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| author | www-data <www-data@mail.pglaf.org> | 2026-07-01 11:23:16 -0700 |
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| committer | www-data <www-data@mail.pglaf.org> | 2026-07-01 11:23:16 -0700 |
| commit | 1d2ace65f55206ec31ce366746fb501aeb64b1b1 (patch) | |
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diff --git a/78991-0.txt b/78991-0.txt new file mode 100644 index 0000000..d5f07dc --- /dev/null +++ b/78991-0.txt @@ -0,0 +1,7383 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 78991 *** + + + + +Transcriber’s Note. + + +This is volume 2 of a 2 volume edition. Volume 1 can also be read at +Project Gutenberg. + +Each volume contains additional matter unique to that volume but +pertinent to both. + +Please note that while this is not a fascsimile of the published +volume, it remains a "warts and all" version in accordance with the +printer’s note in volume 1:-- + + _“Typographic peculiarities have been followed, even to the + copying of gross faults, like doublets, that will be readily + corrected by the reader. The object of the reprint is not + merely to present the thought of the author, but to illustrate + the typographic style of his time with its usual defects.”_ + + + + + MOXON'S + MECHANICK EXERCISES + + Or, the Doctrine of + + Handy-works. + + Applied to the Art of + + Printing. + + The Second VOLUMNE. + + By _Joseph Moxon_, Member of the Royal + Society, and _Hydrographer_ to the King’s + Most Excellent Majesty. + + LONDON. + + Printed for _Joseph Moxon_ on the West-side + of _Fleet-ditch_, at the Sign of + _Atlas_. 1683. + + + + +[Illustration] + +The Compositers Trade. + + + + +PREFACE. + + +_In a strict sence, a good_ Compositer _need be no more than an English +Scholler, or indeed scarce so much; for if he knows but his Letters and +Characters he shall meet with in his_ Printed _or_ Written Copy, _and +have otherwise a good natural capacity, he may be a better_ Compositer +_than another Man whose Education has adorn’d him with_ Latin, Greek, +Hebrew, _and other Languages, and shall want a good natural Genius: +For by the Laws of_ Printing, _a_ Compositer _is strictly to follow +his_ Copy, _viz. to observe and do just so much and no more than his_ +Copy _will bear him out for; so that his_ Copy _is to be his Rule and +Authority: But the carelesness of some good Authors, and the ignorance +of other Authors, has forc’d_ Printers _to introduce a Custom, which +among them is look’d upon as a task and duty incumbent on the_ +Compositer, _viz. to discern and amend the bad_ Spelling _and_ Pointing +_of his_ Copy, _if it be English; But if it be in any Forrain Language, +the Author is wholy left to his own Skill and Judgement in_ Spelling +_and_ Pointing, _&c. his_ Copy, _and_ Correcting _the_ Prooves, _unless +they be_ Latine, Greek _or_ Hebrew, _for to those Languages there is +generally a_ Corrector _belongs to the_ Printing-House: _And how well +other Forrain Languages are_ Corrected _by the Author, we may perceive +by the English that is_ Printed _in Forrain Countries_. + +_Therefore upon consideration of these accidental circumstances that +attend_ Copy, _it is necessary that a_ Compositer _be a good English +Schollar at least; and that he know the present traditional_ Spelling +_of all English Words, and that he have so much Sence and Reason, as +to_ Point _his Sentences properly: when to begin a Word with a_ Capital +Letter, _when (to render the Sence of the Author more intelligent to +the Reader) to_ Set _some Words or Sentences in_ Italick _or_ English +Letters, _&c. But of this more at large in_ ¶. 6. + +_Thus much of his qualifications: Now to his Taask._ + +_The_ Master-Printer _gives him his_ Copy, _and directs him to his +standing Place or_ Case, _and orders him_ Letter _to Work withal_. + +_If his_ Case _want_ Papering, _as all_ New Cases _do, and many times +old, He must_ Paper _his_ Case. + + +§. 22. ¶. 1. _Of_ Papering _and_ Laying _the_ CASE. + +The _Composster_ sends the Boy to the _Master-Printer_, or to him that +attends the Warehouse, for _Half a Quire_, or a _Quire_, or so much +as he guesses he shall want, of good strong _Wast-Paper_, and cuts it +into so many several Scantlins as the number of each Scantlin of his +_Boxes_ in his _Case_ are; but he cuts his _Papers_ so large, as each +_Paper_ may ly double in its _Box_, and have enough besides to fold +almost half way towards the middle of each _Paper_, and also enough to +turn up again against the sides of each _Box_, about the thickness of a +_Pica_, or an _English_, above the bottom of the _Box_; and its _Paper_ +on all its sides, except the upper side of the _Box_, which, as near +as he can, he leaves no turning up of _Paper_ to, because the tendency +the whole _Case_ has downwards by its a-slope position, the _Letter_ +in each _Box_ tends also downwards, and therefore is not so apt to get +between the _Paper_ and that side of the _Box_, as between the _Paper_ +and the other sides of each _Box_: But yet that upper side, and all +the other sides of the _Box_, he _Papers_ so smooth and tight, that he +leaves no wrinckles in the turnings up against the sides of the _Box_; +but if there be any, drives them carefully into the corners of the +_Box_, lest his _Letter_, especially if it be Small, should get into +the openings of those Wrinckles, and in time work their way under the +_Paper_. + +Having _Paper’d_ his _Case_, he considers how the rest of the _Cases_ +in that _House_ ly, _viz._ into what _Boxes_ the several _Letters_ are +to be disposed; for they are not in every _Printing-House_ disposed +alike, and accordingly he applies himself to fill his _Case_ with +_Letter_. + +If a _Fount_ of _New Letter_ be brought home from the _Founders_, +the _Compositer_ has no more to do, but to fill each _Box_ in his +_Case_ with so many of each sort as each _Box_ will hold, and fall +to _Composing_ till he has emptied his _Case_; which the same way he +fills again, and _Composes_ on again till the whole _Fount_ be _Set +up_: But when he has no longer any _New Letter_ to work upon, he must +_Destribute_ some former _Set Forms_ to fill his _Case_ withal. + +And before I shew you the Rules and Method of _Destributing_ and +_Composing_, it will be necessary I say somewhat of the _Case_, and +_Laying_ it. + +By the _Case_ is meant, in _Printers_ common diolect, a _Pair of +Cases_, viz. the _Upper_ and the _Lower-Case_: They are described with +the most common way of _Laying_ them, in Plate 2. A the _Upper Case_, B +the _Lower Case_. The _Upper Case_ is devided into Ninety eight _Boxes_ +all of equal size; but the _Lower Case_ is devided into but Fifty six +_Boxes_, and those of four different sizes (as you may see in the +Figure) by the Frame and Black streight Lines representing the several +Partitions. The manner how the several sorts of _Letters_ are disposed +in the several _Boxes_, is called, _Laying of the Case_, where in the +_Upper Case_ you see _Capital_ A Ly in the uppermost _Box_ on the +Left-hand, B C D E F G succeeding it in that Row to the Right hand, as +far as the broad Partition in the middle of the _Case_; under _Capital_ +A lies _Capital_ H, I K L M N O orderly succeeding it to the right +hand, as far as the great Partition in the middle of the _Case_: But +the Figure being plain, I refer you to it. + +The _Lower Case_ is not devided according to an orderly succession of +the _Alphabet_, in Ranks; for those _Letters_ that are most used are +laid in the biggest _Boxes_, about the middle of the _Case_, That the +_Compositers_ hand may have the quicker access to them. See the Figure. + + +¶. 2. _Of_ Rincing a Form of Letter, _in order to_ Destributing _it_. + +After the _Press-man_ has _Wash’d a Form_, he brings it to the +_Rincing-Trough_, and rears it a little a-slope on one of the ends of +the _Chase_, either against a convenient place of the _Frame_ of the +_Rincing-Trough_, or towards the Wall; for so plac’d, the _Face of the +Letter_ runs less hazzard of receiving dammage, and the _Form_ stands +in a proper position for the _Compositer_ to rear a _Letter-board_ +against the backside of it. + +The _Compositer_ therefore brings a _Letter-board_, and puts the +Face of it against the back-side of the _Form_, and draws _Form_ and +_Letter-board_ toward him, leaning them against his Knee till he can +conveniently grasp about the middle of the sides of the _Chase_ and +_Letter-board_ between his Fingers under the _Board_, and his Thumb +upon the _Chase_ and _Furniture_: And if the _Form_ be not too heavy, +in this position he lifts it up to the _Rincing Trough_; but if it be +too heavy, as most commonly it is, He lifts it up in this position till +he brings the upper edge of one of the long sides of the _Letter-board_ +to rest between his Belly and Stomach, and then sets _Letter board +Form_ and all in the _Rincing-Trough_, letting the hither side of the +_Board_ rest upon the hither Ledge of the _Rincing-Trough_; that the +_Form_ may tilt downwards. + +When it is on the _Rincing Trough_, he gets the _Mallet_ and +_Shooting-stick_, and holding the _Mallet_ in his Right hand, +and the _Shooting-stick_ in his Left, he places the Foot of the +_Shooting-stick_ (that is the thin end of it) against the narrow ends +of each _Quoin_, and knocking with the _Mallet_ upon the _Head_ of the +_Shooting-stick_ as gently as he can to drive them back, he loosens +every _Quoin_; and this is call’d _Opening of the Quoins, Unlocking of +the Quoins, Opening of the Form, and Unlocking of the Form_. + +But in the _Unlocking of the Form_, he observes these three +Circumstances: + +_First_, He begins at the _Foot-Quoins_ of a _Quarter_, and loosens +them; then with his Fingers and Thumb he puts them up again pretty +stiff; yet not so stiff, but that he can again with his Fingers and +Thumb loosen them. + +The Reason why he opens the _Foot-Quoins_ first, is, because the +_Letter_ is less subject to _Squabble_ between _Line_ and _Line_ (that +is _Head_ and _Foot_, the length of the _Page_) than it is between side +and side (the breadth of the _Page_): For all the _Letters_ of a _Line_ +being of the same _Body_, are all of the same size in their parallel +bounds; and the two sides of the _Letter_ being generally considerably +broader than the Thickness of the _Letter_, are held by their breadth +and flatness faster and closer together in a motion towards the _Head_ +or _Foot_ of the _Page_, than they are a-thwart the _Lines_, there +being generally many thin _Letters_ and _Spaces_ in a _Line_, whose +thickness is very little considerable to their _Body_ or parallel +bounds: So that if the _Form_ be loose, those Thin _Letters_ and +_Spaces_ not having a Thickness proportionable to their _Body_ to keep +them in their proper Square, their Thin Edges twist them about, and +one _Letter_ very seldom twists alone, but forces many others (perhaps +in some _Lines_ above and below it, and on each side of it) out of its +square position. + +But the _Foot-Quoin_ being thrust up again with the Fingers, that the +_Lines_ may joyn again after they were knock’d open with the _Mallet_ +and _Shooting-stick_, make the Thin _Letters_ in the _Lines_ less +subject to _Squabble_ (as not having the room to twist about) because +_Opening_ the _Foot-Quoins_ afterwards with the Fingers, offers less +violence than the smart knock of a _Mallet_. + +_Secondly_, He holds the _Shooting-stick_ much aslant to the +_Letter-board_, so as the Foot of it touch not the Face of the +_Letter-board_, lest with knocking upon the _Shooting-stick_ (it being +hard Wood, and the grain running downwards) the Foot should batter and +spoil the Face of the _Letter-board_. + +_Thirdly_, He _Unlocks_ the outermost, _viz._ the broadest _Quoins_ +first, and then with his Fingers thrusts them pretty close up again, +unless the _Form_ he _Unlock_ be a great _Letter_, for then he +observes not this Circumstance so nicely; then the other _Quoin_, or +(according to the bigness of the _Form_) _Quoins_. + +Having _Unlock’d_ the _Foot Quoins_, he _Unlocks_ the _Side Quoins_ in +the same manner and order; and being provided with a Pail, or a great +Pan full of fair Water, and a _Wooden Dish_; he takes a Dish full of +fair Water, or more, if the _Form_ require it, and throws it upon the +_Form_, till he have so well wetted it, that the Water may sink between +the _Letters_ in the _Form_, to hold and keep every _Letter_ contiguous +to its next. + +Then he _Opens_ the _Quoins_ pretty loose, the _Foot Quoins_ first, and +in _Opening_ them he considers the _Body_ of the _Letter_, whether it +be Great or Small, and accordingly he _Opens_ them; for at the _Foot_ +he _Opens_ them about the thickness of the _Body_ of the _Letter_: But +on the _Sides_ not above half the _Body_. + +By _Opening_, you must now understand removing the _Quoins_, till they +stand loose, or distant from the _Furniture_, the _Body_, or half the +_Body_ of the _Letter_. + +He _Opens_ but one _Quarter_ at a time, _viz._ one of the hithermost +_Quarters_, till he have well _Rinc’d_ that, which when he has done, +with his Fingers he thrusts the _Quoins_ of that _Quarter_ stiff up +again, aswell that it may be the less subject to _Squabble_ or _Break_, +as that the Water may the better be squeezed out from between the +_Letter_; when he comes to _Destribute_ it. + +Having thus _Opened_ the _Quoins_, He also _Opens_ the _Furniture_, +viz. the _Head sticks_, and the _Inner Side-sticks_ and +_Gutter-sticks_, if the _Form_ have any, to make himself the more room +to _Open_ the _Letter_: The Balls of the three first Fingers of each +Hand he places near the ends of the _Head-stick_, and _Opens_ it by +taking as good hold as he can of so much of it as stands above the +_Cross_ of the _Chase_, drawing the _Head-stick_ towards him about +half the _Body_ of the _Letter_. And in the like manner he _Opens_ the +inner _Side-sticks_, but draws them towards him about a quarter of the +_Body_ of the _Letter_. Yet sometimes this Office is not perform’d +with the three Fore-fingers of each Hand, but with the two Thumbs; +and this is when the _Quarter_ of _Letter_ stands between the _Head_ +or _Side-sticks_, and then he places his two Thumbs near the ends of +the _Sticks_, as before he did his Fingers, and thrusts the _Sticks_, +_Letter_ and all, from him. + +And having _Opened_ the _Quoins_ and _Furniture_ of one _Quarter_, +he also _Opens_ the _Letter_, that it may receive the Water more +plentifully: He _Opens_ the _Letter_, by fixing the Balls of his +Fingers of both his Hands upon the _Face_, and so thrusting and +joggling it from him, and drawing it towards him from _Head_ to _Foot_, +and from _Side_ to _Side_, and then throws a good Dish full or two of +Water upon it, and with the Balls of his Fingers still rubs upon the +_Face_ of the _Letter_, that by shaking and joggling the _Letter_, +the Water (e’re it sink through the _Letter_) may the better _Rince_ +away that _Ly_ that by the _Press-mans_ washing soak’d into it: And +this joggling the _Letter_, and throwing on fresh Water he continues +till the Water that spurts out from between the _Letters_ by this +joggling, be as clear as it was when it was thrown on, and then, and +not till then, he knows his _Quarter_ is well _Rinc’d_: Then with his +two Thumbs, one placed on the side of the _Foot-stick_ and the other +on the side of the _Side-stick_, as near as he can, he thrusts both at +once towards their opposite _Cross_, and so thrusts the _Letter_ and +_Furniture_ close up again: And that the _Letter_ may not be in danger +of _Squabbling_ or _Breaking_, he thrusts the _Quoins_ loosly up again +also. + +As he _Open’d_ and _Rinc’d_ this first _Quarter_, he _Opens_ and +_Rinces_ the others. + +The reason why he _Opens_ and _Rinces_ the hithermost _Quarter_ first, +is, because the Water that descends from the hithermost _Quarters_ does +in a degree help to Rince the nethermost also. + +Having thus _Rinced_ the whole _Form_, and with his Fingers shut it up +again, he lets it stand a little while to drain; then grasping the two +ends of the _Letter-board_ a little beyond the middle, with his Fingers +underneath, and the Thumb-balls of his two Hands upon it, he sets one +side of the _Letter-board_ against the bottom of his Stomach, and +carries _Letter-board_, _Form_, and all to the _Destributing Frame_. + +Then he falls to _Stripping_ of one _Quarter_ first: Taking the +_Quoins_ quite out, and laying them upon the _Face_ of the _Letter_, +either on the same or another _Quarter_ (if he _Strips_ but one +_Quarter_ at once) with their ends standing the same way they stood +in the _Chase_, and in the same order of succession; then he removes +the _Side_ and _Foot-sticks_ to their respective sides, close to the +inside of the _Chase_, and again removes the _Quoins_, laying them in +the same order he laid them upon the _Face_ of the _Letter_, upon the +upper sides of the _Side_ and _Foot-sticks_, and _Chase_; then, as I +told you before, how he _Opened_ the Inner _Side-sticks_, just so again +he not only opens them, but by the _Side_ and _Head-sticks_ he draws +or slides the _Letter_ from the _Crosses_, that he easily takes them +out if he pleases; or if he have room enough to come at the _Letter_ +without, he lets them stay in. + +Thus the first _Quarter_ is _Stript_, and so the other _Quarters_ +successively, in order to be _Destributed_. + +[Illustration:_Plate 23._] + + +¶ 3. _Of_ Destributing. + +The _Compositer_ seeks among the _Furniture_ for a _Riglet_, a little +longer (about a _Pica_ or _English_) than the _Line_ of the _Page_ he +is to _Destribute_; or else he cuts a _Riglet_ to that length (this +_Riglet_ is called a _Destributing-stick_) and coming to his _Stript +Form_, or _Quarter_ of the _Form_ he is to _Destribute_, he places one +flat side of the _Riglet_ against the Head of the _Page_, and claps the +Balls of his two Fore-fingers behind it, and the inner Joints (next +his Fore-fingers) of his middle Fingers he claps against the ends of +so many _Lines_ as he intends to _Take up_, supposing it _Pica_, about +Seven; and presses them pretty close to the sides of the _Lines_: Then +with the ends of the Balls of his two Thumbs he parts that number of +_Lines_ from the rest of the _Page_, by pressing gently towards his +_Riglet_ or _Destributing-stick_ upon the _Face_ of the _Letter_ of +the farthest _Line_, which, if the Joints of his middle Fingers press +pretty hard towards each other at first, easily part, and he may open +that number of _Lines_ so far from the rest of the _Page_, that he may +get the Balls of his Thumbs far enough upon the shank of the _Letter_: +So that the pressing the _Lines_ yet a little harder between the Joints +of his middle Fingers, and pinching with his Thumbs the _Letter_ hard +against the _Riglet_, with a quick jerk he rears that _Taking-up_ upon +his _Destributing-stick_. See _Plate 23. at_ A. + +Having it upon his _Destributing-stick_ between both his Hands, with +the _Face_ of the _Letter_ from him, he disingages his middle Fingers, +and with his fore Fingers and Thumbs holding the _Riglet_, and now +the Top of his _Taking-up_ pretty loosly between them, he turns (as +on two moving Axises) the ends of the _Lines_ that were towards his +Right Hand, and guides them to the Thumb-ball of his Left Hand: Thus +the _Face_ of the _Letter_ is turn’d towards him; then bowing the inner +Joynt of the middle Finger of his Left Hand (which before prest the +left side of the _Line_) under the middle of the _Riglet_ he takes the +weight of the _Taking-up_ upon it, which yet he eases as he lifts, +by mounting the now Right Hand end of the _Lines_ a little above an +Horizontal level, and depressing the Left Hand ends a little below; so +that now he he has his _Taking up_ in his Hand, with the _Face_ of his +_Letter_ towards him, and the _Notches_ upwards, he goes with it to his +_Case_, and places himself against the middle of it. See _Plate 23. at_ +B. + +Then clapping the Ball (or if he will take off more than the length +of the Ball) of his middle Finger of his Right Hand, of the second +Joint of that Finger, against the bottom of the uppermost _Line_ of +his _Taking up_ towards his Right Hand, and his fore Finger about the +middle of the shank of the _Letter_, he slides or draws towards him +about an Inch or an Inch and an half of that _Line_ upon the Ball of +his Thumb, which is placed at the _Face_ of the _Letter_ to receive it: +And as it comes off the _Taking up_, he with his aforesaid two Fingers +and Thumb disposes it so among his Fingers that he gathers the Ball of +his fourth Finger under the bottom of the _Letter_, and then he brings +what he has taken off towards his Sight to read; then with a sleight +thrusting the Ball of his Thumb outwards, and drawing inwards the +Balls of his fore and middle Fingers, he spreads and _Squabbles_ the +shanks of the _Letters_ between his Fingers askew; and remembring what +_Letters_ he read, he nimbly addresses his Hand with a continued motion +to every respective _Box_, which his Fingers, as they pass by, lets a +_Letter_ drop into, till his _Taking off_ be quite _Destributed_. + +Having _Destributed_ that _Taking off_ he makes another _Taking off_ +as before, and so continues his _Takings off_ till his whole _Taking +up_ be Distributed: And thus he _Takes up_ and _Destributes_ till his +_Case_ is full. + +If the _Form_ were not well _Rinc’d_, the shanks of of the _Letters_ +will be more or less slippery, and with long _Destributing_ will make +the Balls of the Fingers and Thumb supple, by the wetness of the +_Letter_ and sharpness of the _Ly_; and consequently the grain of the +skin will be made clumsie, and those Joints feeble; so that they will +not so well fasten upon the sides of the Shank to command the _Letter_, +and draw it askew, or be so nimble at disposing them into their several +_Boxes_. + +This happens most if they work upon small _Letter_, and that old, and +the _Ly_ old too, for then the _Ly_ will have much _Inck_ mingled in +it: And the _Compositer_ will have much ado to _Rince_ his _Form_ so +clean but that the _Letter_ will be slippery, and consequently not +spread, as aforesaid. But against it they may use a remedy, which is, +to have a piece of Allom about the bigness of a Hasel-nut, lye in one +of the _Boxes_ of the _Case_; for by feeling that now and then, the +dilated pores of their Fingers are again contracted, and fit to do +their office: For by the greasiness of the _Letter_, the grain of the +Skin of the Fingers were so dilated, that the _Compositer_ could not so +actively draw the Shanks of the _Letters_ askew, as aforesaid. + +The _Compositer_, if conveniences suit, chuses to _Destribute_ his +_Letter_ over Night, that he may have a _dry Case_ (as he calls it) +to work at in the Morning, because Wet _Letters_ are not so ready and +pleasant to pick up as Dry; and besides are apt to make the Fingers +sore, especially if the _Ly_ be not so well _Rinc’d_ from the _Letter_ +as it should be. In the Winter, when he _Destributes_ in the Day time, +he commonly brings the _Lower Case_, when full of _Letter_, to the Fire +to dry, rearing the farther side of the _Case_ a little upwards: And +when it is well dryed, he sets it again upon the _Frame_. + +[Illustration: _Plate 24_] + + +¶ 4. _Of_ Composing. + +The _Compositer_ now addresses himself to _Composing_: And looking +a little over his _Copy_, to see how it pleases him, for he runs +different fortunes, either of good or bad _Copy_, viz. well or ill +writ, if it be a _Written Copy_, or much _Italick_, _Latin_ or _Greek_, +or _Marginal Notes_, or few _Breaks_, _&c._ for this he likes not in +his _Copy_: But a _Printed Copy_, or a fair Written Hand, and full of +_Breaks_ pleases him well, and is by _Compositers_ call’d _Good Copy_, +_Light_, _Easie Work_; when the former they call _Bad_, _Heavy_, _Hard +Work_: And if a Price be already made for a whole Book, the Good and +Bad is done at the same Price. + +If the _Measure_ be already made, that is, if he was already upon that +_Work_ before, and his _Composing-stick_ be set to the _Measure_ of +that _Work_, he needs not, or must not alter his _Composing-stick_: +But if his _Measure_ be not made, he must unskrew the _Skrew_ of his +_Composing-stick_, and slide the _Cheeks_ nearer to, or farther off the +_Head_ of his _Composing-stick_, till he have exactly fitted his given +_Measure_. + +If it be a _Printed Copy_ he is to Work on, and his Work must run +_Line for Line_ with his _Copy_, he then without more ado, _Sets_ or +_Composes_ the fullest _Line_ he finds in his _Copy_, and slides up the +_Cheeks_ of his _Composing-stick_, and pinches that _Line_ between the +_Cheeks_ and the _Head_, till it stands as stiff or hard in the _Stick_ +as he intends to _Justifie_ all the rest of his _Lines_: Then screws up +the _Composing-stick_. + +_Justifying_ (in _Compositers_ Language) is the stiff or loose filling +of his _Stick_, for if it be fill’d very stiff with _Letters_ or +_Spaces_, they say it is _hard Justified_, if loosly, they say it is +_loose Justified_. + +Having the _Measure_ fitted, he places the _Galley_ on his _Upper +Case_ on the Right Hand, for those _Boxes_ are seldomest used, because +in them are placed only the _Latin sorts_, or sometimes the _Small +Capitals_, _Astronomical Signs_, &c. + +He places his _Galley_ so, that the Left Hand corner of the bottom of +its Frame stands lower upon the _Case_ than any of the other Corners, +for in that position the _Letters_ at the end of every _Line_ stand +safest from falling, as leaning towards the rest of the _Page_. + +Some _Compositers_ use _Visorums_, as is described in _Plate 2._ at +i. Therefore pricking the point of the _Visorum_ most commonly upon +the Border or Frame of the _Case_ on the Left Hand about the &-_Box_, +they fold the _Leaf_ of _Copy_ they _Compose_ by, so as the bottom of +it may rest upon the Square-Shoulder near the bottom of the _Visorum_; +then with two pieces of _Scaboard_ tyed together at one end, they clasp +both the _Copy_ and _Visorum_ between these two _Scaboards_, which two +_Scaboards_ pinch the _Copy_ and _Visorum_ fast enough to keep the +_Copy_ in its place, and at the same time also serves for an _Index_ to +direct the Eye to every _Line_, as the _Compositer_ moves it downward. + +After this preparation, the _Compositer_ falls to _Composing_. But +first reads so much of his _Copy_ as he thinks he can retain in his +memory till he have _Composed_ it, as commonly is five or six words, +or sometimes a longer Sentence. And having read, he falls a Spelling +in his mind; yet so, that his Thoughts run no faster than his Fingers: +For as he spells A, he takes up A out of the A _Box_, as he names n in +his thoughts, he takes up n out of the n _Box_, as he names d in his +thoughts he takes up d out of the d _Box_; which three _Letters_ set +together make a Word, viz. And; so that after the d he sets a _Space_: +Then he goes on to the next _Word_, and so _Composes_ on, _Setting_ +a _Space_ after every _Word_ till the _Words_ come to the end of the +_Line_, for then he sets no _Space_. + +When he _Composes_ the _Letters_ he holds the _Composing-stick_ in +his Left Hand, placing the Second Joynt of his Thumb over the moving +_Cheek_ of the _Stick_, and the end of the Ball of his Thumb reaches +down to the bottom of the _Cheek_ and _Stick_; so that with the end +of the Ball of his Thumb he gently presses the _Letter_ close to the +_Cheek_, and keeps the _Letters_ tight and square together, as he +places them in the _Stick_ successively. _See Plate 24. at_ A. + +And as his Eyes are very quick in reading his _Copy_, and in shifting +its Visual Ray to the several _Boxes_ he is to have a _Letter_ out of, +so is his choice what _Letter_ to take up very sudden; for though the +_Box_ be full of _Letters_, yet in an instant he resolves and pitches +his Fingers upon that one, which for its posture and position his Fancy +reckons lyes most commodious for his immediate seizing. For position, +he generally chuses that which lies uppermost, because it is readiest +at Hand to snatch up: And for posture, that which lies with its _Face_ +towards his Right Hand, because catching at the _Letter_ near the +_Face_-end of the _Shank_, he by an accustomed sleight, in his Fingers +while it is coming to the _Stick_, disposes it so, that as the bottom +of the Shank goes directly forwards, towards the bottom of the _Stick_, +so the _Notch_ of the _Letter_ shall also be placed upwards. + +Most _Compositers_ use a _Composing-Rule_, which is only a piece of a +_Brass-Rule_ cut to the length of the _Measure_, with a small Ear left +at either end, to take it out by when the _Line_ is full, and to lay it +upon the _Compos’d Line_, to _Set_ successively a succession of _Lines_ +upon, till the _Stick_ be full. + +This _Rule_ is very commodious to Work with, because the _Letter_ +slides easier and smoother down to the _Back_ of the _Stick_, than it +will upon a _Line_ of _Letters_: Besides, the _Letters Compos’d_ on it +stand streighter and truer in _Line_, and are less subject to _Hang_, +than those _Compos’d_ on a _Line of Matter_; unless with a _Riglet_ (as +that they many times do) they rub pretty strongly along the _Line_ they +have _Compos’d_, which is a labour more than needs, and the loss of +some time to make the Work more unpleasant. + +Having _Composed_ one _Line_, if it ends with a _Word_ or a _Syllable_ +and a _Division_, and just fill the _Measure_, it needs no more +_Justifying_; but if the _Line_ conclude not as aforesaid, then he puts +a _Space_ more between every Word, or so many Words as will fill up the +_Measure_ pretty stiff, viz. _Justifie_ the _Line_. But if the _Line_ +be not yet _Justified_, he puts another _Space_ between every Word, or +between several Words, till the _Line_ be _Justified_: So that here +is now three _Spaces_, and strictly, good Workmanship will not allow +more, unless the _Measure_ be so short, that by reason of few _Words_ +in a _Line_, necessity compells him to put more _Spaces_ between the +_Words_. This often happens in _Marginal Notes_, where the _White_ +between _Words_ is often as great or greater than between _Line_ and +_Line_. + +These wide _Whites_ are by _Compositers_ (in way of Scandal) call’d +_Pidgeon-holes_, and are by none accounted good Workmanship, unless in +such cases of necessity, as aforesaid. + +And as _Lines_ may be too much _Spaced-out_, so may they be too close +_Set_: It maybe accounted too close _Set_ when only a _Thin-space_ +is set between Words, especially if no _Capital Letter_ follows the +_Thin-space_ or _Point_ go before it. _Thin-spaces_ being intended and +_Cast_ only that the _Compositer_ may _Justifie_ his _Lines_ the Truer, +and not to serve for convenient distinction between Words; yet do some +_Compositers_ too often commit this error, rather than put themselves +to the trouble of _Spacing_ out a _Line_, where many _Spaces_ must be +used to _Space_ it out. + +A good _Compositer_ takes care not to _Set_ too Close, or too Wide; +for if he _Set_ too Close, and should happen to leave out a Word or +two, it will give him a great deal of trouble to get those Words in; +Nay perhaps when he comes to a _Break_ he drives out a _Line_, for +which _Line_ perchance he may be forc’d to _Over-run_ all the _Pages_ +that are _Set_ forwards upon that _Matter_. And if he _Sets_ too Wide, +and he chance to _Set_ a Word or two twice over, he may be forc’d to +make _Pidgeon-holes_ e’re he come to a _Break_, and then perhaps his +_Break_ is got in too, and his _Page_ a _Line_ too short, and he forc’d +to _Over-run_ several _Pages_ e’re he can drive that _Line_ out. As I +shall farther shew you when I come to the ¶ of _Correcting_. + +In _Justifying_ his _Line_ he takes great care that it do not _Hang_: +It is an unproper Term, yet grown into Use, for when the _Letter_ +stands askew, and not directly Square, they say it _Hangs_. New +_Letter_ is most subject to _Hang_, especially if not very smoothly +_Drest_; Because the least Bur, or sharpness of its Angles, may catch +in the Burs or Angles of the _Letters_ that stand next them, and so +make them stand aslope, and one _Letter_ standing aslope is very +subject to make all the other _Letters_ in that _Line_ stand aslope +too. Therefore if he find his _Letter Hang_, while his _Line_ is yet +_loose_, viz. Unjustified, he gently with the Ball of the Thumb of his +Left Hand, thrusts the top of the shank of the _Line_ where it _Hangs_, +moving the _Letter_ somewhat from him, towards the farther end of +the _Stick_, and with the Balls of the two Fore-fingers of his Right +Hand pats upon the _Face_ of the _Letter_, till he have got them into +an upright position. He moves or drives the top of the Shank of the +_Letter_ from him, because generally the placing the Ball of his Thumb +on the top of the shank of the _Letter_ when he _Composes_ (as was +shewn before) is subject to draw the _Letter_ askew towards him, but +that his care commonly prevents it: Yet if by chance the _Line_ should +_Hang_ from him, then he with the Ball of his Thumb as aforesaid, draws +the _Letter_ towards him, to set it upright. + +Here is now one _Line Compos’d_: And as he _Compos’d_ that _Line_, +so he _Composes Line_ upon _Line_ till his _Stick_ be full: When his +_Stick_ is full, he _Empties_ thus; He lays his _Stick_ down upon his +_Lower Case_, with the bottom of his _Stick_ against the hither _Ledge_ +of the _Case_, and the _Face_ of the _Letter_ upwards; being provided +of a _Riglet_ just the Length of his _Line_, he lays his _Riglet_ +against his last _Line_, and places the Balls of his two Fore-fingers +behind the _Riglet_, near the middle of it, if the _Line_ be not too +long, and then only as near the middle as he can to command it with +his Fore-fingers; and he places the Balls of his Thumbs against the +first _Line_ in his _Stick_ as far below the _Face_ of the _Letter_ as +he can, and he places first the Joints of his middle-fingers against +the Sides of the _Letter_ at the two ends of the _Line_, so as I +shewed you he did when he was _Taking up_ his _Letter_ to Destribute +it; and in this posture pinching the _Letter_ between his Thumbs and +his Fore-fingers, and and squeezing his two middle fingers towards +each other, he leans the _Letter_ in the _Stick_ almost flat upon the +_Riglet_: But if his _Lines_ were _Hard Justified_, he cannot perhaps +with the first leaning the _Letter_ back get them clear out of the +_Stick_, therefore he again wriggles the _Stick_ of _Letter_ forwards +and backwards, till he gets them quite out. _See Plate 24. at_ B. + +Having gotten them out, and in this posture fast between his Thumbs and +Fingers, and the _Letter_ leaning almost flat upon his _Riglet_, he +directs both his hands together to his _Galley_, and nimbly claps that +_Stick_ of _Letter_ down into the _Galley_, placing the first _Line_ +close and upright against the lower ledge of the _Galley_, and the +begining of his _Lines_ close and upright against the left hand _Ledge_ +of the _Galley_, and then disingages his Fingers and Thumbs, and leaves +his _Riglet_ standing in its place till he have occasion to use it in +like manner for the next _Stick_ of _Letter_. + +As he _Set_ this _Stick_ of _Letter_, so he _Sets_ on till his _Page_ +is _Out_, Remembring after the last _Line_ of every _Page_ to set a +_Direction_: That is, he _Sets_ a _Line_ of _Quadrats_ and at the end +of it the first word of the next _Page_, or if the Word be very long +and the _Line_ very short, two _Syllables_, or sometimes but one of +that _Word_. And if it be the _First Page_, viz. the first _Page_ of +that _Sheet_, he _Sets_ a _Signature_ about the middle of the _Line_, +or rather a small matter nearer the end than the middle is, (because +when the _Sheets_ are wrought off and gather’d, they _Collation_ +something quicker: The _Collationer_ not being forced to prick up with +his _Bodkin_ the corners of the _Sheet_ so high to see the _Signature_: +which in a long train of work saves time. + +If it be the _First Page_ of the first _Sheet_ of a _Book_ the +_Signature_ is A, if the first of the second _Sheet_ B, if the first +of the third C, and so successively till he come to W, which is always +skipt, because the _Latin Alphabet_ has not that _Letter_ in it; but +next V follows X Y Z, so that if the _Book_ contain above three and +twenty _Sheets_, the _Signature_ of the four and twentieth _Sheet_ must +be A a, if five and twenty B b; till in like manner he run through the +_Second Alphabet_, and comes to the third, fourth, _&c._ still as he +begins a new _Alphabet_ adding an a. + +To the second _Page_, or any other _Even Page_, he _Sets_ no +_Signature_, but to the Third which is an _Odd Page_ he does, viz. A 2. +The _Figure_ of 2 is no part of the _Signature_, but is only an adjunct +to shew the _Book-binder_ the Second _Leaf_ of that _Sheet_, that he +may the surer _Fold_ the _Sheet_ right. + +If it be a _Folio Sheet_ he cannot set A 3 in a single _Sheet_, because +it has but two _Odd Pages_ in it; but if they be _Quir’d Sheets_, that +is, two, three, or four _Sheets Quir’d_ together, he must set A 3 in a +_Folio_, though not in the First, but Third _Sheet_ of that _Quire_. +But no wise _Compositer_, except he work on _Printed Copy_ that runs +_Sheet_ for _Sheet_, will be willing to _Compose_ more _Sheets_ to a +_Quire_ than he shall have a _Fount_ of _Letter_ large enough to set +out, unless he will take upon him the trouble of _Counting off_ his +_Copy_: because he cannot _Impose_ till he has _Set_ to the last _Page_ +of that _Quire_; all the other _Sheets_ being _Quired_ within the first +_Sheet_, and the last _Page_ of the _Quire_ comes in the first _Sheet_. +But when he _Composes Quir’d Work_, the _Signature_ of the first _Page_ +is A, the _Signature_ of the _Sheet Quir’d_ next within the first +_Sheet_ is A 2, the first _Page_ of the next _Quir’d-Sheet_ A 3: So +that the _Signatures_ of all the _Sheets_ in the first _Quire_ is A, A +2, A 3, _&c._ according to the number of _Sheets Quired_ together. The +second _Quire_ begins B, B 2, B 3, _&c._ The Third _Sheet_ C, _&c._ +according to the number of _Quires_. This is called _Printing_ in +_Quires_. Now to return. + +If the _Form_ be _Quarto_, he _Sets_ under the Fifth _Page Signature_ +3. If _Octavo_, he sets also under the Fifth _Page Signature_ 3. +and under the Seventh _Page Signature_ 4. If _Twelves_, he sets +also under the Fifth _Page Signature_ 3, and under the Seventh _Page +Signature 4_, and under the Ninth _Page Signature_ 5, and under the +Eleventh _Page Signature_ 6. The Rule is, that all _Odd Pages_ should +have a _Signature_, if they stand on the _Out-side_ of the _Sheet_; +and the reason for the Rule is, that the _Gatherer_, _Collater_ and +_Bookbinder_ may the readier lay _Sheets_ right, if they be turned +wrong. This Rule is not among _Compositers_ so well observed as it +ought to be: For in _Quarto’s_ they not only leave the _Signature_ 4 +out, but rarely put in _Signature_ 3. + + +¶ 5. _Some Circumstances a good_ Compositer _considers and observes in_ +Composing. + +A good _Compositer_ is ambitious as well to make the meaning of his +_Author_ intelligent to the _Reader_, as to make his Work shew graceful +to the Eye, and pleasant in Reading: Therefore if his _Copy_ be Written +in a Language he understands, he reads his _Copy_ with consideration; +that so he may get himself into the meaning of the _Author_, and +consequently considers how to order his Work the better both in the +_Title Page_, and in the matter of the _Book_: As how to make his +_Indenting_, _Pointing_, _Breaking_, _Italicking_, _&c._ the better +sympathize with the _Authors_ Genius, and also with the capacity of the +Reader. + +Nor does a _Compositer_ the least shew his skill in the well ordering +and humouring of a _Title Page_, which, because it is the first _Page_ +of a _Book_, we shall begin the _Compositers_ Considerations at. + +He, as aforesaid, judiciously reads his _Title Page_, and considers +what _Word_ or _Words_ have the greatest Emphasis in it. If many +_Words_ precede the Emphasis, he considers whether it be best to make +one or two _Lines_, or more of them, by electing a _Body_ bigger or +less to _Set_ the precedent _Matter_ in, and whether any of these +_Lines_ ought to be _Indented_, either at one end or both, viz. _Set_ +in the middle of the _Line_. And what Words of Emphasis come in that +precedent _Matter_; that he may _Set_ them either in _Capitals_, +_Roman_, _Italick_, or _English_; and at last bring the great Emphasis, +which is generally the _Title_ or _Name_ of the _Book_ in a _Line_ by +it self, and just fill it if he can; which he has some helps to do, by +the great _Bodied Letters_ of the _Lower Case_, or else by _Capitals_, +_Roman_, _Italick_ or _English_, of a proper _Body_, which best pleases +his fancy, or is in present mode. + +If this _Word_ of great Emphasis be _Set_ in the _Lower Case_, yet he +_Sets_ the first _Letter_ a _Capital_, and he _Sets_ no _Space_ between +_Letter_ and _Letter_, but between _Word_ and _Word_ he does, if +there happens more than one _Word_ in that _Line_: But if that _Word_ +be _Set_ in _Capitals_, he chuses to _Set_ a _Space_ between every +_Letter_, and sometimes he _Sets_ two _Spaces_, yet that is rather to +drive out the _Line_. + +If he _Sets_ but one _Space_ between the _Letters_ in a _Word_, he +_Sets_ three _Spaces_ between _Word_ and _Word_: And if he _Set_ two +_Spaces_ between _Letter_ and _Letter_, he _Sets_ four _Spaces_ betwen +_Word_ and _Word_, as well to give a graceful appearance to the Eye, +as to make a Visible and proportionable distinction between _Word_ and +_Word_. + +He also considers what _Whites_ to _Set_ between his _Lines_; as either +a _Line_ of _Quadrats_, and of what _Body_; or (if his _Title Page_ +be large) but a _Scaboard_: and at last _Justifies_ his _Page_ in +_Length_, either by adding more _Whites_ (where they may be proper) +if his _Page_ be too short, or by taking out or diminishing _Whites_ +if the _Page_ be too long: And this he does by altering the _Body_ of +_Whites_, for if a _White-line_ be _English_, he may take it out, and +in its room put in _Pica_, _Long-primmer_ or _Brevier_, according as he +finds he has _Run out_; yet this he does with Consideration, where more +or less _White_ is properest. + +But the mode of ordering _Titles_ varies; as may be seen by comparing +the _Title Pages_ of every twenty years: Therefore a Lasting Rule +cannot be given for the ordering them: only what has been said in +general concerning Emphasis, and in particular to humour the Eye, the +_Compositer_ has a constant regard to. + +When he is to Work upon a continued Series of _Matter_, he _Sets_ the +_Title_ of the _Chapter_ or _Section_ in a bigger _Body_ and different +Character than his _Matter_ is _Set_ in; as if the _Matter_ be _Set_ +in _English Roman_, he _Sets_ the _Title_ in _Great Primer_ or _Double +Pica Italick_, but the _Words_ of _Emphasis_ he will _Set_ in _Roman_, +and varies the Character for them as well in the _Title_, as he does in +the _Matter_. + +If his _Title_ be short, he _Sets_ it in the middle of the _Line_, by +_Setting Quadrats_ on both sides: If his _Title_ be long, he _Sets_ +the middle _Line_ in the middle: If it make three or more _Lines_, he +_Indents_ the first with an m _Quadrat_, and the other with two m +_Quadrats_. Before his _Title_ he sets a _White-line_, viz. a _Line_ +of _Quadrats_, and so he does after it; but with regard to what the +bigness of the _Body_ of the _Letter_ the _Title_ is _Set_ in, _Runs +out_; for these _Whites_ must be set of such _Bodies_ (bigger or +less) as will make the difference of the _Body_ the _Title_ is _Set_ +in, a just number of _Lines_ with those of the _Body_ the _Matter_ +is _Set_ in, because the length of the _Page_, as aforesaid, must be +_Justified_. And he always forecasts to put rather more than less +_White_ before the _Title_ than after it; because the _Title_ has +relation to the _Matter_ of the _Chapter_ or _Section_ it is _Set_ +to, and therefore ought not to be so distinct, as from the precedent +_Chapter_ or _Section_. + +After his _Title_, he begins his _Chapter_ or _Section_ with a +_Two-lin’d Letter_, or _Three_ or _Four-lin’d Letter_, but _Indents_ it +not. He begins his _Chapter_ or _Section_ with the first _Line_ in the +_Stick_, unless his _Stick_ be very Deep, or his _Two_ or _Three-lin’d +Letter_ small, because it may else reach above the top of the _Stick_, +and so hinder him from filling up _Lines_ to the _Body_ of the _Two_ or +_Three-lin’d Letter_. + +After the _Two_ or _Three-lin’d Letter_, he _Sets_ a _Capital Letter_ +of the _Body_ his _Matter_ is of, and _Indents_ all, those _Lines_ that +are to fill up the _Great Letter_ with an n _Quadrat_. + +He cannot use his _Composing-Rule_ (mentioned in the foregoing part +of this ¶) till he have filled up _Lines_ to the _Body_ of the said +_Great Letter_; because his _Composing-Rule_ is too long to go between +the _Great Letter_ and the _Head_ of the _Stick_: but then he uses +the end of a _Riglet_ to rub along the _Lines_ he has _Composed_ +to smoothen them, and so _Set_ on till he has filled up the whole +_Body_ of the _Great Letter_, and most times somewhat above it; which +_Letter_ he afterwards _Justifies_ with _Small Bodied Quadrats_, +or with _Scaboards_ or _Cards_, or with any or all of them till +the _Great-letter_ stands even with the number of _Lines_ that it +_Indents_, and afterwards uses his _Composing Rule_, and _Sets_ the +succeeding _Lines_ to their full Length. + +If it be a great _Wooden Letter_, he begins his _Chapter_ or _Section_ +with, it is most times too _Deep_ for the height of the _Cheeks_ of his +_Stick_; therefore he _Justifies_ his _Stick-full_ just to the breadth +of the _Wooden Letter_ with _Quadrats_ or _Quotations_, and _Sets_ on +between those _Quadrats_ or _Quotations_ and the _Head_ of his _Stick_, +as I shewed before, till his _Stick_ be full of _Lines_; which _Lines_ +he _Empties_, leaving the _Quadrats_ or _Quotations_ in his _Stick_, to +serve, as before, for the succeeding _Stick_ or _Sticks_, till he have +_Composed Lines_ enough for the _Depth_ of the _Wooden Letter_. + +As he _Sets_ on, he considers how to _Point_ his Work, viz. when to +_Set_ , where ; where : and where . where to make ( ) where [ ] ? ! +and when a _Break_. But the Rules for these having been taught in many +School-books, I need say nothing to them here, but refer you to them. + +And as he considers how to _Point_, so he considers what proper Names, +either of Persons or Places, he meets with in his _Copy_, as also what +Words of great Emphasis, and what Words of smaller Emphasis, what +Obsolete Words, and what Foreign, _&c._ + +When he meets with proper Names of Persons or Places he _Sets_ them in +_Italick_, if the Series of his _Matter_ be _Set_ in _Roman_; or in +_Roman_ if the Series of his _Matter_ be Set in _Italick_, and _Sets_ +the first Letter with a _Capital_, or as the Person or Place he finds +the purpose of the Author to dignifie, all _Capitals_; but then, if +conveniently he can, he will _Set_ a _Space_ between every _Letter_, +and two or three before and after that Name, to make it shew more +Graceful