry W. Cozzens</p> - -<p class='c009'>Section IV—Other Typecasting and Typesetting Machines -By Frank H. Smith</p> - -<p class='c009'>A brief history of typesetting machines, with descriptions of their -mechanical principles and operations. Illustrated; review questions; -glossary.</p> - -<div><span class='pageno' id='Page_47'>47</span></div> -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART III—<i>Imposition and Stonework</i></div> - </div> -</div> - -</div> - -<p class='c010'>24. <strong>Locking Forms for the Job Press</strong> By Frank S. Henry</p> - -<p class='c009'>Things the apprentice should know about locking up small forms, and -about general work on the stone. Illustrated; review questions; glossary.</p> - -<p class='c009'>25. <strong>Preparing Forms for the Cylinder Press</strong> By Frank S. Henry</p> - -<p class='c009'>Pamphlet and catalog imposition; margins; fold marks, etc. Methods of -handling type forms and electrotype forms. Illustrated; review questions; -glossary.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART IV—<i>Presswork</i></div> - </div> -</div> - -</div> - -<p class='c010'>26. <strong>Making Ready on Platen Presses</strong> By T. G. McGrew</p> - -<p class='c009'>The essential parts of a press and their functions; distinctive features of -commonly used machines. Preparing the tympan, regulating the -impression, underlaying and overlaying, setting gauges, and other -details explained. Illustrated; review questions; glossary.</p> - -<p class='c009'>27. <strong>Cylinder Presswork</strong> By T. G. McGrew</p> - -<p class='c009'>Preparing the press; adjustment of bed and cylinder, form rollers, ink -fountain, grippers and delivery systems. Underlaying and overlaying; -modern overlay methods. Illustrated; review questions; glossary.</p> - -<p class='c009'>28. <strong>Pressroom Hints and Helps</strong> By Charles L. Dunton</p> - -<p class='c009'>Describing some practical methods of pressroom work, with directions -and useful information relating to a variety of printing-press problems. -87 pp.; 176 review questions.</p> - -<p class='c009'>29. <strong>Reproductive Processes of the Graphic Arts</strong> By A. W. Elson</p> - -<p class='c009'>A primer of information about the distinctive features of the relief, the -intaglio, and the planographic processes of printing. 84 pp.; illustrated; -100 review questions; glossary.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART V—<i>Pamphlet and Book Binding</i></div> - </div> -</div> - -</div> - -<p class='c010'>30. <strong>Pamphlet Binding</strong> By Bancroft L. Goodwin</p> - -<p class='c009'>A primer of information about the various operations employed in -binding pamphlets and other work in the bindery. Illustrated; review -questions; glossary.</p> - -<p class='c009'>31. <strong>Book Binding</strong> By John J. Pleger</p> - -<p class='c009'>Practical information about the usual operations in binding books; -folding; gathering, collating, sewing, forwarding, finishing. Case making -and cased-in books. Hand work and machine work. Job and blank-book -binding. Illustrated; review questions; glossary.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART VI—<i>Correct Literary Composition</i></div> - </div> -</div> - -</div> - -<p class='c010'>32. <strong>Word Study and English Grammar</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about words, their relations, and their uses. -68 pp.; 84 review questions; glossary.</p> - -<p class='c009'>33. <strong>Punctuation</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about the marks of punctuation and their use, -both grammatically and typographically. 56 pp.; 59 review questions; -glossary.</p> - -<p class='c009'><span class='pageno' id='Page_48'>48</span>34. <strong>Capitals</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about capitalization, with some practical typographic -hints as to the use of capitals. 48 pp.; 92 review questions; -glossary.