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author: www-data <www-data@mail.pglaf.org> 2026-07-01 11:23:16 -0700
committer: www-data <www-data@mail.pglaf.org> 2026-07-01 11:23:16 -0700
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+      Moxon's mechanick exercises | Project Gutenberg
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+<body>
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78991 ***</div>
+
+<main>
+
+
+<hr class="chap x-ebookmaker-drop">
+<div class="chapter transnote">
+<p class="center"> Transcriber’s Note.</p>
+
+<p>This is volume 2 of a 2 volume edition. <a href="https://www.gutenberg.org/ebooks/72217">Volume 1</a> can also be read at
+Project Gutenberg.</p>
+
+<p>Each volume contains additional matter unique to that volume but
+pertinent to both.</p>
+
+<p>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:</p>
+
+<blockquote><p>
+<i>“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.”</i></p></blockquote>
+
+</div>
+
+
+<p><span class="pagenum" id="Page_i">i</span></p>
+
+
+<div class="chapter">
+<figure class="figcenter illowe30" id="i_f001">
+  <img class="w100" src="images/i_f001.jpg" alt="title page">
+</figure>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+
+<div class="chapter">
+<h1>
+  MOXON'S<BR>
+MECHANICK EXERCISES
+</h1>
+<div class="center">
+  Or, the Doctrine of<br><br>
+  <strong><span class="big">Handy-works.</span></strong><br><br>
+ Applied to the Art of<br><br>
+  <strong><span class="huge">Printing.</span></strong><br>
+  <br>
+  The Second VOLUMNE.<br>
+  <br>
+  By <i>Joseph Moxon</i>, Member of the Royal<br>
+  Society, and <i>Hydrographer</i> to the King’s<br>
+  Most Excellent Majesty.<br>
+  <br>
+  LONDON.<br>
+  <br>
+  Printed for <i>Joseph Moxon</i> on the West-side<br>
+  of <i>Fleet-ditch</i>, at the Sign of<br>
+  <i>Atlas</i>. 1683.
+</div>
+
+<p><span class="pagenum"><a id="Page_ii"></a><a id="Page_197"></a>197</span></p>
+</div>
+
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+<div class="chapter">
+
+<figure class="figcenter illowe30" id="p197">
+  <img class="w100" src="images/p197.jpg" alt="section heading with large black-letter type">
+</figure>
+
+  <h2>The Compositers Trade.
+  </h2>
+</div>
+
+
+<h3 id="Preface">PREFACE.</h3>
+
+
+<p><i>In a strict sence, a good</i> Compositer <i>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</i> Printed <i>or</i>
+Written Copy, <i>and have otherwise a good natural
+capacity, he may be a better</i> Compositer <i>than another
+Man whose Education has adorn’d him with</i> Latin,
+Greek, Hebrew, <i>and other Languages, and shall want
+a good natural Genius: For by the Laws of</i> Printing, <i>a</i>
+<span class="pagenum" id="Page_198">198</span>Compositer <i>is strictly to follow his</i> Copy, <i>viz. to observe
+and do just so much and no more than his</i> Copy <i>will bear
+him out for; so that his</i> Copy <i>is to be his Rule and Authority:
+But the carelesness of some good Authors, and
+the ignorance of other Authors, has forc’d</i> Printers <i>to introduce
+a Custom, which among them is look’d upon as a
+task and duty incumbent on the</i> Compositer, <i>viz. to
+discern and amend the bad</i> Spelling <i>and</i> Pointing <i>of his</i>
+Copy, <i>if it be English; But if it be in any Forrain
+Language, the Author is wholy left to his own Skill and
+Judgement in</i> Spelling <i>and</i> Pointing, <i>&amp;c. his</i> Copy,
+<i>and</i> Correcting <i>the</i> Prooves, <i>unless they be</i> Latine,
+Greek <i>or</i> Hebrew, <i>for to those Languages there is generally
+a</i> Corrector <i>belongs to the</i> Printing-House: <i>And
+how well other Forrain Languages are</i> Corrected <i>by the
+Author, we may perceive by the English that is</i> Printed
+<i>in Forrain Countries</i>.</p>
+
+<p><i>Therefore upon consideration of these accidental circumstances
+that attend</i> Copy, <i>it is necessary that a</i> Compositer
+<i>be a good English Schollar at least; and that he
+know the present traditional</i> Spelling <i>of all English
+Words, and that he have so much Sence and Reason, as
+to</i> Point <i>his Sentences properly: when to begin a Word
+with a</i> Capital Letter, <i>when (to render the Sence of the
+Author more intelligent to the Reader) to</i> Set <i>some
+Words or Sentences in</i> Italick <i>or</i> English Letters, <i>&amp;c.