and Stately. For _Capitals_ express Dignity where-ever they +are _Set_, and Space and Distance also implies stateliness. + +_Words_ of great Emphasis are also _Set_ in _Italick_, and sometimes +begin with a _Capital Letter_: If the Emphasis bear hard upon the Word +to be exprest as well as the Thing to be exprest, it ought to begin +with a _Capital_. I shall bring for instance an Observation I made +above forty years ago on the Word _that_, viz. that that Word may be +reitterated five times, and make good Sense: If it be set thus it will +seem nonsense, that that that that that; but if it be _Set_ thus, that +that That that that Man would have stand at the beginning of the _Line_ +should stand at the end; it will, by toning and laying Emphasis on the +middlemost That become good Sense. Now all the thats ought to be _Set_ +in _Italick_, and the middlemost That ought to begin with a _Capital_, +because it is both the Thing and Word. + +Words of a smaller Emphasis may be _Set_ in the running Character, +viz. _Roman_, if it be the Series of the _Matter_; or _Italick_, if +_Italick_, but begun with a _Capital_: Instance in the last Sentence, +That which expresses both the Thing and Word, _&c._ Here Thing and Word +both bear Emphasis, though not very great, and therefore ought to be +dignified more than those Words that precede or follow those Words. Yet +I know some Authors are now so nice to mark both the Word Thing and the +Word Word in _Italick_. + +After a . though not at the end of a _Break_ he begins with a _Capital_. + +When in _Composing_ he comes near a _Break_, he for some _Lines_ before +he comes to it considers whether that _Break_ will end with some +reasonable _White_; If he finds it will, he is pleas’d, but if he finds +he shall have but a little single _Word_ in his _Break_, he either +_Sets_ wide to drive a Word or two more into the _Break-line_, or else +he _Sets_ close to get in that little Word, because a _Line_ with only +a little Word in it, shews almost like a _White-line_, which unless it +be properly plac’d, is not pleasing to a curious Eye. + +Nor do good _Compositers_ account it good Workmanship to begin a _Page_ +with a _Break-line_, unless it be a very short _Break_, and cannot be +gotten in in the foregoing _Page_; but if it be a long _Break_, he will +let it be the _Direction-line_ of the fore-going _Page_, and _Set_ his +_Direction_ at the end of it. + +_Indenting_ after a _Break_ (unless it be the end of a _Chapter_ or +_Section_) is an m _Quadrat_, (more or less is not proper) _Set_ at the +beginning of the _Line_: But when Verses are _Indented_, two, three or +four m _Quadrats_ are used, according to the number of the Feet of the +Verses, but most times according to the fancy of the Author. + +_English_ obsolete Words he _Sets_ in the _English_ Character, the +first _Letter_, if the dignity of the Word require it, as aforesaid, +with a _Capital_. + +Foreign Languages he meets with in his _Copy_, if the _Master Printer_ +have them in his House, he _Sets_ them in the proper Character; if not, +the Author must write them in the common Character, and the _Compositer +Sets_ them as they are written. + +That I may be the less unintelligent to the Reader, I will inform him +that in _Printers_ Dialect (as in this last Paragraph it is used) +_Language_ is understood _Letter_: For the _Compositer_ does say, I +shall use a Word or two of _Greek Letter_, or _Hebrew Letter_, or +_Saxon Letter_, _&c._ but I shall use a word or two of _Greek_, a Word +or two of _Hebrew_, _Saxon_, _&c._ so that the Word _Letter_, is in +_Compositers_ Dialect, understood by naming the Language. + +If _Indentures_ instead of _Marginal Notes_ come in a number of +_Lines_, he _Indents_ his _Stick_, as I shewed you he did for a +_Wooden Letter_, leaving a convenient _White_ between his _Matter_ and +_Indenture_, and then again _Indents_ his _Stick_ to _Set_ the _Matter_ +that comes in those _Indentures_, allowing a reasonable _White_ between +the Top and the Bottom of his _Indenture_, and then _Justifies_ it up +to an exact number of _Lines_, as he did the _Wooden Letter_. + +If _Marginal Notes_ come down the side (or sides, If the _Page_ have +two Columns) he chuses to _Set_ them in on the _Stone_, rather than in +his _Galley_; because both his _Page_ and _Notes_ stand safer, being +cloathed with the _Furniture_, than they do when they stand Naked in +the _Galley_. Therefore I shall say nothing of _Marginal Notes_ till I +come to _Imposing_. + +Some other Circumstances (according as variety of Work does happen) a +_Compositer_ may meet with; but by what has been said upon this and +several other Trades, the Ingenious (as they occur) may easily consider +how they are to be performed. + +Nor (as afore was hinted) is a _Compositer_ bound to all these +Circumstances and Punctilio’s, because, in a strict sense, the Author +is to discharge him of them in his _Copy_: Yet it is necessary the +_Compositers_ Judgment should know where the Author has been deficient, +that so his care may not suffer such Work to go out of his Hands as may +bring Scandal upon himself, and Scandal and prejudice upon the _Master +Printer_. + + +¶ 6. _Of Tying up a_ Page. + +We may remember the _Compositer_ has yet a _Page_ in his _Galley_: +This _Page_ must be _Tyed up_ with a _Packthred Cord_, courser or +finer according to the bigness of his _Letter_ and _Page_: For _Small +Letter_, which rarely is used to great _Pages_, he chuses a fine +_Packthred_, strong and limber; but for _great Letter_ and _great +Pages_ a stronger that will better endure hard pulling at: Wherefore +he seeks a _Cord_ for his purpose, or else takes so much off the whole +_Quoil_ as will serve his turn, and taking the end on’t in his Right +Hand, lays that end about an Inch within the _Direction-line_, and a +little lower than the middle of the _Shank_ of the _Letter_, and holds +that end there close with the two Fore-fingers of his Left Hand, then +he slides his Right Hand along the _Cord_, straining it as stiff as +he can along the right side of the _Page_, and turns it about the +_Head_ of the _Page_ as close down to the _Ledge_ of the _Galley_ as +he can, and so slides his Hand over the _Cord_ till he draws it about +all the sides of the _Page_: and when he comes to the first end of the +_Cord_, he doubles up that end so as it stand above the _Face_ of the +_Letter_, and whips the _Cord_ over that end, that the end may not +slip; then he twists part of the remaining _Cord_ about his Right Hand, +and grasping his Left Hand Fingers about the _Direction_ Corner of the +_Page_, as well to hold the end of the _Cord_ from slipping, as to keep +the _Page_ tight in its position, with his Right Hand he pulls the +_Cord_ as hard down the side of the _Page_ as he can; and keeping the +_Cord_ straining, whips it again about the _Head_ and other sides of +the _Page_, and so again about all the sides of the _Page_, keeping it +still straining; and always as he comes to the Right Hand side of the +_Page_, pulling hard, and taking care that it slip not: Having whipt +the _Cord_ twice about the _Page_, he holding two of his Left Hand +Fingers against the _Direction_-corner upon the _Cord_, that it slip +not, with the Ball of his Thumb of his Right Hand, and the Balls of his +Fingers to assist, thrusts against the opposite diagonal corner of the +_Page_, and removes it a little from the _Ledges_ of the _Galley_, that +he may with the Nail of the Thumb of his Right Hand have room to thrust +the _Cord_ whipt about the _Page_, lower down upon the _Shank_ of the +_Letter_, (to make room for succeeding whippings of the Cord, and then +thrusts or draws the _Page_ close to the _Ledges_ of the _Galley_ +again; then whips the _Cord_ again about the _Page_ (as before) till he +has whipt it four or five times about the _Page_, taking care that the +several whippings lye parallel to each other, not lapping over any of +the former whippings. + +Having whipt the _Cord_ four or five times about the _Page_, he with +his _Bodkin_ or the corner of a _Brass Rule_ (which lies best at hand) +fastens the _Cord_, by thrusting a noose of it between the several +whippings and the Right Hand side of the _Page_, close up to the +_Direction-line_, then draws the lower part of that Noose close up to +the very corner of the _Direction-line_, that it may be the better +fastned between the _Page_ and the Whippings: Then, if his _Cord_ +be not of a just length, he cuts it off from the rest of the Quoil, +leaving so much length to it as that the end of it may stand upright an +Inch or two above the _Face_ of the _Letter_; the reason will shew it +self when we come to _Imposing_. Then he removes the _Page_ pretty far +from the _Ledges_ of the _Galley_, to see if the Whippings lye about +the middle of the _Shank_ of the _Letter_; if they lye too high, as +most commonly they do, he thrusts them lower with the Nail or Nails of +his Thumbs. Then (if the _Page_ be not too broad) he places his Fore +or Middle Finger, or both, of his Right Hand on the Right Hand Side of +the _Page_, and his Thumb on the Left; and bowing his other Finger or +Fingers under the _Head_ of the _Page_, he rears up the _Handle-end_ of +his _Galley_ with his Left Hand almost upright, and so discharges the +_Galley_ of the _Page_, by delivering it upright into his Right Hand. +Having his _Page_ upright in his Right Hand, at the _Head_, he claps +the Fingers of his _Left Hand_ about the _Foot_ of the _Page_, upon the +ends of the _Lines_ on the Right Hand Side of the _Page_, and his Thumb +on the Left Hand side of the _Page_, with the Palm of his Hands towards +the _Face_ of the _Letter_, and such Fingers as he can spare bowed +under the Foot of the _Page_, turning the _Page_ with the _Face_ of the +_Letter_ from him, and letting it rest upon the inside of his Fingers, +under the Right Hand Side of the _Page_, and so goes with it to the +_Correcting-stone_. + +But if the _Correcting-stone_ be full of _Forms_ or other _Letter_, +as many times it is, then before he begins to _Tye_ up his _Page_ he +provides a _Sheet_ of _Waste Paper_, supposing it a _Quarto Page_, and +doubles that Sheet in four, and while he has the _Page_ upright in that +Hand (as aforesaid) he takes that doubled Sheet into the Palm of his +_Left Hand_, and claps it against the bottom of the _Page_, and turning +his Left Hand outward, receives the _Page_ flat upon the Paper on the +Palm of his Hand: Then with his Right Hand grasps the Sides of the +_Page_ and the Sides of the Paper, which turn up again above the bottom +of the _Page_, and sets it on a _Letter Board_, or some other board in +a convenient place under his _Case_. He places that _Page_ on the Left +Hand the Board with the Foot of the _Page_ towards him, that the other +_Pages_ that are in like manner set on the Board afterwards, may stand +by it in an orderly succession against he comes to _Impose_ them. + +If it be a large _Folio Page_, or a _Broad-side_ he has _Tyed up_, +he cannot take that into his Hands, because it is too broad for +his Grasp; therefore he carries his _Galley_, _Page_ and all to the +_Correcting-stone_, and turns the Handle of the _Galley_ towards +him, and taking hold of the Handle with his Right Hand, he places +his Thumb and Ball of his Thumb on his Left Hand, against the inside +the _Head-ledge_ of the _Galley_, to hold it and keep it steady, and +by the _Handle_ draws the _Slice_ with the _Page_ upon it, out of +the _Galley_, letting the _Slice_ rest upon the _Correcting-stone_: +Then he thrusts the _Head-end_ of the _Slice_ so far upon the +_Correcting-stone_, that the _Foot_ of the _Page_ may stand an Inch +or two within the outer edge of the _Correcting-stone_; and placing +his Left Hand against the _Foot_ of the _Page_, in the same posture he +last plac’d it against the _Head-ledge_ of the _Galley_, he draws the +_Slice_ from under the bottom of the _Page_, and leaves it upon the +_Correcting-stone_. _See Plate 25. at_ A. + +[Illustration: _Plate 25._] + + +¶ 7. _Of_ Imposing. + +_Imposing_ is the placing of the _Pages_ that belong to a _Sheet_, with +the _Chase_ and _Furniture_ about them, in such an order as when the +_Sheet_ is wrought off at the _Press_, all the _Pages_ may be Folded +into an orderly succession. + +There are four _Volumns_ in use that are differently _Imposed_, viz. +_Folio_, _Quarto_, _Octavo_ and _Twelves_. + +The manner of _Imposing_ these _Sheets_ will be plainer represented +in a Table than by many words; therefore in _Plates 26_, _27_, _28_. +I have given you Drafts of each _Volumn_, both _First_ and _Second +Form_, viz. _White Paper_ and _Reteration_; as you may see noted +over each _Form_ in the Plates. For Example, the two _Forms_ in the +_Folio Sheet_: In the _First Form_ you may see 1 on the Left Hand +and 4 on the Right, which shews that the _First Page_ must stand on +the _Correcting-stone_ on that Hand, and the _Fourth_ on the Right +Hand, with the _Foots_ of the _Pages_ towards you; and so for all the +other _Forms_. The number of the _Page_ belonging to each _Sheet_ is +marked in what place it is to stand on the _Stone_ in the _Chase_, and +the Figures of those Numbers are placed with their _Head_ and _Foot_ +upwards and downwards, as the _Heads_ and _Foots_ of the _Pages_ must +stand in the _Chase_. + +[Illustration: _Plate 26._] + +The places of these _Pages_ for all _Volumns_ the _Compositer_ has +always in his memory, yet has he a help if he remember the places of +but the first half of the number of _Pages_ of each _Volumn_: For if +he knows the place of the first _Page_, the _Page_ that stands next +it must be that number which makes one more than the number of all +the _Pages_ in the _Sheet_. For Example, in the _Folio_; next the +_First Page_ stands the _Fourth Page_, 1 and 4 added makes 5, viz. one +more than the number of _Pages_ in the whole _Sheet_. _See Plate 26._ +Again, In the _Twelves Volumn_ next the _First Page_ stands the _Twenty +Fourth_, 1 and 24 added makes 25: Next 2 stands 23, which added makes +25, _viz._ one more than the number of _Pages_ in the whole _Sheet_. +This is a help, and a certain Rule for placing the _Pages_ of any +Volumn, if he knows but by memory the places of the first half number. +_See Plate 27._ Thus you will find an _Even_ and an _Odd Page_ stand +together. + +[Illustration: _Plate 27_] + +The other _Volumns_, viz. _Sixteens_, _Twenty-fours_, _Thirty-two’s_, +are but the _Octavo’s_ and _Twelves_ doubled, or twice doubled and +_Imposed_ in _Half-Sheets_. For Example, The _Sixteens_ is two +_Octavo’s Imposed_ on each side the _Short Cross_; the _Twenty-fours_ +is two _Twelves Imposed_ on each side the _Long Cross_, and a +_Thirty-two’s_ is four _Octavo’s Imposed_ in each _Quarter_ of the +_Chase_. And thus they double a Volumn as oft as they think fit. But +as was said before, they are _Imposed_ on each side the _Cross_, or +in each _Quarter_ of the _Chase_, as the Volumn that is doubled or +re-doubled is _Imposed_ in the whole _Chase_. + +In _Half-sheets_, all the _Pages_ belonging to the _White Paper_ and +_Reteration_ are _Imposed_ in one _Chase_, and are plac’d, as you see +by the Drafts (in _Plate 28_.) of _Half-sheet Forms_. So that when a +_Sheet_ of _Paper_ is Printed on both sides with the same _Form_, that +_Sheet_ cut in two in the _Short Cross_, if _Quarto_ or _Octavo_, and +in the _Short_ and _Long Cross_, if _Twelves_, and folded as _Octavo_ +or _Twelves_; the _Pages_ (I say) of each _Half-sheet_ shall follow in +an orderly succession. + +[Illustration: _Plate 28._] + +Having premised thus much, he takes up the _Pages_ he set by on Papers +in an orderly succession when he _Tyed_ them up, grasping the edges +of the Papers that stick up on both sides the _Page_ tight, that so +the bottom of the Paper may stand the stronger against the bottom of +the _Letter_, to keep it from falling out; and bringing it thus to +the _Correcting-stone_, he gets the two last Fingers of his Right +Hand under the _Head_ of the _Page_, but not under the Paper sticking +up about the _Head_ of the _Page_, keeping his other two Fingers and +Thumb on the sides of the _Page_, and slips or slides his Left Hand, +so as the Palm of it may turn towards the bottom of the _Page_; and +rearing the _Page_ up on end on his Right Hand, he discharges his +Left to take away the Paper behind the _Page_; then he grasps his Left +Hand about the _Foot-end_ of the _Page_ in the same posture that his +Right Hand grasps the _Head-end_. And having the _Page_ thus between +his Hands with the bottom of the _Letter_ towards him, he directs both +his Hands to the place on the _Stone_ where the _Page_ must stand, and +claps it down on the _Stone_ so nimbly, that the whole bottom of the +_Page_ comes all at once to the Face of the _Stone_, lest otherwise +he endanger the _Breaking_, _Squabbling_, or _Hanging_, _&c._ of the +_Page_. And thus he sets down all the _Pages_ of the _Form_: which +having plac’d in order and rank, as before I have shew’d in the Drafts +of each respective Volumn, he lays the _Chase_ about them; and (if +he have not a _Form_ already _Drest_) seeks out _Inner Side_ and +_Head-sticks_ of such a thickness, as with the _Cross_ may make a +_Margin_ between the adjoyning _Pages_ convenient to the Volumn and +size of the Paper. + +If his _Side_ or _Head-sticks_ be a little too thin, and and he cannot +find any to his intended thickness, he puts a _Scaboard_ or two between +the _Head_ or _Side-stick_ and the _Cross_, as well to have more +_Margin_ as to commode the _Press-man_ (if occasion be) when he makes +_Register_, as I shall further shew when I come to the Section of the +_Press-man_. + +Then he seeks outer _Side_ and _Foot-sticks_, his _Side-sticks_ of +the exact length of the _Page_, or a _Scaboard_ shorter, or he cuts +them to that length, that the _Foot-stick_ Bear not against the end of +the _Side-stick_, because then the _Letter_ will not _Rise_; for the +_Foot-stick_ must be a little longer than the breadth of the _Page_, +that it may shoot beyond the end of the _Side-stick_. + +Then he fits the _Chase_ and _Furniture_ at _Side_ and _Foot_, with +_Fore_ and _Hind Quoins_, and takes off the _Cords_ from the _Pages_, +as shall be shew’d by and by. + +But if _Marginal Notes_ come down the Side or or Sides of the _Pages_ +(for if there be two _Columns_ in a _Page_, the _Marginal Notes_ may +come down both sides) then, before he fits his _Foot-sticks_ he sets +a _Scaboard_ the length of the _Page_, against the side of the _Page_ +the _Notes_ come on, and a row of _Quotations_ almost down the length +of the _Page_, or sometimes but one or two in a place at convenient +distances, to keep the _Letter_ of the Side of the _Page_ upright, +according as he finds his particular _Notes_ stand near or far asunder, +and afterwards fits his _Foot-stick_. Then he _Sets_ his _Notes_, +commonly between the _Cheeks_ of his _Stick_, which for that purpose +are fitted to the _Measure_ of the _Quotation_: And having _Set_ them, +he places them in the proper places where they must come in, and with +_Quotation Quadrats_ of proper _Bodies_, _Justifies_ them up, feeling +(at last) carefully and cautiously at the _Foot_, that they be neither +too soft nor too hard _Justified_ to the length of the _Page_. + +Now if he have a _Chase_, or _Form_, or _Furniture_ already _Drest_ +(these several phrases are used, though they all signifie the same +thing.) If he have (I say) a _Form Drest_, that is, if he or other +Workmen have been Working on the same _Work_, i. e. _Book_, before +he uses one of the _Wrought-off Forms_, and having it on a +_Letter-board_, _Rinc’d_, as was shew’d in ¶ 2. of this Section, he +places it on a Bench or Joint-stool, on that Hand that stands most +commodious with that end of the _Stone_ he _Imposes_ on, and so as +there may be a corresponding position, with the _Form Wrought off_ and +that _Imposing_, viz. that the _First Page_ (and consequently all the +rest) of the _Wrought off Form_ stands on the same Hand with the _First +Page_ of that _Form_ that is _Imposing_. + +Then taking out and laying the _Quoins_ in their proper places, as I +shew’d when he _Stript_ the _Form_, at the latter end of ¶ 2. he a +little wriggles the _Chase_ from one Side to the other, and forward +and backwards to Loosen it, and the _Cross_ or _Crosses_ from the +close pinching of the _Letter_ and _Furniture_: then takes it off the +_Chase_, and lays it about those _Pages_ he is _Imposing_: Then with +his two fore-fingers and Thumbs he takes away the _Inner Side-stick_ +and the _Head-stick_ at once, and at once removes them to the +responding _Quarter_ of the _Form Imposing_, into the responding places +from whence he took them in the _Wrought off Form_. And as he does by +the _Inner Side-sticks_, so he does by the outer _Side-sticks_, and by +the _Quoins_; placing them in their respective proper places between +the _Furniture_ and _Chase_, or so many of the foremost _Quoins_, +as will go in before the _Cords_ are unwhipt from the _Pages_. Thus +the _Wrought off Form_ is _Stript_ and _Naked_; and stands by to +_Destribute_. + +Having thus translated the whole _Furniture_ of the _Wrought off Form_ +to the _Form Imposing_, he finds the end of the _Cord_ that he left +sticking up above the _Face_ of the _Letter_ (which perhaps by this +time is got between the _Furniture_ and the _Page_) and laying the Ball +of his left Thumb, on the _Face_ of the _Letter_ at the _Direction_ +corner of the _Page_, to keep it from _Rising_, he takes the aforesaid +end of the _Cord_, between the Fore-finger and Thumb of his Right +Hand, and pulls gently to loosen the Noose that fastned the _Cord_ +when he _Tyed_ up the _Page_, till he draws the Noose out, and after +it successively all the several Whippings; which done, he places the +Balls of his Thumbs, one against the middle of the _Side-stick_, and +the other against the middle of the _Foot-stick_, and at once thrusts +the _Page_ close against the _Inner-Side_ and _Head-stick_, and so +makes room to get in all the _Quoins_. But if there be more than one +_Page_ in a _Quarter_, as in _Octavo’s_ and _Twelves_, then he unties +all the _Pages_ of that _Quarter_, beginning with the _Inner Pages_ +first, before he can put in the _Quoins_. Then again, thrusting hard +with his Thumbs, against the outer Sides of the Side and _Foot-sticks_ +of the several _Quarters_, to thrust the _Letter_ up tight and Square, +he looks over the _Form_ as nicely as he can, to see what _Letter_ +or _Letters_ may _Rise_ in the _Form_, (that is, stand higher than +the rest) and with the Balls of his Fingers of both his Hands, (the +_Quoins_ being close and hard thrust up) pats upon the _Face_ of the +_Letter_ to beat them down: But this is not enough to smoothen the +_Form_, but only to smoothen it so as the edges of the _Dressing-block_ +(when it comes to smoothen it quite) may not job against them. Then he +takes the _Dressing-block_, described Section 9. ¶ 3. in his left Hand, +and lays the smooth side of it upon the _Face_ of the _Letter_, +at the bottom of the _Quarter_ next him; or he takes the _Shooting +stick_, or sometimes the lower part of the clutched Fist of his right +Hand, and knocks either with the Head of the _Shooting-stick_ (or his +Fist, as aforesaid) gently upon the upper Side of the _Dressing-block_, +with quick knocks, removing the _Dressing-block_ in a lineal rank +upwards, and knocking still quick upon it, as it goes along and comes +down again with the _Dressing-block_, in another lineal rank parallel +to the first: Then in the same order goes up again and down again, +till he have run over the whole _Form_, still knocking with quick +knocks upon the _Dressing-block_, that so he may be sure to press down +every _Rising Letter_ in the whole _Form_, if he see any _Spaces_ or +_Quadrats_ stick up, he thrusts them down with his _Bodkin_. + +Then to _Lock_ up the _Form_, he takes the _Shooting-stick_ in his +Left Hand and the _Mallet_ in his Right, and placing the _Foot_ of the +_Shooting-stick_ against the small _Quoin_ between the _Side stick_ +and the _Chase_, drives that a little gently up, and then removes the +_Shooting-stick_ to the next _Quoin_, and so to the third _Quoin_ +(if there be so many) between the _Side-stick_ and the _Chase_; +Then removes his knocking to the thick end of the _Foot-stick_, and +afterwards knocks the _Foot Quoins_ gently up: Then knocks pretty +strongly with the _Shooting-stick_ against the thick end of the _Side +stick_, and _Drives_ the _Quoins_ yet harder up: Then to the thick end +of the _Foot stick_, and and _Drives_ those _Quoins_ also harder up. +Then at last knocking again, against the thick ends of the _Side_ and +_Foot-sticks_, he knocks up the _Quoins_ so hard, as that he thinks the +_Form_ may _Rise_: To try if it will, he draws the hither Side of the +long Side of the _Chase_, about an Inch or two over the edge of the +_Stone_; and putting his two hands under the _Chase_, Dances the _Form_ +three or four times so as it may just _Rise_ off the _Face_ of the +_Stone_: but not so high as that any loose _Letters_ or _Spaces_ may +drop out, if there be any in; but only so high as he may see if there +be any in or no. If he finds there are many in that do not _Rise_ with +the _Form_, he says the _Form Dances_, wherefore he looks carefully +upon his _Pages_ of _Letter_, to find out the Cause: For generally, +either the _Letter Hangs_ or the _Lines_, are ill _Justified_: or else +it is not _Hard_ enough _Lockt up_. + +If he finds by his Eye the _Letter Hangs_: he must _Un-lock_ and +_Loosen_ the _Form_, or that _Quarter_ that _Hangs_ pretty _Loose_, +that the _Letter_ may be set to Right; which he does with patting upon +the _Face_ of the _Letter_ where it _Hangs_, with the _Balls_ of the +_Fingers_ of both his _Hands_, to twist or turn them into a Square +Position. + +If it be only a _Single Letter_ or two that drops, he thrusts the end +of his _Bodkin_ between every _Letter_ of that Word, till he comes to +a _Space_: and then perhaps by forcing those _Letters_ closer, he may +have room to put in another _Space_ or a _Thin Space_; which if he +cannot do, and he finds the _Space_ stand _Loose_ in the _Form_; he +with the _Point_ of his _Bodkin_ picks the _Space_ up and bows it a +little; which bowing makes the _Letters_ on each side the _Space_ keep +their parallel distance; For by its Spring it thrusts the _Letters_ +that were closed with the end of the _Bodkin_ to their adjunct +_Letters_, that needed no closing. Or sometimes he chews a small bit +of _Paper_, and with the _Point_ of his _Bodkin_ forces that in on one +side of the _Space_: and so fills up the Vacancy between the _Space_ +and the _Letter_. But both these ways are meer present Helps, and (in +plain terms) accounted Botches, as being an Argument that his _Lines_ +were not well _Justified_ in his _Stick_. + +If he finds the _Form_ or any part of it, was not hard enough _Lockt_ +up, he _Locks_ all, or part harder up, as was shew’d before. + +But now his _Form Rises_; Wherefore he draws the Long _Side_ of the +_Chase_ (as before) a little over the edge of the _Correcting-Stone_, +and putting two or three of his Fingers into the Vacancy between the +_Quoins_, or else into the Vacancy at the ends of the _Chase_; he rears +the _Form_ upon the farther _Side_ of the _Chase_, and removing his +right Hand to the Short end of the _Chase_, grasps it near the upper +corner, and then discharges his left Hand also; and removes it to the +diagonal corner of the _Chase_; and so slides the long _Side_ of the +_Chase_ off the hither Edge of the _Correcting-Stone_: Then slipping +his Hands to the bottom of the _Chase_, about two or three Inches +within the corners, with the insides of his Hands towards the _Face_ +of the _Letter_, and leaning the upper _Side_ of the _Chase_ against +the upper part of his Breast, and clutching the Brawn of the inside +of the upper Joynt of his Arm over the upper corners of the _Chase_, +he carries the _Form_ so before him to the _Press_, and lays it upon +the _Stone_, for the _Press-man_ to make a _Proof_ of. The _Proof_ +being made, the _Press-man_ brings the _Proof_, and layes it on the +_Compositers Case_: and he brings the _Form_ again and layes it on the +_Correcting-Stone_, and rubs it over with the _Ly-Brush_, as shall be +shew’d in proper place. And the _Compositer_ gives the _Correcter_ the +_Proof_ and his _Copy_ to _Correct_ it by: which being _Corrected_, the +_Correcter_ gives it again to the _Compositer_ to _Correct_ the _Form_ +by. + + +¶ 8. _Of_ Correcting. + +If there be but few _Faults_, and those easie ones, the _Compositer +Gathers_ the _Corrections_ in his _Stick_, beginning at the bottom +of every _Page_, and so ascending upwards: Because when he is +_Correcting_, the _Corrections_ of the top of the _Page_ stand then +first in the _Stick_, and therefore are readiest to his Hand. But if +there be many _Faults_ he brings the _Lower-Case_ to the _Correcting +Stone_, and takes his _Corrections_ as he uses them. + +Then with the _Mallet_ and _Shooting-stick_ he _Unlocks_ the _Form_, as +was shew’d in ¶ 3 of this Section. But keeps the _Quoins_ pretty tight +up, to secure the _Letter_ from _Squabbling_ or _Hanging_. + +Then he Folds his _Proof_ so oft double, till all the _Pages_, except +that he intends to _Correct_ first are Folded out of Sight, and he +also Folds down the Left Hand _Margin_ of that _Page_ under the +_Proof_, and then lays that Folded Side of the _Page_ along, and close +to the same _Page_ in the _Mettle_: So that the _Head-line_ in the +_Proof_ lye in the same range with the _Head-line_ on the _Mettle_, +and the _Foot-line_ even with the _Foot-line_ on the _Mettal_, and +consequently all the _Lines_ of that _Page_ both on the _Proof_ and +_Mettal_ agree, and stand in a mutual range. + +Now therefore he looks in the _Proof_, to see where the _Correcter_ has +markt a _Fault_, and having found it in the _Proof_, he runs along that +_Line_ with his Eye to the same _Line_ on the _Mettle_, which he easily +does, because the _Line_ of _Mettle_ stands in the same range with that +in the _Proof_, and finding the _Fault_ in the _Mettle_ also, he having +now his _Bodkin_ in his right Hand, with the _Blade_ of it between his +Fore-finger and Thumb, within half an Inch or three quarters of the +_Point_, and the middle of the _Bodkin_ within his clutched Hand to +guide and command it, he sticks the _Point_ of his _Bodkin_ into the +_Neck_ of the _Letter_, viz. between the _Beard_ and the _Face_, and +lifts it with the _Point_ of the _Bodkin_ so high up above the _Face_ +of the other _Letters_, that he can lay hold of it with the Fore-finger +and Thumb of his left Hand to take it quite out. + +I must a little digress, to paraphrase on the posture he holds the +_Bodkin_ in: For in the sticking his _Bodkin_ into the _Letter_, he +holds the _Blade_ of it, so that it may make as small an angle with the +_Face_ of the _Letter_ in the _Form_ as he can, viz. as flat towards +the _Face_ of the _Letter_ as he can, without touching the _Face_ of +any of the adjacent _Letters_ with the _Blade_ of the _Bodkin_; For if +he touches the _Face_ though lightly, yet it may more or less _Batter_ +and spoil the _Face_ of those _Letters_ it touches, and so he creates +himself a fresh trouble to mend them. + +The reason why he holds the _Blade_ of the _Bodkin_ as flat to the +_Form_ as he can, is, Because a small Horizontalish entrance of the +_Point_ of the _Bodkin_ into the _Neck_ of the _Letter_, will raise +the _Letter_ up above the _Face_ of the _Form_, the _Blade_ of the +_Bodkin_ being fastned in the little Hole it makes in the _Neck_ of the +_Letter_: But if he should stick the Point of the _Bodkin_ straight or +straightish down upon any part of the _Letter_, it would indeed make +an Hole, but not fasten in the _Mettle_, to draw it up; for the weight +of the _Letter_ would make it slip off the round and smooth _Point_ of +the _Bodkin_. Besides the pressing the _Point_ of the _Bodkin_ with +his right Hand against the side of the next _Letter_ on his left Hand, +keeps the _Point_ of the _Bodkin_ fast in the little Hole it makes in +the _Neck_ of the _Letter_, and therefore though the _Bodkin_ have but +a little entrance, yet it has hold enough to draw it up by. Now to +return. + +Having taken the Fault out, he puts the _Letter_ that the _Correcter_ +markt in the _Margin_ of the _Proof_ in the room of it. Suppose an o +were markt and n dasht out, therefore when he has taken the n out he +puts an o in the room: These two _Letters_ being of equal thickness, +gives him no trouble to _Justifie_ the _Line_ again after the Fault is +_Corrected_; but if they had been of unequal thicknesses, as suppose an +m to come out, and an n to be put in; in this case he puts in a _Space_ +between two words (where he finds most convenient) to _Justifie_ the +_Line_ again: Or suppose an n to come out, and an m to be put in; now +he must take out a _Space_ where he finds most convenient to make +room for the m, as being thicker by a _Space_ than an n. Thus as he +_Corrects_ he still has a care to keep his _Lines_ true _Justified_; +which he tries by pressing the Balls of his two middle Fingers pretty +hard against the ends of three _Lines_, to make them rise a little +above the _Face_ of the _Form_, whereof the _Line_ he examines is the +middlemost; for if that _Line_ is not hard enough _Justified_, he will +between the Balls of his Fingers find it hollow, or it will not _Rise_ +with the other two: And if it be too hard _Justified_, he will find the +Balls of his Fingers _Bear_ only or hardest against that _Line_, and +the _Line_ on each side it will not _Rise_. + +If there be a long _word_ or more left out, he cannot expert to _Get_ +that in into that _Line_, wherefore he must now _Over-run_; that is, +he must put so much of the fore-part of the _Line_ into the _Line_ +above it, or so much of the hinder part of the _Line_ into the next +_Line_ under it, as will make room for what is _Left out_: Therefore +he considers how _Wide_ he has _Set_, that so by _Over-runing_ the +fewer _Lines_ backwards or forwards, or both, (as he finds his help) +he may take out so many _Spaces_, or other _Whites_ as will amount to +the _Thickness_ of what he has _Left out_: Thus if he have _Set wide_, +he may perhaps _Get_ a small _Word_ or a _Syllable_ into the foregoing +_Line_; and perhaps another small _Word_ or _Syllable_ in the following +_Line_, which if his _Leaving out_ is not much, may _Get_ it in: But if +he _Left out_ much, he must _Over-run_ many _Lines_, either backwards +or forwards, or both, till he come to a _Break_: And if when he comes +at a _Break_ it be not _Gotten in_; he _Drives_ out a _Line_. In this +case if he cannot _Get in a Line_, by _Getting in_ the _Words_ of that +_Break_ (as I just now shew’d you how he _Gets-in_ what was left out +in the _Proof_) or by making less _White_ to the _Title_ of a _Section_ +or _Chapter_ (if any happen in that _Page_) he must _Over-run_ the next +_Page_ backwards or forwards, till that _Line Comes in_: Thus sometimes +he _Over-runs_ all the succeeding _Pages_ of the _Sheet_, and at last +perhaps _Drives_ out a _Line_ to _Come in_ in the next _Sheet_. + +If he have _Set_ a word or small sentence twice, he must take that +out, and _Drive-out_ his _Matter_. If he be near a _Break_, and the +_White_ of that _Break_ not very long, he may perhaps _Drive it Out_ +at the _Break_ by putting in part of the next _Line_ to fill up almost +so much as he took out; but not quite so much, unless his _Matter_ +was at first so _Wide Set_ that he can _Space_ out no more, or unless +the _Break-line_ he comes to have so much _White_ in it that he fears +_Getting-in_ that _Line_: If either of these inconveniences happen, he +_Drives-out_ as much as he can backwards in the _Matter_; that is, he +takes out so much as he thinks he cannot _Drive-out_ when he is at the +_Break_: He takes it out at the beginning of the _Line_, and puts it +in at the latter end of the _Line_ before it: But first he takes out +almost so much of the beginning of his Second upper _Line_, to make +room for it: I say almost so much, because he intends to _Space-out_ +the rest if it were not too _Wide Set_ at first. And thus he runs on +from _Line_ to _Line_, still taking out less and less at the beginning +of every former _Line_, and putting it into the _Line_ above that, +that he may _Space-out_ his _Matter_ as he _Over-runs_, till his +_Double-Setting_ is _Driven-out_. + +But if he have _Set_ a _Line_ or _Lines_ twice, and cannot _Drive_ +it or them _Out_ at a _Break_ or _Breaks_; or that he cannot _Set_ +more _Whites_ at the beginning of a _Section_ or _Chapter_, he must +_Over-run_ the next _Page_ or more, or the whole _Sheet_ till it be +_Driven-out_: And if in _Over-runing_ the whole _Sheet_ it be not +_Driven-out_, he must _Set_ so many _Lines_, of the following _Matter_ +as will make up the last _Page_. + +Many times either for _Getting-in_ or _Driving-out_, the _Compositer_ +will chuse to _Over-run_ in his _Stick_, and then he _Wets_ the _Page_ +he is to _Over-run_, with the _Spunge_ (that the _Letter_ may the +better stick together) and he separates so much of the former part of +the _Page_ as he intends to _Over-run_, from the rest of the _Page_, +and places himself before the _Notches_ of the _Letter_, and takes up +about an Inch and an half or two Inches of the first Separated _Line_, +and brings it to the _Stick_; and as it it is coming along he turns the +_Notches_ upwards, and places that _Taking up_ in the _Stick_. When +he _Takes-up_, he places the Inside of the first Joynt of his middle +Finger of his right Hand against the beginning of that _Line_, and the +Ball of his Thumb against the other end of that _Taking-up_, and the +Ball of his Fore-finger behind the _Taking-up_, about the middle of it, +and so pinching it lightly brings it to his _Stick_, as aforesaid. And +having thus by several _Takings-up_, gotten a _Line_ into his _Stick_, +he looks it over to see what _Spaces_ or other _White_ he can take +out or put in, according as he has either _Left-out_ or _Set-twice_, +and then he _Justifies_ the _Line_ again, as was shew’d in ¶ 5. of +this Section. And thus he _Over-runs Line_ after _Line_, till he has +_Gotten-in_ or _Drove-out_ his _Leaving-out_, or his Twice _Set Matter_. + +If the _Compositer_ is not firmly resolv’d to keep himself strictly to +the Rules of good Workmanship, he is now tempted to make _Botches_; +viz. _Pidgeon-holes_, _Thin-Spaces_, no _Space_ before a _Capital_, +_Short_ &s, _Abbreviations_ or _Titled Letters_, _Abbreviate Words_, +&c. And if Botching is in any Case excusable, it is in this; for with +too great _Spacing-out_ or too _Close Setting_, he many times may save +himself a great deal of Labour, besides the vexation of mind, and other +accidental mischiefs that attend _Over-running_. + +It sometimes chances that a _Compositer_, by having two or more +_Pages_ in his _Sheet_ with the same _Direction-line_, or by mistaking +the right place of his _Page_ when he set it by on a Paper under +his _Case_, as was shew’d ¶ 7. of this Section, or by some other +accident that may happen; I say it sometimes happens (but seldom +through too much care) that he _Transposes_ two _Pages_, or more, +in his _Sheet_: In this case he _Unlocks_ that _Quarter_, or those +_Quarters_ the _Pages_ are in, and loosning the _Cross_ or _Crosses_ +from those _Pages_ and their _Furniture_, takes the rest off the +_Correcting-stone_ with their _Furniture_ about them: And if it be +a _Folio_ or _Quarto_ he does not wet the _Pages_, because those +_Forms_ have _Furniture_ about every side of the _Page_, which will +keep up the _Letter_ from falling down; But he only places the Balls +of his two Thumbs against the outside of the _Furniture_, about the +middle of the _Head_ and _Foot_ of the _Page_, and the insides of his +two middle Fingers, assisted by his Fourth and Little Fingers, in a +parallel position to his middle Fingers, (to strengthen them against +the _Furniture_) about the middle of the _Sides_ of the _Page_, letting +the length of his Fingers reach as far from each corner of the _Page_ +towards the middle of it as he can, and so by a steady pressing the +Balls of his Thumbs and the Balls of his Fingers on each Hand towards +each other, he draws, or as he sees most convenience, thrusts the whole +_Page_ out of its wrong place, and sets it by on the _Stone_, till +in the same manner he removes the other _Transpos’d Page_ into the +place of the first remov’d _Page_: And thus if there be more than two +_Transpos’d Pages_ in the _Sheet_, he removes them all, and _Sets_ the +right _Pages_ in their right places. + +But if it be an _Octavo_ or _Twelves_, or any other _Form_ that has +_Gutter-sticks_ between two _Pages_, he must Wet those _Pages_ he +leaves on the _Stone_, because when he removes one _Page_, by the help +of the _Gutter-stick_, one side of the other _Page_ will stand _Naked_; +and consequently with the Shaking, Joggling, or Trembling of the +_Stone_ or Floor, the _Letters_ on that side will be in great hazard of +falling down, especially if the _Face_ of the _Stone_ happens not to be +truly Horizontal: I say, happens not to be truly Horizontal, because +the _Stone_ is seldom laid with any caution, but only by guess. + +Having placed the _Pages_ in their right places, he again lays the +_Chase_ about them, and _Locks_ them up again, as was shew’d in ¶ 7. +of this Section: Then he carries the _Form_ to the _Press_, and lays +it on the _Stone_ for a _Second Proof_, and sometimes for a _Third +Proof_; which having _Corrected_, he at last brings the _Form_ to the +_Press_, and again lays it on the _Stone_ Right, viz. in _Folio’s_ and +_Octavo’s_ with the _Foot_ of the _First_ or _Third Page_ (which he +easily knows by their _Signatures_) towards him, and the side of it +next the _Plattin_: And in _Quarto’s_ and _Twelves_, with the _Foot_ of +the _First_ or _Third Page_ next the _Tympan_. + +After all this _Correcting_ a _Revise_ is made, and if any _Faults_ are +found in any _Quarter_ of it, or in all the _Quarters_, he calls to the +_Press-man_ to _Unlock_ that _Quarter_, or the whole _Form_, that he +may _Correct_ those _Faults_: For when the _Form_ is on the _Press_ it +is not the _Compositers_ task to _Un-lock_ the _Form_: Neither would a +good _Press-man_ be content he should make a knocking on his _Press_, +especially if the _Press-man_ have _Made-ready_ his _Form_, as shall be +shewed in the next Section. + + +¶ 9. _Of_ Counting _or_ Casting off Copy. + +_Counting_ or _Casting off Copy_ (for both Phrases are indifferently +us’d) is to examine and find how much either of _Printed Copy_ will +_Come-in_ into any intended number of _Sheets_ of a different _Body_ +or _Measure_ from the _Copy_; or how much _Written Copy_ will make an +intended number of _Sheets_ of any assigned _Body_ and _Measure_. + +The Rule and Method of _Counting off_ either _Printed_ or _Written +Copy_ is the same, only _Written Copy_ is more difficult, because +subject to be irregularly Writ: Therefore if I shew you how the +_Compositer Casts off Written Copy_, I do at the same time inform you +how to _Count off Printed Copy_. + +The _Compositer_ therefore first considers what _Bodied Letter_ his +Work is to be wrought on: then he carefully peruses the _Copy_, +considering with himself whether it be evenly Written or unevenly +Written, _viz._ whether it be throughout of an equal siz’d Hand, or +whether part be close Written and part wide Written; if it be an equal +siz’d Hand, that is, equally close Written in general, as well between +_Letter_ and _Letter_, _Word_ and _Word_, as between _Line_ and _Line_, +he has scarce more trouble to _Count it off_ than _Printed Copy_. + +Wherefore, the _Measure_ being given, he _Composes_ one _Line_ in his +_Measure_: The _Matter_ he _Composes_ he chuses out of that part of his +_Copy_ that in his Judgement he admits is most indifferently Written, +between Wide and Close, as being such as his whole _Copy_, one part +with another, will likeliest _Come-in_ alike with. This _Line_ being +_Compos’d_, he considers how much of his _Copy_ it takes up, _viz._ +whether it runs _Line_ for _Line_, or whether two _Lines_ of his _Copy_ +make one _Line_ in his _Stick_; or whether a _Line_ and an half, or +a quarter, or half quarter of his _Copy_, _&c._ make one _Line_ in +his Stick; or whether a _Line_ of his _Copy_ make two _Lines_ in his +_Stick_, or a _Line_ and a half, or a quarter, or half a quarter, +_&c._ and accordingly calculates what just number of _Lines_ will make +another just number of _Lines_ in his _Stick_. For Example. + +If his _Copy_ and _Measure_ run _Line_ for _Line_, then consequently +10, 20, 30 _Lines_ of the _Copy_ will make 10, 20, 30 _Lines_ in the +_Measure_; and accordingly he counts what number of _Lines_ in his +_Copy_ will make a _Page_; and by that, what number of _Lines_ will +make two _Pages_, four _Pages_, eight _Pages_, and consequently so many +_Pages_ and _Sheets_ as he is to _Count off_. + +If two _Lines_ of _Copy_ make one _Line_ in the _Stick_, then +consequently ten _Lines_ in the _Copy_ will make five _Lines_ in the +_Stick_; twenty _Lines_ in the _Copy_ ten _Lines_ in the Stick, _&c._ + +If a Line and a half of the _Copy_ make one _Line_ in the _Stick_, then +fifteen _Lines_ of _Copy_ makes ten _Lines_ in the _Stick_, thirty +makes twenty, _&c._ + +But a pair of _Compasses_ makes the best expedition in _Counting off of +Copy_, and (by my experience) I have found the surest way. I _Compose_ +one _Line_ as aforesaid; if the _Line_ I _Compos’d Gets-in_ part of the +next _Line_, viz. the second _Line_ of the _Copy_, I place one Foot of +a pair of _Compasses_ at the beginning of the _First Line_, and open +the other Foot to what was _Got-in_ of the _Second Line_, and turn the +_Compasses_ about upon the Foot in the Second _Line_, till the other +Foot reach the _Third Line_ of the _Copy_; then turn about the Foot in +the _Third Line_ of the _Copy_ till the other Foot falls in the _Fourth +Line_ of the _Copy_; and so from the _Fourth_, to the _Fifth_, _Sixth_, +_&c._ till the _Compasses_ end with a _Line_ in the _Copy_, or near +the end of a _Line_, remembring as I go along, how oft I turn’d the +_Compasses_ about. Suppose, for Example, seven times: Then I number +the _Lines_ of _Copy_, beginning with the first _Line_ and ending with +the last _Line_, that the Points of the _Compasses_ were turn’d over, +and find them Eight, Nine, Ten, _&c._ and say Eight, Nine, Ten, _&c._ +_Lines_ of the _Copy_, makes Seven _Lines_ of the _Measure_. + +As now I have shew’d you how I _Count off Copy_ if it come in more than +_Line_ for _Line_, so I shall shew you how I proceed if a Line in the +_Copy Drive out_ in the _Measure_. + +It is but placing one Foot of a pair of _Compasses_ at the farther end +of the first _Line_, and opening the other Foot to the place where the +_Compos’d Line_ ended, and by turning about the _Compasses_, as before, +to the Second, Third, Fourth _Lines_, _&c._ till they end in the +beginning of a _Line_ in the _Copy_; for then (as before) counting the +number of _Lines_, beginning with the first, and ending with the