</p> - -<p class='c009'>35. <strong>Division of Words</strong> By F. W. Hamilton</p> - -<p class='c009'>Rules for the division of words at the ends of lines, with remarks on -spelling, syllabication and pronunciation. 42 pp.; 70 review questions.</p> - -<p class='c009'>36. <strong>Compound Words</strong> By F. W. Hamilton</p> - -<p class='c009'>A study of the principles of compounding, the components of compounds, -and the use of the hyphen. 34 pp.; 62 review questions.</p> - -<p class='c009'>37. <strong>Abbreviations and Signs</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about abbreviations and signs, with classified -lists of those in most common use. 58 pp.; 32 review questions.</p> - -<p class='c009'>38. <strong>The Uses of Italic</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about the history and uses of italic letters. -31 pp.; 37 review questions.</p> - -<p class='c009'>39. <strong>Proofreading</strong> By Arnold Levitas</p> - -<p class='c009'>The technical phases of the proofreader’s work; reading, marking, -revising, etc.; methods of handling proofs and copy. Illustrated by -examples. 59 pp.; 69 review questions; glossary.</p> - -<p class='c009'>40. <strong>Preparation of Printers’ Copy</strong> By F. W. Hamilton</p> - -<p class='c009'>Suggestions for authors, editors, and all who are engaged in preparing -copy for the composing room. 36 pp.; 67 review questions.</p> - -<p class='c009'>41. <strong>Printers’ Manual of Style</strong></p> - -<p class='c009'>A reference compilation of approved rules, usages, and suggestions -relating to uniformity in punctuation, capitalization, abbreviations, -numerals, and kindred features of composition.</p> - -<p class='c009'>42. <strong>The Printer’s Dictionary</strong> By A. A. Stewart</p> - -<p class='c009'>A handbook of definitions and miscellaneous information about various -processes of printing, alphabetically arranged. Technical terms explained. -Illustrated.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART VII—<i>Design, Color, and Lettering</i></div> - </div> -</div> - -</div> - -<p class='c010'>43. <strong>Applied Design for Printers</strong> By Harry L. Gage</p> - -<p class='c009'>A handbook of the principles of arrangement, with brief comment on the -periods of design which have most influenced printing. Treats of harmony, -balance, proportion, and rhythm; motion; symmetry and variety; -ornament, esthetic and symbolic. 37 illustrations; 46 review questions; -glossary; bibliography.</p> - -<p class='c009'>44. <strong>Elements of Typographic Design</strong> By Harry L. Gage</p> - -<p class='c009'>Applications of the principles of decorative design. Building material -of typography: paper, types, ink, decorations and illustrations. Handling -of shapes. Design of complete book, treating each part. Design of -commercial forms and single units. Illustrations; review questions; -glossary; bibliography.</p> - -<p class='c009'><span class='pageno' id='Page_49'>49</span>45. <strong>Rudiments of Color in Printing</strong> By Harry L. Gage</p> - -<p class='c009'>Use of color: for decoration of black and white, for broad poster effect, -in combinations of two, three, or more printings with process engravings. -Scientific nature of color, physical and chemical. Terms in which color -may be discussed: hue, value, intensity. Diagrams in color, scales and -combinations. Color theory of process engraving. Experiments with -color. Illustrations in full color, and on various papers. Review questions; -glossary; bibliography.</p> - -<p class='c009'>46. <strong>Lettering in Typography</strong> By Harry L. Gage</p> - -<p class='c009'>Printer’s use of lettering: adaptability and decorative effect. Development -of historic writing and lettering and its influence on type design. -Classification of general forms in lettering. Application of design to -lettering. Drawing for reproduction. Fully illustrated; review questions; -glossary; bibliography.