+But of this more at large in</i> ¶. 6.</p>
+
+<p><i>Thus much of his qualifications: Now to his Taask.</i></p>
+
+<p><i>The</i> Master-Printer <i>gives him his</i> Copy, <i>and directs
+him to his standing Place or</i> Case, <i>and orders him</i> Letter
+<i>to Work withal</i>.</p>
+
+<p><i>If his</i> Case <i>want</i> Papering, <i>as all</i> New Cases <i>do,
+and many times old, He must</i> Paper <i>his</i> Case.</p>
+
+<p><span class="pagenum" id="Page_199">199</span></p>
+
+
+<h3 id="_1_Of_Papering">§. 22. ¶. 1. <i>Of</i> Papering <i>and</i> Laying <i>the</i>
+CASE.</h3>
+
+<p>The <i>Composster</i> sends the Boy to the <i>Master-Printer</i>,
+or to him that attends the Warehouse,
+for <i>Half a Quire</i>, or a <i>Quire</i>, or so much as he guesses
+he shall want, of good strong <i>Wast-Paper</i>, and cuts it
+into so many several Scantlins as the number of each
+Scantlin of his <i>Boxes</i> in his <i>Case</i> are; but he cuts his
+<i>Papers</i> so large, as each <i>Paper</i> may ly double in its
+<i>Box</i>, and have enough besides to fold almost half
+way towards the middle of each <i>Paper</i>, and also enough
+to turn up again against the sides of each <i>Box</i>,
+about the thickness of a <i>Pica</i>, or an <i>English</i>, above
+the bottom of the <i>Box</i>; and its <i>Paper</i> on all its sides,
+except the upper side of the <i>Box</i>, which, as near as
+he can, he leaves no turning up of <i>Paper</i> to, because
+the tendency the whole <i>Case</i> has downwards by its
+a-slope position, the <i>Letter</i> in each <i>Box</i> tends also
+downwards, and therefore is not so apt to get between
+the <i>Paper</i> and that side of the <i>Box</i>, as between
+the <i>Paper</i> and the other sides of each <i>Box</i>: But yet
+that upper side, and all the other sides of the <i>Box</i>,
+he <i>Papers</i> so smooth and tight, that he leaves no
+wrinckles in the turnings up against the sides of the
+<i>Box</i>; but if there be any, drives them carefully into
+the corners of the <i>Box</i>, lest his <i>Letter</i>, especially if
+it be Small, should get into the openings of those
+<span class="pagenum" id="Page_200">200</span>Wrinckles, and in time work their way under the
+<i>Paper</i>.</p>
+
+<p>Having <i>Paper’d</i> his <i>Case</i>, he considers how the rest
+of the <i>Cases</i> in that <i>House</i> ly, <i>viz.</i> into what <i>Boxes</i>
+the several <i>Letters</i> are to be disposed; for they are
+not in every <i>Printing-House</i> disposed alike, and accordingly
+he applies himself to fill his <i>Case</i> with
+<i>Letter</i>.</p>
+
+<p>If a <i>Fount</i> of <i>New Letter</i> be brought home from
+the <i>Founders</i>, the <i>Compositer</i> has no more to do, but
+to fill each <i>Box</i> in his <i>Case</i> with so many of each sort
+as each <i>Box</i> will hold, and fall to <i>Composing</i> till he has
+emptied his <i>Case</i>; which the same way he fills again,
+and <i>Composes</i> on again till the whole <i>Fount</i> be <i>Set up</i>:
+But when he has no longer any <i>New Letter</i> to work
+upon, he must <i>Destribute</i> some former <i>Set Forms</i> to
+fill his <i>Case</i> withal.</p>
+
+<p>And before I shew you the Rules and Method of
+<i>Destributing</i> and <i>Composing</i>, it will be necessary I say
+somewhat of the <i>Case</i>, and <i>Laying</i> it.</p>
+
+<p>By the <i>Case</i> is meant, in <i>Printers</i> common diolect,
+a <i>Pair of Cases</i>, viz. the <i>Upper</i> and the <i>Lower-Case</i>:
+They are described with the most common way of
+<i>Laying</i> them, in Plate 2. A the <i>Upper Case</i>, B the
+<i>Lower Case</i>. The <i>Upper Case</i> is devided into Ninety
+eight <i>Boxes</i> all of equal size; but the <i>Lower Case</i> is
+devided into but Fifty six <i>Boxes</i>, 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
+<i>Letters</i> are disposed in the several <i>Boxes</i>, is called,
+<i>Laying of the Case</i>, where in the <i>Upper Case</i> you see
+<span class="pagenum" id="Page_201">201</span><i>Capital</i> A Ly in the uppermost <i>Box</i> 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 <i>Case</i>; under <i>Capital</i> A lies <i>Capital</i> 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 <i>Case</i>: But
+the Figure being plain, I refer you to it.</p>
+
+<p>The <i>Lower Case</i> is not devided according to an orderly
+succession of the <i>Alphabet</i>, in Ranks; for those
+<i>Letters</i> that are most used are laid in the biggest <i>Boxes</i>,
+about the middle of the <i>Case</i>, That the <i>Compositers</i>
+hand may have the quicker access to them. See the
+Figure.</p>
+
+
+<h4>¶. 2. <i>Of</i> Rincing a Form of Letter, <i>in order
+to</i> Destributing <i>it</i>.</h4>
+
+<p>After the <i>Press-man</i> has <i>Wash’d a Form</i>, he brings
+it to the <i>Rincing-Trough</i>, and rears it a little a-slope
+on one of the ends of the <i>Chase</i>, either against a
+convenient place of the <i>Frame</i> of the <i>Rincing-Trough</i>,
+or towards the Wall; for so plac’d, the <i>Face of the Letter</i>
+runs less hazzard of receiving dammage, and
+the <i>Form</i> stands in a proper position for the <i>Compositer</i>
+to rear a <i>Letter-board</i> against the backside of it.</p>
+
+<p>The <i>Compositer</i> therefore brings a <i>Letter-board</i>, and
+puts the Face of it against the back-side of the <i>Form</i>,
+and draws <i>Form</i> and <i>Letter-board</i> toward him, leaning
+them against his Knee till he can conveniently
+grasp about the middle of the sides of the <i>Chase</i> and
+<i>Letter-board</i> between his Fingers under the <i>Board</i>,
+and his Thumb upon the <i>Chase</i> and <i>Furniture</i>: And
+<span class="pagenum" id="Page_202">202</span>if the <i>Form</i> be not too heavy, in this position he lifts
+it up to the <i>Rincing Trough</i>; 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 <i>Letter-board</i> to rest between his Belly and