last; +Suppose Eight, Nine, Ten, _&c._ I say Eight, Nine, Ten, _&c._ _Lines_ +of the _Copy_ makes so many _Lines_ as is the number of times the Feet +of the _Compasses_ were turned about, between the first _Line_ and the +last _Line_. + + +_Another way Arithmetically perform’d._ + +Suppose it be requir’d to know how many _Sheets_ 127 _Pages_ of +_Written Copy_ will make? I count the number of _Letters_ contained +in an ordinary _Written Line_ of _Copy_, such a _Line_ as I guess is +likely to _Run_ _Line_ for _Line_ with the generality of the rest of +the _Copy_: And (for Example) I find 43 _Letters_ in that _Line_: Then +I count the number of _Lines_ in an whole _Page_, and find 35 _Lines_, +I Multiply 43 by 35, the Product is 1505 for the number of _Letters_ +in an whole _Page_: Then I multiply 1505 by 127, the number of _Pages_ +in the whole _Written Copy_; the Product is 191135, the number of +_Letters_ in the whole _Written Copy_. + +If it be now required to know how many _Sheets_ in _Quarto_, of +the _English Body_ this _Written Copy_ will make, agreeable to any +_Measure_ already _Printed_? As for Example, the length of a _Page_ +given is 33 _Lines_, and in one _Line_ is contained 47 _Letters_: I +multiply 47, the number of _Letters_ in one _Line_, by 33, the number +of _Lines_ in a _Page_, the Product is 1551. With this Product I divide +191135, the number of _Letters_ in the whole _Written Copy_, and the +Product gives 123, that is, 123 _Pages_ in _Quarto_, which divided +by 8, the number of _Pages_ in one _Sheet_, gives 15 _Sheets_ and 3 +_Pages_. + +If it be required to know how many _Sheets_ it will make of _Pica_ in +an _Octavo_, or of _Long Primer_ or _Brevier_ in _Twelves_, _&c._ the +manner of Working is the same: For Multiplying the number of _Letters_ +in one _Line_ by the number of _Lines_ in one _Page_, and Deviding the +number of _Letters_ in the whole Work (suppose, as in the foregoing +Operation by 191135) by the number of _Letters_ in one _Page_, the +Product gives the number of _Pages_ in the Quotient: And then at +last Deviding the number of _Pages_ by 16 if an _Octavo_, or 24 if +_Twelves_, _&c._ you have in the Quotient the number of _Sheets_, and +in the Remain (if any be) the number of _Pages_. + +These two last ways are the surest Rules for _Counting off Copy_: But +yet the _Compositer_ has several Considerations upon his _Copy_ before +he dares conclude he has truly and exactly _Counted off_. + +For first, a strict regard must be had to the _Breaks_ that come in +the _Copy_: For long _Breaks_ in the _Copy_ are generally likely to be +_Got-in_, and consequently a _Line_ is _Got-in_: But short _Breaks_ +often _Drive-out_ a _Line_. Therefore though the _Compositer_ has +already in general _Cast off_ his _Copy_, yet he more particularly +considers his _Breaks_; and indeed they serve as so many Regulators to +him, to keep him within the bounds of his _Counted off Copy_: For every +_Break_ he examines by the number of _Lines_ from the last _Break_, +by the length of the _Break_, and by the close or wide Writing of his +_Copy_, whether it will be _Got-in_ or _Drove-out_, and accordingly +marks it in his _Copy_, before he reckons he has done _Counting off_. + +A _Break_ to be _Got-in_ he marks thus [, and adjoyns in Numerical +Figures, the number of _Lines_ the _Matter_ between the last _Break_ +and it will make. A _Break_ to be _Drove-out_ he marks thus - - -, and +(as aforesaid) adjoyns Numerical Figures to remember him what number of +_Lines_ he accounted that _Matter_ to make from the last _Break_. + +If _Chapters_, _Sections_ or _Paragraphs_ happens in the _Copy_, the +_Compositer_ takes room enough to set them and their Titles gracefully +in; and marks in Numerical Figures what number of _Lines_ he assigns +for it. + +If as he _Counts off_ his _Copy_ he finds _Abreviated Words_, he tells +the _Abreviated Words_ to the full number of _Letters_ that spells the +Word at length, because in _Composing_ he _Sets_ those Words at length: +And should he not consider it in his _Counting off_, he would in +_Composing_ find his _Matter Run out_ from his _Copy_. + +Scarce any _Copy_ is so regularly Written (as hath several times before +been hinted) but that some places are Wider, and other places Closer +Written, than the generality of the _Copy_, wherefore he considers both +these accidents in his _Copy_, and accordingly allows for them. + +If it happens that much _Italick_ comes in the _Copy_, as sometimes +two or three _Lines_, or more, or half a _Page_, an whole _Page_, +or several _Pages_; the _Compositer_ considers _Italick_ is thinner +than _Roman_, and consequently _Gets-in_ more than _Roman_ does, and +therefore in his _Counting off_ will allow accordingly for it. + +The proportion that I allow for it is as 9 to 10, or which is all +one, as 45 _Roman Letters_ is to 50 _Italick Letters_: So that if a +_Measure_ holds 45 _Roman Letters_, the same _Measure_ will hold 50 +_Italick Letters_. + +As _Italick_ is thinner than _Roman_, so the _English Face_ is thicker +than the _Roman_; wherefore if he meets with the _English Face_, he +considers that accordingly. + +I find the proportion to be as 40 to 43, _viz._ 40 _English Faced +Letters_ fill the same _Measure_ that 43 _Roman_ does; and consequently +for every 40 _Lines_ to be _Set_ in _English_ he must _Count off_ 43 +_Lines_; and so proportionaply for more or less. + +But yet I shall not deliver these my Observations on the _Italick_ and +_English_ to hold thus in all _Italicks_ and _Englishes_, nor all +_Romans_ of the same _Body_ to be of an equal Thickness, because some +are _Cut_ Thicker or Thinner on the _Face_: And besides, sometimes +_Letter Cast_, though in the same _Matrices_, are by the _Founder Cast_ +Thicker or Thinner, and consequently in either Circumstance _Drive-out_ +or _Get-in_: Wherefore a _Compositer_ will consider what _Fount_ of +_Letter_ it is he Works on, and accordingly _Count off_ his _Copy_. + + +¶ 10. _Of_ Papering up _of_ Pages. + +_Papering up_ of _Pages_, or _Papering_ up of _Letter_, are two phrases +indifferently used for the same meaning. Though this Operation seems so +sleight and trivial that it may be thought not worth mentioning, yet it +being a task incumbent on the _Compositer_, it becomes mine too to shew +how it is performed. + +It is thus: When a _Book_ is finisht, and the _Compositer_ is to +_Work_ on other _Letter_ afterwards; the _Wrought off Letter_ is to be +_Papered up_. The _Press-man_ therefore having _Washt_ the _Wrought-off +Forms_, the _Compositer Rinces_ them, as was shewed in Section 22. ¶ +3. He _Rinces_ the _Letter_ as well as if it were _Rinced_ for present +use, or rather better: for else the _Inck_ that is desolved among the +_Ly_ would, with long standing by, harden between the _Letter_, and +make the _Letter_ stick so fast together that when it comes afterwards +to be _Destributed_, the _Compositer_ shall not without great +difficulty and trouble get them asunder. This sticking together of the +_Letter_ is call’d _Baking_ of the _Letter_. And _Compositers_ in this +Case say, _The Letter is Bak’d_. + +The _Compositer_ having _Stript_ the _Form_, whips _Cords_ as tight as +he can about every _Page_, not to _Tye_ them up for good and all, but +aswell to keep up the _Letter_ on the sides of the _Pages_ that it fall +not down, while it stands by for some dayes on the _Letter-board_ to +_Dry_, as to keep the _Letter_ tight together that he may the better +with his Hands take an whole _Page_ at once off the _Letter-board_. + +When it is _Dry_, if the _Pages_ are not too broad for his Grasp, he +places his Body against a side of the _Pages_, and the Balls of his +two Thumbs against the side of a _Page_, one indifferently between the +middle and _Head_ of the _Page_, and the other between the middle and +_Foot_ of the _Page_, and with the three Fore-fingers of each Hand +placed on the other side of the _Page_, grasps the _Page_ between them +and his Thumbs; and to keep his Hands the steddier, stretches the +insides of his Little-fingers one against the _Head_ the other against +the _Foot_ of the _Page_: And having the _Page_ thus Steddy between +his Hands close prest on all the sides of the _Page_, he with a quick +motion nimbly rears one side of the _Page_ upright, and receives the +weight of it either on the Balls of his Thumbs or on the Balls of his +Fingers, as best likes him; and so carries it to his _Galley_ and +_Tyes_ it firmly up; as was shewed ¶ 6. of this Section. + +As he took and _Tyed_ up this one _Page_, so he takes and Tyes up all +the _Pages_. But if a _Page_ be too big for his Grasp, he underlays the +_Slice_ of a _Galley_ till it lye within a Scaboard so high as the edge +of the _Letter-board_, and getting some one to hold the _Slice_ steddy +against the edge of the _Letter-board_ he slides the _Page_, with the +_Head_ or _Foot_ forwards upon the _Slice_, and so carries the _Page_ +to the _Galley_ and _Tyes_ it up, as aforesaid. + +He sends the Boy to the Warehouse-keeper for so much Paper as he +finds he shall want; and if the _Pages_ are small, he layes a single +Sheet down on the _Correcting-Stone_ or on a _Letter-board_, and +sets a _Page_ down on that Sheet of Paper, so as the farther Side of +the _Page_ may stand towards one end of the Sheet; and so far on the +Sheet, as that the end of it may lap over the _Face_ of the _Letter_, +and about half way down the _Shank_ of the _Letter_, on the hither +side the _Page_: And smoothing the Paper tight over the _Face_ of the +_Letter_, and half way down the _Shank_ on the hither Side, and quite +down the _Shank_ at the _Head_ and _Foot_ of the _Page_, he folds the +loose Paper that hangs over the ends of the _Page_, from each corner +of the _Page_, to end in an Angle in the middle of the loose Paper, +and then folds the other end of the Sheet of Paper tight over the +Paper that covers the _Face_ of the _Letter_; and also folds the loose +Paper at the ends of the _Page_ down into Angles, as he did the former +loose ends: Then rearing his _Page_ over the further side, lays the +_Face_ downwards, still smoothing the Paper tight, and folding in the +un-folded corners, to meet in the same Angles with the former folded +Angles in the middle of the loose Paper: And thus so long as he has +Paper to spare he turns his _Page_, wrapping it at least twice, or if +he can thrice about in Paper, folding and doubling down the Loose Paper +into Angles as before: And at last turns up those Angles or Lappets +either over the _Face_ or Bottom of the _Letter_, and turns the _Page_ +upon those folded Lappets, that its weight may press and keep them +close under the _Page_. + +If the Pages are large, so as one _Sheet_ will not compass them twice +or thrice about, to be strong enough to bear the _Letter_, which +generally sinks downwards into the middle of a _Page_, he lays two, or +sometimes three Sheets under the _Page_: And as he wrapt up the first +Lay of Sheets, adds more to lengthen them out, that they may wrap at +least three or four times about the great _Page_. + +Having thus _Paper’d up_ the _Pages_, and folded the Lappets under +them, he writes upon the upper side what _Letter_ it is, _viz._ +_Long-Primer Roman_, _Long-Primer Italick_, _Pica Roman_, _Pica +Italick_, _Pica English_, _English Roman_, _Italick_, _&c._ and sets +them by for the _Master-Printer_ to dispose of. + + +§. 23. _Of the_ Correcter, _and his Office_. + +A _Correcter_ should (besides the _English_ Tongue) be well skilled in +Languages, especially in those that are used to be Printed with us, +_viz._ the _Latin_, _Greek_, _Hebrew_, _Syriack_, _Caldæ_, _French_, +_Spanish_, _Italian_, _High Dutch_, _Saxon_, _Low Dutch_, _Welch_, +_&c._ neither ought my innumerating only these be a stint to his skill +in the number of them, for many times several other Languages may +happen to be Printed, of which the Author has perhaps no more skill +than the bare knowledge of the Words and their Pronunciations, so that +the Orthography (if the _Correcter_ have no knowledge of the Language) +may not only be false to its Native Pronunciation, but the Words +altered into other Words by a little wrong Spelling, and consequently +the Sense made ridiculous, the purpose of it controvertible, and the +meaning of the Author irretrievably lost to all that shall read it in +After times. + +He ought to be very knowing in Derivations and Etymologies of Words, +very sagacious in _Pointing_, skilful in the _Compositers_ whole Task +and Obligation, and endowed with a quick Eye to espy the smallest +_Fault_. + +But I shall say no more of his Qualifications; but suppose him endowed +with all necessary accomplishments for that Office. + +The _Compositer_ either carries him a _Proof_, or sends the Boy with it +to his Appartment, which is commonly some little Closet adjoyning to +the _Composing-room_; And the _Master-Printer_ appoints him some one +that is well skill’d in true and quick Reading, to Read the _Copy_ to +him, whom I shall call the _Reader_. + +This _Reader_, as I said, Reads the _Copy_ to him, and the _Correcter_ +gives attention; and at the same time carefully and vigilantly examines +the _Proof_, and considers the _Pointing_, _Italicking_, _Capitalling_, +or any error that may through mistake, or want of Judgement be +committed by the _Compositer_. + + If he finds one _Letter Set_ instead of another, as + in this Word tho for the, he dashes out the wrong + _Letter_ thus thø, and Writes the _Letter_ e/ + it should be on the Right Hand _Margin_ + of the _Page_, right against the same _Line_, + and makes a Dash behind it, as you may + see in the _Margin_. + + If two or three, or more Words in the + same _Line_ have _Faults_ in them, as in these + Words, [Illustration]; where first a/ c/ r/ o/ + an o is _Set_ instead of a, e instead of c, + t instead of r, and c instead of o: These + he marks in an orderly succession towards + the Right Hand, against the same _Line_, + as you may see in the _Margin_. + + But if one word be _Set_ instead of another, + as Scoff instead of Smile, here he + marks Scoff out thus [Illustration], and writes Smile / + Smile, as in the _Margin_. + + If a _Word_ or _Words_, or _Letter_, or _Point_ + be _Left out_ he makes this mark ʌ where + it is _Left out_ for a mark of Insertion, and + Writes in the _Margin_ what must come in. + + If a _Space_ be _Left out_ he makes the former + mark of Insertion where it should + come in, and makes this mark [Illustration] in the + Margin. [Illustration]/ + + If a whole Sentence be _Left out_, too + long to be Writ in the _Margin_, he makes + the mark of _Insertion_ where it is _Left out_, + and only Writes (Out) in the _Margin_. If (Out) + the Sentence _Left out_ be not very long, + he Writes it under the _Page_, or on the + Left Hand _Margin_ of the _Page_: But if + it be too large to be Writ in the + _Margin_, or under the _Page_, he + Writes in the _Margin_, See the Copy. (See the Copy) + + If a Word or Sentence be _Set_ + twice, as Him Him, he marks out + one Him thus [Illustration], and makes + this mark [Illustration] in the _Margin_, [Illustration] / + for _Deleo_,to take out. + + If a _Letter_ be turned thus [Illustration], he [Illustration] / + dashes it out as you see, and makes + this mark in the _Margin_. + + If Words are _Transposed_, that is, + if one Word stand in another + Words place, as, no I love Swearing, + and it should be, I love no + Swearing; he marks this _Fault_ + thus, [Illustration], and + makes this mark [Illustration] in the _Margin_. [Illustration] / + The like mark he makes + in _Matter_ and _Margin_ if two _Letters_ + are _Transpos’d_. + + If a _Space_ or an m or n _Quadrat_, + _&c._ stick up, and _Print Black_, as + between these[Illustration]words, he marks + in the _Margin_ thus. | + + If a _Word_ be _Set_ in _Roman Letter_ + instead of _Italick_ or _English Letter_, + he dashes the Word underneath + ~thus~, and Writes _Ital._ or + _Eng._ in the _Margin_. Ital/ Eng/ + + In like manner, if a single _Let-_ + or more _Letters_ be Set in _Roman + Letter_, and it should be _Italick_ or + _English Letter_; or if in _English_ or + _Italick_, and it should be _Roman Letter_, + he dashes the _Letter_ or _Letters_ + ~thus~ underneath, and writes _Ital._ Ital/ Rom/ Eng/ + _Rom._ or _Eng._ in the _Margin_: Or if + _Lower-Case Letters_ be _Set_ instead of + _Capitals_, he dashes them underneath, + and Writes _Capt._ in the _Margin_. Capt./ + +Having Read the _Matter_ of the _Proof_ he examines again if the _Form_ +be right _Impos’d_, for though he before turn’d the _Pages_ in the +_Proof_ as he read them according to their orderly places, yet he will +scarce trust to that alone, but again examines them on purpose, and +distinctly, which he does not only by the _Direction Word_, but by +examining the whole Sentence the _Direction_ comes in, both at the end +of the _Page_, and the beginning of the next _Page_. + +He examines that all the _Signatures_ are right, and all the _Titles_ +and _Folio’s_. + +If the Work be large _Forms_ and small _Letter_, he has a second, and +sometimes a third _Proof_, which he Reads as the first. + +After the Second or Third _Proof_ he has a _Revise_, which is also a +_Proof-sheet_: He examines in this _Revise_, _Fault_ by _Fault_, if all +the _Faults_ he markt in the last _Proof_ were carefully mended by the +_Compositer_; if not, he marks them in the _Revise_. + +Thus you see it behoves him to be very careful as well as skilful; and +indeed it is his own interest to be both: For if by his neglect an +_Heap_ be spoiled, he is obliged to make Reparation. + + + + +Advertisement to AUTHORS. + + +_Although I have in the precedent_ Exercises _shew’d the +Accomplishments of a good_ Compositer, _yet will not a curious Author +trust either to his Care or Abilities in_ Pointing, Italicking, +Capitalling, Breaking, &c. _Therefore it behoves an Author to examine +his_ Copy _very well e’re he deliver it to the_ Printer, _and to Point +it, and mark it so as the_ Compositer _may know what Words to_ Set _in_ +Italick, English, Capitals, &c. + +_For his_ Italick _Words he draws a line under them ~thus~: For_ +English _Words he draws two lines under them ~thus~; and for_ +Capitals _a line of Pricks ~thus~, or else draws a line with Red +Inck_. + +_If his_ Copy, _or any part of it, be Written in any Foreign Language, +he is strictly to spell that Foreign Language right: Because the_ +Compositer, _as I said in the Preface to this_ [Illustration], _takes no notice of +any thing therein but the very_ Letters, Points _and_ Characters _he +finds in his_ Copy. + +_If an Author have not (through haste in Writing) made_ Breaks _in +proper places; when he comes to peruse his_ Copy _he may find cause to +make several_ Breaks _where he made none: In such a case he makes a_ +Crotchet [ _thus, at the Word he would have begin his new Paragraph_. + +_Thus in all particulars he takes care to deliver his_ Copy _perfect: +For then he may expect to have his Book perfectly Printed. For by no +means he ought to hope to mend it in the_ Proof, _the_ Compositer _not +being obliged to it: And it cannot reasonably be expected he should be +so good Natured to take so much pains to mend such Alterations as the +second Dictates of an Author may make, unless he be very well paid for +it over and above what he agreed for with the_ Master-Printer. + + * * * * * + +The next _Exercises_ (God willing) shall be the _Press-mans_ Trade, +The Office of the _Ware-house-keeper_, The _Customs_ of the _Chapel_, +And a _Dictionary_ to explain the hard Words and Phrases used in the +whole Practice of _Typography_: Which will be the Conclusion of this +Second Volume. + + + + +_ADVERTISEMENT._ + + +There is now coming forth a small Book, intituled _Enneades +Arithmeticæ_; the Numbring Nines, or _Pythagoras_ his Table, extended +to all Whole Numbers under 10000. And the Numbring Rods of the Right +Honourable _John_ Lord _Nepeer_, enlarged with 9999 Fixt Columns or +Rods, of Single, Double, Triple and Quadruple Figures, and with a new +sort of Double and Movable Rods, for the much more sure, plain and +easie performance of Multiplication, Division, and Extraction of Roots. +The whole being very useful for most Persons, of whatsoever Calling and +Employment, in all Arts and Sciences: All having frequent Occasions +of Accompts, Numbring, Measuring, Surveying, Gauging, Weighing, +Demonstrating, _&c._ The Divine Wisdom having from the Beginning +_Disposed all things in Measure, Number and Weight_, Sap. 11. 21. + +Printed for _Joseph Moxon_, at the Sign of _Atlas_ in _Ludgate-street_. +Where also these Numbring Rods, (commonly call’d _Napier’s_ Bones) are +made and sold. + + + + +[Illustration] + +The Press-mans Trade. + + + + +PREFACE. + + +_The_ Printing-Press _that a_ Press-man _works at, is a Machine +invented upon mature consideration of Mechanick Powers, deducted +from Geometrick Principles; and therefore a_ Press-man _indowed +with a competency of the Inventers Genius, will not only find great +satisfaction in the contemplation of the harmonious design and Make +of a_ Press, _but as often as any Member, or part of it is out of +order, he will know how to remedy any deficiency in it. This alone +will intitle him to be an Understanding_ Press-man: _But his care and +serious industry in the Physical and Manual performance of his Task, +must give him the Reputation of a good and curious Work-man_. + + +§. 24. ¶. 1. _Of the_ Press-mans _Trade_. + +An understanding _Press-man_ therefore knows not only how to direct a +Printers Joyner to Set up and Fasten a _Press_ when it is made, but +also how to give a strange Joyner and Smith instructions how to make a +_Press_, and all its parts, in a Symetrical proportion to any unwonted +size, if in a strange place he shall have occasion to use it. + +I have already at large insisted upon the dimensions of every +particular Member of an ordinary siz’d _Press_ in § 10, 11. But in +those Sections did omit shewing you how the _Press_ is Set up and +Fastned; yet promised to do it when I came to the _Press-mans_ Trade: +It being not only a care incumbent upon him, but a Curiosity he would +assume to himself to direct and see the Joyner set and fasten it in a +Steddy and practical position. We will suppose a strange Joyner, and +not a Printers Joyner (as here in _London_ he may be furnisht with) who +generally by their constant conversation in Printers work, do or ought +to know as much of Setting up a _Press_ as the _Press-man_ himself. + +The Joyner therefore having set together the Frame, _viz._ the +_Cheeks_, _Feet_, _Cap_, _Head_, _Till_, _Winter_, _Hind-Posts_, +_Ribs_, _Carriage_, _&c._ The _Press-man_ directs, and sees him +perform as follows by and by. For I should have told you that before +the _Head_ is put into its place, the _Press-man_ besmears the whole +Tennanted ends and Tennants well with Soap or Grease, and also the +Mortesses the _Head_ slides in, and so much of the _Cheeks_ as the ends +of the _Head_ work against, that the _Head_ may the easier work up and +down. + +He also before the _Carriage_ is laid on the _Ribs_, besmears the two +edges of the _Plank_ and the under side of the _Coffin_ well with Soap +or Grease; and the like he does by the inside of the _Wooden Ribs_, +that they may slide the easier beside each other. + +Now to return to the Joyner. The _Press-man_, I say, directs and sees +him perform as follows. + +1. To place the _Feet_ upon an Horizontal Level Floor, as I shewed +in the First Volume, Numb. 7. § 7. when I spoke of the Level that +Carpenters use. + +2. To erect the _Cheeks_ perpendicularly upright, as I shewed _Vol._ 1. +_Numb._ 7. § 8. when I treated of the _Plumb-line_. + +3. To place the _Stays_ or _Braces_ so as the _Press_ may be kept in +the most Steddy and Stable position, as well to give a check to the +force of the hardest _Pull_ he makes, as to the hardest Knock the _Bar_ +shall make against the farther _Cheek_, if by chance (as sometimes it +does) it slip out of the _Press-mans_ Hand. + +This consideration may direct him to place one _Brace_ against the +end of the _Cap_ that hangs over the hither _Cheek_, and in a range +parallel with the fore and hind side of the _Cap_: For the more a +_Brace_ stands aslope to the two parrallel sides, the less it resists +a force offered to the end of them, _viz._ the hither end of the _Cap_, +which is one main _Stay_ to the whole _Press_. + +If he place another _Brace_ against the hinder corner of the farther +end of the _Cap_, it will resist the _Spring_ of the _Bar_, if it slip +out of the _Press-mans_ Hand. + +And if he places two other _Braces_, one against the hither corner +of the hind-side of the _Cap_, and the other against the farther +corner of the fore-side of the _Cap_, the _Press_ will be sufficiently +_Braced-up_, if the Room will afford convenience to place the farther +end of the _Braces_ against. + +By convenience I mean a firm solidity to place the end of the _Braces_ +against, be it either a Stone-wall, Brick-wall, or some principal Post, +or a Girder, _&c._ that will not start or tremble at the force of a +_Pull_. + +The _Braces_ ought to be straight, and of Substance strong enough +proportionable to their Length: And if convenience will allow it to +be fixed in such a position that they stand in the same straight Line +with the upper Surface of the _Cap_, viz. that the farther end of the +_Brace_ neither dips lower or mounts higher than the upper side of +the _Cap_. Neither ought the _Brace_, though thus posited, to stand +aslope or askew, _viz._ make unequal angles with the side of the _Cap_ +it is fastned to, but it ought to stand Square, and make right angles +with the respective side of the _Cap_; because in those Positions the +_Braces_ best resists the force of continued _Pulls_. + +But though this be by the Rules of Architecture, the strongest, +firmest, and most concise method for _Bracing-up_ a _Press_, yet will +not the Room the _Press_ is to stand in always admit of convenience to +place the _Braces_ thus: Therefore the _Press-man_ ought to consider +the conveniences of the Room, both for the places to fit the _Braces_ +to, and the positions to set the _Braces_ in; placing his _Braces_ as +correspondent as he can to these Rules. + +If he doubt the crazy make of the _Winter_, he will cause two _Battens_ +of three or four Inches broad, and a full Inch thick, to be nailed +close to the outer sides of the Feet of the _Press_, which will both +strengthen the _Winter_, and keep the lower part of the _Cheeks_ from +flying out, and also hinder the _Press_ from working into a twisting +Position. + +And though I am loath to name the _Under-laying_ of the _Feet_, because +at the best it is but a _Botch_, and Subjects the whole _Press_ to an +unstable position yet because by accident it may happen, the aforesaid +_Battens_ will also keep these Underlays from working out. + +Joyners that Work to Printers have got a Custom to place a strong Piece +of Timber between the middle of the _Cap_ and the Ceiling or Roof of +the Room, which can do no service there, unless they intend to support +the Roof: For the weight of the _Press_ alone will keep it close to +the Floor, and the strength of Stuff between the Mortesses in the +_Cheeks_ and the ends of them, are intended to be made strong enough +to resist the Rising of the _Head_: For should that strength of Stuff +start, neither their strong Piece of Timber, nor the strength of the +Roof, would resist the Rising of the _Head_: but _Head_ and _Cap_, and +Timber and Roof too, would all start together, as by experience I have +seen. For indeed the strength of Stuff between the Mortesses that the +Tennants of the _Head_ works in, and the upper ends of the _Cheeks_, +and the Strength of Stuff between the Mortesses that the Tennants of +the _Winter_ lyes in, and the lower ends of the _Cheeks_ resist the +whole strength of the working of the _Spindle_ out of its _Nut_. So +that the _Cap_ suffers no pressure upwards or the _Feet_ downwards, +unless the force of the _Spindle_ break the strength of Stuff between +the _Head_ and the upper ends of the _Cheeks_, or the strength of Stuff +between the _Winter_ and the lower ends of the _Cheeks_. + +The _Press_ being thus far fastned, the _Carriage_ is laid on; and if +the Joyner performed his Work well in making the Wooden-work, it will +at first lye exactly Horizontal; if not, it must be mended where it +is amiss before the _Press-man_ can _Lay_ the _Stone_; and before the +_Stay_ of the _Carriage_ can be fitted under the end of the _Ribs_. + + +¶ 2. _Of_ Laying _or_ Bedding _the_ Stone. + +We will suppose the Wooden _Ribs_ to lye on the _Winter_ exactly, flat +and Horizontal, therefore the _Press-man_ now _Lays_ the _Stone_: If +the _Stone_ be a good thick Marble Stone, and all the way of an equal +thickness between the _Face_ and the Bottom, he may _Bed_ or _Lay_ it +upon so many large _Sheets_ of Brown Paper as will raise the _Face_ +about a _Brevier_ above the Superficies of the _Coffin_, and the +_Stone_ will do good service. + +Or he may _Bed_ or _Lay_ it on Bran; which indeed the _Press-man_ most +commonly does, if the _Stone_ be qualified as aforesaid. + +The manner how he lays it on Bran is thus, + +He grasps an handful of Bran and lays it down at the hither corner of +the _Coffin_ on his Left Hand, and it will form it self into a small +Hillock; then he takes another handful of Bran, and lays that down in +the same manner near the first, towards the further side, and so a +third, _&c._ towards the further side, till he have filled the whole +breadth of the _Coffin_. Then he in like manner lays another row of +Hillocks, beginning at the hither side of the _Coffin_; and so a third +and fourth row, _&c._ till the length of the _Coffin_ is filled as +well as the breadth: Then with a _Riglet_ he drives the tops of these +Hillocks into the Valleys between them, to spread the Bran into an +equal thickness in the whole _Coffin_. Which done, he lays the _Stone_ +upon it. + +But in this case he considers to lay so much Bran thus into the +_Coffin_ as may make the _Face_ of the _Stone_ rise about a _Great +Primer_ higher than the Superficies of the _Coffin_: For else he must +take all his Bran out again, and new-lay his Hillocks, making them +bigger or less, till he have fitted the _Face_ of the _Stone_, to lye +about a _Great Primer_, as aforesaid, higher than the Superficies of +the _Coffin_. + +But if it be a thin _Stone_, or a _Purbeck_ or _Portland Stone_, it +is great odds if it be thus _Laid_, but it breaks with the first +_Pull_: Therefore these _Stones_ are generally _Laid_ or _Bedded_ with +Plaister of _Paris_, which before it hardens, will of it self run into +an Horizontal position. + +This Plaister of _Paris_ is tempered with fair Water to the consistence +of Batter for Pancakes, or somewhat thicker, and such a quantity is +put into the _Coffin_ as may raise the _Face_ of the _Stone_ about a +Scaboard higher than the Superficies of the _Coffin_. + +The different matter the _Stone_ is _Laid_ on is the reason why the +_Face_ is _Laid_ of different heights above the Superficies of the +_Coffin_: For by the force of a _Pull_ about a dozen Sheets of Brown +Paper may be squeez’d closer by a _Brevier Body_, which brings the +_Face_ of the _Stone_ into the same Level with the Superficies of the +_Coffin_. And Bran squeezes much more. But Plaister of _Paris_ not at +all. + +When he _Lays_ the _Stone_ on Bran, or on Plaister of Paris, he and +his Companions slings the _Stone_ in two strong Packthreds, placing +one towards either end of the _Stone_; and each of them taking an end +of each String in each of their Hands, with the _Face_ of the _Stone_ +upwards, and brought as near as they can into an Horizontal Position, +they with great care and caution let it into the _Coffin_, and as near +as they can, so as the whole bottom of the _Stone_ touch the _Bedding_ +all at once; lest by raking the _Bedding_ with any part of the bottom +of the _Stone_ first, the Horizontal form of the _Bedding_ be broken. + +Having laid the _Stone_ down, they draw the Packthred from under it: +And by squeezing a little Water out of a Spunge upon about the middle +of the _Face_ of the _Stone_, try whether the _Stone_ lye truly +Horizontal, which they know by the standing of the Water: For if the +Water delate it self equally about the middle of the _Stone_, the +_Stone_ lies Horizontal: But if it have a propensitude to one side more +than another, the declivety is on that side, and the _Stone_ must be +new _Laid_. + +Having laid it Horizontal, they _Justifie_ it up with the _Justifiers_ +I mentioned in § 11. ¶ 17. + + +¶ 3. _Of_ Setting _the_ Rounce. + +The _Rounce_ being well _Set_ does not only ease a _Press-man_ in his +Labour, but contributes much to Riddance in a train of Work. + +In the old-fashioned _Presses_ used here in _England_, the _Press-man_ +finds often great trouble and loss of Time in _Setting_ the _Rounce_: +Because the _Girts_ being nailed to the _Carriage-board_ behind, and +to the Frame of the _Coffin_ before, he cannot alter the position of +the _Rounce_ without un-nailing and nailing the _Girts_ again, both +before and behind. Nay, and sometimes though he thinks he has been +very careful in _Winding_ the _Girts_ off or on the _Barrel_ of the +_Rounce_, as he finds occasion requires; Yet by straining either of +the _Girts_ too hard, or not hard enough, or by an accidental slip +of either of the _Girts_, or by stirring the _Rounce_ out of a Set +position, when he thinks he has _Set_ the _Rounce_, he has it to do +again. Besides, The _Carriage-board_, _Frame_ of the _Coffin_, and the +_Rounce-barrel_, all suffer tearing to pieces by often drawing out and +driving in o Nails. + +But in these new-fashioned _Presses_ all these inconveniences are +avoided, for the _Press-man_, without nailing or un-nailing, _Sets_ +the _Rounce_ to what Position he will, only by lifting up the Iron +_Clicker_ that stops the wheel: For then _Winding_ off so much _Girt_, +and _Winding_ up so much _Girt_ at the opposite end of the _Carriage_, +his _Rounce_ is _Set_, without hope or Hazzard. + +He _Sets_ the _Rounce_ to such a position, that when the fore-end of +the _Tympan_ will just lye down and rise free, without touching the +fore-edge of the _Plattin_, then a line drawn or imagined from the Axis +of the _Handle_ of the _Rounce_, to a Perpedicular or _Plumb-line_, let +fall from the Axis of the _Spindle_ of the _Rounce_, these two lines +shall make an angle of about 45 degrees, which is half the Elevation +between an Horizontal line, or Line of Level, and a Perpendicular, or +Plumb-line. + + +¶ 4. _Of_ Hanging _the_ Plattin. + +When the _Press-man Hangs_ the _Plattin_, he lays a _Form_ upon the +_Press_, and about a Quire of Paper doubled upon it (this Quire of +_Paper_ thus doubled is called the _Cards_) then layes the _Plattin_ +upon the _Cards_, and so _Runs_ the _Carriage_ and _Plattin_ in, +till the middle of the _Plattin_ lye just under the _Toe_ of the +_Spindle_: Then he puts the _Pan_ of the _Plattin_ in its place, and +in part Justifies the _Head_, as shall be shewed in the next ¶. And he +un-screws the _Hose-screws_, till the Spuares at the ends of the _Hose_ +come down to about a quarter of an Inch of the Square of the Socket +they are fitted into in the ends of the _Garter_, and when the _Toe_ of +the _Spindle_ is fitted into the _Nut_ in the _Pan_ of the _Plattin_, +he examines by straining a Pack-thred against the two foresides of the +_Cheeks_ of the _Press_, whether the fore-edge of the _Plattin_ is set +in a parallel Range with the fore-sides of the _Cheeks_: If it be not, +he twists the ends till the edge of the _Plattin_ stands parallel with +the Pack-thred, and consequently with the _Cheeks_. + +Then with the _Bar_ he _Pulls_ the _Spindle_ hard down upon the +_Plattin_, and Sets the edges of a _Paper-board_ between the _Bar_ and +the farther _Cheek_ of the _Press_, to keep the _Bar_ from starting +back. + +And having provided fine Whip-cord, he knots a Noose on one end and +puts it over one of the _Hooks_ of the _Plattin_, lashing the Whip-cord +also upon the farthermost _Notch_ of the _Hose-hook_, and again upon +the _Plattin-hook_, and again upon the _Hose-hook_, and again upon the +_Plattin-hook_: So that here is now three Lashes of whip-cord upon the +_Plattin-hook_, and upon the farthermost _Notch_ of the _Hose-hook_. +Wherefore he Lashes his fourth Lashing of whip-cord now upon the second +_Notch_, viz. the middlemost _Notch_ of the _Hose-hook_, reiterating +these Lashes on the middlemost _Notch_ and _Plattin-hook_ also three +times. And thus in like manner Lashes also three Lashes upon the third +and last _Notch_ of the _Hose-hook_ and also of the _Plattin-hook_, +observing to draw every Lashing of an equal strength. + +Then he begins to whip about these Lashings to draw them close +together: He begins, I say, at at the bottom of the Lashings, _viz._ +close above the _Plattin-hook_, and draws his whippings very tight and +hard, and contiguous above one another, till he have whipt so near the +top of the Lashings, _viz._ near the _Hose-hooks_ that he finds the +Lashings (which now spread wide asunder because the _Notches_ of the +_Hose-hooks_ stands far asunder) will yield no longer to to his whiping +and pulling: So that now he fastens his whip-cord with two or three +hard knots, and cuts it from the Coyl. + +In like manner he begins at the opposite diagonal corner of the +_Plattin_, and lashes and whips that: And also the two other corners +of the _Plattin_ as he did the first, carefully observing to draw all +his lashings and whippings of an equal strength, lest any corner of the +_Plattin_ either mount or dip. + +If he finds he strained the whip-cord not hard enough; or (when he is +in his train of work) that the _Plattin-cords_ with long working work +loose; or that the _Toe_ of the _Spindle_ and the _Nut_ it works in, +have worn one another; he by turning the _Screws_ at the upper ends of +the _Hose_, draws up the _Nut_ of the _Plattin_ closer to the _Toe_ of +the _Spindle_, and by consequence strains the _Plattin-cords_ tighter +up; which is also a great convenience in these new-fashioned _Presses_: +For, for any of these aforesaid accidents the _Press-man_ that works +at our _English-Presses_ must new _Hang_ his _Plattin_: When (as +aforesaid) in these new _Presses_ he only turns about a _Screw_. + + +¶ 5. _Of_ Justifying _the_ Head. + +_Justifying_ the _Head_ is to put into the Mortesses in the _Cheeks_ +between the upper sides of the Tennants of the _Head_, and the upper +sides of the Mortesses in the _Cheeks_, an equal and convenient +thickness of (either) square pieces of Felt, Pastboards, or Scaboards +(some or all of them) that when the _Press-man Pulls_, the Tennants of +the _Head_ shall have an equal Horizontal level Check. + +In _Justifying_ the _Head_, the _Pull_ is to be made _Longer_ or +_Shorter_. + +If the _Press-man_ be tall and strong and his work be _Light_, that is, +a small _Form_ and great _Letter_, which needs not so strong a _Pull_ +as a Large _Form_ and small _Letter_, he covets to have a _Short-pull_; +that is, that the _Spindle_ shall give an _Impression_ by that time +the _Bar_ comes but about half way to the hither _Cheek_ (in Printers +Language _Down_.) + +But if the _Press-man_ be low, and not very strong, he will require a +_Longer Pull_, especially if the work be _Heavy_, viz. a Large _Form_ +and small _Letter_: Because the heighth of the _Bar_ is generally made +to lye at the command of a reasonable Tall man, and therefore a Low man +cannot Pull the Handle of the _Bar_ at so great a force at Arms-end as +a Tall man; but will require the swinging of his whole Body backwards +to add force to the _Pull_: So that if the _Pull_ be not _Longer_, +he cannot fall enough backwards to get the _Handle_ of the _Bar_ +within his command and force. And therefore a Low man and _Heavy Work_ +requires a long and _Soaking Pull_. + +A long or a _Soaking_ or _Easie Pull_, is when the _Form_ feels the +force of the _Spindle_ by degrees, till the _Bar_ comes almost to the +hither _Cheek_ of the _Press_, and this is also call’d a _Soft Pull_; +because it comes Soft and Soakingly and easily down: And for the +contrary reason the _Short Pull_ is call’d an _Hard Pull_, because it +is suddenly perform’d. + +That which makes a _Hard Pull_, is putting into the Mortesses in +the _Cheeks_ solid Blocks of Wood, which will scarce Squeeze by the +Strength of a _Pull_: And that which causes a _Soft Pull_ is putting +in pieces of Felt or Pastboard (as aforesaid) which being Soft will +Squeeze and retain their Spring for a considerable time, yet will at +length grow hard with Working, and then the _Pull_ grows _Longer_; +which the _Press-man_ mends, by putting in another Felt or Pastboard +into each Mortess. + +The _Head_ cannot be conveniently and well _Justifyed_ soon after +the laying of the _Stone_, if it be _Laid_ on Bran, because though +the Force of the _Spindle_ will at the immediate time of the _Pull_ +Squeeze the Bran in the _Coffin_ close, yet so soon as the force of +the _Spindle_ is off the Bran, all its dry parts, by their several +irregular positions, will like so many Springs, at the same moment +of time endeavour to recover their Natural tendency, and heaves the +_Stone_ upwards again: So that generally for a day or two Working the +_Stone_ will not lye Solid, though at length through the often and +constant Squeezing the Bran it will. But if the _Stone_ be _Laid_ on +Brown Paper, or Plaister of Paris, it quickly finds a Solid Foundation. + +When the _Press-man Justifies_ the _Head_, he unscrews the _Female +Screws_ of the _Head Screws_, that the weight of the _Head_ may draw it +down, to make room to put the _Justifyers_ into the Mortesses in the +_Cheeks_; and when he has put in so many as he thinks convenient, he +_Screws_ up the _Head_ again as hard as he can. Then lays the _Cards_ +on the _Form_, on the _Press_, and _Runs in_ the _Carriage_ under the +_Plattin_, and _Pulls_ hard upon it, while his _Companion Screws_ up +the _Head_ as hard and tight as he can, that the _Carriage, Tympan_, +&c. may _Run_ the freelier under the _Plattin_. + + +¶ 6. _Of_ Oyling _the Iron Work of the_ Press. + +The _Ribs_, the _Tympan Joynts_, the _Frisket Joynts_, the _Garters_, +both ends of the _Rounce-Spindle_, the _Nut_ and _Spindle_, and the +_Toe_ of the _Spindle_, are all to be well Oyl’d; that they may all +perform their several offices the easier, lightlier and nimbler; both +_Upper_ and _Under hand_. + +All but the _Nut_ and _Spindle_, and _Toe_ of the _Spindle_, are Oyl’d +with a Feather dipt in a spoonful, or little Pot, or Oyster-shell, +_&c._ of Sallad Oyl; and that feather dabb’d upon so much of the _Ribs_ +as he can come at, at either end of the _Press_: For then by _Running_ +the _Carriage_ three or four times quick _Out_ and _In_, it desperses +the Oyl equally the whole length of the _Ribs_, and at the same time +Oyls the _Cramp-Irons._ + +And for Oyling the _Joynts_, he commonly takes out the _Pins_ and Oyls +them, and puts them in again; and with the edge of a Feather dabs a +little Oyl between the Crevices of the _Joynts_. + +He thrusts the Feather in between the _Spindle_ of the _Rounce_ and its +_Collers_. + +To Oyl the _Nut_ and _Spindle_, he pours a good quantity of Oyl in at +the _Hole_ in the _Head_, and with a Cork stops the hole again to keep +out dust and filth: Then drawing the _Bar_ quick to and fro about half +a score times, he works the Oyl equally about the _Nut_ and _Spindle_. + +To Oyl the _Toe_ of the _Spindle_, he pours about a Spoonful of Oyl +into the _Plattin-pan_. + + +¶ 7. _Of_ Making Register, _and_ Making Ready _a_ Form. + +A curious _Press-man_ will take care that against the _Compositer_ +brings a _Form_ to the _Press_ his _Press-stone_ be wip’d very clean; +for if any (though small) hard extuberant matter lye on it, the +_Letter_ that lyes on that extuberant matter will, with _Pulling_, +quickly _Rise_, and not only Print harder than the rest of the _Form_, +but bear the force of the _Plattin_ off of the _Letters_ adjacent to +it. And therefore many times a _Press-man_ will receive the _Form_ from +the _Compositer_ when he has only Set the _Form_ on the side of its +_Chase_ upon the _Press-stone_, that he may be the Surer the _Face_ of +the _Stone_ is clean when he layes the _Form_ down; as also that he may +carefully examine that the backside of the _Form_ is clean before he +goes about to make _Register_, or otherwise make ready his _Form_. + +_Making Register_ is to _Quoin_ up a _Form_ and otherwise alter +_Whites_ (if need be) between the _Crosses_ and _Pages_: So as that +when a second _Form_ of the same _Volumne_, _Measure_ and _Whites_, is +plac’d in the same position, all the Sides of each _Page_ shall fall +exactly upon all the Sides of the _Pages_ of the first _Form_. + +The first process a _Press-man_ makes towards this Operation, is the +chusing and placing of his _Points_: For to large Paper he chuses +_Short Shanked Points_, and to small Paper _Long Shanked Points_, and +proportionable to intermediate sizes of Paper: For his _Points_ ought +to be placed so as that when he is in his Train of work, they prick the +_Point-holes_ within the grasp of the hollow between his hand, Thumb, +and Fore-finger; because when he shall Work the _Reteration_ he may +the better manage and Command the sheet he lays on the _Tympan_ and +_Points_. + +Nor will he place his _Points_ too near the edge of the _Paper_, +because when he Works the _Reteration_, he would be forc’d to carry +his furthermost _Point-hole_ the further from him, which in a long +train of Work loses Time: For the _Laying Sheets_ quickly on their +_Point-holes_ adds much to riddance. So also the less distance between +the further and hither _Point-hole_ makes more riddance than if they +are far distant; because he must draw his Body so much the further back +to place that _Hole_ on its _Point_. Therefore he places the hither +_Point_ farther into the Paper than the farther _Point_, if it be +_Folio_, _Quarto_ or _Octavo_, but to _Twelves_ equally distant from +both edges of the Paper. + +By placing the _Points_ unequally from the edges of the Paper, as in +_Folio’s_, _Quarto’s_ and _Octavo’s_ (as aforesaid) he also secures +himself the more from a _Turn’d Heap_ when he works the _Reteration_; +because without very much altering the _Quoins_, he shall not be able +to make _Register_: And _Press-men_ (especially if they Work upon the +same sort of Work) seldom or never remove the _Quoins_ on the further +side the _Carriage_, nor on the right hand end of the _Carriage_, but +let them lye as gages for the next _Form_: For thrusting the _Chase_ +close against these _Quoins_, the _Register_ is almost (if not quite) +made: The _Compositer_ having before, according to his Task, chosen the +_Chases_ exactly of an equal size, and made strait and equal _Whites_ +between the _Crosses_, &c. + +Having chosen his _Points_, he places them so that they may both +stand in a straight line parallel with the top and bottom sides of +the _Tympan_; which to know, he strains a Packthred cross the whole +_Tympan_, laying it at once upon the middle of the _Heads_ of both the +_Point-Screws_, (for