</p> - -<p class='c009'>47. <strong>Typographic Design in Advertising</strong> By Harry L. Gage</p> - -<p class='c009'>The printer’s function in advertising. Precepts upon which advertising -is based. Printer’s analysis of his copy. Emphasis, legibility, attention, -color. Method of studying advertising typography. Illustrations; -review questions; glossary; bibliography.</p> - -<p class='c009'>48. <strong>Making Dummies and Layouts</strong> By Harry L. Gage</p> - -<p class='c009'>A layout: the architectural plan. A dummy: the imitation of a proposed -final effect. Use of dummy in sales work. Use of layout. Function of -layout man. Binding schemes for dummies. Dummy envelopes. -Illustrations; review questions; glossary; bibliography.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART VIII—<i>History of Printing</i></div> - </div> -</div> - -</div> - -<p class='c010'>49. <strong>Books Before Typography</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about the invention of the alphabet and the -history of bookmaking up to the invention of movable types. 62 pp.; -illustrated; 64 review questions.</p> - -<p class='c009'>50. <strong>The Invention of Typography</strong> By F. W. Hamilton</p> - -<p class='c009'>A brief sketch of the invention of printing and how it came about. -64 pp.; 62 review questions.</p> - -<p class='c009'>51. <strong>History of Printing—Part I</strong> By F. W. Hamilton</p> - -<p class='c009'>A primer of information about the beginnings of printing, the development -of the book, the development of printers’ materials, and the work -of the great pioneers. 63 pp.; 55 review questions.</p> - -<p class='c009'>52. <strong>History of Printing—Part II</strong> By F. W. Hamilton</p> - -<p class='c009'>A brief sketch of the economic conditions of the printing industry from -1450 to 1789, including government regulations, censorship, internal -conditions and industrial relations. 94 pp.; 128 review questions.</p> - -<p class='c009'>53. <strong>Printing in England</strong> By F. W. Hamilton</p> - -<p class='c009'>A short history of printing in England from Caxton to the present time. -89 pp.; 65 review questions.</p> - -<p class='c009'>54. <strong>Printing in America</strong> By F. W. Hamilton</p> - -<p class='c009'>A brief sketch of the development of the newspaper, and some notes on -publishers who have especially contributed to printing. 98 pp.; 84 -review questions.</p> - -<p class='c009'>55. <strong>Type and Presses in America</strong> By F. W. Hamilton</p> - -<p class='c009'>A brief historical sketch of the development of type casting and press -building in the United States. 52 pp.; 61 review questions.</p> - -<div><span class='pageno' id='Page_50'>50</span></div> -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART IX—<i>Cost Finding and Accounting</i></div> - </div> -</div> - -</div> - -<p class='c010'>56. <strong>Elements of Cost in Printing</strong> By Henry P. Porter</p> - -<p class='c009'>A primer of information about all the elements that contribute to the -cost of printing and their relation to each other. Review questions. -Glossary.<a id='vii'></a></p> - -<p class='c009'>57. <strong>Use of a Cost System</strong> By Henry P. Porter</p> - -<p class='c009'>The Standard Cost-Finding Forms and their uses. What they should -show. How to utilize the information they give. Review questions. -Glossary.</p> - -<p class='c009'>58. <strong>The Printer as a Merchant</strong> By Henry P. Porter</p> - -<p class='c009'>The selection and purchase of materials and supplies for printing. The -relation of the cost of raw material and the selling price of the finished -product. Review questions. Glossary.</p> - -<p class='c009'>59. <strong>Fundamental Principles of Estimating</strong> By Henry P. Porter</p> - -<p class='c009'>The estimator and his work; forms to use; general rules for estimating. -Review questions. Glossary.</p> - -<p class='c009'>60. <strong>Estimating and Selling</strong> By Henry P. Porter</p> - -<p class='c009'>An insight into the methods used in making estimates, and their relation -to selling. Review questions. Glossary.