+Stomach, and then sets <i>Letter board Form</i> and all in
+the <i>Rincing-Trough</i>, letting the hither side of the <i>Board</i>
+rest upon the hither Ledge of the <i>Rincing-Trough</i>; that
+the <i>Form</i> may tilt downwards.</p>
+
+<p>When it is on the <i>Rincing Trough</i>, he gets the <i>Mallet</i>
+and <i>Shooting-stick</i>, and holding the <i>Mallet</i> in his
+Right hand, and the <i>Shooting-stick</i> in his Left, he
+places the Foot of the <i>Shooting-stick</i> (that is the thin
+end of it) against the narrow ends of each <i>Quoin</i>,
+and knocking with the <i>Mallet</i> upon the <i>Head</i> of the
+<i>Shooting-stick</i> as gently as he can to drive them back,
+he loosens every <i>Quoin</i>; and this is call’d <i>Opening of
+the Quoins, Unlocking of the Quoins, Opening of the
+Form, and Unlocking of the Form</i>.</p>
+
+<p>But in the <i>Unlocking of the Form</i>, he observes these
+three Circumstances:</p>
+
+<p><i>First</i>, He begins at the <i>Foot-Quoins</i> of a <i>Quarter</i>,
+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.</p>
+
+<p>The Reason why he opens the <i>Foot-Quoins</i> first, is,
+because the <i>Letter</i> is less subject to <i>Squabble</i> between
+<i>Line</i> and <i>Line</i> (that is <i>Head</i> and <i>Foot</i>, the length of
+the <i>Page</i>) than it is between side and side (the
+breadth of the <i>Page</i>): For all the <i>Letters</i> of a <i>Line</i>
+being of the same <i>Body</i>, are all of the same size
+<span class="pagenum" id="Page_203">203</span>in their parallel bounds; and the two sides of the
+<i>Letter</i> being generally considerably broader than the
+Thickness of the <i>Letter</i>, are held by their breadth
+and flatness faster and closer together in a motion
+towards the <i>Head</i> or <i>Foot</i> of the <i>Page</i>, than they are
+a-thwart the <i>Lines</i>, there being generally many thin
+<i>Letters</i> and <i>Spaces</i> in a <i>Line</i>, whose thickness is very
+little considerable to their <i>Body</i> or parallel bounds:
+So that if the <i>Form</i> be loose, those Thin <i>Letters</i> and
+<i>Spaces</i> not having a Thickness proportionable to their
+<i>Body</i> to keep them in their proper Square, their Thin
+Edges twist them about, and one <i>Letter</i> very seldom
+twists alone, but forces many others (perhaps in
+some <i>Lines</i> above and below it, and on each side of
+it) out of its square position.</p>
+
+<p>But the <i>Foot-Quoin</i> being thrust up again with the
+Fingers, that the <i>Lines</i> may joyn again after they
+were knock’d open with the <i>Mallet</i> and <i>Shooting-stick</i>,
+make the Thin <i>Letters</i> in the <i>Lines</i> less subject to
+<i>Squabble</i> (as not having the room to twist about)
+because <i>Opening</i> the <i>Foot-Quoins</i> afterwards with the
+Fingers, offers less violence than the smart knock of
+a <i>Mallet</i>.</p>
+
+<p><i>Secondly</i>, He holds the <i>Shooting-stick</i> much aslant to
+the <i>Letter-board</i>, so as the Foot of it touch not the
+Face of the <i>Letter-board</i>, lest with knocking upon
+the <i>Shooting-stick</i> (it being hard Wood, and the grain
+running downwards) the Foot should batter and
+spoil the Face of the <i>Letter-board</i>.</p>
+
+<p><i>Thirdly</i>, He <i>Unlocks</i> the outermost, <i>viz.</i> the broadest
+<i>Quoins</i> first, and then with his Fingers thrusts
+them pretty close up again, unless the <i>Form</i> he <i>Unlock</i>
+<span class="pagenum" id="Page_204">204</span>be a great <i>Letter</i>, for then he observes not this
+Circumstance so nicely; then the other <i>Quoin</i>, or
+(according to the bigness of the <i>Form</i>) <i>Quoins</i>.</p>
+
+<p>Having <i>Unlock’d</i> the <i>Foot Quoins</i>, he <i>Unlocks</i> the
+<i>Side Quoins</i> in the same manner and order; and being
+provided with a Pail, or a great Pan full of fair Water,
+and a <i>Wooden Dish</i>; he takes a Dish full of fair Water,
+or more, if the <i>Form</i> require it, and throws it upon
+the <i>Form</i>, till he have so well wetted it, that the
+Water may sink between the <i>Letters</i> in the <i>Form</i>, to
+hold and keep every <i>Letter</i> contiguous to its next.</p>
+
+<p>Then he <i>Opens</i> the <i>Quoins</i> pretty loose, the <i>Foot
+Quoins</i> first, and in <i>Opening</i> them he considers the
+<i>Body</i> of the <i>Letter</i>, whether it be Great or Small, and
+accordingly he <i>Opens</i> them; for at the <i>Foot</i> he <i>Opens</i>
+them about the thickness of the <i>Body</i> of the <i>Letter</i>:
+But on the <i>Sides</i> not above half the <i>Body</i>.</p>
+
+<p>By <i>Opening</i>, you must now understand removing
+the <i>Quoins</i>, till they stand loose, or distant from the
+<i>Furniture</i>, the <i>Body</i>, or half the <i>Body</i> of the <i>Letter</i>.</p>
+
+<p>He <i>Opens</i> but one <i>Quarter</i> at a time, <i>viz.</i> one of
+the hithermost <i>Quarters</i>, till he have well <i>Rinc’d</i> that,
+which when he has done, with his Fingers he thrusts
+the <i>Quoins</i> of that <i>Quarter</i> stiff up again, aswell that
+it may be the less subject to <i>Squabble</i> or <i>Break</i>, as
+that the Water may the better be squeezed out from
+between the <i>Letter</i>; when he comes to <i>Destribute</i> it.</p>
+
+<p>Having thus <i>Opened</i> the <i>Quoins</i>, He also <i>Opens</i> the
+<i>Furniture</i>, viz. the <i>Head sticks</i>, and the <i>Inner Side-sticks</i>
+and <i>Gutter-sticks</i>, if the <i>Form</i> have any, to make
+himself the more room to <i>Open</i> the <i>Letter</i>: The Balls
+of the three first Fingers of each Hand he places
+<span class="pagenum" id="Page_205">205</span>near the ends of the <i>Head-stick</i>, and <i>Opens</i> it by taking
+as good hold as he can of so much of it as stands
+above the <i>Cross</i> of the <i>Chase</i>, drawing the <i>Head-stick</i>
+towards him about half the <i>Body</i> of the <i>Letter</i>.