we will suppose the Joyner hath made the Mortesses +into which the _Point Screws_ are Let, parrallel with both the ends of +the _Tympan_) then if both the _Points_ stand in that straight line +they are parrallel, if not, he moves one or both of them upwards or +downwards till they do, and then _Screws_ them fast. + +Then he layes the _Tympan_ down upon the _Form_, holding the +_Frisket-end_ of it in his Left-hand, about an Inch or an Inch and a +half above the _Face_ of the _Letter_, and Sinks his Body downwards +till he can see between the _Form_ and _Tympan_, and with the Ball of +the middle finger of his Right-hand presses a little gently upon the +_Tympan_ just over the _Point-ends_ of each _Point_ successively, to +see if the _Points_ fall in or near the middle of the _Slits_ in the +_Short-Cross_. If they fall exactly in the middle of those _Slits_, +the _Form_ lyes right between the middle of both the ends: If they fall +not exactly in the middle of both these _Slits_, he moves the _Form_ +between the ends of the _Carriage_, till they do, and then _Quoins_ up +the two ends of the _Chase_. + +Then laying the _Tympan_ flat down upon the _Form_, he layes the +_Blankets_ in it: (They are call’d the _Blankets_ though generally it +is but one _Blanket_ doubled:) Then he puts the _Iron-Pins_, fastned +through the hither side of the Inner _Tympan_ into the Holes made +through the hither side of the outer _Tympan_ for Gages: And turning +about the Tongues of the _Iron-Buttons_, that are fitted into the outer +Side of the outer _Tympan_ over the upper Side of the _Inner-Tympan_, +he _Screws_ the _Button_ fast down. He also _Screws_ down the +_Iron-Button_ at the end of the _Tympan_. These _Buttons_ thus Screwed +down are to keep the _Inner-Tympan_ fast in, that it Spring not upwards. + +Then he Folds a sheet of the Paper he is to Work long-ways, and +broad-ways, and lays the long Crease of it upon the middle of the +_Long-Cross_; and the Short Crease over the middle of the _Gutters_ +of the _Short-Cross_, if the _Short-Cross_ lye in the middle of the +_Form_, (for in _Twelves_ it does not, but then he guesses at the +middle;) then wetting his _Tympan_ (as shall in proper place be shewed) +he turns it down upon the Paper, and _Running in_ the _Carriage_, +_Pulls_ that Sheet, which with the force of the _Pull_ now the _Tympan_ +is wet, will stick to the _Tympan_; and turning up the _Tympan_ again +sees how well the Sheet was laid; that is, how even it was Laid: For +if it was laid even on the _Form_, the _Margin_ about the out sides of +all the outer _Pages_ will be equal; But if the Sheet be not laid even, +he lifts it up Side by Side till he have loosen’d it from the _Tympan_, +and removes it by his discretion till it be laid even: And then _Pulls_ +again upon it to fasten it to the _Tympan_. This Sheet is call’d the +_Tympan-sheet_. + +Then he lays another Sheet even upon the _Tympan-sheet_, for a Register +Sheet, and a Waste Sheet over that to keep it clean from any filth +the _Face_ of the _Letter_ may have contracted and imprint upon it, +and _Pulls_ these two Sheets. Then he _Runs out_ the _Carriage_, +and takes up the _Tympan_, and takes off the two Sheets, laying the +waste Sheet by: But turns the other Side of the _Register-Sheet_ the +proper way his Volumne requires, _viz._ end-ways if it be _Octavo_ or +_Folio_; or Side-ways if _Twelves_ or _Quarto_, _&c._ as at large you +see in the Section of _Imposing_. And laying the _Point-holes_ in the +_Register-Sheet_ over the _Points_, lays his waste Sheet on again, +_Runs-in_ the _Carriage_, and _Pulls_ upon that the Second side of the +_Register-sheet_, to try how well the Impression of the Sides of all +the _Pages_ agree, and lye upon the Impression in the first _Pull’d_ +Side. If he finds they agree perfectly well, _Register_ is made. But +if the Impression of the last _Pull’d_ Side of the _Register-sheet_ +stand be-hither the Impression of the first _Pull’d_ side, either +the whole length of the Sheet or part, he observes how much it +stands be-hither: If the thickness of a _Scaboard_, a _Nomparell_, a +_Long-Primmer_, &c. he loosens the _Quoin_ or _Quoins_ on the farther +side of the _Carriage_, and opens one or both of them, _viz._ removes +them backwards till they stand a _Scaboard_, a _Nomparell_, a _Long +Primmer_, &c. off the sides of their respective Corners: Then _Knocks_ +up one or both the opposite _Quoins_, till he have removed the _Chase_, +and the _Chase_ by consequence has forc’d the opened _Quoin_ or +_Quoins_ close against their Corners. Or if the Impression of the last +_Pulled Side_, stands within the Impression of the first _Pulled Side_; +he observes how much also; and Loosning the hither _Quoin_ or _Quoins_, +and _Knocking up_ the opposite as before, makes _Register_, for the +Sides of the Sheet. + +Then he observes how the _Register_ of the _Head_ and _Foot_ agrees. +And if he finds it agrees on both sides the _Short Cross_, he has good +_Register_; supposing the _Compositer_ has performed his Office, _viz._ +made all his _Pages_ of an equal Length, &c. + +If the Impression of the Last _Pulled Sheet_, lye without the +Impression of the first _Pulled Sheet_, towards the upper or lower +end of the _Tympan_, he opens the _Quoins_ at the respective end, and +_Knocks-up_ the opposite till he have made _Register_: Which to try +he _Pulls_ another clean _Register-sheet_ as before. And if he finds +_Register_ agree on all the Sides of the _Form_ the Task is performed: +If not, he mends as aforesaid till it do. + +But it sometimes happens that the _Compositer_ has not made an exact +equal _White_ between all the sides of the _Crosses_: In this case, +altering the _Quoins_ will not make good _Register_; wherefore the +_Press-man_ observes which side has too much or too little _White_; and +unlocking the _Form_ takes out or puts in such a number of _Scaboards_ +as he thinks will make good _Register_: which he tryes by _Pulling_ a +Sheet, and if need be, mending as before, till he have _Pull’d_ a Sheet +with good _Register_. + +Although the _Press-man_ have made _Register_, yet he must further +_Make Ready_ the _Form_ before he can go to Work upon it. Under this +phrase of _Making Ready the Form_ is comprehended many Considerations, +leading to several various Operations; For first, The _Frisket_ must +be _Cut_: which to perform, the _Press-man_ fits the _Match-Joynts_ +of the _Frisket_ into the _Match-Joynts_ of the _Tympan_, and pins +them in with the _Frisket-pins_: And having _Beaten_ the _Form_, +turns down the _Frisket_ and _Tympan_ on the _Form_. And having also +Rubbed the _Blankets_ to soften them, lays them smooth and even in the +_Outer-Tympan_, and _Pins_ the _Inner Tympan_ in upon them, as was +shewed in the beginning of this ¶, and _Pulls_ as before, and as shall +farther be shewed in ¶ 15. upon the bare _Frisket_. + +Then he _Runs out_ the _Carriage_, and takes up the _Tympan_ and +_Frisket_ together off the _Form_ and lays them on the _Gallows_; Then +takes the _Frisket-pins_ out again, and takes off the _Frisket_: And +laying it flat on a _Paper-board_, with the point of a Pen-knife cuts +through the _Frisket_ about all the Sides of each _Page_, allowing to +each _Page_ he thus cuts out of the _Friket_ about a _Nomparil Margin_ +on all the sides of the cut cut _Pages_: Then he puts and pins his +_Frisket_ again on the _Tympan_, as before. + +_2dly_, He takes care that the _Tympan_ be well _Wet_; which he does +by squeezing Water out of a _Spunge_ on the backside of it, till it be +well Wet all over, and well soak’d and limber. + +_3dly_, That the _Form_ be well and fast _Lock’d up_. + +_4thly_, That no _Letters_ or _Spaces_ lye in the _White-lines_ of the +_Form_; which may happen if the _Compositer_ have _Corrected_ any thing +since the _Form_ was laid on the _Press_, and the _Compositer_ through +oversight pickt them not all up. + +_5thly_, If any _Wooden Letters_ or other _Cuts_ be in the _Form_, that +they be exactly _Letter-high_: If not, (for it seldom happens they are) +he must make them so; If they are too _Low_, (as they generally be) he +_Under-lays_ them: But first He examines how much they are too _Low_, +by laying one Card or one Scaboard or two Scaboards, or a Scaboard and +a Card, _&c._ upon the Face of the _Wooden Cut_, and gently feeling +with the Balls of the Fingers of his right Hand if the intended +_Under-lay_, viz. the Scaboard, Card, _&c._ lye exactly even with the +_Face_ of the _Letter_, If it do not, he tries thicker or thinner +_Under-lays_ till he have evened the _Under-lay_ with the _Face_ of +the _Letter_: For then the Balls of his Fingers will go smoothly and +equally over the _Under-lay_ and the _Face_ of the _Letter_, as if they +were one and the same Superficies. + +Having evened his _Under-lay_, he _Unlocks_ that _Quarter_ it is in, +and takes the _Wooden Cut_ out of the _Form_, and cutting a Scaboard or +Card or what it wants a little smaller than the bottom of his _Wooden +Cut_, he lays it into the place he took the _Wooden Cut_ out of, or +else he Pasts the _Under-lay_ on the bottom of the _Wooden Cut_, and +puts the _Wooden Cut_ into its place again upon the _Under-lay_. But +yet he trusts not to his Judgment altogether for the thickness of the +_Underlay_: But _Locking up_ the _Form_ again, _Pulls_ the _Cards_ upon +it to sink it as low as it will go, and _Beats_ and _Pulls_ a Sheet to +see how it pleases him. If it be too low, which he finds by the Pale +Printing of it, he _Underlays_ it a little more, and again trys by +Printing till it pleases him. But by no means he lets the _Cut_ stand +too high, though but a small matter, For then it will Print too _Hard_ +and too _Black_, and deface the beauty and fairness of the _Cut_; So +that it may better stand about half a Card too low, than in the least +too high. + +If the _Wooden Cut_ be too high, he causes a Joyner to Plain off some +at the bottom. + +_6thly_, If a _White Page_ or _Pages_ happen in a _Form_, and he uses +a _New-drawn Frisket_, then he does not _Cut out_ that _Page_: But if +he Work with an _Old Frisket_, and that _Page_ is already _Cut out_, +he Sews, or sometimes Pastes on a Scaboard, if the _Page_ be not too +broad, or a strong Pasteboard to the _Sides_ and _Crosses_, to cover +the _White-page_ in the _Form_, that it Print not Black. + +If the sides of the _Pages_ adjacent to the _White-page_ Print _Hard_, +as most commonly they do, because the _White-page_ is generally lower +than _Letter_ high, so that the force of the _Spindle_ squeezes the +yielding _Paper_, _Tympan_ and _Blankets_ below the Plain of the +_Face_ of the _Letter_; and besides the force of the _Spindle_ falling +upon the center of the _Plattin_, and the Plain of the _Plattin_ not +finding resistance to entertain it equally, presses lower down upon the +low _White-page_, than upon the _Face_ of the _Letter_; so that the +_Press-man_ either _Underlays_ the _White-page_, as he does _Wooden +Cuts_, or else he fits a _Bearer_ on the _Frisket_. + +The _Bearer_ is a _Riglet_ of a convenient thickness: and this +convenient thickness the _Press-man_ finds as I shewed you how he +found the thickness of his _Under-lays_ for _Wooden Cuts_; only +with this difference, that as then he made his _Wooden Cut_ exactly +_Letter-high_, so now he maks his _Bearer_ and the _Furniture_ his +_Bearer_ bears on _Letter-high_: Wherefore he Pasts one side of his +_Bearer_, and lays it as he would have it on the _Furniture_, with the +Pasted side upwards; and laying his _Tympan_ and _Frisket_ down upon +the _Form_, with his Fingers presses on the outside the _Inner-Tympan +Frisket_ and all, upon the place where the _Beares_ lies; So that with +the Paste the _Bearer_ sticks to the side of the _Frisket_, which he +takes up again: and if he thinks the Paste not strong enough to hold it +till the _Form_ is wrought off, he sews it to the _Frisket_ by pricking +his Needle on both sides the _Bearer_, and lashing the Thred over it so +often till he thinks it fast enough sew’d on. + +_7thly_, He examines whether the _Frisket_ _Bites_ not: That is, +whether no part of it Print upon any of the sides of any of the +_Pages_: if they do he cuts away so much and about a _Nomparel_ more +off the _Frisket_ where it _Bites_. + +_8thly._ He examines if the _Beards_ of the _Letter_ Print at the Feet +of the _Pages_: If they do, He considers whether the too short or too +far _Running_ in of the _Carriage_ causes it. Or whether it be only the +_Beard_ of a short _Page_ that Prints; If it be the _Beard_ of a short +_Page_ that Prints, he remedies it with an _Under-lay_ as I shewed he +did in the _White Page_. + +If the _Carriage_ be _Run_ in too short, and the _Feet_ of the _Pages_ +stand towards the _Plattin_, the _Hind-side_ of the _Plattin_ will +press strong upon the _Feet_ of those _Pages_: And if the _Carriage_ +be _Run_ in too far, the _Feet_ of the _Pages_ that stand towards the +hinder _Rail_ of the _Tympan_ will most feell the force of _Plattin_, +and according to a greater or less proportion of that force, and to +the softness or yielding of the _Paper_, _Tympan_, and _Blankets_, and +all other _Springs_ in the _Press_, mentioned in §. 11. ¶ 1. of this +_Volumne_, the _Feet_ of the _Pages_ and _Beard_ of the _Letter_ will +more or less Print _Hard_. + +Wherefore in this case he _Runs_ the _Carriage_ under the _Plattin_, +till the farther Edge of the _Plattin_ just cover the _Feet_ of those +_Pages_, and with a piece of Chalk makes a White stroke over the +_Board_ of the hither side of the _Carriage_ behind, and the upper side +of the _Rail_ of the _Ribs_: Then he _Runs_ in the _Carriage_ again, +till the Foreside of the _Plattin_ just cover the _Feet_ of the _Pages_ +next the _Hind Rail_ of the _Tympan_, and makes another mark with Chalk +on the _Rail_ of the _Ribs_ to joyn with the mark he first made on the +_Board_ of the _Carriage_. Then he _Runs_ out the _Carriage_, and lays +the _Tympan_ down on the _Form_; and _Runs_ in the _Carriage_ again +till he joyn the mark or line he made first on the _Carriage-board_ and +_Rail_ of the _Ribs_, and makes a mark with Chalk on the farther _Rail_ +of the _Tympan_ just range with the Foreside of the _Plattin_. This +mark on the _Tympan_ shews him how far he must _Run_ the _Carriage_ in +against the Fore-edge of the _Plattin_ for the _First Pull_. Then he +_Runs_ in the _Carriage_ farther, till he joyn the same Mark or Line +on the _Carriage-board_ to the second Mark he made on the _Rail_ of the +_Ribs_, and makes another Mark on the further _Rail_ of the _Tympan_ +just range with the Fore-side of the _Plattin_, for the Mark he is no +_Run_ the _Carriage_ in to against the Fore-edge of the _Plattin_, for +his _Second Pull_. + +_9thly_, He Examines if the _Catch_ of the _Bar_ will hold the _Bar_ +when the _Spindle_ makes a small Spring, _viz._ When the _Bar_ flies +but a little way back from the pressure of the _Form_: If it will not, +he knocks up the _Catch_ a little higher till it will, and then Screws +the _Screw_ on the _Shank_, and consequently the _Catch_ close and firm +against the _Cheek_ of the _Press_. + +But if the _Catch_ stand too high, so that it will not without a great +Spring, (_viz._ when the _Bar_ is _Pull’d_ hard from the farther +_Cheek_) fly up; He then knocks upon the top of the _Catch_ to sink it +lower; And when it is well fitted Screws it up again, as before. + +If the _Catch_ of the _Bar_ stand too Low, it will not hold the _Bar_; +But it will _Come down_ again of it self when he is in his train of +Work: For if, as it often happens, he lets the _Bar_ fly harder than +ordinary back, or if it slip out of his Hand, it will knock hard +against the _Cheek_, and Spring back again. + +If the _Catch_ of the _Bar_ stand but a little too High, the Violence +of the _Bars_ flying back to make it stick on the _Catch_ will soon +Loosen the Square of the _Bar_ in the _Eye_ of the _Spindle_; and +indeed subject the whole _Press_ to an unstable condition. + +This is another ease and convenience these New-fashioned _Presses_ +gives the _Press-man_: For in the Old make of the _Press_, when the +_Catch_ of the _Bar_ holds too hard, or too soft, he is troubled to +Raise or Sink the _Catch_ with the thickness of _Scaboards_, which +being indevisable, does not without trouble or luck justen it to an +exact Heighth. And besides, These _Under-lays_ being but put under the +_Catch_ upon the _Wooden Bearer_ without any Fastning, are very subject +to work out by the constant disturbance the motion of the several Parts +of the _Press_ (when at work) gives it: Or else (which is worse) he +many times is forced to batter the _Cheek_ of the _Press_, with drawing +and driving of Nails out and in it, to fit on another _Catch_ bigger +or lesser, whereas here with a softer or an harder knock of the Hammer +(as aforesaid) he Raises or Sinks the _Catch_, and afterwards Screws it +firmly up. + +_10thly_, He considers whether the _Stay_ of the _Frisket_ stands +neither too forwards or too backwards. The _Stay_ may stand too +forwards, though when it is leisurely turn’d up it stays the _Frisket_: +Because, when the _Press-man_ is in a Train of Work, though he +generally throws the _Frisket_ quick up with an accustomed, and as he +intends, equal strength; yet if his guess at strength in throwing it +up varies, and it comes (though but a little) harder up, the _Batten_ +fastned on the _Cap_, and the Perpendicular _Batten_ fastned to the +aforesaid _Batten_ (as is described in §. 11. ¶ 21. of this Volumne) +will by their shaking cause a Spring, which will throw the _Frisket_ +back again upon the _Tympan_: Nay, though (as sometimes it happens) a +solid Wall serves to do the Office of a _Stay_ for the _Frisket_; yet +with a little too hard throwing it up, the _Frisket_ it self will so +shake and tremble (its Frame being made of thin Iron) from end to end, +that e’re it recover rest, its own Motion will by the quick running of +a Spring through it beat it back again. + +If the _Stay_ stand too backward, then after he has given the _Frisket_ +a Touch to bring it down, it will be too long e’re it come down, and so +hinder his Riddance. + +Therefore he places the _Stay_ so, that the _Frisket_ may stand but +a little beyond a Perpendicular backwards, that with a near-guess’d +strength in the tossing it up it may just Stand, and not come back; For +then with a small Touch behind, it will again quickly come down upon +the _Tympan_. + +_11thly_, He considers the Scituation of the _Foot-step_, and that he +places so as may best suit with his own Stature; For a Tall man may +allow the _Foot-step_ to stand farther off and lower than a Short, +because his Legs reach farther under the _Carriage_, and can tread hard +to add strength to his _Pull_; when a Short man must strain his Legs to +feel the _Foot-step_, and consequently diminish the force of his _Pull_. + +_12thly_, He fits the _Gallows_, so that the _Tympan_ may stand as +much towards an upright as he can: Because it is the sooner clapt +down upon the _Form_ and lifted up again. But yet he will not place +it so upright, but that the White Sheets of Paper he lays on it may +lye securely from sliding downwards: And for _Reteration_ Sheets their +lying upon the _Points_ secures them. + +In these New-fashioned _Presses_ there is no trouble to place the +_Gallows_, so as it may mount the _Tympan_ to any Position: For +sliding the _Male-duftails_ made on the _Feet_ of the _Gallows_ through +the _Female Duftails_ fastned on the _Planck_ of the _Carriage_, +performs this great trouble that in our English _Presses_ requires +Un-nailing the Studs of the _Gallows_ and Nailing them again; and many +times tearing them and the _Carriage-Planck_ to pieces: And that so oft +as the fancy of the _Press-man_ alters, or another Work-man comes to +Work at that _Press_. + +_13thly_, Few _Press-men_ will Set the range of the _Paper Bench_ to +stand at right angles with the _Plank_ of the _Carriage_: But draws +the farther end of the _Paper Bench_ so as the hither side may make +an Angle of about 75 Degrees (more or less) with the hither side +of the _Carriage_: The reason is, if the hither side of the _Paper +Bench_ stand at right Angles with the hither side of the _Carriage_, +he must carry his Hand farther when he _Lays out Sheets_ which would +hinder riddance: Besides his _Companion_ has a nearer access to it, to +look over the _Heap_; which he frequently does, to see the constant +Complexion of the Work. + +_14thly_, The _Press-man_ brings his _Heap_ and Sets it on the hither +end of the _Paper Bench_ as near the _Tympan_ as he can, yet not to +touch it, lest it stop the _Tympan_ in a train of Work: and he places +an end of the _Heap_ towards him. Then taking off the _Paper-board_ +that cover’d it when it was Prest, he lays the long sides of it +parallel to the sides of the _Paper Bench_: Then he takes the uppermost +Sheet (which as you may Remember is a Waste-sheet) and lays it on +the empty _Paper-board_; And taking Three or Four or Five Quires off +his _Heap_ in both his Hands, he lifts it a pretty height above his +Head, and claps it as hard as he can down upon the rest of the _Heap_, +to loosen the Sheets that with Pressing stick close together: And +not thinking them yet loose enough, he thrusts them long-ways and +side-ways, heaving and huffing them till he think he has pretty well +loosen’d or hollow’d that quantity of Paper. + +Then with the nail of his Right Hand Thumb, sloaping from his +Thumbward, he draws or slides forwards the upper Sheet, and two or +three more commonly follows gradually with it, over the hither edge the +_Heap_, to prepare those Sheets ready for him to snatch off the _Heap_. + +_15thly_, He considers if the _Face_ of the _Tympan_ be moist enough, +for a _Tympan-sheet_ to stick to, for though he Wet the back-side of it +before to supple it, yet if the _Tympan_ be strong, the Water will not +soak quite through to moisten the _Face_, So that he wets the Spunge in +fair Water, and besprinkles the upper side or _Face_ of the _Tympan_ +all over: And squeezing the Water that is left in the Spunge well out +again, rubs it quickly and gently all over the _Face_ of the _Tympan_, +to drink up or lick off the body of Water that he besprinkles on, and +only leaves moisture on the _Face_ of the _Tympan_ to hold the Sheet. + +Here accrews now a benefit by the make of these New-fashioned _Presses_ +to the Master _Printer_: For these _Presses_ having a _Gutter_ fastned +to the _Hind-rail_ of the _Carriage_ (as was described in § 10. ¶ 9. of +this Volumne) to receive the Water that falls from the _Tympan_, and to +convey it beyond the farther side of the _Press_, secures the _Blank_ +of the _Carriage_ from Wet and moisture, and consequently from that +cause of Rotting. + +Then he takes a Sheet of Paper off the _Heap_ for a _Tympan-sheet_, +and Folds it exactly into four quarters, and lays the Creases of the +Sheet exactly upon the middle of the _Short_ and _Long Crosses_, if +the Volumn of the _Form_ allows them both to be in their respective +middles of the _Chase_; if not, he lays the Creases exactly against the +Notches in the _Chase_ that are made for them respectively: And if his +_Frisket_ be Blackt with former Work, he lays a Sheet of Waste-Paper +upon the Creast-sheet: Then lays the _Tympan_ down on the _Form_, and +_Pulls_ on these two Sheets, and takes up his _Tympan_ again, and lays +by the Waste-Sheet; but the Creast-Sheet he lays on the _Tympan_. But +first presses the _Tympan_ downwards, from under the Shank of each +_Point_ successively, puts the two opposite sides of the Sheet under +the _Shancks_ of the _Points_, and the _Holes_ the _Points_ prickt with +_Pulling_ exactly under the bottom Revits of the _Points_: Then taking +a little Paste on the Ball of one of his fingers, a little besmears the +under corners of that Sheet, and claps them down close on the _Tympan_, +that the Sheet may stick: But the bottom corner of that side the Sheet +that is next to him, he besmears within the Matter of the Sheet, _viz._ +within the Impression the _Form_ made. For when he has fastned that +corner down, he tears off the _Margin_, (by guess) in a straight line +athwart the very corner, that it may not lye in his way to catch at as +he _Takes off Sheets_, when he is in his train of Work. + +This Sheet is called the _Tympan-sheet_; and is only as a standing +mark to lay all the other Sheets exactly even upon, while he Works upon +_White-paper_. + +The _Press-man_ does now suppose he has _Made Ready_: Yet for assurance +he will try his _Register_ once more, lest some of the _Quoins_ should +have slipt. How he made _Register_ I shewed you before, wherefore if +his _Register_ be not good, he mends it as I there shewed. But we will +suppose it now good, wherefore he gently _Knocks_ up all the _Quoins_ +in the corners, with an equal force to fasten them. + +Though I have in Numerical order set down these Operations, +Circumstances and Confederations in this ¶: yet does not the +_Press-man_ oblige himself to observe them in this or any other orderly +succession: Because it often happens that some of these Operations may +more readily be performed out of this or any other prescribed Order. + + +¶ 8. _Of_ Drawing _the_ Tympans _and_ Frisket. + +_Drawing_ the _Tympans_ or _Frisket_ is the Covering and Pasting on +of Vellom, Forrels or Parchment upon the _Frames_. To each _Tympan_ +and _Frisket_ is chose a Skin large enough to cover and lap about the +Frames. + +These Skins the _Press-man_ rumples up together, and puts them into +a Pail of fair Water to soak; and if he thinks they do not soak fast +enough, he takes them and rubs them between his Hands, as Women wash +Cloaths, to supple them, that the Water may Soak the faster in. And +being throughly Soakt he wrings the Water as well out as he can. + +Then the Boy having provided a Brush and about a Pint of Paste, made +of fine Wheaten Flower, well boiled in fair Water to the consistency +of Hasty-pudding, he spreads the Skin flat upon a Table; and first +Pastes the under Side of the _Tympan_; then lays it on the middle of +the Skin, and rearing each side successively up, Pastes the Skin also +from the insides the _Tympan_ to the outer edges of the Skin, and +lays the _Tympan_ down flat again: Then he Pastes all the other sides +of the _Tympan_, and wraps the Skin about the two long Sides first, +Cutting the Sides of the Skin away so much, till he leaves only enough +to reach almost quite through the under-sides of the _Tympan_ again: +Then drawing and straining the Skin tighter, he drives in the points +of two-penny or three-penny Nails about six Inches distant from one +another, to keep the Skin from starting as it Dries. + +Having thus Drawn the sides, he with the Point of a Pen-knife cuts +square holes in the Skin, just where the _Iron-Joynts_ fall, for the +Joynts to fall into, and Draws and Strains the ends of the _Tympan_ as +he did the Sides; wrapping the ends of the Skin under the under-sides +of the _Tympan_, and where Wood is, drives in the points of Nails, as +before. + +Then setting it by to dry; when it is dry, he draws the Nails. + +As he Drew this _Tympan_, so he Draws the other: and the _Frisket_ +also: only, because he cannot drive in Nails, (the _Frisket_ being all +made of Iron) he doubles the Skin over the sides of the _Frisket_, and +being well Pasted, as aforesaid; he Sews the sides that Lap over down +upon the whole Skin, to keep it from starting while it drys: And he +Pastes a Sheet or two Thick of Paper all over the inside of it; as +well to strengthen as to thicken it. + +[Illustration: _Plate 29._] + + +¶ 9. _Of Wetting Paper._ + +Paper is commonly _Wet_ in a Tray full of fair Water. The _Press-man_ +places the length of the Tray before him; his dry _Heap_ on the Left +Hand the Tray, and a _Paper-Board_ with its Breadth before him on his +Right Hand of the Tray: He lays first a Waste Sheet of Paper on the +_Paper-board_, lest the Board might Soyl or foul the first Sheet of +the _Heap_. Then he takes up the first _Token_, and lays it in such a +position that the backs of the Quires lye towards his Right Hand, that +he may the readier catch at the Back of each Quire with his Right Hand, +when he is to _Wet_ it: And he lays that _Token_ athwart, or somewhat +Crossing the rest of the _Heap_, that he may the easier know when he +has _Wet_ that _Token_. + +Then taking the first Quire of the _Heap_ with the back of it in his +Right Hand, and edge of the Quire in his Left, he lays the Quire down +upon the Waste Sheet, so, as that the back of the Quire lye upon the +middle crease of the Waste Sheet, and consequently one half of the +Quire already laid even down upon one half of the Waste Sheet. If the +Paper be Strong, he opens about half the Quire, and turns it over dry +upon the other half of the Waste Sheet: But if the Paper be Weak and +Spungy, he opens the whole Quire, and lays that down Dry. + +The reason why he lays the first Laying-down Dry, is, because it lying +under the rest of the _Heap_ will sufficiently imbibe the moisture +that Soaks from it: And the reason why he leaves but half a Quire Dry +for strong Paper, and an whole for Spungy, is, Because Spungy Paper +Soaks in moisture faster than Strong. + +Having laid down his Dry Laying, he takes another Quire off the Dry +_Heap_, with the back of the Quire in his Right Hand, and the edge of +the Quire in his Left, (as before,) and closing his Hand a little, +that the Quire may bow a little downwards between his Hands, he Dips +the back of the Quire into his Left Hand side of the Tray of Water: +And discharging his Left Hand of the Quire, Draws the Quire through +the Water with his Right; but as the Quire comes out at the Right Hand +side of the Tray, he nimbly catches the edge of the Quire again in his +Left Hand, and brings it to the _Heap_, but by lifting up his Left Hand +bears the under side of the Quire off the Dry Paper, laid down before, +lest the Dry Sheet should stick to the Wet, before he have plac’d the +Quire in an even position, and so perhaps wrinkles a Sheet or two, or +else put a Dry Sheet or two out of their even position, on the sides or +ends. + +But this Drawing the Quire through the Water he performs either nimbly +or slowly: If the Paper be Weak and Spungy, he performs it quickly; if +Strong and Stubborn, slowly. + +To place this Quire in an even position, he lays the back of the +Quire exactly upon the opening crease of the former Quire, and then +lets the side of the Quire in his Left Hand fall flat down upon the +_Heap_; and discharging his Right Hand, brings it to the edge of the +Quire; and with the assistance of his Left Hand Thumb (still in its +first position) opens or divides either a third or half of the whole +Quire, according to the quality of the Paper, (as was said before,) and +spreading the Fingers of his Right Hand as much as he can through the +length of the Quire, turns over his opened division of the Quire upon +his Right Hand side of the _Heap_. + +The reason why he spreads the Fingers of his Right Hand as much as he +can through the Length of the Quire; is, because the outside Half Sheet +is Wet, and consequently quickly Limber, so that if the Paper be Weak, +it would fall Down before the rest of his Opening, and double into +wrinkles, which thus spreading his Fingers prevents. + +In the same manner he Wets all the Quires of his Dry _Heap_. _See Plate +29._ + +But having Wet his first _Token_, he doubles down a great corner of +the upper Sheet of it on his Right Hand, so as the farther corner may +lye a little towards the Left Hand of the crease in the middle of +the _Heap_, and so as the hither corner may Hang out on the hither +side of the _Heap_ about an Inch and an half: This Sheet is called +the _Token-Sheet_, as being a mark for the _Press-man_ when he is at +Work to know how many _Tokens_ of that _Heap_ is _Wrought-off_, and +consequently to know how many is to Work. + +When he has Wet the first _Token_, he removes the next uppermost Dry +_Token_ askew on the Dry _Heap_, and successively all the rest, as I +shewed in the beginning of this ¶. + +Having Wet the whole _Heap_, he lays a Waste Sheet of Paper upon it, +that the _Paper-Board_ to be laid on, Soyl not the last Sheet of the +_Heap_: Then three or four times takes up as much Water as he can +in the hollow of his Hand, and throws and sprinkles it all over the +Waste-sheet that it may moisten and Soak downwards into the un-wet +upper part of the last Division of the Quire. + +The Paper being thus Wet, he takes up the whole _Heap_ upon the +_Paper-board_, and sets it by in a convenient place of the Room, +and lays another _Paper-board_ upon it: And upon the middle of the +_Paper-board_, sets about Half an Hundred Weight, and lets it stand by +to press, commonly till next Morning: For _Press-men_ generally Wet +their Paper after they have left Work at Night. + +The manner how Paper is _Set out_, shall be shewed when I come to the +Office of the _Warehouse-keeper_. + + +¶ 10. _Of_ Knocking up _the_ Balls. + +_Ball Leathers_ (as I said before in § 11. ¶ 21.) are either _Pelts_ or +_Sheep-skins_: If _Pelts_, they are chosen such as have a strong Grain, +and the Grease well Wrought out of them: They are either Wet or Dry +before they come to the _Press-mans_ use: If Wet, he having before-hand +provided a round Board, of about Nine inches and an half Diameter: +Supposing the _Ball-stocks_ to be six Inches diameter, lays the Round +Board upon the whole _Pelt_, and cuts by the out-side of the Board so +many round pieces as he can out of the _Pelt_, reserving two for his +present Use. + +And hanging the rest up (commonly upon the _Braces_ of the _Press_) to +dry, that they may not Stink or Mould before he have occasion to use +them. + +But if his _Pelts_ are Dry, he lays them to Soak (by choice in +Chamber-ly) but I never heard, or by my experience could find why it is +preferred before Fair Water: For the purpose of Soaking them is only to +supple them. + +If he Work with Leather, It is chosen with a Strong and close grain: +Wherefore by experience it is found that the Neck-piece, and indeed all +along the back of the Skin is best; but it is commonly subject to be +greasie, which gives the _Press-man_ sometimes a great deal of trouble, +to make his _Balls Take_. He also lays the _Ball Leathers_ in _Soak_ to +supple them. + +When they (either _Pelts_ or _Leathers_) are well _Soaked_, he Rubs +them well with both his Hands, and then twists and wrings them (as +Women do Cloaths) to get the Water out again. + +When they are well wrung, he Sits down upon a Seat about fourteen or +fifteen Inches high, commonly a _Heap_ of _White Paper_, if it stand +conveniently for him; but not upon a _Printed Heap_, least his Weight +pressing it cause the un-dryed _Inck_ to _Set-off_: He sits down, I +say, and lays the _Ball-stock_ upon his a little opened Thighs near +his Knees, that with closing his Thighs he may hold it in a Steddy +position, and with the Handle of the _Ball-stock_ towards his Belly. +Then taking the _Ball-Leather_, he laps or Folds about three quarters +of an Inch of one part of it over so much of it towards his Left Hand +into a Plaight, and laying the edges of that Plaight towards him, an +Inch above the edge of the _Ball-stock_, he with the Head of the +_Sheeps-foot_ drives a _Ball-nail_ into the middle of the Plaight, a +little more than half an Inch above the the edge of the _Ball-stock_: +But he Drives the _Ball-nail_ not quite up to the Head, but leaves +about almost a quarter of an Inch of the Nail out; that with the _Claw_ +of the _Sheeps-foot_ he may Draw the Nail again when occasion serves. + +Having driven the first Nail, he turns about the _Ball-stock_, till the +opposite side, and as near as he can guess, point of the edge of the +_Ball-stock_ lyes directly upwards between his Thighs, (as before,) +and then taking as near as he can guess the opposite edge of the +_Ball-leather_ between his Fore-fingers and Thumb of his Left Hand, he +holds the edge of the _Ball-leather_ upright, and having his Wooll or +Hair _Teized_, lying by him on his right Hand on the Floor, he grasps +at once as near as he can guess, so much as may just serve to fill his +_Ball-leather_ and the hollow of the _Ball stock_; which bringing to +the hollow of the _Ball-stock_, he draws the _Ball-leather_ over it; +and lapping the edges of the _Ball-leather_ over, as before, makes +another Plaight, and Drives another Nail, as before: So that here is +now the two opposite Sides of the Leather Nailed on. Then he takes up +the _Ball_ by the Handle in his Left Hand, and observes whether the +Wooll tend more to one than the other open half: If it do, he thrusts +it with the ends of his Fingers of his Right Hand into the middle, or +else over to the other Half, till the Wooll lyes equally on both the +Halfs. + +If he have put too much or too little Wooll into the _Ball_, he either +takes some out, or adds more to, as the respective Half may require. +Then lays it down again between his Thighs, as before, and lays another +Plaight in the middle of the _Ball-leather_ on one of the open Halves, +and as near as he can guess, between the middle of the two opposite +Nails; and Nails that Plaight down to the _Ball-stock_, as before. + +[Illustration: _Plate 30_] + +In the like manner he Nails down the other open sides, (now Quarters,) +and then again takes a View how the Wooll is disposed into the middle +of the _Ball_; and where he finds it tend most to any of the open +Quarters, he Drives the Wooll with the ends of his fingers, as before, +or sometimes when the _Balls_ have been Wrought with, and blackt with +_Inck_, with the _Head_ of the _Sheeps-foot_ into the middle, and then +Nails down as before all the open Quarters as near as he can guess; +between the middle of his former driven Nails, and then again, takes +another View as before, to see how the whole _Ball_ pleases him. + +If he finds any of the Plaights laid too near one another, he draws +that Nail, and alters that Plaight, to lay it as near as he can by +guess, in the middle between the next two Plaights. + +Then he considers if his _Ball_ be round: If it be not, he thrusts the +Wooll from the bunching-out side, towards the wanting side, either with +the ends of his Fingers, or the Balls of one of his Hands; while the +Wooll is yet loose in the _Ball-stock_: For when the _Ball_ has been +Wrought withal, it will grow so hard, that the Wooll will not move out +of its place. + +Having _Knockt up_ one _Ball_ well, he _Knocks up_ the other, as the +first. + +The _Balls_ are well _Knockt up_, when the Wooll is equally dispersed +about all the Sides, and the middle smoothly covered with the +_Leather_, viz. not rising in Hillocks, or falling into Dales, not +having too much Wooll in them, for that will subject them to soon +hardning, and quickly be uneasie for the _Press-man_ to Work with; or +too little, for that will make the _Leathers_, as the Wooll settles +with Working soon flap, and wrap over it self into Wrinkles. So that +he cannot so well destribute his _Balls_: But the _Balls_ ought to be +indifferently plump, to feel like an Hard stuft Bed-pillow, or a strong +Spunge a little moistned with Water. + +Having Knockt up the _Balls_, and Rub’d out the _Inck_, as shall be +shewed in the next ¶, he trys if his _Balls_ will _Take_, that is, he +Dabs the top of one of them three or four times lightly upon the hither +part of the _Inck-block_; If he finds the _Inck_ sticks to it equally +all about, and that so much as has toucht the _Inck-block_ is Black, +it _Takes_: But if scarce any of the _Leather_ is Black, or that it +be Black and White in Splotches, then the _Balls_ does not _Take_: +Wherefore he considers whether his _Ball_ be too Wet, or else Greasie, +for each of these inconveniences will hinder the _Taking_ of the _Ball_. + +If it be too Wet, he burns half a Sheet or an whole Sheet of Waste +Paper, and waves his _Ball_ to and fro over the flame of it; but so +quick and cautiously that he neither shrinks the _Leather_ or Dryes it +too much: In Winter time when a fire is at Hand, he dryes it gently by +the fire. + +If it be Greasie, he with the edge of the _Ball-knife_ scrapes off +the thick Oyl, that Works down out of the _Nut_ and _Spindle_ of +the _Press_, or else with the point of his Knife takes a convenient +quaintity of Oyl out of the _Plattin-pan_, or for want of either +takes fresh Sallad Oyl and smears and spreads it well all over the +whole _Ball-leather_; and then holding the _Ball-knife_ in his Right +Hand, with its edge a little sloping downwards that it cut not the +_Ball-leather_, and the handle of the _Ball-Stock_ in his Left Hand, +he joyns the bottom of the _Ball-leather_, viz. as near the outer +edge of the _Leather_ as he can, for the _Ball Nails_ to the edge +of the _Ball-knife_, and turning the _Ball_ about by its Handle, +presses it hard against the sloapt edge of the _Ball-knife_, and at +once drives the laid on Oyl and Grease too before the sloapt edge of +the _Ball-knife_; but he keeps the Handle of the _Ball-Stock_, and +consequently the whole _Ball_ too, constantly turning, that the whole +circumference of the _Ball_ may be _Scraped_: And as the _Ball_ has +performed a Revolution against the sloapt edge of the _Ball-knife_, he +draws gradually his Left Hand a little backish, that the sloapt edge +of the _Ball-knife_ may by several Spiral revolutions of the _Ball_, +scrape up to the very top of the _Ball_, and carries before it the Oyl +and Grease thither: Which having there, he gathers up upon the _Blade_ +of his _Ball-knife_ and disposes of it, as of so much Dirt and Filth. + +After a due process of either of these Operations respectively, his +_Ball_ will _Take_, and he again dabs gently the top of his _Ball_ +three or four times on the _Inck-block_ (as before) and finding it +_Take_, he takes the Handle of it into the clutched Fingers of his Left +Hand, holding the _Ball-stock_ just a little above the circle of his +Fore-finger and Thumb, and grasps the Handle of the other _Ball-stock_ +into his Right Hand, with the circle of his Finger and Thumb upwards, +and the now bottom of his Right Hand downwards, but not resting upon +the _Ball-stock_; and trys if that _Ball_ will _Take_, by dabbing the +Leather of it three or four times upon the other _Ball_; If it do not +_Take_ with dabbing, he twists the _Balls_ in either Hand close and +hard, contrary to one another, to besmear the upper with the under +_Ball_. If after this, the upper _Ball_ do not _Take_, he considers the +cause, and remedies it, as he did the first _Ball_. + + +¶ 11. _Of_ Rubbing out Inck. + +Before the _Press-man_ goes to Work, he Rubs out his _Inck_. + +If the _Inck_ have lain long on the _Inck-block_ since it was _Rubbed +out_, the Superficies of it generally is dryed and hardened into a Film +or Skin, wherefore the _Press-man_ carefully takes this Film quite off +with the _Slice_ before he disturb the Body of the _Inck_: For should +any, though never so little of it, mingle into the _Inck_, when the +_Ball_ happens to take up that little particle of Filin, and delivers +it again upon the _Face_ of the _Letter_, it will be a _Pick_, and +Print black, and deface the Work: And if it get between the _Face_ of +two or more _Letters_, or the _Hollows_ of them, it will obliterate all +it covers. And if it be _Pull’d_ upon, and the _Press-man_ not careful +to over-look his Work, it may run through the whole _Heap_. + +Wherefore having carefully skinned off the Film with the edge of the +_Slice_, he scrapes his _Slice_ clean with the _Ball-knife_, lest +some small parts of the Film should yet stick to, or remain on the +_Slice_: And then with the _Slice_ brings the body of _Inck_ into the +middle of the Plain of the _Inck-block_, and searches the sides of +the _Inck-block_, by thrusting the edge of the _Slice_ forwards along +them and all the angles of the _Inck-block_, and so scrapes off all +the _Inck_ as clean as he can, and gathers it to the whole mass of +_Inck_: Then with the _Slice_ he turns the whole mass about half a +score times over and over to mingle it well together, lest some part +of it should be more consolidated than the rest: And to mingle it yet +better, he then falls to _Rubbing_ it with the _Brayer_, grasping +the Handle of it in his Right Hand, he begins to _Rub_ with all his +strength at the hithermost side-boundings of the Body of _Inck_, and +keeping _Rubbing_ through the almost whole length of the _Inck-block_, +he gradually proceeds to the farther side of the Body of _Inck_. In +this manner of _Rubbing_ he bears hardest upon the farther edge of the +_Brayer_, because the hither sides of the _Inck-block_ are not fenced +in with Rails about them; and should he _Rub_ with the bottom of the +_Brayer_ flat upon the _Inck-block_, he might draw too great a body of +_Inck_ to the unfenced sides; so that the _Inck_ would be subject to +run off: This _Rubbing_ is only to spread the _Inck_ pretty equally +over the superfices of the _Inck-block_: Wherefore he now begins a +circular _Rubbing_, observing in the circulation of the _Brayer_ that +he always a little mounts the part of the edge of the bottom, which in +its progress is ready to approach a prominent body of _Inck_, that it +may somewhat slide over it, that the _Inck_ be not lickt up high on the +sides of the _Brayer_. + +Then with the Handle of the _Slice_ in his Left Hand and the Handle +of the _Brayer_ in his Right, he joyns the bottom edge of the +_Slice_ to the side of the _Brayer_, holding the flat of the _Slice_ +Horizontal, and the bottom of the _Brayer_ perpendicular both over the +_Inck-block_, and keeping his _Brayer_ and _Slice_ in this position, +by turning the _Handle_ of the _Brayer_ in his Right Hand, held pretty +stiff against the edge of the _Slice_, he scrapes off all the _Inck_ +that the side of the _Brayer_ has lickt up: And setting down his +_Brayer_, he takes the _Slice_ in his Right Hand and lays what _Inck_ +he scrapes off the side of the _Brayer_ again upon the _Inck-Block_, +and _Slices_ the whole mass of _Inck_ into the farthermost corner of +the _Inck-block_. + +This _Rubbing_ of the _Inck_ may serve when the _Inck-block_ had _Inck_ +on it before. + +But if no _Inck_ were on the _Inck-block_ before, then he lays new +_Inck_ on the _Inck-block_: Wherefore he considers what Work he Works +on: whether it be small or great _Letter_: If it be small _Letter_, or +curious Work, the _Inck_ must be _Strong_ he Works with: But if it be +great _Letter_ or sleight Work, he makes _Soft Inck_ serve, or at least +mingles but a little _Hard Inck_ with it. + +If the _Inck_ be too _Hard_, as sometimes in very frosty Weather it +will be, then, though his Work be curious, yet he must _Rub_ in a +little _Soft Inck_ to soften it; because it will not else _Destribute_ +well upon the _Balls_; especially if the _Leathers_ be a little too +Wet, or a little Greasie: Besides, it may and many times does pull and +tear the Grain off the Skin; which not only spoils the Skin, but fills +the _Form_ full of _Picks_. + +Sometimes when he finds the _Inck_ too pale, he _Rubs_ in _Blacking_, +but he first joults the bottom of the _Blacking Tub_ three or four +times against the