</p> - -<p class='c009'>61. <strong>Accounting for Printers</strong> By Henry P. Porter</p> - -<p class='c009'>A brief outline of an accounting system for printers; necessary books and -accessory records. Review questions. Glossary.</p> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>PART X—<i>Miscellaneous</i></div> - </div> -</div> - -</div> - -<p class='c010'>62. <strong>Health, Sanitation, and Safety</strong> By Henry P. Porter</p> - -<p class='c009'>Hygiene in the printing trade; a study of conditions old and new; practical -suggestions for improvement; protective appliances and rules for safety.</p> - -<p class='c009'>63. <strong>Topical Index</strong> By F. W. Hamilton</p> - -<p class='c009'>A book of reference covering the topics treated in the Typographic -Technical Series, alphabetically arranged.</p> - -<p class='c009'>64. <strong>Courses of Study</strong> By F. W. Hamilton</p> - -<p class='c009'>A guidebook for teachers, with outlines and suggestions for classroom and -shop work.</p> - -<div><span class='pageno' id='Page_51'>51</span></div> -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>ACKNOWLEDGMENT</div> - </div> -</div> - -</div> - -<p class='c010'>This series of Typographic Text-books is the result of the -splendid co-operation of a large number of firms and individuals -engaged in the printing business and its allied industries -in the United States of America.</p> - -<p class='c009'>The Committee on Education of the United Typothetae of -America, under whose auspices the books have been prepared and -published, acknowledges its indebtedness for the generous assistance -rendered by the many authors, printers, and others identified -with this work.</p> - -<p class='c009'>While due acknowledgment is made on the title and copyright -pages of those contributing to each book, the Committee nevertheless -felt that a group list of co-operating firms would be of -interest.</p> - -<p class='c009'>The following list is not complete, as it includes only those who -have co-operated in the production of a portion of the volumes, -constituting the first printing. As soon as the entire list of books -comprising the Typographic Technical Series has been completed -(which the Committee hopes will be at an early date), the full list -will be printed in each volume.</p> - -<p class='c009'>The Committee also desires to acknowledge its indebtedness to -the many subscribers to this Series who have patiently awaited its -publication.</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Committee on Education,</span></div> - <div class='line'><span class='sc'>United Typothetae of America.</span></div> - </div> - <div class='group'> - <div class='line in4'><span class='sc'>Henry P. Porter</span>, <i>Chairman</i>,</div> - <div class='line in4'><span class='sc'>E. Lawrence Fell,</span></div> - <div class='line in4'><span class='sc'>A. M. Glossbrenner,</span></div> - <div class='line in4'><span class='sc'>J. Clyde Oswald,</span></div> - <div class='line in4'><span class='sc'>Toby Rubovits.</span></div> - </div> - <div class='group'> - <div class='line'><span class='sc'>Frederick W. Hamilton</span>, <i>Education Director</i>.</div> - </div> - </div> -</div> - -<div><span class='pageno' id='Page_52'>52</span></div> -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>CONTRIBUTORS</div> - </div> -</div> - -</div> - -<p class='c010'><strong>For Composition and Electrotypes</strong></p> - -<ul class='index'> - <li class='c012'><span class='sc'>Isaac H. Blanchard Company</span>, New York, N. Y.</li> - <li class='c012'><span class='sc'>S. H. Burbank & Co.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>J. S. Cushing & Co.</span>, Norwood, Mass.</li> - <li class='c012'><span class='sc'>The DeVinne Press</span>, New York, N. Y.</li> - <li class='c012'><span class='sc'>R. R. Donnelley & Sons Co.</span>, Chicago, Ill.</li> - <li class='c012'><span class='sc'>Geo. H. Ellis Co.</span>, Boston, Mass.</li> - <li class='c012'><span class='sc'>Evans-Winter-Hebb</span>, Detroit, Mich.