+And in the like manner he <i>Opens</i> the inner <i>Side-sticks</i>,
+but draws them towards him about a quarter of the
+<i>Body</i> of the <i>Letter</i>. 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 <i>Quarter</i> of <i>Letter</i> stands between the <i>Head</i>
+or <i>Side-sticks</i>, and then he places his two Thumbs
+near the ends of the <i>Sticks</i>, as before he did his Fingers,
+and thrusts the <i>Sticks</i>, <i>Letter</i> and all, from
+him.</p>
+
+<p>And having <i>Opened</i> the <i>Quoins</i> and <i>Furniture</i> of
+one <i>Quarter</i>, he also <i>Opens</i> the <i>Letter</i>, that it may
+receive the Water more plentifully: He <i>Opens</i> the
+<i>Letter</i>, by fixing the Balls of his Fingers of both
+his Hands upon the <i>Face</i>, and so thrusting and joggling
+it from him, and drawing it towards him from
+<i>Head</i> to <i>Foot</i>, and from <i>Side</i> to <i>Side</i>, and then
+throws a good Dish full or two of Water upon it,
+and with the Balls of his Fingers still rubs upon the
+<i>Face</i> of the <i>Letter</i>, that by shaking and joggling the
+<i>Letter</i>, the Water (e’re it sink through the <i>Letter</i>)
+may the better <i>Rince</i> away that <i>Ly</i> that by the <i>Press-mans</i>
+washing soak’d into it: And this joggling the
+<i>Letter</i>, and throwing on fresh Water he continues till
+the Water that spurts out from between the <i>Letters</i> by
+this joggling, be as clear as it was when it was thrown
+on, and then, and not till then, he knows his <i>Quarter</i>
+is well <i>Rinc’d</i>: Then with his two Thumbs, one
+<span class="pagenum" id="Page_206">206</span>placed on the side of the <i>Foot-stick</i> and the other on
+the side of the <i>Side-stick</i>, as near as he can, he thrusts
+both at once towards their opposite <i>Cross</i>, and so
+thrusts the <i>Letter</i> and <i>Furniture</i> close up again: And
+that the <i>Letter</i> may not be in danger of <i>Squabbling</i>
+or <i>Breaking</i>, he thrusts the <i>Quoins</i> loosly up again
+also.</p>
+
+<p>As he <i>Open’d</i> and <i>Rinc’d</i> this first <i>Quarter</i>, he <i>Opens</i>
+and <i>Rinces</i> the others.</p>
+
+<p>The reason why he <i>Opens</i> and <i>Rinces</i> the hithermost
+<i>Quarter</i> first, is, because the Water that descends
+from the hithermost <i>Quarters</i> does in a degree help
+to Rince the nethermost also.</p>
+
+<p>Having thus <i>Rinced</i> the whole <i>Form</i>, and with
+his Fingers shut it up again, he lets it stand a little
+while to drain; then grasping the two ends of the
+<i>Letter-board</i> 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 <i>Letter-board</i>
+against the bottom of his Stomach, and carries <i>Letter-board</i>,
+<i>Form</i>, and all to the <i>Destributing Frame</i>.</p>
+
+<p>Then he falls to <i>Stripping</i> of one <i>Quarter</i> first:
+Taking the <i>Quoins</i> quite out, and laying them upon
+the <i>Face</i> of the <i>Letter</i>, either on the same or another
+<i>Quarter</i> (if he <i>Strips</i> but one <i>Quarter</i> at once) with
+their ends standing the same way they stood in the
+<i>Chase</i>, and in the same order of succession; then he
+removes the <i>Side</i> and <i>Foot-sticks</i> to their respective
+sides, close to the inside of the <i>Chase</i>, and again removes
+the <i>Quoins</i>, laying them in the same order
+he laid them upon the <i>Face</i> of the <i>Letter</i>, upon the
+upper sides of the <i>Side</i> and <i>Foot-sticks</i>, and <i>Chase</i>;
+<span class="pagenum" id="Page_207">207</span>then, as I told you before, how he <i>Opened</i> the Inner
+<i>Side-sticks</i>, just so again he not only opens them,
+but by the <i>Side</i> and <i>Head-sticks</i> he draws or slides
+the <i>Letter</i> from the <i>Crosses</i>, that he easily takes them
+out if he pleases; or if he have room enough to
+come at the <i>Letter</i> without, he lets them stay in.</p>
+
+<p>Thus the first <i>Quarter</i> is <i>Stript</i>, and so the other
+<i>Quarters</i> successively, in order to be <i>Destributed</i>.</p>
+
+<figure class="figcenter illowe30" id="i_p206b">
+  <img class="w100" src="images/i_p206b.jpg" alt="to illustrate the process of taking up">
+  <figcaption>
+    <i>Plate 23.</i>
+  </figcaption>
+</figure>
+
+
+<h4 id="_3_Of_Destributing">
+  ¶ 3. <i>Of</i> Destributing.
+</h4>
+
+<p>The <i>Compositer</i> seeks among the <i>Furniture</i> for a
+<i>Riglet</i>, a little longer (about a <i>Pica</i> or <i>English</i>)
+than the <i>Line</i> of the <i>Page</i> he is to <i>Destribute</i>; or
+else he cuts a <i>Riglet</i> to that length (this <i>Riglet</i> is
+called a <i>Destributing-stick</i>) and coming to his <i>Stript
+Form</i>, or <i>Quarter</i> of the <i>Form</i> he is to <i>Destribute</i>, he
+places one flat side of the <i>Riglet</i> against the Head of
+the <i>Page</i>, 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 <i>Lines</i> as he intends to <i>Take up</i>, supposing it
+<i>Pica</i>, about Seven; and presses them pretty close
+to the sides of the <i>Lines</i>: Then with the ends of the
+Balls of his two Thumbs he parts that number of
+<i>Lines</i> from the rest of the <i>Page</i>, by pressing gently
+towards his <i>Riglet</i> or <i>Destributing-stick</i> upon the
+<i>Face</i> of the <i>Letter</i> of the farthest <i>Line</i>, 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 <i>Lines</i> so far from the rest of
+the <i>Page</i>, that he may get the Balls of his Thumbs
+<span class="pagenum" id="Page_208">208</span>far enough upon the shank of the <i>Letter</i>: So that
+the pressing the <i>Lines</i> yet a little harder between the
+Joints of his middle Fingers, and pinching with his
+Thumbs the <i>Letter</i> hard against the <i>Riglet</i>, with a
+quick jerk he rears that <i>Taking-up</i> upon his <i>Destributing-stick</i>.