ground, that if by chance any dirt or filth have +gotten into it, it may sink to the bottom of the _Tub_. + +But when he either mingles _Strong_ and _Weak Inck_ together, or else +puts in _Blacking_, he applies himself again first to _Rubbing_ with +the _Brayer_, the length-way of the _Inck-block_, as before, and then +to a circular _Rubbing_, as before; and to cleansing his _Brayer_, as +before; and this long-ways _Rubbing_, circular _Rubbing_, and cleansing +his _Brayer_, he reiterates so oft, till he judge the whole mass of +Inck sufficiently _Rubbed_ and mingled, and the _Blacking_ perfectly +imbibed by the _Inck_: And then he _Slices_ the whole mass of _Inck_ to +the farthermost corner of the _Inck-block_, as before. + + +¶ 12. _Of_ Destributing _the_ Balls. + +I shewed you in ¶ 10 of this § how he dabb’d the _Ball_ on the +_Inck-block_, to try if it would _Take_: And I shewed you in what +Posture he handled the _Balls_ when he tryed if the other _Ball_ would +_Take_: Therefore for _Taking Inck_ and Handling the _Balls_ I (to +avoid tautology) refer you to that ¶. + +Having now _Taken Inck_, and gotten the _Balls_ in his Hands, in that +posture, he Works them side-ways upon one another to and from him, +and with a craft (acquired by use) in the Handling of the _Balls_, all +the while keeps the Handles, and consequently the whole _Ball-stocks_ +(both) turning round in his Hands and in a motion contrary to each +other, _viz._ His under _Ball_ moving from the Left Hand to the Right, +and his upper _Ball_ moving from his Right Hand to to the Left; and +by and by in a second motion contrary to the first, _viz._ his under +_Ball_ moving from the Right Hand to the Left, and his upper _Ball_ +moving from the Left Hand to the Right. + +And these motions and Operations he continues so long till he judges, +and in part perceives the _Inck_ is equally _Destributed_ all over the +whole _Ball-Leathers_. + +The first way of turning the _Ball Handles_, while the _Balls_ are +moved to and from him, is made by pressing the ends or Balls of the +fingers of both his Hands upon the _Ball-handles_ from-wards his Hands: +And the second way of turning them contrary to the first, is made by +gathering in the ends or Balls of of his fingers while they are in +their circular to and fro motion. But because in gathering in his +fingers, he does somewhat dis-ingage his grasp of the _Ball-Handles_, +therefore he lightly and almost insensibly, tosses the _Ball-stocks_ +a little up, that when they are dis-ingaged from a close grasp, his +fingers ends may the easier draw the _Handles_ towards him. This is a +Hand-craft, which by continued use and practice, becomes familiar to +his Hands. + + +¶ 13. _Of_ Beating. + +The _Press-man_ imagines, or by his eye judges the length of his _Form_ +(be it what Volumne it will) devided into four equal parts or Rows, +which four Rows for distinction sake, I shall number from the Left Hand +to the right, with first Row, second Row, third Row, fourth Row, just +as an _Octavo Form_ is exactly devided by four Rows of _Pages_. + +He places his Left Hand _Ball_ at the hither end of the first Row, so +that though the _Ball_ be round, yet the square encompassed within +that round shall sufficiently cover so much of the square of the +hither end of that Row as it is well capable to cover; and his Right +Hand _Ball_ he sets upon the hither end of the third Row: He sets his +_Balls_ close upon the _Face_ of the _Letter_, with the _Handles_ of +the _Ball-stocks_ a little bending towards him: But as he presses them +upon the _Face_ of the _Letter_, he mounts them perpendicular; and +lifting at once both the _Balls_ lightly just clear off the _Face_ of +the _Letter_, he removes them about the fifth part of the breadth of +the _Form_ upwards, _viz._ towards the farther side of the _Form_, and +again sets them close down upon the _Face_ of the _Letter_, with the +Handles of the _Ball-stocks_ again bending a little towards him, as +before: and as he presses them upon the _Face_ of the _Letter_, mounts +them perpendicular, as before: Thus in about four or five or six such +motions, or rather removes of the _Balls_, according to the breadth of +the _Form_, he _Beats_ over the first and third Rows. Thus _Beating_ +from the hither towards the farther side, is in _Press-mens_ phrase +called _Going up the Form_. + +The reason why he bends the _Handles_ of the _Ball-stocks_ a little +towards him, is, that the _Ball-leathers_ drag not upon the _Face_ of +the _Letter_; for then the edges of the hollows between the _Lines_ +or _Words_, or the edges of the cavities below the _Face_ would +scrape _Inck_ off the _Balls_ to stop up or choak the _Form_. And the +reason why (before he removes them) he mounts the _Handles_ of the +_Ball-stocks_ a little perpendicular, is, that the _Balls_ may touch in +their greatest capacity upon the _Face_ of the _Letter_. + +To _Come down the Form_, he skips his _Balls_ both at once from the +first and third Row to the second and fourth Row, and brings them down +as he carried them up; only, as before, he bended the _Handles_ of +the _Ball-stocks_ a little towards him, so now he bends them a little +from him: That the _Ball-leathers_ (now _Coming down_) drag not, as +aforesaid. Then in like manner he again skips the _Balls_ from the +second and fourth Row to the first and third Row, and again _Goes up +the Form_ with the _Balls_, as he did before. And then again skips, as +before, and _Comes down the Form_ again with the _Balls_. + +Having thus gone twice upwards and twice downwards with the _Balls_, +the _Form_ is sufficiently _Beaten_ in a train of Work, when the _Face_ +of the _Letter Takes_ well. + +But if he _Beats_ the first Sheet of a fresh _Form_, or after a _Form_ +is _Washed_, or he makes a _Proof_, he _Goes_ three four or five times +_Upwards_ and _Downwards_: Least the _Face_ of the _Letter_ should +happen to be Wet or moist, and consequently un-apt to take _Inck_, +without reiterated _Beatings_. + + +¶ 15. _Of_ Pulling. + +We will suppose now two _Press-men_ going in the Morning to their train +of Work: The one they distinguish by the name of _First_, the other his +_Second_, these call one another _Companions_: The _First_ is he that +has wrought longest at that _Press_, except an Apprentice, for he must +allow any Journey-man though new-come that stile: Generally the Master +Printer reposes the greatest trust upon his care and curiosity for good +Work; although both are equally liable to perform it. + +All the priviledge that the _First_ has above the _Second_ is, that the +_First_ takes his choice to _Pull_ or _Beat_ the agreed stint first: +And that the _Second Knocks up the Balls_, _Washes the Forms_, _Teizes +Wooll_, and does the other more servile Work, while the _First_ is +imploid about making _Register_, ordering the _Tympan_, _Frisket_, and +_Points_, &c. or otherwise _Making Ready_ the _Form_, &c. + +The _First_ now takes his spell at _Pulling_: For the _First_ and +_Second_ take their spell of _Pulling_ and _Beating_ an agreed number +of _Tokens_: Sometimes they agree to change every three _Tokens_, which +is three Hours work, and sometimes every six _Tokens_; that they may +both _Pull_ and _Beat_ a like number of _Tokens_ in one day. + +Under the general notion of _Pulling_ and _Beating_ is comprised all +the operations that is in a train of work performed by the _Puller_ +and the _Beater_: For though the _Puller Lays on Sheets_, Lays down +the _Frisket_, Lays down the _Tympans_ and _Frisket_, _Runs in_ +the _Carriage_, _Runs out_ the _Carriage_, takes up the _Tympans_, +Takes up the _Frisket_, _Picks_ the _Form_, Takes off the Sheet, and +Lays it on the _Heap_, yet all these Operations are in the general +mingled and lost in the name of _Pulling_. And as in _Pulling_, so in +_Beating_; for though the _Beater Rubs_ out his _Inck_, _Slices_ it +up, _Destribute_ the _Balls_, peruses the _Heap_, &c. yet all these +Operations are lost in the general name of _Beating_. Thus they say the +_First_ or the _Second_ is _Pulling_; or, the _First_ or the _Second_ +is _Beating_; though they are performing the different Operations +aforesaid: unless upon particular occasions the respective Operations +are particularly nam’d. + +As there are many Operations conjunct to _Pulling_, and _Beating_, so +the _Press-man_ performs them with various Set and Formal Postures and +Gestures of the Body. For, + +To take a Sheet off the _Heap_, He places his Body almost straight +before the hither side of the _Tympan_: I say almost straight, Because +it is more straight before the side of the _Tympan_ than it is before +the angle made by the _Paper-bench_ and the side of the _Tympan_: +But he nimbly twists the upper part of his Body a little backwards +towards the _Heap_, the better to see he takes but one Sheet off, which +he loosens from the rest of the _Heap_ (as I have shewed before) by +drawing the back-side of the Nail of his right Thumb on his Right Hand +nimbly over almost the whole length of the _Heap_, and receiving the +hither end of the Sheet with the inside of his Left Hand fingers and +Thumb catches with his Right Hand about two inches within the farther +edge of the Sheet near the upper corner, and about the length of his +Thumb below the hither edge of the Sheet, and brings it nimbly to the +_Tympan_: And at the same time twists his Body again straight before +the _Tympan_, only a very little moving his right Foot from its first +Station a little forwards under the _Carriage Plank_: And as the Sheet +is coming to the _Tympan_ (we suppose now he Works upon _White Paper_) +he nimbly disposes the fingers of his Right Hand under the farther +edge of the Sheet near the upper corner; and having the Sheet thus in +both his Hands, lays the farther side and two extream corners of the +Sheet down even upon the farther side and extream farther corners of +the _Tympan-sheet_, but he is careful the upper corner of the Sheet +be first laid even, upon the upper corner of the _Tympan-sheet_; that +he may the sooner disingage his Right Hand: And if by the nimble +casting his eye, he perceive the sides of the Sheet lye un-even upon +the _Tympan-sheet_, he with his Left Hand at the bottom corner of the +Sheet, either draws it backwards, or pulls it forwards, as the Sheet +may lye higher or lower on the hither corners of the _Tympan-sheet_, +while his Right Hand being disingaged, as aforesaid, is removed to the +backside the _Ear_ of the _Frisket_, and with it gives it a light touch +to double it down upon the _Tympan_. And by this time his Left Hand is +also disingaged, and slipt to the hither under corner of the _Frisket_, +to receive it, that it fall neither too hard or too quick down upon the +_Tympan_: For hard falling may shake the loose Sheet on the _Tympan_ +out of its place; and so may the quick pressure of the Air between +the _Tympan_ and _Frisket_, after the Sheet is well laid: and while +his Left Hand receives the _Frisket_ his right is disingaged from the +_Ear_ of the _Frisket_, and removed to the middle of the back-side the +_Tympan_; which he grasps between the Balls of his Fingers and Thumb, +to lift it off the _Gallows_, and double it and the _Frisket_ together +on the _Form_. And while the _Tympan_ is coming, he slips his Left Hand +Fingers from under the _Frisket_ to the hither outer corner of it, as +well to keep the Sheet close to the _Tympan_ in its position, as to +avoid the jobbing of the lower side of the _Frisket_ against any small +square shoulder, either of the _Furniture_, _Quoins_, _Chase_, or the +corners that may stand higher than their common Plain. + +Then nimbly slipping his Left Hand, he with it grasps the _Rounce_, +and with a moderate strength, nimbly gives its _Winch_ about one Turn +round; I say about, because the first _Pull_ will generally fall out +to be made about the middle of the _Carriage_; (as was shewed in § 11. +¶ 16.) but perhaps not just in the middle: yet to regulate his _Runing +in_, he made a mark before on the farther Rail of the _Tympan_, (as I +shewed in ¶ 3. of this §) to which mark he _Runs_ the _Carriage in_, +till he bring the mark in a Range with the fore-edge of the _Plattin_; +and as it is coming, skips his Hand to within an Inch or two of the end +of the _Bar_, and then at once gently leans his Body back, that his +Arm as he _Pulls_ the _Bar_ towards him may keep a straight posture; +because in a _Pull_ it has then the greatest strength. And he also +slips his right Foot upon the _Foot-step_, while his Left Hand holds +fast by the _Rounce_; as well to rest on the _Foot-step_ and _Rounce_, +as to enable his Body to make a stronger _Pull_; which will prove +_Longer_ or _Shorter_, according to the strength put to it, and also +the _Hard_ or _Soft Justifying_ of the _Head_, (as was shewed in ¶ 5. +of this §.) + +Then disingaging his Right Hand again from the _Handle_ of the _Bar_, +he slips it to the _Bow_ of the _Bar_, before the Handle fly quite back +to the _Cheek_ of the _Press_: For should the _Bar_ by its forcible +Spring knock hard against the _Cheek_ of the _Press_, it might not only +shake some of its Parts or circumstantial appurtenances out of order, +but subject the whole Machine with oft reiteration to an unstable +position. Besides, the farther the _Bar_ flyes back, the more he +hinders quick riddance in recovering it again. But yet he must let the +_Bar_ fly so far back as that the _Tympan_ may just rise clear off the +_Plattin_; lest when he _Runs in_ his _Second Pull_, the _Face_ of the +_Plattin_ rub upon the _Tympan_, and shoves the Sheet upon the _Face_ +of the _Letter_, and sometimes _Slurs_, and sometimes _Doubles_ it upon +the _Face_ of the _Letter_. + +Having _Pull’d_ the _First Pull_, and having the _Rounce_ still in his +Left Hand, He turns the _Rounce_ about again, till the _Carriage Runs +in_ so far, as that the second mark on the Rail of the _Tympan_ comes +into a Range with the hither edge of the _Plattin_, as before the first +mark did; and then _Pulls_ his second _Pull_, as he did his first; +and slips his Right Hand again off the _Handle_ of the _Bar_ to the +_Bow_, (as before) and guides the _Bar_ up to its _Catch_ leisurely, +that coming now near the _Cheek_ it knock not against it: and just as +he has _Pulled_ his _Second Pull_, he gives a pretty quick and strong +pressure upon the _Rounce_, to turn it back, and the _Carriage_ out +again: And so soon as he has given that one pressure, (as aforesaid) he +desingages his Left Hand from the _Rounce_, and claps the fingers of it +under the middle of the _Tympan_, and on the _Ear_ of the _Frisket_: +and while this is doing, removes his Right Hand to the now upper, but +immediately it will be the under-side of the _Tympan Rail_, within +four or five Inches of the upper end of it, to receive the _Tympan_, +as it is lifted up off the _Form_ by his Left Hand. And having thus +received it, lets it descend gently down on the _Gallows_. And as it +is descending, slips his Left Hand fingers under the hither lower +corner of the _Frisket_, and gives the _Frisket_ a toss up; while by +this time his Right Hand being disingaged from the _Tympan_, is ready +to catch the _Frisket_ by the _Ear_, and convey it quick and gently +to its _Stay_: And while the _Frisket_ is going up; he slips the end +of the middle finger of his Left Hand, or sometimes the ends of his +two middle fingers with their Balls upwards, under the hither lower +corner of the _Pulled off Sheet_, and at the instant he has got them +under, he nimbly bows his Joynts upwards, to throw up the corner of the +Sheet, to make it mount a little, for him to gather about two Inches +hold of it between the Balls of his Thumb and fore-finger. And heaving +the whole Sheet by this corner a little upwards, He at the same time +lifts it off the _Points_, and draws it somewhat towards him; and as +it comes, catches it near the upper corner of the same side of the +Sheet, between the foremost Joynts of his fore-fingers and Ball of the +Thumb of his Right Hand, and nimbly twisting about his Body towards +the _Paper-bench_ carries the Sheet over the _Heap_ of _White-paper_ +to a _Paper-board_, which before he placed beyond that _Heap_ on his +Right Hand, (as aforesaid in ¶ 14.) and lays it down upon a Waste-sheet +laid for that purpose on that _Paper-board_; but while it is coming +over the _White-paper Heap_, though he have the Sheet between both +his fore-fingers and Thumbs, yet he holds the Sheet so loosly that +it may move between them as on two Centers, as his Body twists about +(as aforesaid) from the side of the _Tympan_ towards the side of the +_Paper-bench_. + +Thus you see both the _Press-mans_ Hands at the same time alternatively +ingaged in different Operations: For while his Right Hand is imployed +in one Action his left is busie about another, and these exercises so +suddenly varied, that they seem to slide into one another; one Posture +beginning when the former is but half performed. + +Having thus _Pulled_ one Sheet, and laid it down: He turns his Body +towards the _Tympan_ again, and as he is turning gives the next Sheet +on the _White-paper Heap_ a Touch with the backside of the Nail of his +Right Thumb, as before, to draw it a little over the hither edge of +the _Heap_, and lays it on the _Tympan_, &c. as he did the first; and +so successively every Sheet till the whole _Heap_ of _White-paper_ be +_Wrought off_. + +As he comes to a _Token-sheet_, he un-doubles that, and smooths out the +Crease with the back-side of the Nails of his Right Hand, that the +_Face_ of the _Letter_ may Print upon smooth Paper. And being Printed +off, he folds it again, as before, for a _Token-sheet_ when he works +the _Reiteration_. + +Having _Wrought off_ the _White-paper_, he turns the _Heap_ thus: + +He takes the _Paper-board_ that his _White-paper_ lay on, and sets it +down on the ground: Then removes the _Heap_ to his Left Hand; then +takes up the _Paper-board_, and lays it on his Right Hand: And if it +be _Twelves_, or any _Form Imposed_ like _Twelves_, as _Twenty fours_, +&c. he turns it from one long side of the Paper to the other, that +is, the long side of the Paper that stands on his Right Hand when the +Printed side lies upwards, he turns over to his Left Hand, and lays +the un-printed side upwards. In performing this, he grasps off of +the _Wrought off Heap_ so much at once between both his Hands as he +can well govern, without disordering the eveness of the sides of the +_Heap_, viz. a _Token_, or more, and lays that upon the _Paper-board_; +then takes another grasp in like manner, and lays that on the first +grasp, and so successively, till he have turned the whole _Heap_, grasp +by grasp. Then removes the _Heap_ near the _Tympan_, and lays the other +_Paper-board_ beyond it, as the first _Paper-board_ stood before; +always remembring to lay a Waste-sheet first on the _Paper-board_. + +Having now turned the _Heap_, and made _Register_ on the _Reteration +Form_ (as was shewed in ¶ 7. of this §) he Works off the _Reteration_: +But he somewhat varies his posture in the _Laying on his Sheets_: For +as before, when he wrought _White Paper_, he catcht the Sheet by the +upper farther corner with his Right Hand, he now having heaved up the +Sheet (as aforesaid) catches it as near the farther side of the farther +_Point-hole_ as he can, with the Ball of his Right Hand Thumb above the +Sheet, and the Ball of his fore-finger under the Sheet, the readier to +lay the _Point-hole_ over its respective _Point_: which having done, +he slips his Body a little backwards, and both his Hands with it, his +Right Hand towards the hither _Point-hole_, with the back-sides of the +Nails of his fingers to draw or stroak it over the _Point_: and the +fingers of his Left Hand, as they come from the farther corner, nimbly +slipping along the bottom edge of the Sheet, till they come to the +hither corner; and then with his fore-finger and Thumb, layes hold of +it, to help guide the _Point-hole_ on that _Point_ also: Then _Pulls_ +that Sheet, as before, as he did the _White Paper_, and so successively +all the rest of the _Reteration_. Only, the _Token-sheets_, as he meets +with them, he Folds not down again, as he did the _White Paper_. + +If a _Press-man_ have no _Companion_, but works alone; he has a little +oblong Square _Form_ or Bench made to stand so high as the _Face_ of +the _Letter_ upon the _Press-stone_, and so long as to contain the +_Balls_ when set upon the _Ball-leathers_. + +This Form or Bench some Work-men will place on the hither side the +hither _Cheek_, within about half an Inch of the foreside of the +_Cheek_: And other Work-men will place it on the farther side of the +_Carriage_; each sort of Work-men supposing that in the place he sets +it, the _Balls_ stand most commodious for his quick taking up and +setting down: I shall not plead the convenience of either, but in short +speak to the inconveniences of both. + +The inconvenience of placing it on the hither side the hither _Cheek_, +is, that the _Press-man_ must twist his Body somewhat about to take up +the _Balls_. And the inconvenience of placing it on the further side +the _Carriage_, is, that the _Press-man_ must thrust his Body over the +_Form_ to take up the _Balls_: both ways strain the Body, and hinder +riddance. + +Those that place it on the hither side the _Cheek_, begin and end their +_Beating_ as has already been shewed, _viz._ on the hither side the +_Form_: But those that place it on the farther side the _Carriage_, +begin and end their _Beating_ on the Rows on the farther side the +_Form_. + +One _Press-man_ in his train of Work will _Beat_ so soon as he has +laid the _Tympan_ on the _Gallows_ after _Pulling_: Another will not +_Beat_ till he has laid his Sheet on the _Tympan_, and doubled the +_Frisket_ down on it: both sorts fancying their own way most quick and +commodious: For these conveniences are the purposes they both drive at. + + +¶ 16. _Of Printing_ Red, _or other Colours with_ Black. + +When _Red_ and _Black_ are to be Printed upon the same Sheet, the +_Press-man_ first _Makes Register_, as was shewed ¶ 7. and _Makes +Ready_ his _Form_ as was shewed ¶ 14. of this §. Then having a new +_Frisket Drawn_, as was shewed ¶ 8. He Prints upon his new _Frisket_ +with _Black_. And having before a _Proof-sheet_ Printed _Black_, with +the Words to be Printed _Red_ under-lined on that _Proof-sheet_; He +takes off his _Frisket_, and lays it flat on a _Paper-board_, and with +a sharp-pointed Pen-knife neatly cuts out those words on the _Frisket_, +and about half a Scaboard _Margin_ round about the words, that he finds +under-lined on the _Proof-sheet_: Then sets the _Frisket_ by till he +has wrought off his _Heap_ with _Black_, and puts his common _Frisket_ +on the _Joynts_ of the _Tympan_ again. + +While the _Press-man_ is _Cutting_ the _Frisket_, the _Compositer_ +takes those _Words_ out of the _Form_ that are _Under-lin’d_ on the +_Proof-sheet_, and in their place puts _Quadrats_, m-_Quadrats_, +_Spaces_, &c. to _Justifie_ the _Lines_ up again. + +Then _Locking up_ the _Form_, the _Press-man_ Works off the _Heap_ +Black, as was shewed in the last ¶. + +Having wrought off his _Heap_ Black, he takes off the common _Frisket_, +and puts on his new cut _Frisket_: Then taking a piece of thick +Scaboard he cuts it into so many small slips as there are _Whites_ +in the _Form_ to be Printed with _Red_; These small slips he cuts +exactly to the length of the _Quadrats_, &c. the _Compositer_ put in, +and to the breadth of the _Body_; but rather a small matter less than +bigger, lest they bind at the bottom of the _Shank_ of the _Letter_: +for when the _Compositer_ takes out the _Quadrats_, &c. he put in +before the _Form_ was _Wrought off_ Black, these slips of Scaboards +the _Press-man_ pricks on the Point of a _Bodkin_ and puts them into +their respective holes: And being loosen’d off the Point of the +_Bodkin_ with the blunt Point of another _Bodkin_, are laid down flat +on the _Press-stone_; These slips are called _Underlays_, and are +described in ¶ 14. of this §. Upon these _Underlays_ the _Compositer_ +puts in again the _Words_ or _Letters_ he took out before the _Form_ +was _Wrought off Black_: So that these _Words_ now stand higher than +the other _Matter_ of the _Form_, and therefore will Print when the +other _Matter_ will not. But yet for the more assurance that the other +_Matter_ Print not, the _New-cut Frisket_ was prepar’d, which hinders +any thing to Print but what Prints through the Holes cut in it; which +Holes these _Underlaid Words_ fall exactly through. + +Having mingled the Red, or any other intended Colour with _Varnish_, as +shall be shew’d in the next ¶, he _Beats_ the _Form_ as with _Black_; +and _Pulls_ it very lightly, lest these _Underlaid Words_ standing +higher than the rest of the _Matter_, Print too _Hard_. + + +¶ 17. _Of mixing and Grinding Colours with_ Varnish. + +_Varnish_ is the common _Menstruum_ for all Colours that are to be used +in Printing. + +_Red_ is the chief Colour that is used with _Black_ in Book-Printing: +of _Reds_ there are two sorts in general use, _viz._ _Vermillion_ and +_Red-Lead_; _Vermillion_ is the deepest and purest Red, and always used +to Books of Price. _Red-Lead_ is much more faint and foul, and though +more used than _Vermillion_, yet used only to Books of Vulgar Sale and +Low price, as Almanacks, _&c._ + +Yet may other Colours also be used to Print withal; yea, any Colours +that are used in Oyl-Painting, as _Lake_ and _Russet_, which are _Reds_ +deeper than _Vermillion_; _Virditur Indico_ and _Bice_ for Blews; +_Orpment_, _Pinck_, _Yellow Oaker_, for Yellow: _Virdigreace_, and +Green _Virditur_, for Greens: or what other Colours may be fancied. + +But all Colours for Printing must be Ground with _Soft Varnish_; +especially those Colours that are of themselves Dryers; as _Red-Lead_, +_Vermillion_, _Orpment_, _Verdigrease_; For should they be Ground +with _Hard Varnish_ the Colour’d _Inck_ would dry and harden so quick +and fast upon the _Form_, that it would soon be choaked up, and +consequently want _Washing_ e’re the _Form_ be _Wrought off_; which +would be very troublesome to the _Press-man_, because he must expect +to have all his _Underlays_ to new fit to their places: And besides, +it will so Dry and Harden upon the _Balls_, that the Grain of the +_Leathers_ would quickly tear off, and fill the _Form_ full of _Picks_. + +The fittest Colours therefore for Printing, are such as are of the +lightest Body and Brightest Colour. + +They are to be Ground with a Mullar on a smooth Marble Stone, so long +that the Colour becomes impalpable, and is throughly mingled with the +_Varnish_. + + +¶ 18. _Of Printing with Gold and Silver._ + +This Operation is seldom used but for Printing Names; and therefore +rarely drest in a _Form_ to the _Press_; but is usually Printed in the +_Stick_: And then the _Compositer Justifies_ his Stick very _Hard_, as +well that the _Letters_ fall not out when the _Back_ of the _Stick_ is +turned upwards, as that the strength of the _Hard Varnish_ the _Face_ +of the _Letter_ is _Beat_ with, pulls not the _Letter_ out of the +_Stick_. + +Therefore the _Press-man_ makes two little _Balls_, by tying about an +Handful of Wooll in new clean Leather, and dabs one of his _Balls_ +upon the Hardest _Varnish_ he has, and with the other destributes his +_Varnish_ to a convenient Fatness, as he did his _Balls_ in ¶ 12. With +one of these _Balls_ he _Beats_ the _Name_; and having his Paper _Wet_, +he lays a single _Blanket_ on the _Correcting-stone_, and his Paper on +the _Blanket_; and with a _Riglet_ fitted to the _Stick_, he presses +the _Letter_ to keep it straight in _Line_: Then places the _Face_ of +the _Letter_ exactly flat down upon the Paper, and with the force of +both his Hands presses the _Letter_ hard and even down upon the Paper, +to receive an Impression: But he takes care not to wriggle the _Letter_ +in the _Stick_ backwards or forwards, lest either the _Beard_ Print, or +the sides of the _Letter_ be more or less besmeared with the _Varnish_: +Because the Gold or Silver will stick to the least Sully that the +_Varnish_ may chance to make. + +Then cutting his Gold or Silver to a size full big enough to cover the +Printed _Name_ or _Matter_, he lays his Gold or Silver on what was +Printed, and with a little White Cotton gently presses the Gold or +Silver upon the Printed _Matter_, and lets the Paper lye by a while; +as well that it may dry, as the _Varnish_ Harden, (which will quickly +be) he with his Handkerchief gently wipes over the Printed _Matter_. So +shall all the Gold or Silver that was toucht by the _Varnish_, stick +to the _Varnish_ on the Paper, and the other will wipe away. + +If he lifts to Polish it, he uses a Tooth or the Ivory Handle of a +Knife. + + + ¶ 19. _Rules observed; and Remedies to the Inconveniences the_ + Press-man _may meet with in a Train of Work_. + +1. The _Press-man_ is to make a _Proof_ so oft as occasion requires: If +he takes off his _Form_ to make a _Proof_, he _Un-locks_ and lays the +_Quoins_, as shall be shewed when I come to _Washing_ of the _Form_: +but many _Printing-houses_ have an empty _Press_ stands by to make +_Proves_ on. + +The _Compositer_ having brought the _Form_ to the _Press_, lays it +down on the _Press-stone_, and the _Press-man_ places it even under +the _Plattin_, that the _Plattin Bear_ not harder on the hither or +farther side of the _Form_: Then he _Pulls_ the _Cards_ upon the +_Form_, to press it into a flat position: Then _Beats_ the _Form_ +four or five times over, that he may be sure it _Take_: Then he lays +the _Proof-sheet_ on the _Form_, so as by his Judgement it shall have +an equal _Margin_ on all its opposite sides, and a double _Blanket_ +on the _Proof-sheet_; and _Running in_ the _Carriage_, _Pulls_ the +_Proof-sheet_: Having _Pull’d_ it, he _Runs-out_ the _Carriage_ again, +and takes the _Proof-sheet_ off the _Form_. Then with the _Ly-brush_ +dipt in _Ly_, he _Rubs over_ the _Face_ of the _Letter_ three or four +times, to Wash off what _Inck_ may remain on it, and carries the _Form_ +again to the _Correcting-stone_ and lays it down: And the _Proof_ he +carries to the _Compositers Case_. + +2. If the _Form_ he Works on be _Small-letter_, or _Old Letter_, +he uses _Strong Inck_; and _Beats Lean_: For _Weak Inck_ and _Fat +Beating_, will quickly Choak up the _Face_ of the _Letter_. But to +fetch off _Hard Inck_ thin _Beat_ on the _Face_ of the _Letter_, he +_Pulls Hard_. But if the _Form_ be great _Letter_ or _Black English +Letter_, it will allow _Fatter Beating_. + +3. He keeps a constant and methodical posture and gesture in every +action of _Pulling_ and _Beating_, which in a train of Work becomes +habitual to him, and eases his Body, by not running into unnecessary +divertions of Postures or Gestures in his Labour, and it eases his mind +from much of its care, for the same causes have constantly the same +effects. And a _Pull_ of the same strength upon the same _Form_, with +the same _Beating_, and with the same _Blankets_, &c. will give the +same Colour and Impression. + +4. That every two Sheets, if the _Form_ be small _Letter_ (rarely +three, unless _Great Letter_) he _Takes Inck_; and so soon as he comes +off the _Form_, viz. has _Beat_ it, he falls to _Destributing_ his +_Balls_. And that Sheet which he _Takes_ not _Inck_ he steps to the +_Heap_ to overlook the Colour, _viz._ whether he has _Taken_ too much +or too little _Inck_; and to see if no accidents have befallen the +_Form_, viz. that no _Letters_, _Quadrats_ or _Furniture_, &c. Rise, +that no _Letters_ are _Batter’d_; That _Bearers_ fail not, _viz._ +grow so thin with long _Pulling_ on, as not to perform the office of +_Bearers_; that the _Register_ keep good; that no _Pick_ be got into +the _Form_, or any other accident that may deface the beauty of the +Work, but all this while still keeps his _Balls Destributing_. + +If he have taken too much _Inck_, which sometimes may happen (but +seldom for want of carelessness) he will not _Take Inck_ again, till +he have wrought his _Balls_ to a good and moderate Colour. But if the +Sheet already _Pull’d_, be so _Black_ that it may not tolerably pass, +he Doubles or Folds it in the middle and lays it cross the _Heap_, that +the _Gatherer_ may take or leave it, in case the _Heap_ falls Short. +If he foresee the next Sheet will also be too _Black_, he takes a Dry +Sheet of Waste Paper between his _Balls_ and _Destributes_ upon that +Dry Sheet, that it may take off the _Inck_. + +If in doing this, the strength of the _Inck_ have _Pull’d_ the +_Paper_ to pieces, so that small rowl’d-up bits may stick upon the +_Ball-leathers_, if they be but a few he picks them off with his +Fore-finger and Thumb, but if there be many he makes his _Balls_ clean +by _Scraping_ them (as I shewed in ¶ 10. of this §) for else these +small rowl’d-up bits of Paper will be apt to fill the _Form_ full of +_Picks_. + +If _Letters_, _Quadrats_ or _Furniture Rise_, he puts them down, the +_Letters_ and _Quadrats_ with his _Bodkin_, and the _Furniture_ with +his _Hammer_, and _Locks_ the _Quarter_ they are in, a little Harder. + +If any _Letters_ are _Batter’d_, he _Unlocks_ the _Quarter_ they are +in, and desires the _Compositer_ to put in others in their room. + +If _Bearers_ Fail, that is, Squeeze thinner with long _Pulling_ on, he +takes those _Bearers_ off, if they are on the _Frisket_, and puts on +thicker: But if the _Furniture_, were _Under-laid_ (as I shewed in ¶ +7. of this §) he _Unlocks_ the _Quarter_ they are in, and _Underlays_ +them according to his Judgement. + +If _Register_ be _Out_, which sometimes happens by the starting of the +_Quoins_, he mends it, as I shewed in ¶ 7. of this §. + +If a few _Picks_ are got into the _Form_, that is, little bits of +Paper, Skin or Film of _Inck_, Grease or other filth which may stick to +the _Face_, or get into the hollows of the _Letter_, he with the point +of a Needle picks them out: But if many be gotten in, he takes off the +_Form_ and Washes it, as shall hereafter be shewed. + +And though he every other Sheet overlook the _Heap_ (as was said +before) yet his _Companion_ that _Pulls_, by an habitual use casts his +eye upon every single Sheet; Yet rarely hinders his riddance by it, +for while he is taking the Sheet off the _Tympan_, he gives a quick +spreading glance upon it, and lays it down, as was shewed ¶ 15. of this +§, unless he perceive somewhat to mend: For then he lets it lye on the +_Tympan_ till he has mended what was amiss. + +And that he may _Take Inck_ more equally, to keep the _Balls_ of an +equal Fatness, he keeps the _Rubb’d out Inck_ on the _Inck-block_ of an +equal Fatness; which to do, he with the under-edge of the bottom of the +_Brayer_, draws often from the mass of _Inck_ a small, (and as near as +he can guess) an equal quantity of _Inck_, viz. about the quantity of a +Pea, and with the _Brayer_ Rubs and disperses that _Inck_ of an equal +thickness, all over the hither corner of the _Inck-block_. While this +is doing he holds the _Balls_ upright on one another in his Left Hand, +leaning the Handle of the uppermost _Ball-stock_ against his Breast. + +The equal and often _Taking_ of _Inck_ in a small quantity, and +constant _Destributing_ of the _Balls_, is the onliest means to keep +the _Heap_ throughout of an equal Colour, and to avoid _Beating_ of +_Fryers_. + +5. If he meets with naughty Sheets in his Work; as torn, or stain’d, +_&c._ he Prints them not, but throws them under the _Paper-bench_; and +if any crease or wrinkles be in any Sheet, he laying the backs of his +four Left Hand fingers upon a smooth place in the Sheet, rubs with the +backs of the Nails of his Right Hand Fingers from-wards him upon the +wrinckles, till he have smoothened them. + +6. And though his constant care is to Lay every particular Sheet even +upon the _Heap_, yet it often happens either through _White Pages_ that +may come in the _Form_, which because not Printed lye solid on one +another, the unequal pressing of one side or end of the Paper, or the +unequal Bearing of the _Plattin_ on one side or end of the _Form_; I +say it often happens by these accidents, that the _Heap_, as it grows +higher is on one part of the Sheet raised above, and on another part +sunk below an Horizontal level: It is raised higher on that side or end +of the _Heap_ most prest in the _Tympan_, and by consequence makes the +Paper there more Huffie; Because deep pressure of the _Letter_ into +the Paper below the common level of the Sheet bears the Paper off from +the _Heap_, on the underside the Sheet; and the greater the number of +Sheets are thus Printed off and laid on the _Heap_, the more that side +or end of the _Heap_ shall Rise: And by the Rule of Contraries, when +_White Pages_ come in the _Form_, the greater number of Sheets laid on +the _Heap_, shall where those _White Pages_ lye, make the _Heap_ lower +in that place, because they clap solider together, for want of Printing +the Paper through the backside level of each Sheet: So that the small +un-level lying of every Sheet, though unperceptable, in a small number +of Sheets, makes each Sheet incline to the lowest side of the _Heap_, +and as the _Heap_ accumulates heighth, throws the _Heap_ more or less +towards the dripping side, or end over the bottom of the _Heap_. + +To remedy which, he claps the insides of both his Hands against both +the ends of the _Heap_, but more forcibly against the Hanging over end +towards the other end, till he has drove the _Heap_ into an upright +position. + +If either of the sides hang over, he with the inside of his Left Hand +commonly against the farther side of the _Heap_, and the outside of +his Right Hand fingers on the hither side the _Heap_, either draws the +hanging over side towards him with his Left Hand, or thrusts it from +him with his Right Hand fingers, as aforesaid, while his opposite Hand +does the office of a stop, that it be not drawn too forward, or thrust +too much backward. Then where the _Heap_ rises above the Level, he with +the inside flats of one or both of his Hands presses it down into an +Horizontal Plain. + +7. If it be a _Reteration_ he Works, and a great Number is laid +on, he uses a _Tympan-cloath_ instead of a _Tympan-sheet_: This +_Tympan-cloath_ is a Fine and even Linnen Cloath, about an Inch or two +larger on every side than the Paper he Works on: He Wets this Cloath +and wrings the Water out again, so that it remains only moist: Then +lays his Cloath instead of his _Tympan-sheet_, and Pastes the corners +of the under side of it to the _Tympan_, and Works upon it as on a +_Tympan-sheet_. + +One reason why he uses a Cloath to Work the _Reteration_ on rather +than a Sheet of Paper, is, because a Sheet of Paper quickly wears out, +which a Cloath will not do. Another reason is, that when the _Inck_ +that wrought off the _White Paper_ Sets off upon the _Tympan Cloath_, +it may in clean _Ly_ be washt clean again: For a good _Press-man_ will +not Work on a foul _Tympan Cloath_ or (if he use no Cloath) on a foul +_Tympan-sheet_, because as the _Inck_ of the _White-paper_ aforesaid, +set off on the _Tympan Cloath_, so the more the _Tympan Cloath_ has +gathered _Inck_ from the _White-Paper_, the more it will Return or give +back again, towards the besmearing of every Sheet that is Printed on it. + +The reason why the _Press-man_ does not use a Cloath to Work the _White +Paper_ with, is, because in Working the _White-Paper_, the use of the +_Tympan-Sheet_ is principally to lay all the Sheets of the _Heap_ even +by, as being of the exact size with all the rest of the _Heap_, which a +_Tympan-Cloath_ is not, nor could it, without great trouble, be reduced +to that size by the _Press-man_, or if reduced to that size, without +much difficulty be laid even or square on the _Tympan_: Because the +_Cloath_ when _Wet_, will be hard to be kept straight and square, but +every side will naturally run into irregularities, which a Sheet of +_White Paper_ will not do. + +8. Sometimes, through the loose _Hanging_ of the _Plattin_ on its +_Cords_, or through the much wearing of the _Hose_, or the _Garter_, or +the _Worms_ in the _Nut_ and _Spindle_, or the irregular wearing of the +_Toe_ of the _Spindle_ in its _Nut_, or too much play of the Tennants +of the _Head_ in their Mortesses, or the irregular dryness of the +_Tympan_, or through irregular _Runing in_ of the _Carriage_, It will +happen that the _Letter_ will _Double_ upon the Sheets, that is, Print +double. + +If the loose Hanging of the _Plattin_ be the cause, it is easily mended +by turning about the _Female Screws_ fitted to the tops of the _Hose_, +as was shewed ¶ 4. of this §. + +If the _Hose_ be worn, or the square holes the _Hose_ Works in, it may +for the present be botcht up by putting Scaboards between the _Hose_ +and the square holes of the _Till_; but to mend it perfectly either +another _Till_ must be made, or a new _Hose_, or both. + +If the _Garter_ be worn too wide; the Smith must either mend the Old, +or make a new one. + +If the _Worms_ of the _Nut_ or _Spindle_ be worn, the _Spindle_ must be +examin’d by the Smith, and made true, and have a new _Nut_ Cast on it. + +If the _Toe_ of the _Spindle_ and its _Nut_, or either of them be worn +irregularly, it is Smiths Work to mend. + +If the Tennants in the _Head_ have too much Play in their Mortesses; +which though it seldom happens, yet if the _Head_ were not made of well +seasoned Stuff, the Tennants may be subject to shrink, and so have too +much play. There is no substantial remedying this fault, but by making +a new _Head_. + +If an unproper temperature of the _Tympan_ be the cause; that is, when +it is dry in one place and moist in another, the dryed place may by +its spring force the Paper against the _Face_ of the _Letter_, and in +part Print it before it come to feel the force of the _Plattin_; (but +this is rather slurring than _Doubling_) and when the force of the +_Plattin_ does come, the spring in the dryed part will again remove the +Paper, and the force of the _Plattin_ gives its full Impression where +the Paper is thus removed, but when it is real _Doubling_, it happens +generally on the whole Sheet. + +This _Doubling_ or _Slurring_ is mended, by reducing the dryest part of +the _Tympan_ to an equal moist temperature with the moistest. + +_Doubling_ often happens in the middle of the _Form_, and the reason +is, because the foreside of the _Plattin_ Prints beyond the middle of +the _Form_ at the first _Pull_, and the hindside of the _Plattin_ by +the _Second Pull_ reprints part of the _First Pull_: So that a Spring +in the _Tympan_ removes the Paper in this interval of Time. + +This fault is mended by exact observing the _Runing in_ of the +_Carriage_. + +_Doubling_ may also happen by the too loose and flapping straining of +the _Tympan_, when it was first _Drawn_. + +This cannot be mended without taking the _Tympan_ off, and _Drawing_ on +a new one. + +A _Press-man_ having _Pull’d_ a Sheet, may by some accident (either of +Object or Discourse) let it ly on the _Form_ after he has _Run-out_ +the _Carriage_, and afterwards forget it was _Pull’d_, yet may perhaps +lift the _Tympan_ a little off the _Form_, which lifting off (if the +_Joynts_ are not very good) will remove the Sheet, if then he _Pull_ it +again, it will _Double_. + +This fault because it is but an accident I shall pass by, and only say, + +If the _Joynts_ are so faulty (as sometimes Old _Joynts_ are) that the +_Press-man_ cannot keep _Register_ with them, the Smith must make new +or mend the Old. + +9. When the _Press-man_ leaves Work at Noon, he draws half the Nails +out of the Balls, and takes the Wooll out: Then doubles the loose half +of the _Leather_ over the remaining Nail’d-on half, with the _Incky +sides_ of each half next each other, and Rowls up the _Leathers_ close, +and laies them in a Bowl or Pan of Water to Soak till he has Din’d. + +He also covers the _Form_ with the _Tympan_, to keep it from dust +or filth that may fall on it: And takes out the _Blankets_ and lays +them on the _Heaps_: And with a _Spunge_ Wet in Water besprinkles the +backside of the _Tympan_, to Soak it whiles he is at Dinner. + +Coming again to his Work afternoon, he takes the _Handles_ of the +_Ball-stocks_ between his Thighs, (being seated as before, when he +knockt up the _Balls_, ¶ 10.) to hold them fast, and he takes the +turn’d down backsides of the _Ball-leathers_ in both his hands, (for +the other side being all over Black, would black his Hands) and rubs +them between his Fingers very well, to supple them. Then squeezes and +Wrings the Water well out again; and _Teizes_ his Wooll, by opening +all the hard and almost matted knots he finds in it: but he does not +pull the Wooll or hardned knots in it assunder from the whole mass +of Wooll: But endeavours to keep the Wooll of each _Ball_ intirely +connected in the same mass, and only opened, to Loosen and Soften it: +For pulling the knots to pieces, would tear the Wooll, and soon make it +unfit for use. Having _Teazed_ the _Wooll_ he _Knocks up_ his _Balls_ +again, as I shewed in ¶ 10. + +Then he goes to the _Tympan_, and squeezing his _Spunge_ as dry as +he can, he rubs it over the backside of the _Tympan_, to Suck up the +Water, that may lye on it. + +Then taking the _Blankets_, he rubs them between both his Hands to +soften them; for we must suppose that the Mornings _Pulling_ on them +has compacted and hardned them: being well Rub’d, he lays them in the +_Tympan_ again, as was shewed before in ¶ 7. and falls again to his +Afternoons train of Work. + +Having wrought all day, though his _Form_ be not _Wrought off_, it +may yet be _Foul_, so that he must _Wash_ it: Nay, in small _Letter_ +a good _Press-man_ will _Wash_ his _Form_ twice a day: Wherefore he +calls to the Boy to Heat the _Ly_, somewhat before he is ready for it, +about a Heating time: And having a _Shooting-stick_ lying by him on the +_Till_ or some other convenient place, drives every _Quoin_ between +the _Furniture_ and the _Chase_ fast up; least they may have somewhat +shrunk, or else started back: Then with a piece of Chalk he makes a +score on the two farthermost _Corners_ of the _Carriage_; and through +the _Quoins_ droven against them, and upon the two _Corners_ of the +_Carriage_ of the _Tympan_ and their _Quoins_, and lets the _Quoins_ +ly; but he _Unlocks_ all the opposite _Quoins_, and takes them out of +their places; laying those _Quoins_ that he takes from between the +fore-end of the _Carriage_ and the _Chase_ on the hithermost upper long +side of the _Plattin_, the hithermost _Quoin_ on the hithermost side of +the _Plattin_, and the farthermost _Quoin_ on the farthermost side of +the _Plattin_; with their small ends towards him, and fromwards him as +they lay on the _Carriage_. The _Quoins_ that he takes from the hither +side of the _Carriage_, he lays on the hithermost Return side or end +of the _Plattin_; that on his Left Hand on the _Carriage_, towards the +farther Corner of the _Plattin_, and that _Quoin_ on the Right Hand on +the _Carriage_, towards the hither corner of the _Plattin_, with their +small ends towards the Hand they lay on, on the _Carriage_. + +Having taken out and placed these four _Quoins_, he tryes if the +_Form_ will _Rise_, as was shewed § 22. ¶ 7. then takes up the _Form_, +and carries it to the _Ly-Trough_, and lays it in it, even as the +_Compositer_ brought the _Form_ to the _Press_, and laid it on the +_Press-stone_. § 22. ¶ 7. and taking the _Ly Kettle_, or _Chafer_, +in his Left Hand pours the _Ly_ Scalding hot place by place over the +whole _Form_: And then with the ends of the Hair of the _Ly Brush_ rubs +gently over the whole _Form_: And as he thus _Rubs_ with his Right Hand +Rocks the _Ly-Trough_ a little on its Axis, that the Body of _Ly_ may +accompany the _Ly-Brush_ in its progress from the hither to the farther +side of the _Form_: And thus he _Washes_ the _Form_ still on, till he +perceive the _Face_ of the _Letter_ purely clean. + +Then he lets the _Ly_ out again into the _Ly-Kettle_ at the Hole and +Pipe in the Left Hand hither corner of the _Ly-Trough_: and stopping +the hole again, sets by the _Ly-Kettle_. Then with a Dish or two of +fair Water he _Rinces off_ the Laver of the _Ly_ that may ly on the +_Face_ of the _Letter_, and rears up the _Form_ and throws a Dishful or +two of fair Water on the backside of it, to _Rince_ it also. Then takes +the _Form_ out of the _Ly-Trough_, and sets it by, shelving with its +_Face_ against the Wall, to Dry. + +If the _Heap_ be _Wrought off_, he lets the _Compositer_ know it, to +take Charge of it. + +Having _Wrought off_ his _Heap_, he takes it off the _Paper-bench_, +and sets it by on the floor, covering it with a Waste-sheet: And gives +notice to the Boy, or to the _Ware-house-keeper_, to fetch it away and +_Hang it up_ to Dry. + +Then he draws the _Balls_, and takes the _Blankets_ out of the _Tympan_ +(as at Noon:) And if he have Paper to _Wet_, _Wets_ it as was shewed ¶ +9. of this §. + + +§ 25. _The Office of the_ Warehouse-keeper. + + +¶ 1. _Of_ Hanging up _Paper_. + + +The _Warehouse-keeper_ takes the _Heap_ out of the _Press-room_, and +carries it into the _Warehouse_, or other _Drying-place_, and setting +it upon a Form or Bench of convenient heighth, with an end of the +_Heap_ from him, he takes the _Handle_ of the _Peel_ in his Left Hand, +and lays the _Board_ flat down upon the _Heap_, with the Left Hand side +of the _Board_ towards the Left Hand side of the _Heap_, and so as +its upper edge may reach to almost three quarters of the length of the +Sheet, and that the Right Hand end of the _Peel_ may ly on the middle +of the _Heap_: Then with his Right Hand he doubles over so much of the +_Heap_ as he thinks good, perhaps about a _Quire_, or half a _Quire_, +or about seventeen Sheets, more or less, either as he can allow them +time to _Dry_, or have room on his _Racks_ to _Hang_ them on. Having +thus doubled his first _Doubling_ on the _Heap_, he removes the Left +Hand half of the _Peel_ almost off the _Heap_, viz. to about two Inches +within the Left Hand side of the _Heap_, and doubles, as before, a +second _Doubling_ to hang over the first _Doubling_, towards the Left +Hand about two Inches, as aforesaid, on the _Peel_, and as near as he +can guess, the same number of Sheets. And having these two _Doublings_ +on his _Peel_, he takes the _Peel_ off the _Heap_, and holding the +_Handle_ a little aslope, that the _Shorter Folding-over_ of the Sheets +may open from the _Peel_, he lifts it up, and places it at one end of +his first _Rack_, and lets it hang on it, by drawing the _Peel_ from +under the Paper. In like manner he Loads and unloads his _Peel_ again +successively, till he have _Hung up_ the whole _Heap_. See Plate 31. + +[Illustration: _Plate 31_] + +Note, that the sides of the Sheets do not hang against one another, +but lap over one another, as you may see by Plate 31. Nor are they +_Hung up_ to _Hang_ with their edges against the side of the former +_Hanging-up_, but to lap over, so as every Right Hand _Doubling_ may +lap about two Inches over the Left Hand _Doubling_; that when the +_Books_ are taken down, the _Warehouse-keeper_ clapping the flat +side of his _Peel_ against the Right Hand edge of the Paper, slides +several _Doublings_ over one another (perhaps three or four:) And +putting the _Peel_ under them, takes them off the _Racks_, and lays +them on the _Heap_ again, on a clean Waste Paper, and sets the _Heap_ +orderly by, till it comes to be _Gather’d_. + +The _Warehouse-keeper_ is also very careful to lay all the Sheets, so +as the respective _Signatures_ of every Sheet may ly exactly over the +respective _Signature_ of the first Sheet, lest when the _Books_ come +to be _Gathered_, some Sheets may be _Turned_, which will give him a +great deal of trouble to _Turn_ them right when he _Colations_ the +_Books_. + +[Illustration: _Plate 32._] + + +¶ 2. _Of_ Laying the Heaps. + +_Laying the Heaps_ is to place them on Benches or Forms of a convenient +Heighth, in an orderly _Signatural_ Succession. By an orderly +_Signatural_ succession, I mean the first _Signature_, which most +commonly is A (and therefore shall be so accepted) be placed on the +Left Hand of the Bench, with either the Side or Foot of the _Page_, as +the _Volumn_ requires, that hath the single _Signature_ A at the bottom +of it upwards, and towards the hither side of the Bench. On the Right +Hand side of the _Heap_ A is B, and next it C, in like order D E F, &c. + + +¶ 3. _Of_ Gathering of Books. + +_Gathering of Books_ is to take one Sheet off every _Heap_, beginning +at the last _Heap_ first, _viz._ at the Left Hand end of the Range. The +_Gatherer_ takes it off with his Right Hand, and disposes the hither +end of the Sheet into his Left Hand, clapping his Left Hand Thumb upon +the middle of the Sheet, to hold it fast. Then he takes a second Sheet +off the second _Heap_ from the Left Hand, _viz._ towards the Right; +and lays the second Sheet on the first, and so successively a third, a +fourth, a fifth, &c. till he has _Gathered_ the last Sheet on his Right +Hand; still observing to lay the middle of each Sheet under his Thumb, +and all the single _Signatures_ on each Sheet orderly and successively +on one another. + +Thus he _Gathers_ on, till one of all the _Heaps Comes off_; which when +it does, he Doubles or Quires up all the other _Heaps_, and lays them +by till he can _Bundle_ and Tye them up; which when he has also done, +he writes upon them _Imperfections_ of (the _Title_ of the _Book_) and +Writes on it the _Signature_ of the Sheet that is Wanting, and sets it +by in a convenient place of the _Warehouse_, that he may have recourse +to it on any occasion. + +Though I shewed how he _Gathered_ the _Books_, yet shewed not how he +_Knocks them up_ and _Folds_ them: Wherefore, + +Having thus _Gathered_ one _Book_, he _Knocks it up_, that is, he +carries it to a Table provided on purpose near him; and taking the +ends of the _Book_ between the two Bows of the Thumb and Fore-finger +of each Hand, he grasps the ends loosly between them, and placing the +hither long side or edge of the _Book_ on the plain of the Table, he +lifts the whole _Book_ a little above the plain of the Table, (about an +Inch or two, more or less) and while the whole _Book_ is held loosly +by its ends, lets it fall gently down on the Table, that the edges of +such Sheets as may stand out, or lower than the rest, may be drove even +with the rest of the edges of the _Book_, and also that the edges of +such Sheets as may lye above the edges of the _Book_ may be joulted +downwards, and lye even in the same Range with the rest of the edges. + +And as he is _Knocking up_ the lower edge of the _Book_, he at the same +time evens the two ends of the _Book_, by thrusting the Bows of his +Thumbs and Fingers against the ends of the _Book_, which being loosely +grasp’d, and the Bows of his Thumbs and Fingers bearing pretty stiff +towards each other; will drive in the ends of such Sheets as may stick +out at either end; and so even the ends of the _Book_ at the same time. + +Having thus even’d all the edges, he lays the _Book_ flat down on the +Table, and holding one end of it stiff and tight in his Left Hand, he +rubs the whole flat of his Right Hand hard upon the upper Sheet, to +press it and all the other Sheets as close together as he can; then +takes it up, and gives the edges another or two gentle _Knocks_, as +before; and then _Folds up_, or _Doubles_ the _Book_, according to its +respective _Volumn_. + +If it be _Folio_, _Quarto_, _Octavo_ or _Sixteens_, he _Folds_ it in +the _Short Cross_; but if it be _Twelves_, _Eighteens_, _Twenty-fours_, +he _Folds_ it in the _Long Cross_. + +But most times before he _Folds_ the _Books_ he will _Colation_ them: +(as shall be shewed by and by:) therefore having _Gathered_ the _Book_, +he lays it by on a Sheet of Waste Paper, and _Gathers_ a second _Book_ +as he did the first, and lays that flat open on the first, then +_Gathers_ a third, fourth, fifth _Book_, &c. as before, and lays them +successively on each other, till he have raised an _Heap_ of _Books_ so +high, that he grows cautious of laying more on, lest its heighth should +exceed his management. Then _Gathers_ on, and raises another _Heap_ or +_Heaps_ till one of the _Signatures_ comes off. + + +¶ 4. _Of_ Colationing Books. + +The _Colationing of Books_, is, + +First, To examine whether the whole number of Sheets that belong to a +_Book_ are _Gathered_ in the _Book_. + +Secondly, To examine that two Sheets of one sort are not _Gathered_. + +Thirdly, To examine whether the proper _Signature_ of every Sheet lye +on its proper corner of the _Gathered Book_. + +To do this, The _Colationer_ provides himself with a _Bodkin_; which +is nothing else than a pretty thick Sowing Needle, (most commonly +broken-eyed,) having its thick end thrust fast into a round piece of +Wood, about the thickness of a Tobacco-Pipe, and about three or four +Inches long. + +Now having the _Heap_ of _Gathered Books_ before him, with the single +_Signature_ A lying upwards on his Right Hand, and his Left Arm cross +the _Heap_, and his Hand near the _Signature_ corner, with his _Bodkin_ +in his Right Hand, he pricks up the corner of the first Sheet A, +and at the same moment he pricks it up, slips the Balls of his two +Fore-fingers of his Left Hand, and secures it from falling back again +on the _Gathered Heap_ of _Books_ between his Thumb and hinder Joynt of +his Fore-finger, and immediately pricks into the Sheet B, casting his +Eye upon the _Signature_, as well to see that it is B, as to see that +it is singly B, and not B 2, B 3, _&c._ For if the single _Signature_ +lye not on the same corner of the _Heap_, the Sheet must be turned +till it do. In like manner he picks up and receives C D, _&c._ still +casting his Eye that it be the right _Letter_, and single _Signature_, +as aforesaid. + +If he finds two Sheets of the same _Signature_, he takes one out and +lays it by, or else on the _Heap_, if they be not all _Gathered_. + +If he finds one Sheet wanting, he fetches that Sheet from the _Heap_; +or if he want it at the _Heap_ the _Book_ is laid by as _Unperfect_ +till he have _Colationed_ the whole _Impression_ of _Books_, to see if +he can make it _Perfect_ with some other _Book_, that may have two of +the same Sheets _Gathered_ in it. + +Having examined that his _Book_ is _Perfect_, he _Knocks_ and _Folds it +up_, as was shewed in the last ¶. + +Having _Gathered_, _Colationed_ and _Folded_ these _Books_, he _Tells_ +them, to see how the _Impression Holds out_; and as he _Tells_ them, +he lays a set number of _Books_ (if the _Books_ be _Thick_, five, if +Thinner, Ten, if very Thin, twenty five or fifty) with the _Folded +Side_ or _Back_ one way, and the same _Number_ of _Books_, with the +_Folded_ or _Back-side_ the other way, _viz._ the edges of the latter +number of _Books_ upon the _Backs_ of the former _Number_: As well to +distinguish and Count the _Number_ of _Books_ readily, as to keep the +Bundle in a flat and Horizontal position. For if the _Backs_ of the +_Quired Books_ in a Bundle, should lye all one way, the _Fold_ of the +_Back_ being more or less hollow in the middle of each _Book_, will +in a _Number_ of _Books_, by springing upwards, mount the _Backs_; +and consequently the edges of the _Books_ in the _Bundle_ will be +depressed, so that in a great _Bundle_ the _Books_ will be subject to +slide off one another. + +These _Books_ being thus Counted, he sets them by on Waste Paper in +convenient Piles, _viz._ Piles of about three or four Reams high +(according as the Paper may be thicker or thinner) he sets them by +(I say) in Piles of equal Numbers, Range by Range, till the whole +_Impression_ is set by. + +And before he Tyes them up, he puts them into the _Standing Press_, +placing in it so many _Books_ as the _Press_ will hold, both in width +and Heighth; observing to set in every _Pile_ he puts Range by Range +into the _Press_, an equal number of _Books_, that each _Pile_ may +equally feel the force of the Screw. + +Then with a strong Iron Bar he turns about the _Spindle_ as oft he can, +with his main Strength to Squeeze and _Press_ the _Books_ as close and +tight as he can together: and so lets them stand in _Press_ about a +Day and a Night. Then takes them out, and in like manner puts in more +_Books_, till the whole Impression is _Prest_. See Plate 32. + +As he takes each number of _Books_, he Tyes them up with Packthred, +lays a Waste Paper under and upon each _Bundle_; and if the +_Master-Printer_ Printed the _Impression_ for Himself, he writes the +_Title_ of the _Book_, and number of the _Books_ on the uppermost +Waste Paper, and sets them by square and orderly on the Shelves in the +_Warehouse_, to deliver them out according to the _Master-Printers_ +order. But if the _Impression_ were Printed for an Author, or a +Book-seller, he sends them to the Authors or Book-sellers, without +writing on the uppermost Waste Paper. + +[Illustration: _Plate 33_] + + +¶ 5. _Of_ Setting out _Paper_, _and_ Culling _the_ Cording Quires. + +Each Ream of Paper contains twenty Quires: These twenty Quires are by +the Paper-makers so disposed that the Back or Doubling of each Quire +lyes upon the opening or edges of the next Quire: For reasons given in +the last ¶. + +Two of the twenty Quires in a Ream are called _Cording Quires_, viz. +the two _Out-side Quires_; because the whole Ream is Corded or Tyed up +between them. They are also called _Cassie Quires_, because they serve +for Cases to the Ream. These Quires are by the Paper-maker made up of +torn, wrinckled, stained, and otherwise naughty Sheets; yet does not +perhaps the whole Quire consist of such Sheets, but commonly some good +Sheets are in _Culling_ found among them, as shall be farther shewed by +and by. + +The _Warehouse-keeper_ therefore when he _Sets out_ Paper, lays by the +uppermost _Cording Quire_, and then nimbly snatches with his Right Hand +at the back of the next Quire, and if the back lys towards him, draws +it into his Left Hand with the edges of the Quire towards his Fingers; +but if the back lye from him, nimbly turns it while it is coming to his +Left Hand, and so again nimbly snatches at the back of the succeeding +Quires, placing their backs all one way on the First Quire in his +Left Hand, till he have Counted or taken off of the Ream a _Token_; +which _Token_, if it be set out for _Half_ a _Press_, viz. a _Single +Press-man_, is generally but five Quires, and is indeed often called +_Half_ a _Token_: But if it be for an _Whole Press_, it contains Ten +Quires. This _Token_ he lays by near him, upon a Waste Sheet of Paper, +and again applies himself to _Set out_ the next _Token_ in the same +manner, but lays the next _Token_ with the backs of the Quires over the +edges of the former _Token_, and thus _Sets out_ so many _Tokens_ as +his _Heap_ requires, yet always considers how his Paper _Holds out_, +whether five and twenties, or but four and twenties: If it _Holds out_ +five and twenties, he _Sets out_ in every Fourth, Fifth, or Sixth +_Token_ Eleven Quires, to secure the _Impression_ to _Hold out_. If +but four and twenties, he _Sets out_ Eleven Quires, in every second +_Token_, and at last a Quire more to the whole _Heap_ to make good +the wanting Sheets of every Quire, and to make _Proves_, _Revises_, +_Register-Sheets_, _Tympan-Sheets_, and to supply other accidents +that may happen at the _Press_, either by naughty Sheets, or Faults +committed in _Beating_, _Pulling_, _Bad Register_, &c. for all or any +of these accidents that happens to a Sheet, the _Press-man_ doubles it, +and lays by in the _Heap_ as Waste, as I shewed § 24. ¶ 18. (4) and +still he remembers, as aforesaid to lay by the two _out-side Quires_ +of every Ream; and at last lays on the _Heap_ another Waste Sheet of +Paper, and so brings it to the _Press_ to be _Wet_. + +The _Culling the Cording Quires_, is, to examine every Sheet one +by one. To do it, he lays the _Cording Quires_, or many _Cording +Quires_ open before him against the Light, and takes up every Sheet +successively and observes the goodness of it: Such Sheets as he finds +good, he lays on his Right Hand, and the Bad on his Left. If a Sheet +have but a little corner torn off, _viz._ so much as he judges the +_Book-binder_ would take off with his _Plow_, to make the _Leaf_ square +with other _Leaves_, he accounts that a good Sheet: But if more be torn +off, he lays it by for Bad; and so he does Wrinckled and stain’d Sheets. + +Having thus _Cull’d_ all the _Cording Quires_, he tells out the good +Paper into Quires, allowing five and twenty to the Quire, if the Quires +of the Ream hold out five and twenty; or else but into four and twenty. +And the good Paper thus _Cull’d_, he tells into an _Heap_ or _Heaps_, +as far as it will go. + +But yet the careful _Warehouse-keeper_ will not give the _Press-man_ +this _Culd_ Paper to Print at the begining or end of a _Book_, but +disposes that _Heap_ or _Heaps_ so as they may be used about the middle +of the _Book_: For though we call’d it good Paper, yet it very rarely +happens to be so beautiful as the _Inside Quires_. + +The Bad Paper he also _Tells out_ into Quires, but allows no more than +four and twenty Sheets to the Quire, because it is commonly set by in +the _Warehouse_ to be sold. + +It is also the Office of the _Warehouse-keeper_ to keep a Day Book, and +in it to set down what Books he Sells, and for how much, and to whom, +and whom by order of the _Master-Printer_ he Trusts with Books, and for +how long Time; that so the _Master-Printer_ may as oft as he pleases +have an account how the _Impression_, or part of it, is disposed of. + + +(_As an Appendix._) _Ancient Customs used in a_ Printing-house. + +Every _Printing-house_ is by the Custom of Time out of mind, called +a _Chappel_; and all the Workmen that belong to it are _Members of +the Chappel_: and the Oldest Freeman is _Father of the Chappel_. I +suppose the stile was originally conferred upon it by the courtesie of +some great Churchman, or men, (doubtless when Chappels were in more +veneration than of late years they have been here in _England_) who for +the Books of Divinity that proceeded from a _Printing-house_, gave it +the Reverend Title of _Chappel_. + +There have been formerly Customs and By-Laws made and intended for the +well and good Government of the _Chappel_, and for the more Civil and +orderly deportment of all its Members while in the _Chappel_; and the +Penalty for the breach of any of these Laws and Customs is in Printers +Language called a _Solace_. + +And the Judges of these _Solaces_, and other Controversies relating to +the _Chappel_, or any of its Members, was plurality of Votes in the +_Chappel_. It being asserted as a Maxim, _That the Chappel cannot Err_. +But when any Controversie is thus decided, it always ends in the Good +of the _Chappel_. + +1. Swearing in the _Chappel_, a _Solace_. + +2. Fighting in the _Chappel_, a _Solace_. + +3. Abusive Language, or giving the Ly in the _Chappel_, a _Solace_. + +4. To be Drunk in the _Chappel_, a _Solace_. + +5. For any of the Workmen to leave his Candle burning at Night, a +_Solace_. + +6. If the _Compositer_ let fall his _Composing-stick_, and another take +it up, a _Solace_. + +7. Three _Letters_ and a _Space_ to lye under the _Compositers Case_, a +_Solace_. + +8. If a _Press-man_ let fall his _Ball_ or _Balls_, and another take it +up, a _Solace_. + +9. If a _Press-man_ leave his _Blankets_ in the _Tympan_ at Noon or +Night, a _Solace_. + +These _Solaces_ were to be bought off, for the good of the _Chappel_: +Nor were the price of these _Solaces_ alike: For some were 12 _d._ 6 +_d._ 4 _d._ 2 _d._ 1 _d._ _ob._ according to the nature and quality of +the _Solace_. + +But if the Delinquent prov’d Obstinate or Refractory, and would not pay +his _Solace_ at the Price of the _Chappel_; they _Solac’d_ him. + +The manner of _Solacing_, thus. + +The Workmen take him by force, and lay him on his Belly athwart the +_Correcting-stone_, and held him there while another of the Work-men, +with a Paper-board, gave him 10 _l. and a Purse_, viz. Eleven blows +on his Buttocks; which he laid on according to his own mercy. For +Tradition tells us, that about 50 years ago one was _Solaced_ with so +much violence, that he presently Pissed Blood, and shortly after dyed +of it. + +These nine _Solaces_ were all the _Solaces_ usually and generally +accepted: yet in some particular _Chappels_ the _Work-men_ did by +consent make other _Solaces_, viz. + +That it should be a _Solace_ for any of the Workmen to mention Joyning +their Penny or more apiece to send for Drink. + +To mention spending _Chappel-money_ till _Saturday_ Night, or any other +before agreed time. + +To Play at _Quadrats_, or excite any of the _Chappel_ to Play at +_Quadrats_; either for Money or Drink. + +This _Solace_ is generally Purchas’d by the Master-Printer; as well +because it hinders the Workmens work, as because it Batters and spoils +the _Quadrats_: For the manner how they Play with them is Thus: They +take five or seven more m _Quadrats_ (generally of the _English Body_) +and holding their Hand below the Surface of the _Correcting Stone_, +shake them in their Hand, and toss them up upon the _Stone_, and then +count how many _Nicks_ upwards each man throws in three times, or any +other number of times agreed on: And he that throws most Wins the Bett +of all the rest, and stands out free, till the rest have try’d who +throws fewest _Nicks_ upwards in so many throws; for all the rest are +free: and he pays the Bett. + +For any to _Take up a Sheet_, if he receiv’d _Copy-money_; Or if he +receiv’d no _Copy-money_, and did _Take up a Sheet_, and carryed that +Sheet or Sheets off the Printing-House till the whole Book was Printed +off and Publisht. + +Any of the Workmen may purchase a _Solace_ for any trivial matter, if +the rest of the _Chappel_ consent to it. As if any of the Workmen Sing +in the _Chappel_; he that is offended at it may, with the _Chappels_ +Consent purchase a penny or two penny _Solace_ for any Workmans singing +after the _Solace_ is made; Or if a Workman or a Stranger salute a +Woman in the _Chappel_, after the making of the _Solace_, it is a +_Solace_ of such a Value as is agreed on. + +The price of all _Solaces_ to be purchased is wholly Arbitrary in the +_Chappel_. And a Penny _Solace_ may perhaps cost the Purchaser Six +Pence, Twelve Pence, or more for the _Good of the Chappel_. + +Yet sometimes _Solaces_ may cost double the Purchase or more. As if +some _Compositer_ have (to affront a _Press-man_) put a Wisp of Hay +in the _Press-mans Ball-Racks_; If the _Press-man_ cannot well brook +this affront, he will lay six Pence down on the _Correcting Stone_ +to purchase a _Solace_ of twelve Pence upon him that did it; and the +_Chappel_ cannot in Justice refuse to grant it: because it tends to the +_Good of the Chappel_: And being granted, it becomes every Members duty +to make what discovery he can: because it tends to the farther _Good of +the Chappel_: And by this means it seldom happens but the Agressor is +found out. + +Nor did _Solaces_ reach only the _Members of the Chappel_, but also +Strangers that came into the _Chappel_, and offered affronts or +indignities to the _Chappel_, or any of its Members; the _Chappel_ +would determine it a _Solace_. Example, + +It was a _Solace_ for any to come to the _Kings Printing-house_ and ask +for a Ballad. + +For any to come and enquire of a _Compositer_, whether he had News of +such a Galley at Sea. + +For any to bring a Wisp of Hay, directed to any of the _Press-men_. + +And such Strangers were commonly sent by some who knew the _Customs of +the Chappel_, and had a mind to put a Trick upon the Stranger. + +Other Customs were used in the _Chappel_, which were not _Solaces_, +viz. Every new Workman to pay half a Crown; which is called his +_Benvenue_: This _Benvenue_ being so constant a Custome is still lookt +upon by all Workmen as the undoubted Right of the _Chappel_, and +therefore never disputed; yet he who has not paid his _Benvenue_ is no +Member of the _Chappel_, nor enjoys any benefit of _Chappel-Money_. + +If a Journey-man Wrought formerly upon the same Printing House, and +comes again to Work on it, pays but half a _Benvenue_. + +If a Journey-man _Smout_ more or less on another Printing House, and +any of the _Chappel_ can prove it, he pays half a _Benvenue_. + +I told you before that abusive Language or giving the Lye was a +_Solace_: But if in discourse, when any of the Workmen affirm any thing +that is not believed, the _Compositer_ knocks with the back corner of +his _Composing-stick_ against the lower Ledge of his _Lower Case_, +and the _Press-man_ knocks the Handles of his _Ball-stocks_ together: +Thereby signifying the discredit they give to his Story. + +It is now customary that Journey-men are paid for all Church Holy days +that fall not on a _Sunday_, Whether they Work or no: And they are by +Contract with the Master Printer paid proportionably for what they +undertake to Earn every Working day, be it half a Crown, two Shillings, +three Shillings, four Shillings, _&c._ + +It is also customary for all the Journey-men to make every Year new +Paper Windows, whether the old will serve again or no; Because that +day they make them, the Master Printer gives them a _Way-goose_; that +is, he makes them a good Feast, and not only entertains them at his +own House, but besides, gives them Money to spend at the Ale-house +or Tavern at Night; And to this Feast, they invite the _Correcter_, +_Founder_, _Smith_, _Joyner_, and _Inck-maker_, who all of them +severally (except the _Correcter_ in his own Civility) open their +Purse-strings and add their Benevolence (which Workmen account their +duty, because they generally chuse these Workmen) to the Master +Printers: But from the _Correcter_ they expect nothing, because the +Master Printer chusing him, the Workmen can do him no kindness. + +These _Way-gooses_, are always kept about _Bartholomew-tide_. And till +the Master-Printer have given this _Way-goose_, the Journey-men do not +use to Work by Candle Light. + +If a Journey-man marry, he pays half a Crown to the _Chappel_. + +When his Wife comes to the _Chappel_, she pays six Pence: and then all +the Journey-men joyn their two Pence apiece to Welcome her. + +If a Journey-man have a Son born, he pays one Shilling. + +If a Daughter born, six Pence. + +The _Father_ of the _Chappel_ drinks first of _Chappel Drink_, except +some other Journey-man have a _Token_; viz. Some agreed piece of Coin +or Mettle markt by consent of the _Chappel_: for then producing that +_Token_, he Drinks first. This _Token_ is always given to him who in +the Round should have Drank, had the last _Chappel-drink_ held out. +Therefore when _Chappel-drink comes in_, they generally say, _Who has +the Token?_ + +Though these Customs are no _Solaces_; yet the _Chappel_ Excommunicates +the delinquent; and he shall have no benefit of _Chappel-money_ till he +have paid. + +It is also Customary in some Printing-houses that if the _Compositer_ +or _Press-man_ make either the other stand still through the neglect of +their contracted Task, that then he who neglected, shall pay him that +stands still as much as if he had Wrought. + +The _Compositers_ are Jocosely call’d _Galley Slaves_: Because +allusively they are as it were bound to their _Gallies_. + +And the _Press-men_ are Jocosely call’d _Horses_: Because of the hard +Labour they go through all day long. + +An Apprentice when he is Bound pays half a Crown to the _Chappel_, and +when he is made Free, another half Crown to the _Chappel_; but is yet +no Member of the _Chappel_; And if he continue to Work Journey-work in +the same House, he pays another half Crown, and is then a Member of the +_Chappel_. + +A _Founding-House_ is also call’d a _Chappel_: But I suppose the Title +was originally assum’d by _Founders_, to make a Competition with +_Printers_. + +The Customes used in a _Founding-House_ are made as near as may be to +those of a _Printing-house_: but because the Matter they Work on, and +the manner of their Working is different, therefore such different +Customes are in Use, as are suitable to their Trade, As + +_First_, To call _Mettle_ Lead, a Forfeiture. + +_Secondly_, A Workman to let fall his _Mold_, a Forfeiture. + +_Thirdly_, A Workman to leave his Ladle in the _Mettle_ Noon or Night, +a Forfeiture. + +The Printers of _London_, Masters and Journey-men have every Year a +general Feast, which since the re-building of _Stationers Hall_ is +commonly kept there. This Feast is made by four Stewards, _viz._ two +Masters and two Journey-men; which Stewards, with the Collection of +half a Crown apiece of every Guest, defray the Charges of the whole +Feast; And as they Collect the Half-Crowns, they deliver every Guest a +Ticket, wherein is specified the Time and Place they are to meet at, +and the Church they are to go to: To which Ticket is affixed the Names +and Seals of each Steward. + +It is commonly kept on or about _May-day_: When, about ten a Clock +in the Morning they meet at _Stationers Hall_, and from thence go to +some Church thereabouts; Four Whifflers (as Servitures) by two and +two walking before with White Staves in their Hands, and Red and Blew +Ribbons hung Belt-wise upon their left Shoulders. These go before to +make way for the Company. Then walks the Beadle of the Company of +_Stationers_, with the Companys Staff in his Hand, and Ribbons as the +Whifflers, and after him the Divine (whom the Stewards before ingag’d +to Preach them a Sermon) and his Reader. Then the Stewards walk by two +and two, with long White Wands in their Hands, and all the rest of the +Company follows, till they enter the Church. + +Then Divine Service begins, Anthems are Sung, and a Sermon Preached to +suit the Solemnity: Which ended, they in the same order walk back again +to _Stationers Hall_; where they are immediately entertain’d with the +City Weights and other Musick: And as every Guest enters, he delivers +his Ticket (which gives him Admittance) to a Person appointed by the +Stewards to receive it. + +The Master, Wardens and other Grandees of the Company (although perhaps +no Printers) are yet commonly invited, and take their Seats at the +upper Table, and the rest of the Company where it pleases them best. +The Tables being furnsh’d with variety of Dishes of the best Cheer: And +to make the entertainment more splendid is Usher’d in with Loud Musick. +And after Grace is said (commonly by the Minister that Preach’d the +Sermon) every one Feasts himself with what he likes Best; whiles the +Whifflers and other Officers Wait with Napkins, Plates, Beer, Ale, and +Wine, of all sorts, to accommodate each Guest according to his desire. +And to make their Cheer go cheerfuller down, are entertained with +Musick and Songs all Dinner time. + +Dinner being near ended, the Kings and the Dukes Healths is begun, by +the several Stewards at the several Tables, and goes orderly round to +all the Guests. + +And whiles these Healths are Drinking, each Steward sets a Plate on +each Table, beginning at the upper end, and conveying it downwards, +to Collect the Benevolence of Charitable minds towards the relief of +_Prinners_ Poor Widows. And at the same time each Steward destributes a +Catalogue of such Printers as have held Stewards ever since the Feast +was first kept, _viz._ from the Year of Christ 1621. + +After Dinner, and Grace said, the Ceremony of Electing new Stewards +for the next Year begins: Therefore the present Stewards withdraw into +another Room: And put Garlands of Green Lawrel, or of Box on their +Heads, and White-wands in their Hands, and are again Usher’d out of +the withdrawing Room by the Beadle of the Company, with the Companys +Staff in his Hand, and with Musick sounding before them: Then follows +one of the Whifflers with a great Bowl of White-wine and Sugar in his +Right Hand, and his Whifflers Staff in his Left: Then follows the +Eldest Steward, and then another Whiffler, as the first, with a Bowl +of White-wine and Sugar before the second Steward, and in like manner +another Whiffler before the Third, and another before the Fourth. And +thus they walk with Musick sounding before them three times round the +Hall: And in a fourth round the first Steward takes the Bowl of his +Whiffler and Drinks to one (whom before he resolved on) by the Title +of Mr. Steward Elect: And taking the Garland off his own Head puts it +upon the Steward Elects Head. At which Ceremony the Spectators clap +their Hands, and such as stand on the Tables or Benches, so Drum with +their Feet that the whole Hall is filled with Noise, as applauding the +Choice. Then the present Steward takes out the Steward Elect, giving +him the Right Hand, and walks with him Hand in Hand, behind the three +present Stewards another Round about the Hall: And in the next Round, +as aforesaid, the second Steward Drinks to another with the same +Ceremony as the first did; and so the Third Steward, and so the Fourth, +and then all walk one Round more Hand in Hand about the Hall, that the +Company may take notice of the Stewards Elect. And so ends the Ceremony +of the Day. + +This Ceremony being over, such as will go their ways; but others that +stay, are Diverted with Musick, Songs, Dancing, Farcing, _&c._ till at +last they all find it time to depart. + + + + +A + +DICTIONARY, + + Alphabetically explaining the abstruse VVords and Phrases that + are used in Typography. VVhich also may serve as an Index to + direct to the most material Concerns contained in this Volumn. + + +Though I give you a Dictionary of so many Words and Phrases as are +mentioned in these _Exercises_, yet I do not exhibit this as a +_Dictionary_ so perfect, that all the obstruce Words and Phrases used +among _Printers_, _Letter-cutters_ and _Founders_ are here exposed; for +Words and Phrases many times offer themselves either as Discourse or +Contemplation occurs: Therefore such Words and Phrases as have escaped +my Consideration, will, I hope, be discovered by some Printer, or +others, that may have a kindness for Posterity; not only in this Trade, +but in all Trades and Faculties whatsoever: That so a _Dictionary_ may +in time be compleated, that may render so great a number of Words used +in _England_ by _English-men_ intelligible; which now for want of a +proper Repository to store them in, seem not only Aliens to our Nation, +but barbarous to our Understandings. + + +A + +_Abreviations_ are Characters, or else marks on _Letters_, to signifie +either a Word or Syllable. & is the Character for And, ^e is The +abreviated, ^t is That abreviated; and several other such. Straight +stroaks over any of the Vowels abreviates m or n. They have been much +used by Printers in Old Times, to _Shorten_ or _Get in Matter_; but now +are wholly left off as obsolete. + +_Accented Letters_ are much used in _Latin_ Authors, and more in +_Greek_. The Vowels are only accented, and are called _Grave_, thus +accented à; _Acute_, thus accented á; _Circumflex_, thus accented â; +and _Deerecis_, thus accented ä. + +_Accents_ are Dashes or Marks over the Vowels. + +_Air-hole._ See § 18. ¶ 1. + +_Ascending Gage._ See § 12. ¶ 5. + +_Ashes._ _Letter-Founders_ call the _Skimmings_ of their _Mettle_, and +the Sweepings of their House _Ashes_; and save both, to send to the +Refiners; who with their fierce Fire draw all the _Mettle_ out of the +_Ashes_. See _Fat Ashes_. See _Lean Ashes_. + +_Ash-hole._ See § 18. ¶ 1. + +_Assidue_ is Thin Brass Plate, such as adorns _Bartholomew_-Fair +Hobby Horses: _Founders_ use it to _Underlay_ the _Body_, or the +_Mouth-piece, &c._ of their _Mold_, if it be too Thin. See § 16. + + +B + +_Back of a Composing-stick._ See § 9. ¶ 4. + +_Backside of the Form_ is the underside that touches upon the +_Correcting-stone_ or _Press-stone_. + +_Bad Copy._ See § 24. ¶ 4. + +_Bad work._ Any Fault at the _Case_, or _Press_, or at the _Furnace_, +or at the _Dressing-block_, &c. is in Workmens Language called _Bad +Work_. + +_Bake._ See § 22. ¶ 10. + +_Balls._ See § 24. ¶ 10. + +_Ball-knife._ An old blunt-edg’d Knife, that _Press-men_ lay by, to +scrape their _Balls_ with. + +_Ball-leathers._ See § 24. ¶ 10. + +_Ball-Nails._ The _Nails_ that _Ball-leathers_ are Tackt to the +_Ball-stocks_ with. + +_Ball-stocks._ See § 11. ¶ 21. + +_Balls Take._ See § 11. ¶ 21. + +_Beak._ See § 12. ¶ 2. + +_Beam._ See § 12. ¶ 4. + +_Beard of a Letter_, is the outer angle of the Square Shoulder of the +_Shank_, which reaches almost up to the _Face_ of the _Letter_; and is +commonly scraped off by the _Founder_: As in § 2. ¶ 2. + +_Beard-Gage._ See § 13. ¶ 4. + +_Bearer._ See § 4. & § 24. ¶ 7. + +_Beat._ See § 24. ¶ 13. + +_Beat Fat._ If a _Press-man Takes_ too much _Inck_ with his _Balls_, he +_Beats Fat_. The _Black English Faced Letter_ is generally _Beaten Fat_. + +_Beat Lean_, is to _Take_ but little _Inck_, and often: All _Small +Letter_ must be _Beaten Lean_. + +_Bed._ See § 24. ¶ 2. + +_Benvenue._ See Ancient Customs. + +_Bite._ See § 24. ¶ 7. + +_Blankets._ Woollen Cloath, or White Bays, to lay between the _Tympans_. + +_Blocks._ See § 20. ¶ 3. + +_Block-Groove._ ibid. + +_Body._ See § 1. ¶ 2. & § 15. ¶ 1. + +_Botching Matrices._ See § 17. ¶ 3. + +_Bottom line._ See § 14. ¶ 2. + +_Bottom of the Matrice._ See §. 17. ¶ 1. + +_Bottom Plate._ See §. 15. ¶ 1. + +_Bow._ See § 15. ¶ 1. + +_Brace_, is a Character _Cast_ in _Mettle_ thus marked [Illustration] +The _Compositer_ is to have these _Cast_ of several Breadths, viz. to +several numbers of _Lines_ of a designed _Body_ (most commonly of _Pica +Body_) that they may hook in or Brace so many _Lines_ as his _Copy_ may +shew him; as at _Charge_ is a Brace of four _Lines_. See also § 24. ¶ 1. + +_Brass-Rules._ See § 2. ¶ 2. + +_Brayer_ is a round _Wooden Rubber_, almost of the fashion of a +_Ball-stock_, but flat at the bottom, and not above three Inches +Diameter: It is used in the _Inck-Block_ to _Bray_ or _Rub Inck_. + +_Break_, a piece of a _Line_. Also the _Mettle_ that is contiguous +to the _Shank_ of a _New Cast Letter_: This _Break_ is formed in the +_Mouth-piece_ of the _Letter-mould_, and is called a _Break_, because +it is always broke from the _Shank_ of a _Letter_. + +_Breaking off_ is breaking the _Break_ from the _Shank_ of the +_Letter_. See § 19. ¶ 3. + +_Brevier._ See § 2. ¶ 2. + +_Broad-side_, a Form of one full _Page_, Printed on one side of a whole +Sheet of Paper. + +_Broken Letter._ By broken _Letter_ is not meant the breaking of +the _Shanks_ of any of the _Letters_, but the breaking the orderly +Succession the _Letters_ stood in in a _Line_, _Page_, or _Form_, &c. +and mingling the _Letters_ together, which mingled _Letters_ is called +_Py_. + +_Bur._ See _Rag_. + + +C + +_Cannon._ See § 2. ¶ 2. + +_Card._ When several _Bodies_ of _Letter_ are _Set_ in a _Page_, +_Compositers_ to _Justifie_ that _Page_ to an exact Length, put a +_Card_ to some _White-line_, or other _Break_ and Lengthen out the +_Page_ the thickness of a _Card_. And _Press-men_ also use a _Card_ for +an underlay. See § 22. ¶ 4. &c. § 24. ¶ 7. + +_Cards._ About a Quire of Paper, which _Press-men_ use to _Pull_ down +the Spring or rising of a _Form_, which it is many times subject to by +hard _Locking-up_. See § 24. ¶ 4. + +_Carriage_, is a part of the _Press_. For which See § 10. ¶ 9. It is +also a part of the _Letter-Mold_: For which See § 15. ¶ 3. + +_Case._ See § 3. + +_Case lies._ See § 22. ¶ 1. + +_Case is full_, viz. a _Case_ full of _Letter_, wanting no Sorts. + +_Case is Low._ When a _Case_ grows empty, _Compositers_ say the _Case +is Low_. + +_Case Stands still._ When the _Compositer_ is not at Work at his +_Case_, it is said, _The Case stands still_. + +_Cassie Paper._ See § 25. ¶ 5. + +_Cast_, is to _Cast Letter_. See § 19. ¶ 1. + +_Cast off Copy._ See § 22. ¶ 9. + +_Catch of the Bar._ See § 11. ¶ 11. + +_Chappel._ See Customs. + + { _Paper_ with great _Pages_. + _Charge_, is to fill { a _Page_ with long and many _Lines_. + { a _Line_ with many _Letters_. + { a _Pot_ with Stubs and _Antimony_. + +_Chase._ See § 9. ¶ 6. + +_Cheeks_, is a part of the _Press_; for which See § 10. ¶ 2. and part +of the _Dressing-block-groove_. For which See § 20. ¶ 3. + +_Choak._ If a _Form_ be not Washt in due time, the _Inck_ will get +into the Hollows of the _Face_ of the _Letter_: And that getting in of +the _Inck_ is called _Choaking_ of the _Letter_, or _Choaking_ of the +_Form_. + +_Claw_ of the _Sheeps-foot_. See § 11. ¶ 20. + +_Clean Proof._ When a _Proof_ has but few Faults in it, it is called a +clean _Proof_. + +_Close Matter._ _Matter_ with few _Breaks_ or _Whites_. + +_Close Work._ ibid. + +_Colation Books._ See § 25. ¶ 4. + +_Come._ When the _Face_ and _Shank_ of a _Letter_ is _Cast_ perfect, +_Founders_ say, _It Comes well_; if unperfect they say, It does not +come, or _It comes not well_. + +_Come Down_, the _Toe_ of the _Spindle_ is said to _Come down_ by +_Pulling_ the _Bar_: So is the _Bar_ when it is _Pull’d_ near the +hither _Cheek_: Also, the _Press-man_ is said to _Come down the Form_ +with his _Balls_: For which See § 24. ¶ 13. + +_Companion._ See § 24. ¶ 15. + +_Comes off._ A _Form_ that receives a good _Impression_, _Comes off +well_, if a bad _Impression_, it _Comes off ill_, or it _Comes not well +off_. Also a phrase used in _Gathering_ of _Books_; for a _Heap_ that +is _Gathered off_ is said to _Come off_. See § 25. ¶ 3. + +_Composing Rule._ See § 24. ¶ 4. + +_Compositer._ He that _Composes_ or _Sets_ the _Letters_. + +_Composing-stick._ See § 9. ¶ 4. + +_Copy-money._ See Customs. + +_Cording-quire._ See § 25. ¶ 5. + +_Correct._ When the _Corrector_ reads the _Proof_, or the _Compositer_ +mends the _Faults_ he markt in the _Proof_, they are both said to +_Correct_; the _Correcter_ the _Proof_, the _Compositer_ the _Form_. + +_Correcting-stone._ See § 6. + +_Corrections._ the _Letters_ markt in a _Proof_ are call’d +_Corrections_. See § 22. ¶ 8. + +_Counter Punch._ See § 13. ¶ 2. + +_Counting off Copy._ See § 22. ¶ 9. + +_Coyns._ See § 8. + +_Cramp Irons._ See § 11. ¶ 15. + +_Cross Long, Short._ See _Chase_. + +_Cull Paper._ See § 25. ¶ 5. + +_Cut the Frisket._ See § 24. ¶ 7. + + +D + +_Dance._ See § 22. ¶ 7. + +_Dele._ See § 23. + +_Destribute._ See § 22. ¶ 3. + +_Destributing-stick._ See ibid. + +_Devil._ The _Press-man_ sometimes has a Week-Boy to _Take Sheets_, as +they are Printed off the _Tympan_: These Boys do in a Printing-House, +commonly black and Dawb themselves; whence the Workmen do Jocosely call +them _Devils_; and sometimes _Spirits_, and sometimes _Flies_. + +_Direction_, the word that stands alone on the Right Hand in the bottom +_Line_ of a _Page_. + +_Direction-line._ The _Line_ the _Direction_ stands in. + +_Double Letter._ æ œ st sh, and several others _Cast_ on one _Shank_ +are called _Double Letters_: ſ and f have several _Ascending Letters_ +joyned to them, because their _Beaks_ hanging over their _Stems_ would +(were they not _Cast_ on one _Shank_) ride upon the tops of the Stems +of the adjoyning ascending _Letter_. + +_Double._ A Sheet that is twice _Pulled_ and lifted never so little off +the _Form_ after it was first _Pulled_, does most commonly (through +the Play of the _Joynts_ of the _Tympan_) take a double _Impression_: +This Sheet is said to _Double_. Or if the _Press-man Run in_ so, as the +Fore-side of the _Plattin_ Print with the _First Pull_ into part of the +_Second Pull_, or the hind edge of the _Plattin Print_ with his _Second +Pull_ into part of his _First Pull_; either of these twice Printing is +called _Doubling_. _Doubling_ also happens through the loose _Hanging_ +of the _Plattin_, and through too much play the Tennants of the _Head_ +may have in the _Mortesses_ of the _Cheeks_, and indeed through many +Wearings and crasienesses that often happens in several parts of the +_Press_. See § 24. ¶ 18. + +_Dress_ a _Chase_, or _Dress_ a _Form_, is all one. It is to fit the +_Pages_ and the _Chase_ with _Furniture_ and _Quoins_. See § 22. ¶ 7. + +_Dress Letter._ See § 21. ¶ 1. + +_Dressing Block._ See § 20. ¶ 3. + +_Dressing Block-groove._ ibid. + +_Dressing Hook._ See § 20. ¶ 1. + +_Dressing Knife._ See § 20. ¶ 4. + +_Dressing Sticks._ See § 19. ¶ 6. + +_Drive out._ When a _Compositer Sets Wide_, he is said to _Drive out_ +or _Run out_. In _Founding_, If _Letter_ be _Cast_ too Thick in the +_Shank_ it _Drives out_, or if it be _Cast_ too Thick in any part of +the _Shank_, as the _Head_, the _Foot_, the sides at _Head_ or _Foot_, +or _Body_ at _Head_ or _Foot_: They say, _It Drives out at Head_, _It +Drives out at Foot_, &c. + + +E + +_Empty Case._ See § 22. ¶ 3. & _See Case is Low._ + +_Easie Pull._ See § 24. ¶ 5. + +_Easie Work._ See § 22. ¶ 4. And _Great Letter_ and a _Small Form_ the +_Press-man_ calls _Easie Work_. + +_Empty Press._ A _Press_ that Stands by, which no Workman Works +at: Most commonly every _Printing-House_ has one of them for a +_Proof-Press_: viz. to make _Proves_ on. + +_English Body._ See § 1. ¶ 2. + +_English Face._ Plate 26. 