</li> - <li class='c012'><span class='sc'>Franklin Printing Company</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>F. H. Gilson Company</span>, Boston, Mass.</li> - <li class='c012'><span class='sc'>Stephen Green & Co.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>W. F. Hall Printing Co.</span>, Chicago, Ill.</li> - <li class='c012'><span class='sc'>J. B. Lippincott Co.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>McCalla & Co. Inc.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>The Patteson Press</span>, New York, New York</li> - <li class='c012'><span class='sc'>The Plimpton Press</span>, Norwood, Mass.</li> - <li class='c012'><span class='sc'>Poole Bros</span>., Chicago, Ill.</li> - <li class='c012'><span class='sc'>Edward Stern & Co.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>The Stone Printing & Mfg. Co.</span>, Roanoke, Va.</li> - <li class='c012'><span class='sc'>C. D. Traphagen</span>, Lincoln, Neb.</li> - <li class='c012'><span class='sc'>The University Press</span>, Cambridge, Mass.</li> -</ul> - -<p class='c009'><strong>For Composition</strong></p> - -<ul class='index'> - <li class='c012'><span class='sc'>Boston Typothetae School Of Printing</span>, Boston, Mass.</li> - <li class='c012'><span class='sc'>William F. Fell Co.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>The Kalkhoff Company</span>, New York, N. Y.</li> - <li class='c012'><span class='sc'>Oxford-Print</span>, Boston, Mass.</li> - <li class='c012'><span class='sc'>Toby Rubovits</span>, Chicago, Ill.</li> -</ul> - -<p class='c009'><strong>For Electrotypes</strong></p> - -<ul class='index'> - <li class='c012'><span class='sc'>Blomgren Brothers Co.</span>, Chicago, Ill.</li> - <li class='c012'><span class='sc'>Flower Steel Electrotyping Co.</span>, New York, N. Y.</li> - <li class='c012'><span class='sc'>C. J. Peters & Son Co.</span>, Boston, Mass.</li> - <li class='c012'><span class='sc'>Royal Electrotype Co.</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>H. C. Whitcomb & Co.</span>, Boston, Mass.</li> -</ul> - -<p class='c009'><strong>For Engravings</strong></p> - -<ul class='index'> - <li class='c012'><span class='sc'>American Type Founders Co.</span>, Boston, Mass.</li> - <li class='c012'><span class='sc'>C. B. Cottrell & Sons Co.</span>, Westerly, R. I.</li> - <li class='c012'><span class='sc'>Golding Manufacturing Co.</span>, Franklin, Mass.</li> - <li class='c012'><span class='sc'>Harvard University</span>, Cambridge, Mass.</li> - <li class='c012'><span class='sc'>Inland Printer Co.</span>, Chicago, Ill.</li> - <li class='c012'><span class='sc'>Lanston Monotype Machine Company</span>, Philadelphia, Pa.</li> - <li class='c012'><span class='sc'>Mergenthaler Linotype Company</span>, New York, N. Y.</li> - <li class='c012'><span class='sc'>Geo. H. Morrill Co.</span>, Norwood, Mass.</li> - <li class='c012'><span class='sc'>Oswald Publishing Co.</span>, New York, N. Y.</li> - <li class='c012'><span class='sc'>The Printing Art</span>, Cambridge, Mass.</li> - <li class='c012'><span class='sc'>B. D. Rising Paper Company</span>, Housatonic, Mass.</li> - <li class='c012'><span class='sc'>The Vandercook Press</span>, Chicago, Ill.</li> -</ul> - -<p class='c009'><strong>For Book Paper</strong></p> - -<ul class='index'> - <li class='c012'><span class='sc'>American Writing Paper Co.</span>, Holyoke, Mass.</li> - <li class='c012'><span class='sc'>West Virginia Pulp & Paper Co.</span>, Mechanicville, N. Y.</li> -</ul> - -<div class='pbb'> - <hr class='pb c017' /> -</div> -<div class='tnotes x-ebookmaker'> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>TRANSCRIBER’S NOTES</div> - </div> -</div> - -</div> - - <ol class='ol_1 c002'> - <li>P. <a href='#vii'>vii</a>, changed “The Standard Cost-Finding Forms and their uses. What they - should show. How to utilize the information they give. Review questions. Glossary.” to “A - primer of information about all the elements that contribute to the cost of printing and - their relation to each other. 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