+See <i>Plate 23. at</i> A.</p>
+
+<p>Having it upon his <i>Destributing-stick</i> between both
+his Hands, with the <i>Face</i> of the <i>Letter</i> from him, he
+disingages his middle Fingers, and with his fore Fingers
+and Thumbs holding the <i>Riglet</i>, and now the
+Top of his <i>Taking-up</i> pretty loosly between them, he
+turns (as on two moving Axises) the ends of the
+<i>Lines</i> that were towards his Right Hand, and guides
+them to the Thumb-ball of his Left Hand: Thus the
+<i>Face</i> of the <i>Letter</i> 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 <i>Line</i>)
+under the middle of the <i>Riglet</i> he takes the weight
+of the <i>Taking-up</i> upon it, which yet he eases as he lifts,
+by mounting the now Right Hand end of the <i>Lines</i>
+a little above an Horizontal level, and depressing
+the Left Hand ends a little below; so that now he
+he has his <i>Taking up</i> in his Hand, with the <i>Face</i> of
+his <i>Letter</i> towards him, and the <i>Notches</i> upwards,
+he goes with it to his <i>Case</i>, and places himself against
+the middle of it. See <i>Plate 23. at</i> B.</p>
+
+<p>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 <i>Line</i> of
+his <i>Taking up</i> towards his Right Hand, and his fore
+Finger about the middle of the shank of the <i>Letter</i>,
+<span class="pagenum" id="Page_209">209</span>he slides or draws towards him about an Inch or an
+Inch and an half of that <i>Line</i> upon the Ball of his
+Thumb, which is placed at the <i>Face</i> of the <i>Letter</i> to
+receive it: And as it comes off the <i>Taking up</i>, 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 <i>Letter</i>, 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
+<i>Squabbles</i> the shanks of the <i>Letters</i> between his Fingers
+askew; and remembring what <i>Letters</i> he read,
+he nimbly addresses his Hand with a continued motion
+to every respective <i>Box</i>, which his Fingers, as
+they pass by, lets a <i>Letter</i> drop into, till his <i>Taking
+off</i> be quite <i>Destributed</i>.</p>
+
+<p>Having <i>Destributed</i> that <i>Taking off</i> he makes another
+<i>Taking off</i> as before, and so continues his <i>Takings
+off</i> till his whole <i>Taking up</i> be Distributed:
+And thus he <i>Takes up</i> and <i>Destributes</i> till his <i>Case</i> is
+full.</p>
+
+<p>If the <i>Form</i> were not well <i>Rinc’d</i>, the shanks of
+of the <i>Letters</i> will be more or less slippery, and
+with long <i>Destributing</i> will make the Balls of the
+Fingers and Thumb supple, by the wetness of the
+<i>Letter</i> and sharpness of the <i>Ly</i>; 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 <i>Letter</i>,
+and draw it askew, or be so nimble at disposing
+them into their several <i>Boxes</i>.</p>
+
+<p><span class="pagenum" id="Page_210">210</span></p>
+
+<p>This happens most if they work upon small <i>Letter</i>,
+and that old, and the <i>Ly</i> old too, for then the
+<i>Ly</i> will have much <i>Inck</i> mingled in it: And the
+<i>Compositer</i> will have much ado to <i>Rince</i> his <i>Form</i> so
+clean but that the <i>Letter</i> 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 <i>Boxes</i> of the <i>Case</i>; 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 <i>Letter</i>, the grain of the Skin of the
+Fingers were so dilated, that the <i>Compositer</i> could not
+so actively draw the Shanks of the <i>Letters</i> askew, as
+aforesaid.</p>
+
+<p>The <i>Compositer</i>, if conveniences suit, chuses to
+<i>Destribute</i> his <i>Letter</i> over Night, that he may have
+a <i>dry Case</i> (as he calls it) to work at in the Morning,
+because Wet <i>Letters</i> are not so ready and pleasant to
+pick up as Dry; and besides are apt to make the Fingers
+sore, especially if the <i>Ly</i> be not so well <i>Rinc’d</i>
+from the <i>Letter</i> as it should be. In the Winter, when
+he <i>Destributes</i> in the Day time, he commonly brings
+the <i>Lower Case</i>, when full of <i>Letter</i>, to the Fire to
+dry, rearing the farther side of the <i>Case</i> a little upwards:
+And when it is well dryed, he sets it again
+upon the <i>Frame</i>.</p>
+
+<figure class="figcenter illowe30" id="i_p210b">
+  <img class="w100" src="images/i_p210b.jpg" alt="holding and emptying the composing stick">
+  <figcaption>
+    <i>Plate 24</i>
+  </figcaption>
+</figure>
+
+<p><span class="pagenum" id="Page_211">211</span></p>
+
+
+<h4 id="_4_Of_Composing">
+  ¶ 4. <i>Of</i> Composing.
+</h4>
+
+<p>The <i>Compositer</i> now addresses himself to <i>Composing</i>:
+And looking a little over his <i>Copy</i>, to see how it
+pleases him, for he runs different fortunes, either of
+good or bad <i>Copy</i>, viz. well or ill writ, if it be a
+<i>Written Copy</i>, or much <i>Italick</i>, <i>Latin</i> or <i>Greek</i>, or
+<i>Marginal Notes</i>, or few <i>Breaks</i>, <i>&amp;c.</i> for this he likes
+not in his <i>Copy</i>: But a <i>Printed Copy</i>, or a fair Written
+Hand, and full of <i>Breaks</i> pleases him well, and
+is by <i>Compositers</i> call’d <i>Good Copy</i>, <i>Light</i>, <i>Easie Work</i>;
+when the former they call <i>Bad</i>, <i>Heavy</i>, <i>Hard Work</i>:
+And if a Price be already made for a whole Book,
+the Good and Bad is done at the same Price.</p>
+
+<p>If the <i>Measure</i> be already made, that is, if he was
+already upon that <i>Work</i> before, and his <i>Composing-stick</i>
+be set to the <i>Measure</i> of that <i>Work</i>, he needs
+not, or must not alter his <i>Composing-stick</i>: But if his
+<i>Measure</i> be not made, he must unskrew the <i>Skrew</i>
+of his <i>Composing-stick</i>, and slide the <i>Cheeks</i> nearer to,
+or farther off the <i>Head</i> of his <i>Composing-stick</i>, till he
+have exactly fitted his given <i>Measure</i>.</p>
+
+<p>If it be a <i>Printed Copy</i> he is to Work on, and
+his Work must run <i>Line for Line</i> with his <i>Copy</i>,
+he then without more ado, <i>Sets</i> or <i>Composes</i> the
+fullest <i>Line</i> he finds in his <i>Copy</i>, and slides up the
+<i>Cheeks</i> of his <i>Composing-stick</i>, and pinches that <i>Line</i>
+between the <i>Cheeks</i> and the <i>Head</i>, till it stands
+as stiff or hard in the <i>Stick</i> as he intends to
+<i>Justifie</i> all the rest of his <i>Lines</i>: Then screws up
+the <i>Composing-stick</i>.</p>
+
+<p><span class="pagenum" id="Page_212">212</span></p>
+
+<p><i>Justifying</i> (in <i>Compositers</i> Language) is the stiff or
+loose filling of his <i>Stick</i>, for if it be fill’d very stiff
+with <i>Letters</i> or <i>Spaces</i>, they say it is <i>hard Justified</i>,
+if loosly, they say it is <i>loose Justified</i>.</p>
+
+<p>Having the <i>Measure</i> fitted, he places the <i>Galley</i> on
+his <i>Upper Case</i> on the Right Hand, for those <i>Boxes</i>
+are seldomest used, because in them are placed only
+the <i>Latin sorts</i>, or sometimes the <i>Small Capitals</i>,
+<i>Astronomical Signs</i>, &amp;c.</p>
+
+<p>He places his <i>Galley</i> so, that the Left Hand corner
+of the bottom of its Frame stands lower upon the
+<i>Case</i> than any of the other Corners, for in that position
+the <i>Letters</i> at the end of every <i>Line</i> stand safest
+from falling, as leaning towards the rest of the <i>Page</i>.</p>
+
+<p>Some <i>Compositers</i> use <i>Visorums</i>, as is described in
+<i>Plate 2.</i> at i. Therefore pricking the point of the
+<i>Visorum</i> most commonly upon the Border or Frame
+of the <i>Case</i> on the Left Hand about the &amp;-<i>Box</i>, they
+fold the <i>Leaf</i> of <i>Copy</i> they <i>Compose</i> by, so as the bottom
+of it may rest upon the Square-Shoulder near the
+bottom of the <i>Visorum</i>; then with two pieces of <i>Scaboard</i>
+tyed together at one end, they clasp both the
+<i>Copy</i> and <i>Visorum</i> between these two <i>Scaboards</i>, which
+two <i>Scaboards</i> pinch the <i>Copy</i> and <i>Visorum</i> fast enough
+to keep the <i>Copy</i> in its place, and at the same time
+also serves for an <i>Index</i> to direct the Eye to every
+<i>Line</i>, as the <i>Compositer</i> moves it downward.</p>
+
+<p>After this preparation, the <i>Compositer</i> falls to <i>Composing</i>.