27. are _English Face Letters_. + +_Even Page._ The _First Page_ of a _Sheet_ or _Form_ is called an _Odd +Page_, but the _Second_, _Fourth_, _Sixth_, or any other even numbred +_Page_ is called an _Even Page_. See § 22. ¶ 7. + + +F + +_Face of a Letter_, See § 13. ¶ 13. + +_Face of a Page, or Form._ The Superficies of a _Page_ or _Form_, where +the _Faces_ of every _Letter_ lies in the same Plain. + +_Face-Gage._ See § 12. ¶ 5. + +_Face of a Matrice._ See § 17. ¶ 1. + +_Fat Ashes._ _Founders_ call their Ashes _Fat_, if they are +considerably Heavy, because then they have much _Mettle_ in them. + +_Fat._ See _Beat Fat_. + +_Fat Face_, or _Fat Letter_, is a broad Stemmed _Letter_. + +_Female Gage_, _Screws_, &c. The _Hollow Gage_, or _Hollow Screw_ that +receives its _Match Gage_ or _Screw_, &c. + +_First._ See § 24. ¶ 15. + +_First Form._ The _Form_ the _White Paper_ is Printed on, which +generally by Rule ought to have the _First Page_ of the Sheet in it. + +_First Page._ See § 22. ¶ 7. + +_First Pull._ See § 11. ¶ 16. & § 24. ¶ 7. Considerations 8. & § 24. ¶ +15. + +_Flat-Gage._ See § 12. ¶ 3. + +_Flat Table._ See § 12. § 8. + +_Fly._ See _Devil_. + +_Follow._ viz. _See if it follows_, is a Term used as well by the +_Corrector_ as by the _Compositer_ and _Press-man_. It is used by +the _Corrector_ and _Compositer_ when they examine how the beginning +_Matter_ of a succeeding _Page_ agrees with the ending _Matter_ of the +precedent _Page_: And how the _Folio’s_ of those _Pages_ properly and +numerically follow and succeed one another, Lest the _Pages_ should be +_Transposed_. But the _Press-man_ only examines that the _Folio_ and +beginning word of the _Second Page_, and _Signature_ of the _First_ +and _Third Page_ (when the _Reteration_ is on the _Press_) follows the +_Folio_ and _Direction_ of the _First Page_, and the _Signature_ of +the _Third Page_ follows the _Signature_ of the _First Page_, orderly +according to the Volumne, lest the _Form_ should be laid wrong on the +_Press_. + +_Foot of the Letter._ The _Break-end_ of the _Shanck_ of a _Letter_. + +_Foot-line._ See § 14. ¶ 12. + +_Foot of a Page._ The bottom or end of a _Page_. See § 22. ¶ 7. + +_Foot-Step._ See § 11. ¶ 21. & § 24. ¶ 7. & Considerations 11. + +_Foot-stick._ See § 8. + +_Form._ The Pages when they are fitted into a _Chase_. + +_Foul Proof._ When a _Proof_ has many _Faults_ markt in it. + +_Fount._ Is the whole number of _Letters_ that are _Cast_ of the same +_Body_ and _Face_ at one time. See § 2. ¶ 2. + +_Frisket._ See § 10. + +_Froze out._ In Winter when the Paper is Froze, and the _Letter_ Froze, +so as the Workmen cannot Work. They say, _They are Froze out_. + +_Fryer._ When the _Balls_ do not _Take_, the _Un-taking_ part of +the _Balls_ that touches the _Form_ will be left White, or if the +_Press-men_ Skip over any part of the _Form_, and touch it not with +the _Balls_, though they do _Take_, yet in both these cases the White +places is cal’d a _Fryer_. + +_Full Form_ or _Page_. A _Form_ or _Page_ with few or no _Breaks_ or +_White-lines_. + +_Full Press._ When two Men Work at the _Press_. It is called a _Full +Press_. + +_Furnace._ See § 18. + +_Furnace open_, or _Wind Furnace_. See § 18. ¶ 2. + +_Funnel._ See § 18. + +_Furniture._ See § 8. + + +G + +_Gage._ Gages mentioned in this Volumne have an adjunct Name, as _Flat +Gage_, _Joynt Gage_, _Italick Gage_, _Long Gage_, _Male Gage_, _Short +Gage_, _Standing Gage_, _Steel Gage_, which See respectively. + +_Galley._ See § 5. + +_Galley-Slave._ See the Customs. + +_Gallows._ See § 10. + +_Garter._ See § 11. ¶ 14. + +_Gather Books._ See § 25. ¶ 3. + +_Geat_, is the little Spout or Gutter made in the Brim of _Casting +Ladles_. + +_Get in._ _Matter_ is _Got in_ in a _Line_, _Page_, _Sheet_ or _Book_, +if _Letter_ be Thinner _Cast_ than the _Printed Copy_ the _Compositer +Sets_ by. Or _Matter_ is _Got in_ if the _Compositer Sets Closer_: Or +if he _Widens_ his _Measure_; or puts more _Lines_ in a _Page_. See a +_Line_. + +_Girts._ See § 11. ¶ 21. + +_Good Colour._ Sheets Printed neither too Black or too White. + +_Good of the Chappel._ Forfeitures and other _Chappel_ Dues are +Collected for the _Good of the Chappel_, viz. to be spent as the +_Chappel_ approves. + +_Good Work_, is called so in a twofold sense: The Master-Printer calls +it _Good Work_ when the _Compositers_ and _Press-men_ have done their +duty; and the Work-men call it _Good Work_, if it be _Light Easie +Work_, and they have a good price for it. + +_Go up the Form._ See § 24. ¶ 13. + +_Great Cannon._ See § 2. ¶ 2. + +_Great Numbers._ See _Lay on_. Above 2000 Printed on one Sheet are +accounted _Great Numbers_. + +_Great Primmer._ See § 2. ¶ 2. + +_Gutter-stick._ See § 8. + + +H + +_Hag._ See § 15. ¶ 1. + +_Half a Line._ When _Letter Drives out_ or _Gets in_ in the _Body_, in +a number of _Lines_, _Founders_ say, _It Drives out or Gets in_ Half +a _Line_, a whole _Line_, a quarter of a _Line_, &c. _viz._ _Half a +Body_, a _whole Body_, a quarter, _&c._ of a _Body_. + +_Half a Press._ When but one Man Works at the _Press_, It is called +_Half a Press_. + +_Half Work._ He that Works but three days in the Week, does but _Half +Work_. + +_Hammer end of a Punch._ See § 13. ¶ 13. + +_Hangs._ See _Letter Hangs_. & § 22. ¶ 4. + +_Hang the Plattin._ See § 24. ¶ 4. + +_Hang up Paper._ See § 25. ¶ 1. + +_Hard Inck._ _Inck very well Boyled._ See § 11. ¶ 23. + +_Hard Justifying._ See § 22. ¶ 4. + +_Hard Pull._ See § 24. ¶ 5. + +_Hard Work._ See § 22. ¶ 4. And small _Letter_ and a _Large Form_, +_Press-men_ call _Hard Work_. + +_Head._ See § 10. ¶ 5. + +_Head Line._ See § 14. ¶ 2. + +_Head of a Page._ The top or beginning of a _Page_. See § 22. ¶ 7. + +_Head-stick._ See § 8. + +_Heap._ So many Reams or Quires as is _Set out_ by the +_Warehouse-keeper_ for the _Press-man_ to _Wet_, is call’d a _Heap_: +But then it is call’d a _Dry Heap_, till the _Press-man_ have _Wet_ it, +and then it is indeed called a _Heap_. See also § 25. + +_Heap holds out._ When it hath its full intended Number of Sheets. + +_Heavy Work._ See _Hard Work_. + +_Heighth._ See _High against Paper_. + +_High against Paper._ If a _Punch_ be not Sunk deep enough into the +_Matrice_, the _Letter Cast_ will not stand high enough against Paper. +And if it be Sunk too deep into the _Matrice_, the _Letter Cast_ will +be too _High_ against Paper. See § 17. ¶ 2. + +_Holds out_, or _Holds not out_. These Terms are applicable to the +Quires of _White-paper_, to _Wrought-off Heaps_, to _Gathered Books_, +and to sorts of _Letter_ &c. If Quires of White Paper have twenty +five Sheets a piece in them, they say, _The Paper holds out five and +twenties_. Of _Wrought off Heaps_, the _Heap_ that _Comes off_ first +in _Gathering_ is said, _Not to Hold out_. Of _Gathered Books_, if +the intended number of perfect _Books_ are _Gathered_, they say the +_Impression Holds out_: But if the intended number of _Perfect Books_ +cannot be _Gathered_ off the _Heaps_, they say the _Impression Holds +not out_. And so for Sorts of _Letter_, either when it is in the +_Founding House_, or in the _Printing House_. + +_Hole._ By a _Hole_, in Printers dialed, is meant and understood a +place where private Printing is used, _viz._ the Printing of Unlicensed +_Books_, or Printing of other mens _Copies_. Many Printers for Lucre +of Gain have gone into _Holes_, and then their chief care is to get a +_Hole_ Private, and Workmen Trusty and Cunning to conceal the _Hole_, +and themselves. + +_Holy-days._ See Customs. + +_Hollows of a Letter._ The _Sinking in_ of the _Counter-Punch_ into +the _Punch_ makes these _Hollows_, so does Sculping into the _Face_ of +the _Punch_. See § 9. ¶ 4. + +_Hooks._ See _Hags_. + +_Horse._ The Form or Bench _Press-men_ set the _Heaps_ of Paper on. See +also Customs. + +_Horse-flesh._ If any Journeyman set down in his Bill on _Saturday_ +Night more Work than he has done, that Surplusage is called +_Horse-flesh_: And he abates it in his next Bill. + +_Hose._ See § 11. ¶ 14. + +_Hours._ _Press-men_ reckon their Work by Hours, accounting every +_Token_ to an Hours Work: And though it be the same effectually with +_Tokens_, yet they make their prizes of different Work by the Hour; and +it passes current for a _Token_. If two Men Work at the _Press_ ten +Quires is an Hour; if one Man, five Quires is an Hour. + + +I + +_Jaws._ See § 15. ¶ 6. + +_Imperfections of Books._ See § 25. ¶ 3. + +_Imperfections of Letters._ When the _Founder_ has not _Cast_ a +proportionable number of each sort of _Letter_, the wanting _Letters_ +are called _Imperfections_, as making the rest of the _Fount_ +unperfect. See _Sorts_. + +_Impose._ See § 22. ¶ 7. + +_Impression holds out._ See _Holds out_. + +_In-Page._ See _Out-Page_. + +_Insertion._ If the _Compositer_ have left out Words or _Lines_, the +_Corrector_ inserts it, and makes this mark ʌ where it is _Left out_, +which is called the mark for _Insertion_. See § 23. + +_Joynt flat Gage._ See § 14. ¶ 4. + +_Joynts._ See § 10. ¶ 9. + +_Inner Tympan._ See § 11. ¶ 10. + +_Italick Gage._ See § 12. ¶ 6. + +_Justifie a Matrice._ See § 17. ¶ 2. + +_Justifie a Mold._ See § 16. + +_Justifie a Stick_, viz. a _Composing-stick_. See § 22. ¶ 4. + + +K + +_Keep in_, is a caution either given to, or resolved on, by the +_Compositer_, when there may be doubt of _Driving out_ his _Matter_ +beyond his _Counting off_, wherefore he _Sets close_, to _Keep in_. + +_Keep out_, is a caution either given to or resolved on, by the +_Compositer_, when there may be doubt of _Getting in_ his _Matter_ too +fast for his _Counting off_: Wherefore he _Sets Wide_, to _Drive_ or +_Keep out_. + +_Kern._ See § 19. ¶ 5. + +_Kerning-Knife._ See § 19. ¶ 5. + +_Kerning-stick._ See § 19. ¶ 5. + +_Knife backt Sculptor_, is a Sculptor with a thin edge on its back. + +_Knife-file._ A file with a thin edge. + +_Knock up Balls._ See § 24. ¶ 10. + +_Knock up Books._ See § 25. ¶ 3. + +_Knock up a Letter._ It sometimes happens with old _Letter_, that a +_Letter_ may be worn so low that it will not Print well in a _Page_: +The Workman then takes that _Letter_ out of the _Form_, and holds the +_Shank_ of it upon the side of the _Chase_, and with the _Head_ of +the _Shooting-stick_ beats lightly upon the _Foot_ of the _Shank_, +till he have battered _Mettle_ enough out of the _Shank_, to raise it +higher against Paper: If it prove too high against Paper, he Rubs the +bottom of the _Shank_ upon the side of the _Chase_ to rub it down: This +Operation seldom happens, unless another of the same sort of _Letter_ +is wanting, and hard to come by: For else the _Compositer_ will bow the +_Letter_, and pop it into a Waste _Box_ in his _Case_, where he puts +all naughty _Letters_, that he may not be troubled with them another +time. + +_Knot._ See § 20. ¶ 3. + + +L + +_Ladles._ See § 18. ¶ 3. + +_Lay in Sheets._ When the _Press-man_ lays _Sheets_ on the _Tympan_, it +is stiled _Laying in Sheets_. + +_Lay out Sheets._ When the _Press-man_ takes _Sheets_ off the _Tympan_, +and lays them on the _Heap_, it is stiled _Laying out Sheets_. + +_Lay on._ A phrase used for the Number of Books to be Printed. Thus +they say, There is 1000, 2000, 3000, _&c._ _Laid on_. See _Great +Numbers_. See _Small Numbers_. + +_Lean Ashes._ Founders call their Ashes _Lean_, if they are _Light_; +because then they have little _Mettle_ in them. See _Fat Ashes_. + +_Lean._ See Beat Lean. + +_Lean Face._ A Letter whose Stems and other Stroaks have not their full +width. + +_Lean Stroaks._ The fine Stoaks in a Letter. + +_Leather Groove._ See § 17. ¶ 2. + +_Letter-Board._ See § 7. + +_Letter Hangs._ If the _Compositer_ has been careless in Emptying his +_Composing-stick_, so as to set the _Letter_ loosely down in the +_Galley_, and they stand not perfectly Square and Upright, the _Letter_ +Hangs: Or if after _Overrunning_ on the _Correcting-stone_ he has not +Set his _Letter_ in a Square position again, before he _Locks up_, (for +we may suppose when the _Pages_ are Open’d the _Letter_ stands Loose, +and more or less out of Square) So then, the _Matter_ standing thus out +of Square, is said to _Hang_. See § 22. ¶ 4, 7. + +_Light Work._ See _Easie Work_. + +_Liner._ See § 12. ¶ 7. + +_Lining-Stick._ See § 16. ¶ 2. + +_Lock up._ See § 22. ¶ 7. and § 21. ¶ 1. + +_Long Cross._ See _Chase_. + +_Long Gage._ See § 12. ¶ 5. + +_Long Primmer._ See § 2. ¶ 2. + +_Long Pull._ See § 24 ¶ 5. + +_Loose Justifying._ See § 22. ¶ 4. + +_Low against Paper._ See _Heigth against Paper_. + +_Low Case._ When the _Compositer_ has _Compos’d_ almost all his +_Letters_ out of his _Case_, he says his _Case_ is _Low_. + +_Lower Case._ See § 3. + + +M + +m _Thick_. See § 13. ¶ 1. + +_Make a Measure._ See § 22. ¶ 4. + +_Make ready the Form._ See § 24. ¶ 7. + +_Male Gage._ The outer _Gage_, or outer _Screw_, that enters or fits +into its _Match Gage_ or _Screw_, &c. + +_Mallet._ See § 9. + +_Matrice._ See § 17. ¶ 1. + +_Matter._ The series of the discourse of the _Compositers Copy_. + +_Measure._ The width of a _Page_. See _Composing-Stick_. + +_Mettle._ See § 18. ¶ 2. + +_Mold._ See § 15. ¶ 1. + +_Monk._ When the _Press-man_ has not _Destributed_ his _Balls_, some +splotches of _Inck_ may lye on one or more of them, which in _Beating_ +he delivers upon the _Form_; so that the Sheet Printed on has a black +blotch on it: Which Blotch is called a _Monk_. + +_Mouth-piece._ See § 15. ¶ 1. + + +N + +n _Thick_. See § 13. ¶ 1. + +_Naked Form_, or _Page_, is when the _Furniture_ is taken from about +all sides of the _Form_ or _Page_. See § 22. ¶ 7. + +_Neck of a Letter._ So much of the _Punch_ as is Sunk into the +_Matrice_ is called the _Neck_; and when that _Letter_ is _Cast_ of +_Mettle_, it is so much as comes above the Square of the _Shank_, +_viz._ above the _Beard_. + +_Nick._ See § 15. ¶ 1. + +_Nomparel._ See § 2. ¶ 2. + +_Notch of the Matrice._ See § 17. ¶ 2. + +_Notes._ _Quotations_ down the side of a _Page_ are called _Notes_. + +_Number Laid_ on. See _Lay on_. + +_Nut of the Spindle._ The _Female Screw_ that receives the _Worms_ of +the _Spindle_. + + +O + +_Odd Page._ The First, Third, Fifth, Seventh, and all un-even numbred +_Pages_ are _Odd Pages_. + +_Off._ A _Press-man_ usually says, _I am off_, meaning he has _Wrought +off_ his _Token_, his _Heap_, his _Form_. + +_Open Matter._ Full of _Breaks_ and _Whites_. + +_Open Furnance._ See § 18. ¶ 2. + +_Open the Form._ See § 22. ¶ 2. + +_Open Work._ See _Open Matter_. + +_Over-run._ See § 22. ¶ 8. + +_Out._ A _Compositer_ usually says, _I am Out_, meaning he has _Set +out_ his _Page_, _Form_, or _Copy_. See also § 23. + +_Out-Page._ In _Octavo’s_, _Twelves_, _Sixteens_, every _Out-side Page_ +in the Sheet is called an _Out-Page_, the rest are called _In-pages_. + +_Out of Register._ Bad _Register_. See § 24. ¶ 7. + + +P + +_Pale Colour._ If there be not _Blacking_ enough in the _Inck_, or the +_Form_ be _Beaten_ with too _Lean Balls_, the Work will be said to have +a _Pale Colour_. + +_Pallat._ See § 15. ¶ 1. + +_Pan._ The great _Ladle_ that _Founders_ melt their _Mettle_ in, when +they are _Casting Letters_, is called the _Pan_. See also § 9. ¶ 18. + +_Paper-bench._ See _Horse_. + +_Paper-board._ See § 7. + +_Paper the Case._ See § 22. ¶ 1. + +_Paper Windows._ See Customs. + +_Paper up Letter._ _Pages._ See § 22. ¶ 10. + +_Pearl._ See § 2. ¶ 2. + +_Peel._ See § 11. ¶ 22. + +_Pelts._ Sheep Skins untan’d, used for _Ball Leathers_. + +_Pica._ See § 2. ¶ 2. + +_Picks._ When either pieces of the Skin or Film that grows on _Inck_ +with standing by, or any dirt get into the _Hollows_ of the _Face_ +of the _Letter_, that Film or Dirt will fill or choak up the _Face_ +of the _Letter_, and Print Black; and is called a _Pick_; because the +_Press-man_ with the point of a Needle, picks it out. + +_Pidgeon-holes._ See § 22. ¶ 24. + +_Plattin._ } _Plattin-hooks._ } _Plattin-pan._ } See §9. ¶ 18 +_Plattin-plate._ } + +_Play with Quadrats._ See Customs. + +_Plow._ See § 20. ¶ 5. + +_Points._ See § 11. ¶ 19. Also , ; : . - ? ! (’) [ * § †, and other +marks, are all by _Printers_ and _Founders_ called _Points_. + +_Point-holes._ The two Holes the _Points_ prick in a Sheet of Paper. +See § 22. ¶ 7. + +_Point-Screws._ See § 11. ¶ 9. + +_Press._ See § 10. + +_Press-man._ See § 24. ¶ 1. + +_Press goes._ When the _Press-men_ are at Work, the _Press_ is said to +_Go_. + +_Press goes Hard_, _Heavy_. See § 24. ¶ 5. and _Press goes Easie_, +_Light_. + +_Press stands still._ When the _Press-men_ are not at Work, the _Press_ +is said to _stand still_. + +_Press-stone._ See § 11. ¶ 17. + +_Proof._ See § 24. ¶ 18. + +_Proof Letters._ See § 16. ¶ 2. + +_Proof Press._ See _Empty Press_. + +_Print Hand._ See Plate 11, 12, 13, 14, 15, 16, 17. + +_Pull_---- _Easie_, _Long_, _Short_, _Soft_. See § 24. ¶ 5. + +_Punch._ See § 13. ¶ 1. + +_Py._ when a _Page_ is broken, those broken _Letters_ are called _Py_. +See _Broken Letter_. + + +Q + +_Quadrats._ See § 19. ¶ 1. + +_Quarters._ _Quarto’s_, _Octavo’s_ and _Twelves Forms_ are _Imposed_ in +_Quarters_. They are called _Quarters_, not from their equal divisions; +but because they are _Imposed_ and _Lockt up_ apart. Thus half the +_Short-Cross_ in a _Twelves Form_ is called a _Quarter_, though it be +indeed but one Sixth part of the _Form_. + +_Quoins._ See § 8. + +_Quotation Quadrats_, Are _Cast_ the heighth of the _Quotation_. They +are _Cast_ of different _Bodies_, that the _Compositer_ may have choice +of them to _Justifie_ his _Notes_ or _Quotations_ exactly against the +designed _Line_ of the _Page_. + + +R + +_Racks._ See § 11. ¶ 22. & § 12. ¶ 19. + +_Rag._ When _Letter Cast_ has a Bur on any of its edges, that Bur is +called a _Rag_. + +_Register._ See § 15. ¶ 1. & § 24. ¶ 7. + +_Register-sheet._ The Sheet or Sheets Printed to make _Register_ with. + +_Reteration._ The _Second Form_, or the _Form_ Printed on the backside +of the _White Paper_. + +_Revise._ See § 23. + +_Ribs._ See § 10. ¶ 8. & § 11. ¶ 15. + +_Riglet._ Is a sort of _Furniture_ of an equal Thickness all its +Length. It is _Quadrat_ high, of several Thicknesses, viz. a +_Nomparel_, _Brevier_, _Long-primmer_, _Pica_, &c. Thick. + +_Rince the Form._ See § 22. ¶ 2. + +_Rincing-Trough._ The Trough _Forms_ are _Rinced_ in. + +_Rise._ A _Form_ is said to _Rise_, when in Rearing it off the +_Correcting-stone_ no Letter or _Furniture_, &c. stay behind. See § 22. +¶ 7. + +_Rounce._ See § 11. ¶ 16. + +_Rowl up the Ball Leathers._ See § 24. ¶ 18. + +_Rub Letter._ See § 19. ¶ 4. + +_Rubs not._ When the _Shank_ is _Cast_ too _Thin_, that in Rubbing part +of the _Face_ or the _Topping_ or _Footing_ _Rubs_ away: _Founders_ +say, _It does not Rub_. + +_Rubs well._ When the _Shank_ of a _Letter_ has a proper Thickness, +_Founders say, It Rubs well_. + +_Rub out Inck._ See § 24. ¶ 11. + +_Rules._ viz. _Brass Rules_. See § 2. ¶ 2. + +_Run in the Carriage._ See § 24. ¶ 15. + +_Runs on Sorts_, when _Matter_ runs much on some few Sorts of +_Letters_, they say, _it Runs on Sorts_, See _Sorts_. + +_Run out from Copy._ See _Drive out_. + + +S + +_Scaboard._ See § 8. + +_Second at the Press._ See § 24. ¶ 15. + +_Second Pull._ See § 11. ¶ 16. Considerations 8. & § 24. ¶ 15. + +_Sets Foul._ See _foul Proof_. + +_Sets Clean._ See _Clean Proof_. + +_Sets Close._ See _Get in_. + +_Sets Wide._ See _Drive out_. + +_Set out Paper._ See § 25. ¶ 5. + +_Set the Rounce._ See § 24. ¶ 3. + +_Sets off._ Work that is newly _Wrought off_ at the _Press_ often +_Sets off_, especially if it be _Fat Beaten_ with _Soft Inck_: For +when it comes to be _Beaten_, or sometimes only hard prest by the +_Book-binder_, the moist _Inck_ spreads and delates it self round about +the _Face_ of every _Letter_, and sullies and stains the whole _White +Paper_. + +_Shake._ See § 19. ¶ 1. + +_Shank_, the square _Mettle_ the _Face_ of a _Letter_ stands on, is +called the _Shank_ of a _Letter_. + +_Sheeps-foot._ See § 11. ¶ 20. + +_Shooting-stick._ See § 9. ¶ 2. + +_Short-cross._ See _Chase_. + +_Short-Page._ See § 12. ¶ 5. + +_Side-stick._ See § 8. + +_Signature._ See § 22. ¶ 4. + +_Sinck Matrices._ See _Sinck Punches_. + +_Sinck Punches._ See § 17. ¶ 1. + +_Slice._ See § 11. ¶ 11. + +_Sliding-Gage._ See § 12. ¶ 4. + +_Sliding-Socket._ See § 12. ¶ 4. + +_Small Numbers._ Under 1500 _Laid on_ is accounted a _Small Number_. +See _Great Numbers_; and See _Lay on_. + +_Smoak Vent._ See § 18. ¶ 1. + +_Smout._ Workmen when they are out of constant Work, do sometimes +accept of a Day or twos Work, or a Weeks Work at another +Printing-house: this By-work they call _Smouting_. + +_Soaking Pull._ See § 24. ¶ 5. + +_Soft Pull._ ibid. + +_Soft Inck._ _Inck_ or _Varnish_ moderately boiled. See § 11. ¶ 23. + +_Solace._ See Customs. + +_Sop the Balls._ When a _Press-man_ has taken too much _Inck_, he is +said to _Sop the Balls_. + +_Sorts._ The _Letters_ that lye in every _Box_ of the _Case_ are +separately called _Sorts_ in _Printers_ and _Founders_ Language; Thus a +is a _Sort_, b is a _Sort_, c is a _Sort_, _&c._ + +_Space Thick_, _Space Thin_. See § 12. ¶ 1. + +_Spindle._ See § 11. ¶ 12. 16. + +_Spirit._ See _Devil_. + +_Spring._ See § 15. ¶ 1. + +_Squabble._ A _Page_ or _Form_ is _Squabbled_ when the _Letter_ of one +or more Lines are got into any of the adjacent _Lines_; or that the +_Letter_ or _Letters_ are twisted about out of their square Position. + +_Stem._ The strait _Flat_ stroaks of a straight _Letter_ is called +_Stem_. See § 14. ¶ 1. + +_Stick._ The _Composing-stick_ commonly so called. + +_Stickfull._ See § 22. ¶ 4. + +_Stiff Justifying._ See § 22. ¶ 4. + +_Stirring-Pote._ See § 18. ¶ 2. + +_Stoak-hole._ See § 18. ¶ 1. + +_Stoaking-Rod._ A Rod of thick Wyer put into such an Handle as is the +Handle of a _Letter-Ladle_. Founders use it to stir up the Fire in the +_Furnace_. + +_Stone._ See § 19. ¶ 1. + +_Stool._ See § 15. ¶ 1. + +_Stop._ See § 19. ¶ 1. + +_Strip a Form._ See § 22. ¶ 2. + +_Stroaks_, are fat, lean, fine, hair. See § 14. ¶ 2. + +_Superiour Letters_, are often set to _Marginal Notes_: They are +_Letters_ of a _Small Face_, high _Justifyed_ by the Founder in the +_Mold_ near the _Top-Line_. + +_Swash-Letters._ See Plate 15. + + +T + +_Tache._ A small Board with _Notches_ in its Fore-edge; either nailed +upon the Fore-edge of the _Work-Bench_, or screwed into the _Vice_; so +as the _Notches_ may stand forwards to rest the _Shank_ of a _Punch_ +in. See § 12 ¶ 9. + +_Tail of Letters._ See § 14. ¶ 2. + +_Take off._ See Customs. + +_Taking off._ See § 22. ¶ 3. + +_Take up._ See § 22. ¶ 3. + +_Take up a Sheet._ See Customs. + +_Take Inck._ See § 24. ¶ 10. + +_Teze Wooll, or Hair_. See § 24. ¶ 18. + +_Thick Letter._ A _Fount of Letter_ that _Rubs_ not high enough into +the _Neck_ is called _Thick Letter_; and consequently will _Drive out +Matter_. See § 17. ¶ 2. + +_Thick Space._ See § 13. ¶ 1. + +_Thin Space_, ought by a strict orderly and methodical measure to +be made of the Thickness of the seventh part of the _Body_; though +_Founders_ make them indifferently Thicker or Thinner. + +_Throat._ See § 15. ¶ 1. & 6. + +_Till._ See § 10. ¶ 6. + +_Toe of the Spindle._ See § 11. ¶ 12. + +_Token._ See § 25. ¶ 5. + +_Token Sheet._ See § 24. ¶ 9. 15. + +_Tongue._ See § 20. ¶ 3. + +_Tooth of the Plow._ The pointed edge that Cuts the Groove in the +bottom of the Shanks in the Blocks. See § 21. ¶ 5. + +_Transpose._ See § 22. ¶ 7. & § 23. + +_Turn for a Letter._ It often happens when _Matter_ Runs upon _Sorts_, +especially in _Capitals_, or some other Sorts seldom used, that the +_Compositer_ wants that Sort the _Matter Runs on_; wherefore he is +loath to _Destribute Letter_ for that Sort; or perhaps his _Case_ is +otherwise Full. Wherefore instead of that _Letter_ or Sort, he _Turns_ +a _Letter_ of the same Thickness, with the _Foot_ of the _Shank_ +upwards, and the _Face_ downwards; which _Turned Letter_ being easie to +be seen, he afterwards when he can accommodate himself with the right +Sort, takes out, and puts the right _Letter_ in its room. It is also a +word used jocosely in the _Chappel_, when any of the Workmen complain +of want of Money, or any thing else, he shall by another Workman be +answered, _Turn for it_, viz. Make shift for it. + +_Tympan._ See § 10. ¶ 10. + +_Tympan-Cloath._ See § 24. ¶ 18. + +_Tympan-sheet._ See § 24. ¶ 7. + + +V + +_Vantage._ When a _White-page_ or more happens in a Sheet, the +_Compositer_ calls that _Vantage_: So does the _Press-man_, when a +_Form_ of one _Pull_ comes to the _Press_. + +_Varnish._ See § 11. ¶ 23. + +_Visorum._ See § 22. ¶ 4. + +_Un-lock the Form._ See § 22. ¶ 2. + +_Underlaid._ A Phrase used by _Press-men_ for the _Light_ and _Easie_, +or _Heavy_ and _Hard Running in_ of the _Carriage_. Thus they say, _The +Press goes light and easie under Hand_, or it _goes heavy or hard +under Hand_. + +_Upper Hand_, when the _Spindle_ goes soft and easie, the _Press-men_ +say, _It goes well under Hand_, or _Above Hand_. But the contrary if it +goes _Hard and Heavy_. + + +W + +_Wash the Form._ See § 24. ¶ 18. + +_Way-goose._ See Customs. + +_Weak-Inck._ See _Soft-Inck_. + +_Wedge._ See § 20. ¶ 3. + +_White-line._ A Line of _Quadrats_. + +_White-Page._ A _Page_ that no _Matter_ comes in. + +_White-Paper._ Although the first _Form_ be Printed off, yet +_Press-men_ erronically call that _Heap White-Paper_, till the +_Reteration_ be Printed. + +_Whole-press._ See _Full-Press_. + +_Wind-furnace._ See _Open-furnace_. + +_Wind-hole._ See § 18. ¶ 1. + +_Wood._ See § 15. ¶ 11. + +_Wyer._ See § 15. ¶ 9. + + +FINIS. + + + + +TYPOGRAPHICAL CORRECTIONS + + + In In + Page Line Original Reprint + + 17 9 _wieght_ _weight_. + 17 23 _so_ _to_. + 19 15 _witout_ _without_. + 20 23 _thanthe_ _than the_. + 22 15 _batttens_ _battens_. + 36 21 _containiug_ _containing_. + 42 31 _hyphen_ inserted after _Ten_. + 47 25 _clapse_ _claspe_. + 51 15 _an_ _and_. + 56 3 _betwen_ _between_. + 63 7 _Whether_ _Whither_. + 64 4 doublet of _it_ corrected. + 65 5 doublet of _it_ corrected. + 65 18 _to_ _too_. + 70 19 _Serews_ _Screws_. + 77 15 doublet of _much_ corrected. + 87 17 doublet of _the_ corrected. + 89 1 _parenthesis_ inserted. + 90 3 _in_ _into_. + 92 9 _parenthesis_ inserted. + 103 12 _Pnnch_ _Punch_. + 120 5 doublet of _the_ corrected. + 120 10 _a_ _at_. + 136 30 _peice_ _piece_. + 141 16 _Bottome_ _Bottom_. + 145 9 _he_ _the_. + 150 24 _puuch_ _punch_. + 200 26 _in_ _is_. + 211 17 _nor_ _not_. + 213 24 _Lettets_ _Letters_. + 221 26 _n_ _in_. + 222 11 _Rnn_ _Run_. + 237 16 _a bout_ _about_. + 239 16 _thrust_ _thrusts_. + 247 3 _Chapher_ _Chapter_. + 247 11 _Over-rnn_ _Over-run_. + 248 30 _Fnrniture_ _Furniture_. + 253 7 _proeeed_ _proceed_. + 267 16 _performanee_ _performance_. + 276 2 _hatdens_ _hardens_. + 294 24 _Rnns_ _Runs_. + 297 6 _wiIl_ _will_. + 303 15 _Wot_ _Wet_. + 304 26 _Srrong_ _Strong_. + 307 11 _is_ _it_. + 307 27 _Bnll_ _Ball_. + 308 6 _Seeeps_ _Sheeps_. + 322 22 _parenthesis_ inserted. + 332 22 _thc_ _the_. + 378 19 _to_ _too_. + 391 8 _o_ § + 392 9 _a_ § + 393 6 _ot_ _or_. + + + + +NOTES + + +TITLE. At the Sign of Atlas. In Moxon’s time the houses in London and +elsewhere were not numbered. A house of business was specified and +identified by a sign painted with some peculiar device that could be +recognized by people who could not read. + + +THE PORTRAITS. Satisfactory authority cannot be given for the accuracy +of the portrait of Gutenberg. Moxon copied it from an earlier German +book. The portrait of Coster is a copy of the print first shown by +Scriverius in 1635. Van der Linde doubts its genuineness. The portrait +of Moxon may be accepted as truthful. It first appeared in the fourth +edition (1686) of Moxon’s “Tutor to Astronomie and to Geographie.” + + +THE DEDICATION. “The Right Reverend Father in God, John, Lord Bishop of +Oxford and Dean of Christ Church,” was Doctor Fell, one of the three +persons to whom this work was dedicated. Doctor Fell had commended +himself to men of letters by a recent gift to the University of Oxford +of printing materials of great value. In a report written by him in +1679, he mentions “the low estate of the manufacture of printing” in +England, and in the University, as the motive that induced him and +associate members of the University, in 1672, to take “upon themselves +the charges of the press in the said University, and at the expence of +above four thousand pounds furnisht from Germany, France and Holland, +an Imprimery, with all the necessaries thereof, and pursued the +undertaking so vigourously, as in the short compass of time which hath +since intervened to have printed many considerable books in Hebrew, +Greek and Latin, as well as in English; both for their matter and +elegance of paper and letter, very satisfactory to the learned abroad +and at home.” Bagford said that the printing material so presented by +the Bishop could not be equaled by any of the great printing-houses on +the Continent. A specimen sheet of the types of the Oxford University +Press dated 1695 fully warrants this assertion. The types, punches, and +materials then given by Bishop Fell are insufficiently described by +Rowe Mores in his “English Typographical Founders and Founderies,” on +pages 44 and 45. A brief description of the Oxford Press as it now is, +with suitable illustrations, was published by the Oxford University in +1894. + +Bishop Fell was equally interested in paper-making. He encouraged +George Edwards, “a cutter in wood of the great letters,” and an +engraver of maps and other things made use of in the printing of books, +to set up a paper-mill at Wolvercote. Bishop Fell died in 1686. Tom +Brown made him the subject of his famous epigram: + + I do not love thee, Doctor Fell, + The reason why I cannot tell; + But this alone I know full well, + I do not love thee, Doctor Fell. + + +2, 3. THE ORIGIN OF THE INVENTION. Moxon’s notice of the invention +of typography records a general belief of the writers of that time. +The Coster legend had been published, but it was not accepted as +unimpeachable history. The weight of authority favored the claims +made for Gutenberg. The “Tullies Offices” (Cicero, De Officiis) of +1465, printed by “Johanes Hust” (Fust) and “Petri de Geurshem” (Peter +Schoeffer of Gernsheim), is one of the later books of these printers. +The book generally received as the one first printed is the Bible of +Forty-two Lines, which is at least ten years earlier. It is accepted +as the production of John Gutenberg, John Fust, and Peter Schoeffer. +Its claim to priority has been disputed in favor of the Bible of +Thirty-six Lines, accredited to John Gutenberg only. Discredit is now +given to the legend of the introduction of printing in Oxford in 1468 +by Frederick Corseles. “The Dictes and Sayinges of the Philosophers,” +printed by William Caxton at Westminster in 1477, is considered as +the first book printed in England. The claims of Coster have been +thoroughly sifted by Dr. A. W. Van der Linde, and his earlier writings +on this subject have been translated into English by J. H. Hessels and +published under the title of “The Haarlem Legend.” The claims of Caxton +are fairly reviewed by William Blades in his “Life and Typography of +William Caxton.” + + +6, 7. THE BRANCHES OF TYPOGRAPHY. The specification of Letter Cutters, +Casters, and Dressers, of Compositors and Correctors, Pressmen and +Ink-makers, and some other trades, indicates the complexity of the +complete art of printing in 1683. The workmen in each one of these +trades tried to keep it distinct, and to prevent its practice by any +but those who had been qualified by regular apprenticeship. There +were few master-printers who had even superficial acquaintance with +the methods and usages of the different departments of typography, +and their general ignorance tended to the degradation of the art. The +ordinary book of the seventeenth century was distinctly inferior to a +book of the same class of the sixteenth century that had been made from +the beginning under the direction of a master “who could perform or +direct others to perform” all the work upon it. It was for the purpose +of diffusing a proper knowledge of the different processes among +master-printers that this book was written. + + +ADVERTISEMENT on page 8. The plot here mentioned was the one revealed +by Titus Oates, who gave false details of an alleged conspiracy to kill +Charles II, King of England, and to reëstablish the rule of the Roman +hierarchy. + +This advertisement is a side-light of value on the methods of the +book-selling trade. Moxon foresaw that the cost of the complete book +would be too much for the ordinary buyer. He tempted subscriptions by +offering it in monthly parts: “2_d._ for each Printed Sheet. And 2_d._ +for every Print taken off of Copper Cuts.” At these rates the complete +book on printing, unbound, then cost 14_s._ 4_d._ The publishing of a +book in parts was an old expedient to increase sales. I first note it +in an edition of the Bible in Hebrew, published by Robert Stephens of +Paris between the years 1539 and 1544. + +Copper-plates were preferred for the illustrations because they could +be engraved and printed more neatly and at a smaller expense. The arts +of engraving on wood and of woodcut presswork were then in their lowest +condition, and Moxon foresaw that his illustrations engraved on wood +would not be properly printed. + + +9. PRINTING-HOUSE. Although “printing-house” is still used in England +as a proper designation for the workshop of the master-printer, the +term “printing-office,” which is more common in the United States, +has equally good authority. Many of the early printers called their +workshops by the Latin name of “Officina.” A book before me by Jodocus +Badius, dated 1513, has the imprint “In Officina Ascensiana.” + + +10. THE CASES AND PRESS. The allowance of “four foot and a half by +five foot and a half” for every pair of double frames or stands is the +same as that established by modern usage. The allowance of seven feet +square of space for each press, which necessarily includes the bank, +and working-room for the two pressmen, seems small. It indicates a +press for the printing of a sheet not larger than fifteen by twenty +inches. The caution to put the presses upon a solid foundation, and to +brace them with beams against the ceiling and side walls, shows that +provision had to be made for the shrinking of the wood and for its +imperfect construction. + + +11. WINDOWS of glass were unusual. Paper (probably oiled) to admit the +light was the only defense against cold, which was sometimes so severe +that work had to be suspended. Then, as now, printers preferred the +upper floors of the building for composition, and these upper floors +were usually lighted by small windows near the ceiling. The English +printing-house of the seventeenth century was rude, bare, and small. +It was a large printing-house that had four hand-presses and a dozen +frames. + + +13. FONT. Moxon’s etymology is not approved by recent +dictionary-makers, who tell us that font is derived from the French +_fonte_, a casting, through _fondre_, to melt or to found. Font is +now used to describe a complete collection of founded types. The +English face here mentioned as opposed to the roman and italic must be +understood as old English black-letter. + + +14. SIZES AND PROPORTIONS OF TYPE. Ten bodies of type are specified as +a full assortment of sizes from pearl to “great-cannon.” Within this +limit American and English type-founders now make twenty-one sizes, +as well as some smaller and many larger sizes beyond the limit. The +dimensions of the bodies here specified are irregular fractions of +the English linear foot. An accurate or standard foot measure was +not easily procured, and the irregular subdivisions of the foot were +calculated with difficulty and often with error. Types so made were +unavoidably inexact; when made in different foundries they did not +accord in size, and there was often serious disagreement in the bodies +of the same foundry when the types were cast at different times. +For a specification of these variations, see Savage’s “Dictionary +of Printing,” page 802, and any recent English work on practical +typography. + +Pick is the name given to any bit of dirt that falls in the counter of +a type, and fouls the print. + +The geometric rules for the proportions of letters as laid down by +Moxon and other theorists are impracticable. They make no provision +for the meeting of irregularly shaped letters and no allowance for +optical illusions. To make letters seem harmonious and symmetrical in +combination, some characters must purposely be out of drawing. + +The commendation of Christophel Van Dijck (Christopher Van Dijk) is +approved by modern bibliographers and printers. Willems, in his “Les +Elzeviers,” rates him as the leading punch-cutter of his time, and as +really superior to the famous French founders Sanlecque and Le Bé. The +beauty of his designs, and the merit of the type made by his Dutch +successors in type-founding, secured to them the practical control +of the English market for more than a century. During Moxon’s time, +and for many years after, British type-founders bought most of their +punches and matrices in Holland. William Caslon, who began as a +type-founder in 1720, was the first English punch-cutter who broke the +domination of the Dutch type-founders in England. + +It was the first purpose of the writer of these notes to have this +book reprinted in the Dutch types that served Moxon for models. +Unfortunately, they were not to be had. They were in the Enschedé +foundry before 1735, but at that time they had been put aside as +old-fashioned and unsalable. M. Fleischman, a German punch-cutter +intrusted with the management of this foundry, had destroyed as useless +old metal most of the Van Dijk punches and matrices. This wanton +destruction should not prejudice the reader against Fleischman, for he +was an expert punch-cutter, although the originator of a bad school of +typography. It was from him that Bodoni of Italy, Didot of France, and +Baskerville of England, drew their erroneous notions of the superior +beauty of over-sharp hair-lines. This peculiarity is clearly shown in +the new types of the specimen-book of the Enschedé foundry for the year +1786, which contains a portrait of Fleischman, and signed and dated +specimens of his work at that time. + + +15. THE FACE OR STYLE OF VAN DIJK TYPES. “... the commodious Fatness +they [the Van Dijk letters] have beyond other Letters, which easing the +Eyes in Reading renders them more Legible.” The word “fatness” cannot +be understood as printers now accept the word, for the Van Dijk letter +would now be rated as thin and much below the present standard of +width. It was supposed to ease the eyes in reading because the interior +counters of the small or round letters like e, o, and m had been +enlarged, but this enlargement was most in height. + +“... the true placing their Fats and their Leans” means the extension +of thick-stroke to the corresponding shortening of hair-lines, as +may be seen in a comparison of the old-style m with a modern m. +This improvement was modified by Fleischman and his successors. He +protracted the hair-line and shortened the thick-stroke, showing his +own skill as a cutter, but seriously damaging the legibility of the +letter. This unwise fashion is still in force in nearly all types of +modern cut. The bold and sturdy types of William Morris, and the Jenson +types of the Dickinson foundry, are practical protests (possibly too +emphatic) against the effeminacies of the modern school of weak and +delicate letter. + +“... the sweet driving them into one another” I understand as the close +fitting of the different letters. This close fitting or narrow set for +each type, with a corresponding thinness of face, made a composition +unusually compact. The novelty of this new style was most admired by +French type-founders, who have never allowed it to go out of fashion. +Fournier, in his “Manuel Typographique,” shows compressed types of +many sizes, which he says are “in the Dutch style.” The type used by +Moxon in his book is of the same English body as the type in which this +reprint is set, but the Moxon face is a trifle taller and much more +compressed. + +The uniformity or geometrical accuracy of proportion that is here +commended in all sizes of Van Dijk types could not have been made by +careful drawing. Yet it does not appear that Moxon had instruments of +precision that could measure with exactness any fraction smaller than +the thirtieth part of an inch. + + +16. THE COUNTERS OF TYPES. The deep cut or counter recommended for +punches is correct instruction, but deep counters were uncommon. +The punches that I have examined in the Plantin-Moretus Museum have +relatively shallow counters. Fertel of St. Omer, writing in 1723, +denounces the shallow counters then made by all founders as a cause +of the bad presswork of French printers. Even Fournier (“Manuel +Typographique,” vol. i, p. 12) says that a counter “about one fourth of +a line” (.0222 of the English inch) is deep enough for types between +nonpareil and long-primer or pica. No modern printer would be satisfied +with a counter of this depth. + + +17. TYPES MADE FOR BOOKS. The few bodies of type then made were for +books only, and were provided in small fonts. The types most largely +cast now are those intended for newspapers: brevier, minion, nonpareil, +and agate, and they are provided in fonts of many thousand pounds. +Italic, which then made at least one third, is now but one tenth of +the entire weight of the font. In many morning newspapers italic is +excluded. + +THE BEARD of a type was the long sloping shoulder that connected the +face with the body. The square and high shoulder of modern types, which +is of recent invention, is indispensable for the proper moulding of +types composed for stereotype work. + + +18. DECAY OF ENGRAVING ON WOOD. “Few or good Cutters in Wood appear.” +The decadence of engraving on wood is plainly indicated by Moxon’s +choice of copper-plate for all his illustrations. The imperfect methods +then in use for making brass rules are also illustrated on many pages +of his book, where they show rules of unequal height and uneven face. + +THE “PLANISHING” OF BRASS RULE was the rolling of the metal in sheets +before it was cut in strips type-high. + + +19. THE LAY OF THE TYPE-CASES. The illustration of the type-cases in +plate 1 is apparently of a case in one piece, but the text distinctly +says that two cases were used, an upper and a lower, as is customary +now. The dimensions of the case, “two foot nine inches long, one foot +four inches and an half broad,” are almost like those of the modern +cases. These two cases were unwisely placed on the stand at the same +inclination, so that they seem as one case in the illustration. The +capital letters are unhandily put in the extreme left-hand corner of +the upper-case. Arabic figures are at the foot of these capitals. +There are no small capitals, but the boxes of the right side of the +upper-case, of easiest reach, are filled with accents and astronomical +signs. The copy of the compositor was laid over these boxes that were +seldom used. To keep the copy near to the compositor’s eye, the hand +in search of frequently used capitals had to make a needless length of +reach. + +The lay of the lower-case, as shown in plate 1 (b, c, d, e, f, g, in +the upper row of large boxes; l, m, n, o, p, q, in the second row; +r, t, u, in the lowest row), is an indication that the first printer +laid the letters of the lower-case as we now lay the capitals of the +upper-case, in alphabetical order. When it had been demonstrated that +the letters were unequally used, and that the characters in most +request should be near the compositor’s hand, the letters a, h, and the +thick spaces took the places occupied by sorts not so often needed. +The lay of the case and the size of the boxes in Moxon’s plan, and +indeed in all modern plans, are not in proper position or proportion +to give the greatest convenience to the compositor. Many attempts +have been made to correct these faults, but none have succeeded. In +this plan, as in other plans maintained by compositors of our time, +tradition is stronger than reason. To this day the larger boxes of +modern cases contain the same sorts and are in the same position as +those of Moxon’s plan. + + +25. THE GALLEY described in plate 2 is the modern slice-galley. The +long tray-galley of wood and the long proof-galley of brass are not +mentioned. It must have been customary for each compositor to make up +his matter on a slice-galley as soon as he had completed his page. When +composition was so managed the difficulty of keeping two or more men at +work on the same book must have been great. + + +28. A CORRECTING-STONE “four foot and an half long, and two foot broad” +... as “a convenient size for the generality of Work” is another +indication of the small size of the forms. + + +28. SCABBORD is an old spelling of scabbard or scale-board, which was +once a thin strip or scale of sawed wood. The difficulty of sawing wood +to uniform thickness led to the use of strips of thin iron, which were +cheaper and more even as to thickness. The name that had been given to +the wood was continued for the iron. Scabbards were also used as aids +in justifying forms and in making register. The scabbards mentioned in +printers’ grammars of the last century were of cardboard or millboard. + +GUTTER-STICKS are so called because of the groove cut in the center, +constructed after the fashion of a gutter for the drainage of water. +The groove was needed to prevent the bagging of the tympan and the +blacking of the white paper in the operation of presswork. The grooving +of gutter-sticks is still maintained, although there is now no need for +the groove. + +QUOINS “about three inches square” are not to be found in any modern +printing-office. + + +31. THE “DRESSING-BLOCK” is now known as the planer, but the form of +planer now in greatest use is usually two and one half inches high and +eight and one half inches long. + +“SHEERS, such as Taylors use,” were common tools in all printing-houses +fifty years ago, but they have been supplanted by simple machines that +cut brass rule with more accuracy. + + +32. THE EARLIEST COMPOSING-STICKS were veritable sticks of wood. The +Plantin-Moretus Museum, at Antwerp, has preserved several of these +venerable implements. The stick illustrated by Moxon with a bottom +plate, which he calls the back, is one inch narrower than the stick +now used in English and American printing-houses. In other features +no serious difference can be noted. The sliding measure, now known +as the knee, was then made in two parts for the composition of type +in two distinct measures--one for the text and one for the marginal +notes. The iron would now be adjudged too thin, and the soldering on +of a head-plate of long-primer thickness would not be tolerated. The +suggestion that the sliding measures, or the knees, could be filed +when they proved untrue leads us to the inference that these frail +composing-sticks soon became inexact. + + +34. A CHASE “two and twenty inches long and eighteen inches broad” +is the proper size for a form of crown paper fifteen by nineteen +inches. This, we must suppose, was the size of paper in greatest use. +The construction of the Moxon chase is substantially like that of +the modern chase, but the iron used was thinner, and the method of +hand-filing recommended for the making of squares and dovetails could +not have been entirely satisfactory. The old chase must have been weak +and easily bent or twisted out of square. + + +37. THE PRESS in greatest use in England during the first half of +the seventeenth century is the one shown in plate 3 and properly +stigmatized by Moxon as a “make-shift slovenly contrivance.” The +press that he approves and illustrates in plate 4 is the “excellently +improved invention” of Willem Jansen Blaew, but it received no +noteworthy improvement during the eighteenth century. In all its more +important features it was the press on which Benjamin Franklin worked +in Philadelphia and in London. It is now entirely out of use, and the +technical names of its different parts are imperfectly understood and +are often misapplied. Before study is made of the function of each +part, the novice should understand the combined action of the different +parts. + +The form of type to be printed was placed on the bed, or, as it was +then called, the stone (marked _l_ in plate 4). The surface of the +type was inked by dabbing it over with the inking-balls, which are +shown on the left side of the wooden cheek of the press. The ink was +evenly spread over the surface of the balls by rocking their opposing +faces against each other in many