+But first reads so much of his <i>Copy</i> as he
+thinks he can retain in his memory till he have
+<i>Composed</i> it, as commonly is five or six words, or
+sometimes a longer Sentence. And having read, he
+<span class="pagenum" id="Page_213">213</span>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 <i>Box</i>, as he names n in
+his thoughts, he takes up n out of the n <i>Box</i>, as he
+names d in his thoughts he takes up d out of the d
+<i>Box</i>; which three <i>Letters</i> set together make a Word,
+viz. And; so that after the d he sets a <i>Space</i>: Then
+he goes on to the next <i>Word</i>, and so <i>Composes</i> on,
+<i>Setting</i> a <i>Space</i> after every <i>Word</i> till the <i>Words</i> come
+to the end of the <i>Line</i>, for then he sets no <i>Space</i>.</p>
+
+<p>When he <i>Composes</i> the <i>Letters</i> he holds the <i>Composing-stick</i>
+in his Left Hand, placing the Second
+Joynt of his Thumb over the moving <i>Cheek</i> of the
+<i>Stick</i>, and the end of the Ball of his Thumb reaches
+down to the bottom of the <i>Cheek</i> and <i>Stick</i>; so that
+with the end of the Ball of his Thumb he gently
+presses the <i>Letter</i> close to the <i>Cheek</i>, and keeps the
+<i>Letters</i> tight and square together, as he places them
+in the <i>Stick</i> successively. <i>See Plate 24. at</i> A.</p>
+
+<p>And as his Eyes are very quick in reading his <i>Copy</i>,
+and in shifting its Visual Ray to the several <i>Boxes</i>
+he is to have a <i>Letter</i> out of, so is his choice what
+<i>Letter</i> to take up very sudden; for though the <i>Box</i>
+be full of <i>Letters</i>, 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 <i>Face</i> towards his Right Hand,
+because catching at the <i>Letter</i> near the <i>Face</i>-end of
+the <i>Shank</i>, he by an accustomed sleight, in his Fingers
+<span class="pagenum" id="Page_214">214</span>while it is coming to the <i>Stick</i>, disposes it so, that as
+the bottom of the Shank goes directly forwards, towards
+the bottom of the <i>Stick</i>, so the <i>Notch</i> of the
+<i>Letter</i> shall also be placed upwards.</p>
+
+<p>Most <i>Compositers</i> use a <i>Composing-Rule</i>, which is only
+a piece of a <i>Brass-Rule</i> cut to the length of the <i>Measure</i>,
+with a small Ear left at either end, to take it out
+by when the <i>Line</i> is full, and to lay it upon the <i>Compos’d
+Line</i>, to <i>Set</i> successively a succession of <i>Lines</i>
+upon, till the <i>Stick</i> be full.</p>
+
+<p>This <i>Rule</i> is very commodious to Work with,
+because the <i>Letter</i> slides easier and smoother down
+to the <i>Back</i> of the <i>Stick</i>, than it will upon a <i>Line</i> of
+<i>Letters</i>: Besides, the <i>Letters Compos’d</i> on it stand
+streighter and truer in <i>Line</i>, and are less subject to
+<i>Hang</i>, than those <i>Compos’d</i> on a <i>Line of Matter</i>; unless
+with a <i>Riglet</i> (as that they many times do) they
+rub pretty strongly along the <i>Line</i> they have <i>Compos’d</i>,
+which is a labour more than needs, and the
+loss of some time to make the Work more unpleasant.</p>
+
+<p>Having <i>Composed</i> one <i>Line</i>, if it ends with a <i>Word</i>
+or a <i>Syllable</i> and a <i>Division</i>, and just fill the <i>Measure</i>,
+it needs no more <i>Justifying</i>; but if the <i>Line</i> conclude
+not as aforesaid, then he puts a <i>Space</i> more between
+every Word, or so many Words as will fill up the
+<i>Measure</i> pretty stiff, viz. <i>Justifie</i> the <i>Line</i>. But if the
+<i>Line</i> be not yet <i>Justified</i>, he puts another <i>Space</i>
+between every Word, or between several Words, till
+the <i>Line</i> be <i>Justified</i>: So that here is now three
+<i>Spaces</i>, and strictly, good Workmanship will not
+allow more, unless the <i>Measure</i> be so short, that by
+<span class="pagenum" id="Page_215">215</span>reason of few <i>Words</i> in a <i>Line</i>, necessity compells
+him to put more <i>Spaces</i> between the <i>Words</i>. This
+often happens in <i>Marginal Notes</i>, where the <i>White</i>
+between <i>Words</i> is often as great or greater than between
+<i>Line</i> and <i>Line</i>.</p>
+
+<p>These wide <i>Whites</i> are by <i>Compositers</i> (in way of
+Scandal) call’d <i>Pidgeon-holes</i>, and are by none accounted
+good Workmanship, unless in such cases of
+necessity, as aforesaid.</p>
+
+<p>And as <i>Lines</i> may be too much <i>Spaced-out</i>, so
+may they be too close <i>Set</i>: It maybe accounted too
+close <i>Set</i> when only a <i>Thin-space</i> is set between
+Words, especially if no <i>Capital Letter</i> follows the
+<i>Thin-space</i> or <i>Point</i> go before it. <i>Thin-spaces</i> being
+intended and <i>Cast</i> only that the <i>Compositer</i> may <i>Justifie</i>
+his <i>Lines</i> the Truer, and not to serve for convenient
+distinction between Words; yet do some <i>Compositers</i>
+too often commit this error, rather than put
+themselves to the trouble of <i>Spacing</i> out a <i>Line</i>,
+where many <i>Spaces</i> must be used to <i>Space</i> it out.</p>
+
+<p>A good <i>Compositer</i> takes care not to <i>Set</i> too Close,
+or too Wide; for if he <i>Set</i> 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 <i>Break</i> he drives out
+a <i>Line</i>, for which <i>Line</i> perchance he may be forc’d
+to <i>Over-run</i> all the <i>Pages</i> that are <i>Set</i> forwards upon
+that <i>Matter</i>. And if he <i>Sets</i> too Wide, and he
+chance to <i>Set</i> a Word or two twice over, he may be
+forc’d to make <i>Pidgeon-holes</i> e’re he come to a <i>Break</i>,
+and then perhaps his <i>Break</i> is got in too, and his
+<i>Page</i> a <i>Line</i> too short, and he forc’d to <i>Over-run</i> several
+<span class="pagenum" id="Page_216">216</span><i>Pages</i> e’re he can drive that <i>Line</i> out. As I shall
+farther shew you when I come to the ¶ of <i>Correcting</i>.</p>
+
+<p>In <i>Justifying</i> his <i>Line</i> he takes great care that it do
+not <i>Hang</i>: It is an unproper Term, yet grown into
+Use, for when the <i>Letter</i> stands askew, and not
+directly Square, they say it <i>Hangs</i>. New <i>Letter</i> is
+most subject to <i>Hang</i>, especially if not very smoothly
+<i>Drest</i>; Because the least Bur, or sharpness of its
+Angles, may catch in the Burs or Angles of the
+<i>Letters</i> that stand next them, and so make them
+stand aslope, and one <i>Letter</i> standing aslope is very
+subject to make all the other <i>Letters</i> in that <i>Line</i>
+stand aslope too. Therefore if he find his <i>Letter
+Hang</i>, while his <i>Line</i> is yet <i>loose</i>, viz. Unjustified, he
+gently with the Ball of the Thumb of his Left
+Hand, thrusts the top of the shank of the <i>Line</i>
+where it <i>Hangs</i>, moving the <i>Letter</i> somewhat from
+him, towards the farther end of the <i>Stick</i>, and with
+the Balls of the two Fore-fingers of his Right Hand
+pats upon the <i>Face</i> of the <i>Letter</i>, till he have got
+them into an upright position. He moves or
+drives the top of the Shank of the <i>Letter</i> from him,
+because generally the placing the Ball of his Thumb
+on the top of the shank of the <i>Letter</i> when he <i>Composes</i>
+(as was shewn before) is subject to draw the
+<i>Letter</i> askew towards him, but that his care commonly
+prevents it: Yet if by chance the <i>Line</i> should
+<i>Hang</i> from him, then he with the Ball of his Thumb
+as aforesaid, draws the <i>Letter</i> towards him, to set it
+upright.</p>
+
+<p><span class="pagenum" id="Page_217">217</span></p>
+
+<p>Here is now one <i>Line Compos’d</i>: And as he <i>Compos’d</i>
+that <i>Line</i>, so he <i>Composes Line</i> upon <i>Line</i> till
+his <i>Stick</i> be full: When his <i>Stick</i> is full, he <i>Empties</i>
+thus; He lays his <i>Stick</i> down upon his <i>Lower Case</i>,
+with the bottom of his <i>Stick</i> against the hither <i>Ledge</i>
+of the <i>Case</i>, and the <i>Face</i> of the <i>Letter</i> upwards;
+being provided of a <i>Riglet</i> just the Length of his
+<i>Line</i>, he lays his <i>Riglet</i> against his last <i>Line</i>, and
+places the Balls of his two Fore-fingers behind the
+<i>Riglet</i>, near the middle of it, if the <i>Line</i> 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 <i>Line</i> in his <i>Stick</i>
+as far below the <i>Face</i> of the <i>Letter</i> as he can, and he
+places first the Joints of his middle-fingers against the
+Sides of the <i>Letter</i> at the two ends of the <i>Line</i>, so as I
+shewed you he did when he was <i>Taking up</i> his <i>Letter</i>
+to Destribute it; and in this posture pinching the <i>Letter</i>
+between his Thumbs and his Fore-fingers, and
+and squeezing his two middle fingers towards each
+other, he leans the <i>Letter</i> in the <i>Stick</i> almost flat
+upon the <i>Riglet</i>: But if his <i>Lines</i> were <i>Hard Justified</i>,
+he cannot perhaps with the first leaning the <i>Letter</i>
+back get them clear out of the <i>Stick</i>, therefore
+he again wriggles the <i>Stick</i> of <i>Letter</i> forwards and
+backwards, till he gets them quite out. <i>See Plate
+24. at</i> B.</p>
+
+<p>Having gotten them out, and in this posture fast
+between his Thumbs and Fingers, and the <i>Letter</i>
+leaning almost flat upon his <i>Riglet</i>, he directs both
+his hands together to his <i>Galley</i>, and nimbly claps
+that <i>Stick</i> of <i>Letter</i> down into the <i>Galley</i>, placing the
+<span class="pagenum" id="Page_218">218</span>first <i>Line</i> close and upright against the lower ledge of
+the <i>Galley</i>, and the begining of his <i>Lines</i> close and
+upright against the left hand <i>Ledge</i> of the <i>Galley</i>, and
+then disingages his Fingers and Thumbs, and leaves
+his <i>Riglet</i> standing in its place till he have occasion
+to use it in like manner for the next <i>Stick</i> of <i>Letter</i>.</p>
+
+<p>As he <i>Set</i> this <i>Stick</i> of <i>Letter</i>, so he <i>Sets</i> on till his
+<i>Page</i> is <i>Out</i>, Remembring after the last <i>Line</i> of every
+<i>Page</i> to set a <i>Direction</i>: That is, he <i>Sets</i> a <i>Line</i> of
+<i>Quadrats</i> and at the end of it the first word of the
+next <i>Page</i>, or if the Word be very long and the <i>Line</i>
+very short, two <i>Syllables</i>, or sometimes but one of
+that <i>Word</i>. And if it be the <i>First Page</i>, viz. the first