directions. When the type was fairly +covered with a film of ink, the damp sheet to be printed was laid +upon the tympan (marked 5 in plate 4, where it is shown in very bad +perspective), which Moxon calls the tinpan. The pressman then folded +down the frisket (marked 6 in the plate and incorrectly drawn), so that +it would lie flat upon the tympan. This frisket had been previously +covered with a sheet of stout paper in which openings had been cut to +allow the face of the types to meet the sheet to be printed. This mask +of paper protected every other part of the sheet against a possible +blackening of ink. The pressman then folded down the tympan so that +it rested flat upon the form of type. This done, with his left hand +on the rounce handle projecting from the wooden bridge (marked _y_ in +plate), he drew the form of type half way under the platen (marked _c_ +in plate), which, it should be noticed, is one half the size of the +stone and of the form of type upon it (not shown in plate 4). With +his right hand on the bar (marked _q_ in plate) he pulled this bar +toward him. This pull moved downward the screw and its attached spindle +(marked _i l m_ in the plate). The pressure so made, resisted above by +the head _e_, and below by the winter _d_, was received by the platen +and transferred to the paper and the types that were directly under the +platen. This pressure printed one half of the sheet. Then the pressman +put back the bar, and with the rounce handle moved forward the stone +with the type upon it until the unprinted half of the sheet was covered +by the platen. This done, he again pulled down the bar and completed +the printing of the unprinted half of the sheet. Reversing the motion +of the rounce handle, he drew backward the stone and type, unfolded +the frisket and tympan, and removed the sheet that was printed on one +side. This seems, and it really was, slow work; but all books printed +before the year 1800 were made by this slow method. In all presses made +in England before 1800, two pulls of the bar were needed to print a +full sheet on one side. The press was not sufficiently strong to print +properly a full sheet of demy by one impression. The power produced +barely sufficed for the printing of the half-sheet. The minuteness of +the directions here given concerning the construction and the fitting +up of the different parts shows that rigidity of fitting was regarded +as of importance. Yet it was foreseen that the press would leak +pressure. + + +38. WILLEM JANSEN BLAEW, a map-maker and printer of eminence, was born +in Amsterdam in 1571, and died there in 1638. His improvements to the +press were made in 1620. As the Blaew press is now obsolete, I do not +think it necessary to follow Moxon in a more minute explanation of the +minor parts of his press. + +PRESS-BUILDING was not a distinct trade in 1683. Every printer had +his presses made to order from his own plans by a local joiner or +carpenter, aided by a blacksmith or machinist. The bed-plate was of +stone, and the platen of wood. Iron was sparingly used, and only for +spindles, hooks, nuts, screws, bolts, etc., that could not be made +of wood. Iron was of high price, and was cast or forged with so much +difficulty that no one dared think of it as a proper material for the +framework or for any of the larger pieces of the press. The pasting +down of the vellum on the inner side of the tympan (now known as the +drawer) was done to prevent the bagging or bellying outward of the +outer tympan. The brayer of flat face was practically a wooden pestle. +Its office was to distribute the ink on the block before it was taken +up by the balls. This work is now done much better by a cylinder of +wood, which still keeps the name of brayer. + + +59, 60. Moxon estimated that one quarter turn of a home pull of the +bar lowered the spindle five eighths of an inch. In the pressure so +given, only one fiftieth of an inch (“the Form to the Stone half a +Scabbord”) was taken by the type, and about one twelfth of an inch by +the paper, tympan, and blankets. This shows waste of power, even when +impression was aided by an elastic spongy blanket. The greater part of +the force exerted leaked away and was lost in the yielding wood and the +compressible joints. A mechanician will see at a glance that a press so +constructed could not exert more power than the printing of two octavo +pages of type at one impression, and that it would fail entirely to +face the black background of a large woodcut. + + +68. It does not appear that the stone was tested by a straight-edge or +by a spirit-level. Many of the stone beds in use during the seventeenth +century were uneven as to face and badly leveled, and compelled the +pressman to make use of an elastic impression. The frequent breaking +of the stones complained of by Moxon was due as much to bad leveling +as to the carelessness of the pressman. His preference for the wood +lignum-vitæ was reasonable. + + +69. A PLATEN OF BEECH-WOOD was liable to warp and split, but a more +suitable material was rarely used. The only attempt at improvement +known to the writer was made by Christopher Plantin of Antwerp, who had +his platens covered with sheet copper to cover the cracks in the wood, +and to hide the faults they made in impression. + + +70. THE POINTS AND POINT-SCREWS are old devices that were used in the +fifteenth century. One can find the marks of point-holes in leaves of +books printed by Ratdolt and other careful printers of that period. + + +72. One of the most useful improvements made by Blaew in his new press +was the provision of leather girths, one end attached to the carriage, +and the other to the barrel around the spindle. With a rounce handle +on the end of this spindle, the pressman could easily run in and out +the carriage with the type upon it. The first presses did not have +this improvement. It is not to be seen in the woodcuts of the presses +of Aldus, Badius, and other early printers. (Compare the cuts, plates +3 and 4.) It seems that the carriage of the older form of hand-press +must have been shoved in and pulled out by lugging at the framework of +the carriage. + + +73. THE LYE-TROUGH, shown in plate 9, was in use fifty years ago as a +wash-trough. The form of type, laid flat in the bottom of the trough, +was drenched with water by rocking the trough to and fro. + + +74. THE PAPER-BENCH is now made with an inclined bank at the end +nearest the pressman. This inclination aids him in seizing the sheet to +be printed. On the flat end of the bench he lays the paper after it has +been printed. + +THE RACK to hang paper on, and the PEEL, illustrated in plate 32, are +now unknown in many American printing-houses, which is much to be +regretted. The development of printing that has put the wetting and +dry-pressing of paper out of fashion, and has brought into general use +the method of printing on dry paper against an inelastic impression, +is not an unmixed benefit. The new method has quickened and cheapened +common presswork, and has been of great advantage in the printing of +fine woodcuts, but it has not bettered the presswork of books. The +strong and readable print that was common at the beginning of this +century is now produced with greater difficulty and at more expense +upon dry paper. + + +75. CONCERNING INK. The very minute description here given of the +preparations for making the varnish of ink, which was badly done then +in England and better done in Holland, should be enough to correct the +common belief that the printing-ink of our predecessors was of better +quality than the ink of our time. It is not necessary for the reader to +be an expert to note that the materials were crude and the processes +unscientific. No test of the quality of the linseed-oil is suggested, +which must have been as uneven then as it is now. Nor is anything here +said concerning the black, which was probably the crude smoke-black of +commerce, with its usual taint of sulphur and other impurities. The +cheap printing-ink of our time, even when made by a manufacturer of low +repute, is more scientifically compounded, and is blacker and better, +than the ink used by the ordinary book-printer of the seventeenth +century. In Moxon’s book the ink is variable--on many pages pale, on +others over-black; and there are variations of color not entirely due +to uneven inking by the pressman. A weak ink applied to a bold type, +and printed on wet paper against a spongy impression, seems blacker +in print than a better ink printed on dry paper against an inelastic +impression. + +Resin was the only ingredient added to the black and varnish. No +mention is made of other substances that are now rated as of great +value. + + +85. LETTER-CUTTING was always enveloped in mystery. Every new +practitioner had to devise many of his own tools and work out his own +methods, and independent action led some cutters into serious error. +Others, unhampered by traditionary rules, introduced new methods. +Moxon has frankly told us all about his tools. Some of them may have +been invented by himself, but more of them were those of contemporary +English and Dutch punch-cutters and of the makers of mathematical +instruments. His descriptions of well-known tools like files, rules, +or liners need no comment, but our surprise is aroused at their +simplicity, and more than all, at his ignorance of tools of precision. +Here and there he does mention the magnifying-glass, but nowhere does +he speak of a micrometer. He had no unit as a base for measurement. He +frequently describes a measure as a half inch, or as a quarter inch, +rarely as an eighth inch. A sixteenth or thirty-second of an inch is +never mentioned in these words. It is a proper inference that his +measuring-rule was not so minutely subdivided. These nicer subdivisions +had to be determined and marked by himself on measuring-rules of his +own construction, and he must have done this work very well. To divide +the body of english in forty-two equal parts is to make each part +equal to about 46/10000 an inch. One forty-second part of long-primer +body would make each part about 33/10000 of an inch. His method of +determining the width of these parts was to make, by rubbing on a +stone, seven thin spaces equal to the em quadrat, or square of the +body. The full point or period was one and one sixth of this thin +space; the colon, one and two sixths; the comma, one and three sixths; +the hyphen, one and four sixths; the semicolon, one and five sixths. +These were practically his testing measures, which were transferred to +the plate he called his face-gauge. The modern punch-cutter will be +amazed at the crudity of Moxon’s tools and methods; but crude as they +were, they served him for making types that did good service. Nor does +Fournier, in his “Manuel Typographique” of 1766, mention any tool of +precision. A testing of distrusted types must have been done largely by +sight and touch. + + +118. THE SWASH-LETTERS here mentioned are capitals that show the +writing-master’s flourished extension of line. In many letters these +lines hang over the body, as in the old form of roman capital Q. They +are most common in old italic, and are fairly illustrated in plate 15. + + +119. EMERICK, emery. + + +120. MR. WALBERGER OF OXFORD is the Peter Walperger or Walberger +of Holland who was installed by Bishop Fell as a punch-cutter for +the University Press, and who there earned the reputation of a good +workman. He died in 1714. + + +124. STEM is the thick-stroke of a letter, sometimes called by +type-founders the body-mark. + + +125. ENGLISH LETTER, as mentioned on this page, means Old English, or +black-letter. + +Moxon’s notions of proportion for the variable thickness of the stems +or fat strokes of letters were tabulated by allowing forty-two equal +parts as the height of the body. The thickness or the width of the stem +in a roman capital should be five of these parts; in an italic capital, +four; in lower-case roman, three and a half; in lower-case italic, +three. These distinctions are nicer than those laid down by Albert +Dürer in his diagrams on the proper proportions of letters, where it is +stated that the width of the stem should be one tenth the height of the +body, which is in the proportion of four and one fifth to forty-two. + +These proportions are no longer maintained. The stem is now made of +variable thickness to suit different styles of letter; sometimes it is +in the proportion of two to forty-two, and sometimes ten to forty-two. +The rule that the stem of the roman capital should be wider than that +of the lower-case, and that the stem of the italic capital should be +still thinner, has been generally observed in all type-foundries. + +No defined width is made for the thin-stroke, which is now called the +hair-line; but a glance at the diagrams in plates 11 to 15 is enough +to show that this hair-line had a positive and appreciable width for +its height. It was well understood also by all punch-cutters that this +thin-stroke would appear in print much wider than it did in the punch. +The elastic blanket that forced the wet paper not only upon the type, +but lapped it around its edges, made the thin-stroke appear in print at +least one half wider than it was in the punch or in the type. + + +129-147, and plates 18 and 19. The type-founder’s mould is peculiar +to his art. It consists of two large pieces of steel, forming when +combined an upper and an under side, so fitted to each other that types +of different widths, from the thinnest space to the broadest quadrat, +can be cast in its central hollow space without any change in the depth +of the body. Each piece has firmly fixed attachments of many smaller +bits of steel to insure this exact adjustment. Types may have been +cast at a very early date in fixed moulds of sand, but types so made +must have been expensive, of irregular body, and exceedingly variable +in line, and could not have been combined with the accuracy that is +indispensable to the easy practice of type-setting. The usefulness of +typography really depends upon the squareness and geometrical accuracy +of each type. A variation of one thousandth part of an inch in body is +fatal. Early writers on typography did not clearly describe the mould, +but they have put on record their admiration of the mechanism devised +for the “wonderful art of letter-making,” and the “admirable proportion +and harmony between the letters.” The mechanism that produced this +accuracy was without doubt the mould. + +The early type-mould was probably made adjustable in two directions, +so that it could cast two or more bodies of type. The Bruce foundry of +New York has a mould of this description of unknown age. Its peculiar +construction explains slight variations of body in types of the same +face, made by the same printer during the infancy of the art. This +adjustable mould went out of fashion in the sixteenth century, but it +was retained in many foundries as a mould of value for emergencies. +The mould of fixed body, adjustable as to width only, has always been +preferred. + +Fournier says that the early moulds of Germany and Holland were of +brass. Moxon’s mould was of iron. They are now made of steel, with a +precision of fitting unimagined by any early founder. The most valuable +improvement made in this mould was devised by Archibald Binny of +Philadelphia, who, in 1811, affixed a spring to the matrix that gave +to it a quick return movement after the type had been cast out of the +mould. Many attempts have been made to alter the mould so that it could +cast two or more types at the same time. Didot’s polymatype mould, made +to cast fifty types at one operation, is the most notable but it can +be used only on very small type, and it is not approved by English or +American foundries. The mould attached to type-casting machines in most +use is, in its more important features, the mould used by Moxon. The +new Barth type-casting machine has a mould of different construction, +but without great change in principle. + + +135. GEAT is the old spelling of the word jet, or the waste metal that, +in cooling, clings to the type at the orifice in which the hot metal is +poured. The separation of this ragged bit of metal from the cast type +is known as “breaking off the jet.” + + +142. Properly made, the two halves of the mould should fit so close +as to be air-tight; but a too close fitting will not allow the escape +of the air from the mould when the fluid metal is injected. An +imperceptible slackness in fitting is necessary to allow the escape of +the air at the joints. With this escaping air goes out also, at these +joints, a thin feather-edge of cooling metal, then known as the rag. + +THE JUSTIFYING OF THE MOULD was done without gauges. The types cast +were tested by setting them up in parallel rows, one row head up, and +one row feet up. If one row overlapped the other, the fault could be +felt by a nice touch. The test of squareness was made by holding two +types, nick to nick, between the eye and light. If a glimmer of light +appeared, the mould was in fault. To the modern founder these seem +tests of great crudity, but they were adjudged good enough. + + +145. THE DAWK was a slight concavity or depression in the body of +the cast type, made by a corresponding convexity in the mould. For +the correction of faults Moxon allows the use of the file upon the +mould with a freedom that must provoke the surprise of every modern +mould-maker. For a modern type-caster to file a mould after it has +been adjusted is now regarded as a blunder worse than a crime; yet +Moxon says that accuracy need not be expected on the first, or even +the seventh, time of testing. The workman must mend “on, on, on, by +a little at a time, till at last it is so finisht.” The underlaying +of different parts of the mould with an “assidue,” or thin plate of +brass, as is here recommended, is evidence that the mould was often +filed recklessly and to its injury. In no reputable modern foundry +or machine-shop would this tampering with a mould be allowed. The +straight-edge, the square, the eye, the fingers--these seem to have +been the only available tools of precision. + + +149. MATRICES. Soft copper is recommended because it is not liable to +break the punches; but soft copper is not durable. Continued spurts +of hot metal against a soft copper matrix soon blunt its edges and +finer lines. Modern founders find it a wiser economy to use hard +rolled copper, and risk the breaking of punches. Very large types are +sometimes struck in copper softened by heat, but this is not regarded +as good workmanship. A matrix made by the electrotype process, or by +the use of a perforated copper plate riveted upon another solid copper +plate, is preferred. + +COUNTERS. A thick space, or one third of the square of the body, is +made the proper depth for the sinking of a matrix, but this depth was +not always secured. The fear of breaking the punch made early founders +cautious, and their matrices were sunk to a depth of one fourth or +one fifth the square of the body. When the counter-punch had been +made correspondingly shallow, the counter of the cast type and the +beard outside the letter were often blackened by the inking-balls, +and dots or spots of ink were transferred with the print to the wet +paper. Fertel, a French printer of 1723, says (“La Science pratique de +l’Imprimerie,” page 4) that the counters of some new types were of no +greater depth than the thickness of a sheet of strong paper. + + +153. THE JUSTIFYING OF THE MATRICES is one of the nice operations +of type-founding. Each matrix must have a free movement to and from +the mould, but it must fit snugly to the nicest fraction. All the +matrices for the same font must occupy a prescribed position upon the +mould, exact as to top, foot, and sides. A slight deviation puts the +types cast therefrom perceptibly out of line, or makes them crooked, +with more space on one side of the character than on the other. Nor +is this all. The face of the letter in the matrix must be in exact +parallel with the face of the outer plate and the face of the mould. +If higher at one side than at the other, the type cast therefrom will +have a corresponding unevenness of height. If the distance between the +outer surfaces and the faces of the letter is not the same in all the +matrices, the types will be of uneven height. + +It is a marvel that early type-founders did so well with their +imperfect methods. The commonest fault was making the matrix too +low, so that the types cast therefrom would be low to paper. As the +remedying of this defect calls for an entire section on the botching +of matrices, it may be inferred that a certain amount of botching was +considered unavoidable. The press of the early printers seems to have +been constructed to hide irregularities of height in type that were +then thought unavoidable. + + +164. MAKING METAL. The melting-point of lead is about 617° and that of +iron is about 2100°. At the greater heat lead is destroyed as a metal. +It is possible to incorporate lead with iron, but it cannot be done +by the process here described. The only useful office performed by +the stub-nails was to deprive the antimony of its excess of sulphur, +which was incorporated, undetected, with the dross and the slag. The +proportions are not clearly stated: “For every three pounds of iron, +about five and twenty pounds of lead.” The exact quantity of antimony +is not stated. In the second paragraph it is said that the iron and +antimony are equal as to weight. Were the ingredients twenty-five +pounds of lead, three of iron, and three of antimony; or twenty-five +pounds of lead, and three pounds of mixed iron and antimony? No mention +is here made of tin or copper. The lead gave to the alloy softness and +easy-working qualities; the antimony hardness and stiffness; the iron +was intended to give hardness. + + +169. THE CASTING OF LETTERS by the hand-mould was slow work. Four +thousand types a day was the average performance. It was also hard +work. To “face the type”--to make the liquid metal forcibly splash +against the face of the matrix--the caster, as Bernard truly says, must +make the contortions of a maniac. If it were not forcibly splashed, the +type would have a defective face. The jerk or twist given to the arm +was one of skill as well as of strength. It often happened that strong +men were never able to acquire this knack. They might work hard all +day, apparently going through all the motions, and yet be unable to +make perfect types. The smaller the body of the type, the harder must +be the jerk of the arm. + + +175. TIN. When types did not come with a good face, the caster put tin +in the metal-pot, to make the metal fluid. This is the only mention of +the use of tin as an ingredient, and it seems to have been used only to +lighten the work of the caster. + +THE RAG, or feather-edge of thin metal made by the windage or escape +of air at the joints, was rubbed off on a grindstone. This method +of rubbing could not be employed for types like f or j or f, which +overhang the body: the rag on these letters was more slowly taken off +with a scraping-knife. + + +192. THE PLOWING OF A GROOVE at the bottom of the type was the +next process. No mention is made of an inspection of the type for +the detection of faults of casting, as is customary in modern +type-foundries. + + +197, 198. COPY. This introduction is obviously the outgrowth of +some painful experiences with authors. “By the Laws of Printing, a +Compositer is strictly to follow his Copy.” This law presupposes that +the copy is always correct--a supposition as untenable now as it was +then. Moxon admits that the compositor should amend bad spelling and +pointing, and use capitals and italics with sense and reason, even if +he has to deviate from copy. The standard of typographic style is much +higher now. The compositor of to-day who undertook to reset this book +in modern style would be required to cut out all the italics and more +than half the capitals, readjust the punctuation, correct the spacing, +make uniform the spelling, and remodel the headings and the make-up. + + +199. CASES. These directions for the papering of the cases indicate +that many were of unseasoned wood or insecurely jointed. It is not +probable that the different parts were dovetailed or fastened with +screws. + + +201. WASHING OF FORMS. The proper method of washing a form, as +described on this and following pages, warrants the supposition that +very thin ink must have been used, and that this ink must have flowed +or spread downward on the spaces and quadrats and between the letters +in loosely justified lines. + + +207. DISTRIBUTION. In these prolix directions concerning distribution, +it seems that a composing-rule was not used to uphold the type. The +compositor made use of a reglet for the purpose. + + +212. THE GALLEY here described was a quarto slice-galley, placed upon +the ledge of the upper-case at the right hand, covering the boxes for +signs and double letters, which were the characters supposed to be in +least use. If the galley had been put in a sliding drawer, upon an +inclined shelf under the stand, it would have been as accessible and +not so liable to damage. + + +212. THE VISORUM, or projecting copy-holder, is now out of use. This is +to be regretted, for it brought the copy nearer to the compositor’s +eye, enabled him to keep closer attention on each line of the copy, and +afforded readier access to all the boxes of the upper-case. + + +214. REGLETS. The rude way in which composition was then done is shown +in the second paragraph, in which it is said that compositors many +times used reglets instead of brass composing-rules. + + +218. SIGNATURES. The compositor was required to make up his page as +soon as it was composed, and to add the direction, or catch-line, and +the signature. The directions for signatures are minute. It was not +enough to put the signature letter A at the foot of the first page +of the first form. It must be repeated A2 on the third page, as an +additional safeguard against the possible carelessness of the folder. +If the section to be bound consisted of three or more double leaves, +the fifth or seventh page of the section must be appropriately marked +with A3 or A4. When these letters followed in numerical order, the +folder knew that the folding was correct. + +As only twenty-three letters in the alphabet were accepted for +signatures (J, U, and W were rejected), the letters could serve only +for twenty-three signatures, usually of eight, and never more than +sixteen pages. If the book exceeded three hundred and sixty-eight +pages, and sometimes a lower number, the alphabet was doubled as Aa. If +the book had two or more volumes, the number of the volume had to be +added to the signatures. This old method of the trade is still observed +in Great Britain. In the United States Arabic figures are preferred for +signatures. + +The signature was put unhandily in the center of the line, making it +difficult to be seen by gatherer or collator. Modern usage now requires +that the signature be more conveniently placed for inspection, near the +beginning of the white line. A recent fashion is to put the signature +near the edge of the tail, so that it can be cut off by the binder. +Another fad is to suppress all signatures. This is recommended because +signatures are not now found in early manuscripts, but Blades has shown +in his essay on this subject that they were always used by all writers +of manuscript books, and that they do not show because they were put at +the foot of the page and were afterward trimmed off in binding. + + +220. EMPHASIS. The remarks in the fifth paragraph place Moxon before +us as a man who had his heart in his trade. The duty of a compositor, +“to make the meaning of his Author intelligent to the Reader,” and “his +Work shew graceful to the Eye, and pleasant in Reading,” is pointedly +stated. His methods were well adapted for the time and for prevailing +typographic fashions. He confesses that the “mode of ordering Titles +varies; as may be seen by comparing the Title Pages of every twenty +years: Therefore a Lasting Rule cannot be given for the ordering them: +only what has been said in general concerning Emphasis.” To suit the +taste of that time, print must have emphasis, and plenty of it. Every +page was peppered with italic; important nouns and verbs and some that +are not important must begin with a capital. For the title-page and the +running title roman capitals were not bold or black enough. Recourse +was had to black-letter. That there was some system, or attempt at +system, in this conglomerate of styles is probable, but Moxon has not +explained his rules. We know only that the style of this book is not +uniform. A proof-reader of our time who attempted to make it uniform +would score every page. + +The fashion of displaying print with italic and capital letters died +hard. More than a hundred years passed before readers discovered that +too much emphasis in the text defeated its purpose, and made the text +really harder to be read. Not even yet are all publishers and printers +able to see that there should be a difference in the treatment of a +poster to be read across the street and of a title-page to be held in +the hand; and that there is but little more reason for classifying some +words of a title in bold display-lines, and others in petty catch-lines +of obscure small capitals, than there would be in treating the words of +a sentence in the text in a similar manner. + +The uncouthness of many of the titles of the seventeenth century is +wrongly supposed by some critics to show the vanity of the printer, who +wished to display, as well as he could, the extent of his collection. +This supposition has no good foundation. The printer of that time did +not have types enough for the needs of title-pages. Between pica and +canon were only six distinct bodies and faces of roman letter, and +they were rarely of uniform face. There should have been at least a +dozen. These types were inelastic, and could not be neatly compressed +or expanded to fit the words of every line. The prominent word or +words selected by the author for a leading line might be too few or +too many to fill that line. All the printer could do was to space out +the letters of a short line, or divide words in the over-long line and +put them in two lines. The words had to be accommodated to the type. +It was for this reason that large roman lower-case, black-letter, and +italic were so freely used. Moxon showed good sense in his preference +for capital letters, for “Capitals express Dignity where-ever they are +Set, and Space and Distance also implies stateliness.” Capitals were +then made to one square standard form, and were really unfit for more +than half the title-pages for which they had to be used. The variety +of large roman capitals provided by modern type-founders is better +now than it was two centuries ago, yet it is still imperfect. We have +a greater variety of roman faces and more sizes, but not one of them +is properly graduated in the larger bodies, as they should be, by a +difference of three points only. + +The mechanical directions concerning petty details of composition seem +needlessly minute, but most of them are good, and are obeyed to this +day. + + +232. OF IMPOSING. As the sheet to be printed in 1683 was always of +small size, imposing was a comparatively simple process. But four +foldings were made,--folio, quarto, octavo, and twelves,--all of them +clearly illustrated by the plates. Some of the simple rules that our +author lays down have been unwisely omitted in some modern printers’ +grammars, viz: An even and an odd page always stand together; the +folios of the two pages that stand together make, in their addition, +one more than the number of pages in that form. + + +238. PLANING DOWN. The instruction about this duty is needed more now +than it was then. Our author recommends that projecting type be planed +down with knocks on the planer from the closed fist, or with the head +of the shooting-stick. Our larger forms require more force, but too +much force is often given. The pounding of a form after it has been +locked-up with furious blows from a heavy mallet is not warranted. + + +239. LOCKING-UP. His process of locking-up is not so good. He advises +the tightening of each page by the side-stick before that page +is tightened at the foot. This indicates the commonness of slack +spacing and line justification, for which he suggests the remedy of +chewed paper forced into the slack line at the point of a bodkin! He +confesses, however, that this is a botchy expedient. The frequent +hanging or inward bowing of a page at its foot is usually produced by +over-tight locking-up of the page at the side before locking-up the +foot. + + +242. CORRECTING. As proofs could not be taken on galleys, all +correction had to be done on the stone, and this was done as it is now, +with the destructive bodkin. Unusual tolerance seems to have been given +to the practice of overrunning matter in the form--a practice sure to +make bad justification. + + +260. OF THE CORRECTOR AND HIS OFFICE. Moxon requires the corrector +to be well skilled in “Latin, Greek, Hebrew, Syriack, Caldæ, French, +Spanish, Italian, High Dutch, Saxon, Low Dutch, Welch, &c.” Nor is +this all. “He ought to be very knowing in Derivations and Etymologies +of Words, very sagacious in Pointing, skilful in the Compositers +whole Task and Obligation, and endowed with a quick Eye to espy the +smallest Fault.” One may rightfully doubt that any reader permanently +employed by any master-printer of the old time had one half of these +accomplishments. Moxon’s ideal of a corrector seems to have been based +on the tradition that learned men had been employed by Christopher +Plantin of Antwerp, and the Stephens of Paris. His error was that he +mistook their principal duty, which was not so much to correct errors +in proof as to prepare copy after its diligent collation with earlier +editions or little-known manuscripts of merit. Scholarly work was +cheap. Plantin paid his principal correctors lower wages than his +compositors. That these correctors did a deal of scholarly work is not +to be questioned, yet they overlooked many typographical errors. The +scholarly preparer of copy and the editorial and critical proof-reader +of the sixteenth and seventeenth centuries are now extinct. No living +master-printer can afford to pay for the services of even a presuming +successor to any one of these worthies. He has to be content with the +proof-reader who is “very knowing in Derivations and Etymologies, and +sagacious in Pointing.” + +The signs or marks then used for the correction of proof are fewer in +number, but are substantially the same as those in use now. + + +266. ALTERATIONS. The admonition to the author to deliver his copy +perfect, and not to hope that he can mend it in proof without +additional expense, is an intimation that badly prepared copy is quite +as old as printing. + + +270. THE FITTING OF THE OLD HAND-PRESS. This section gives us a curious +insight into the defects of the early hand-press. The smearing of +tenons with soap or grease; the bracing up of the cheeks, head, and +cap, with beams; “the crazy make of the Winter,” or the resist to +downward impression; “the Under-laying of the Feet”--all these make one +doubt whether this press was really “invented upon mature consideration +of Mechanick Powers, deducted from Geometrick Principles.” + + +275. THE BEDDING OF THE STONE as here described was in bran, but +plaster of Paris was sometimes used. + +The pouring of water from a sponge on the face of the stone, to see +whether it had a “propensitude” for one side more than the other, was +the substitute for a spirit-level. + + +278. OF HANGING THE PLATEN. The platen was suspended by whip-cords +from hooks. The spindle was steadied in its action by the guide-rods +attached to the hose. The adjustment of the whip-cords to the hose, so +that they would not be unevenly strained when the spindle descended, +was a nice operation that was not always done with accuracy. When +unevenly hung the platen gave untrue impression. + + +281. JUSTIFYING THE HEAD, as here described, was the repacking of the +mortises with felt, pasteboard, and scabbard, so that the resist to +the impression should be uniform. The mechanic who carefully reads +these descriptions of the construction and operation of the press +must wonder at the ingenuity of these cross-purposes. The press was +made to give impression upon the paper overlying the types, and it +must have been intended that the pressure exerted should be confined +almost exclusively to the form of types. It should have been rigid and +inflexible in every part where pressure might be lost. But we here see +that provision was made in the beginning for the escape of the force +exerted. Not one tenth of it was felt upon the type. Nine tenths of +that force leaked out in the fittings, and really contributed to the +needless wearing of elastic or shackly-fitted parts of the press. In +important joints one finds elasticity where there should have been +rigidity, as well as compressibility in the bed of bran under the +stone, in the loosely tenoned head and winter, and in the swinging +platen. + + +287. Additional elasticity was given by the use of a blanket in two +folds, or a doubled blanket. + + +288. MAKING REGISTER. The rude manner in which forms were sent to +press is here shown by the directions to the pressman to correct them +when out of register from half a nonpareil to a long-primer! He is +ordered first to unlock the form and try to get the pages in register +by changing the quoins, or by varying the pressure on them, which +frequently produced a twisting of the cross-bars. If this expedient did +not serve, then the pressman must put in or take out furniture until +the pages were in parallel. This was bad practice. The proper usage +now is for the pressman to return a crooked form to the compositor, +and require him to make the change. Alterations of margins in crooked +type-forms should be made on the imposing-stone, and not on the bed of +the press. + + +291. THE UNDERLAYING of wood letters or engravings of any kind that +are too low to receive impression is here made another duty of the +compositor; but the underlaying or overlaying of types in masses or in +patches to correct inequalities of impression is nowhere advised. The +spongy blankets were the first and last resort for the correction of +this fault. + + +319. WORKING AT PRESS. Two pressmen were needed for its efficient +service: one to ink the type, one to put on the sheet, print it, and +take it from the tympan. It was intended that they should be of equal +ability, so that they could do either kind of work. The proper product +of the press so manned was put at the high standard of a token an hour, +or two hundred and forty sheets printed on one side. The work-day was +never less than twelve hours, sometimes more. The press was of small +size, yet it required much activity to pull a token in one hour, for +two pulls of the bar had to be made on each side of the sheet. In the +middle of every ream the paper-maker put a cross slip of white paper as +a mark or token that at this point one half-ream ended and the other +half-ream began. Printers of our time continue the use of the word +token as a measure of their work. The full ream printed on both sides +is rated as four tokens. + +COMPOSITION INKING-ROLLERS came in with cylinder printing-machines. +The success of the new machines depended on the rollers. According to +Hansard, they were first made by Forster of Weybridge, England, who +derived his knowledge of the value of a mixture of glue and molasses +as a receiver and transferrer of ink from the Staffordshire potteries, +where it was used as an aid in the decoration of crockery. + +The first printer in the United States to use composition rollers was +Jonas Booth of New York, who made them in 1827. + + +328. PRINTING IN RED. This paragraph 16 requires careful reading for +a clear understanding of the crudity of the old method of printing in +red and black. The pressman unlocked the form and picked out all words +to be printed in red, filling up the vacant spaces with quadrats. He +then printed the black form in the usual way. This done, he again +unlocked the form and withdrew the quadrats that had been used to fill +the spaces to be occupied by the words in red. At the bottom of each +vacated space he put in bits of scabbard as underlays for the types +in red. The thickness of the scabbards is not specified, but it must +be understood that they projected a nonpareil or more above other +types. The form was then locked up, the red words being in their proper +places. A new frisket was cut for this red form, and the red ink was +beaten only on the types for red ink that projected above their mates. +If the inking-balls slipped and inked any other part of the form, the +sheet was protected from smear by the new frisket that admitted through +it only the types intended for red. This treatment secured exact +register (provided the paper had not shrunk in drying), but the rudely +cut scabbards were an uncertain and variable support for the types, and +usually made uneven printing. The caution to pull lightly and not print +too hard was needed, for the difficulty of fairly inking and smoothly +printing types so treated cannot be overrated. + + +331. PRINTING IN GOLD. Equally unworkmanlike, to our notion, are the +directions about printing names in gold and silver. For this neither +chase nor press was provided. The type as set in the stick was coated +with hard varnish, and then pressed with the hands on wet paper against +a blanket on the correcting-stone. This done, the gold or silver leaf +was gently pressed on the print! + + +356. THE CHAPEL. The common belief that the word “chapel” as the trade +name of an association of printers in a printing-house is as old +as Caxton, and that it was so given from a chapel attached to “the +almonesrye at the reed pale” in Westminster Abbey, in or near which +Caxton did his work, finds no warrant from Moxon. His explanation is +more reasonable: “... some great Churchman, or men, ... for the Books +of Divinity that proceeded from a Printing-house, gave it the Reverend +Title of Chappel.” I find no mention in any book of earlier date of +the word chapel as a synonym for a fraternity of printers. Although +England is regarded as the birthplace of guilds and fraternities, there +is no old record of any association of printers as printers only. The +Company of Stationers was an association dominated by booksellers who +were more intent on getting and holding patents and privileges for +the sale of books than on improving or developing typography. Roger +L’Estrange, the “surveyor of the Imprimerys,” writing in 1663, said: +“The stationers have subjected the Printers to be absolutely their +slaves by so increasing their number that one half must either play the +knave or starve.” The customs of the chapel among journeymen probably +came from Germany. Blades, in his “Depositio Cornuti Typographici” +(London, 1885), shows that some of the customs of English printers +closely resemble the older German customs that are fully described in +this curious book. + +Thomas Gent, printer, in his “Autobiography” (page 16, edition of +1832), thus describes his initiation in a London printing-house about +the year 1714: “On my entrance amongst a number of men, besides paying +what is called Ben-money [benvenue], I found, soon after, I was, as it +were, to be dubbed as great a cuz as the famous Don Quixote ... though +the insipid folly thereof, agreeably to their strange harangues in +praise of the protecting charms of cuzship ... was not very agreeable +to my hearing; yet, when the master himself insisted it must be done, +I was obliged to submit to that immemorial custom, the origin of which +they could not then explain to me. It commenced by walking round the +chapel, (Printing rooms being called such, because first begun to +be practised in one at Westminster Abbey;) singing an alphabetical +anthem, tuned literally to the vowels; striking me, kneeling, with a +broadsword; and pouring ale upon my head; my titles were exhibited much +to this effect, ‘Thomas Gent, baron of College Green, earl of Fingall, +with power to the limits of Dublin bar, captain general of the Teagues +near the Lake of Allen, and lord high admiral over all the bogs in +Ireland.’ To confirm which, and that I might not pay over again for +the same ceremony, through forgetfulness, they allowed me godfathers, +the first I ever had before, because the Presbyterian minister, at +my christening, allowed none at his office; and these, my new pious +fathers, ... were the unreverend Mr. Holt and Mr. Palmer. Nay, there +were witnesses also, such as Mr. Fleming, Mr. Gibbins, and Mr. Cocket, +stanch journeymen printers.” + +In some printing-houses the jocularity and horse-play of the chapel +meetings led to drunken revelries and a neglect of business that became +intolerable. The chapel undertook to decide who was a fair workman and +who was not. The fairness or unfairness of the workman was determined +by his compliance or non-compliance with the rule of an irresponsible +chapel. In 1820 the master-printers of London were almost unanimous in +opposing the chapel. Hansard says (“Typographia,” pages 309, 310) that +in most houses it was abolished. + +Few of the old customs survive in America. The benvenue and the solaces +are unknown even by name to the majority of journeymen compositors. +The word chapel is still used: it defines an assembly of workmen in a +composing-room who are members of a Typographical Union. + + +361. WAY-GOOSE. Hansard (“Typographia,” foot-note, page 305) quotes +Bailey’s dictionary for the definition of the word: “Wayz-Goose, a +stubble-goose, an entertainment given to journeymen at the beginning of +winter.” Wayz is the old English word for stubble. A wayz-goose was a +known dainty, and the head dish at the annual feasts of the forefathers +of our fraternity. + + +363. THE COMPANY OF STATIONERS is an old fraternity. Long before +printing had been invented, the copyists, text-writers, and makers +of devotional books of low price, like the Creed, Pater Noster, Ave +Maria, etc., were associated, and sold their books in or near those +streets of London that still retain the names of Pater Noster Lane, Ave +Maria Lane, and Amen Corner. In the year 1403 they were formed into a +guild and governed by a master and two wardens. In 1553 they owned and +occupied a large hall near St. Paul’s Church, which was burned in the +great fire of 1666. A new hall was built, and finished in 1670. Hansard +shows in his “Typographia” (facing page 237) a print of the building +as it then appeared, in which the festivities described by Moxon were +celebrated. + + +Transcriber’s Notes. + +Italic text is indicated with _underscores_, bold text with =equals=, +underlined text with ~tildes~. + +Small/mixed capitals have been replaced with ALL CAPITALS. + +Cover art created for this eBook is granted to the public domain. + + +*** END OF THE PROJECT GUTENBERG EBOOK 78991 *** |