+<i>Page</i> of that <i>Sheet</i>, he <i>Sets</i> a <i>Signature</i> about the
+middle of the <i>Line</i>, or rather a small matter nearer
+the end than the middle is, (because when the
+<i>Sheets</i> are wrought off and gather’d, they <i>Collation</i>
+something quicker: The <i>Collationer</i> not being forced
+to prick up with his <i>Bodkin</i> the corners of the <i>Sheet</i>
+so high to see the <i>Signature</i>: which in a long train of
+work saves time.</p>
+
+<p>If it be the <i>First Page</i> of the first <i>Sheet</i> of a <i>Book</i> the
+<i>Signature</i> is A, if the first of the second <i>Sheet</i> B, if the
+first of the third C, and so successively till he come
+to W, which is always skipt, because the <i>Latin
+Alphabet</i> has not that <i>Letter</i> in it; but next V follows
+X Y Z, so that if the <i>Book</i> contain above three and
+twenty <i>Sheets</i>, the <i>Signature</i> of the four and twentieth
+<i>Sheet</i> must be A a, if five and twenty B b; till in like
+manner he run through the <i>Second Alphabet</i>, and
+comes to the third, fourth, <i>&amp;c.</i> still as he begins a
+new <i>Alphabet</i> adding an a.</p>
+
+<p><span class="pagenum" id="Page_219">219</span></p>
+
+<p>To the second <i>Page</i>, or any other <i>Even Page</i>,
+he <i>Sets</i> no <i>Signature</i>, but to the Third which is an
+<i>Odd Page</i> he does, viz. A 2. The <i>Figure</i> of 2 is no
+part of the <i>Signature</i>, but is only an adjunct to shew
+the <i>Book-binder</i> the Second <i>Leaf</i> of that <i>Sheet</i>, that
+he may the surer <i>Fold</i> the <i>Sheet</i> right.</p>
+
+<p>If it be a <i>Folio Sheet</i> he cannot set A 3 in a single
+<i>Sheet</i>, because it has but two <i>Odd Pages</i> in it; but if
+they be <i>Quir’d Sheets</i>, that is, two, three, or four
+<i>Sheets Quir’d</i> together, he must set A 3 in a <i>Folio</i>,
+though not in the First, but Third <i>Sheet</i> of that
+<i>Quire</i>. But no wise <i>Compositer</i>, except he work on
+<i>Printed Copy</i> that runs <i>Sheet</i> for <i>Sheet</i>, will be willing
+to <i>Compose</i> more <i>Sheets</i> to a <i>Quire</i> than he shall
+have a <i>Fount</i> of <i>Letter</i> large enough to set out, unless
+he will take upon him the trouble of <i>Counting off</i> his
+<i>Copy</i>: because he cannot <i>Impose</i> till he has <i>Set</i> to the
+last <i>Page</i> of that <i>Quire</i>; all the other <i>Sheets</i> being
+<i>Quired</i> within the first <i>Sheet</i>, and the last <i>Page</i> of the
+<i>Quire</i> comes in the first <i>Sheet</i>. But when he <i>Composes
+Quir’d Work</i>, the <i>Signature</i> of the first <i>Page</i> is
+A, the <i>Signature</i> of the <i>Sheet Quir’d</i> next within the
+first <i>Sheet</i> is A 2, the first <i>Page</i> of the next <i>Quir’d-Sheet</i>
+A 3: So that the <i>Signatures</i> of all the <i>Sheets</i>
+in the first <i>Quire</i> is A, A 2, A 3, <i>&amp;c.</i> according to
+the number of <i>Sheets Quired</i> together. The second
+<i>Quire</i> begins B, B 2, B 3, <i>&amp;c.</i> The Third <i>Sheet</i>
+C, <i>&amp;c.</i> according to the number of <i>Quires</i>. This
+is called <i>Printing</i> in <i>Quires</i>. Now to return.</p>
+
+<p>If the <i>Form</i> be <i>Quarto</i>, he <i>Sets</i> under the Fifth
+<i>Page Signature</i> 3. If <i>Octavo</i>, he sets also under the
+Fifth <i>Page Signature</i> 3. and under the Seventh <i>Page
+<span class="pagenum" id="Page_220">220</span>Signature</i> 4. If <i>Twelves</i>, he sets also under the Fifth
+<i>Page Signature</i> 3, and under the Seventh <i>Page Signature
+4</i>, and under the Ninth <i>Page Signature</i> 5, and
+under the Eleventh <i>Page Signature</i> 6. The Rule is,
+that all <i>Odd Pages</i> should have a <i>Signature</i>, if they
+stand on the <i>Out-side</i> of the <i>Sheet</i>; and the reason
+for the Rule is, that the <i>Gatherer</i>, <i>Collater</i> and <i>Bookbinder</i>
+may the readier lay <i>Sheets</i> right, if they be
+turned wrong. This Rule is not among <i>Compositers</i>
+so well observed as it ought to be: For in <i>Quarto’s</i>
+they not only leave the <i>Signature</i> 4 out, but rarely
+put in <i>Signature</i> 3.</p>
+
+
+<h4 id="_5_Some_circumstances">¶ 5. <i>Some Circumstances a good</i> Compositer <i>considers
+and observes in</i> Composing.</h4>
+
+<p>A good <i>Compositer</i> is ambitious as well to make the
+meaning of his <i>Author</i> intelligent to the <i>Reader</i>, as
+to make his Work shew graceful to the Eye, and
+pleasant in Reading: Therefore if his <i>Copy</i> be Written
+in a Language he understands, he reads his <i>Copy</i>
+with consideration; that so he may get himself into
+the meaning of the <i>Author</i>, and consequently considers
+how to order his Work the better both in the
+<i>Title Page</i>, and in the matter of the <i>Book</i>: As how
+to make his <i>Indenting</i>, <i>Pointing</i>, <i>Breaking</i>, <i>Italicking</i>,
+<i>&amp;c.</i> the better sympathize with the <i>Authors</i> Genius,
+and also with the capacity of the Reader.</p>
+
+<p>Nor does a <i>Compositer</i> the least shew his skill in the
+well ordering and humouring of a <i>Title Page</i>,
+which, because it is the first <i>Page</i> of a <i>Book</i>, we
+shall begin the <i>Compositers</i> Considerations at.</p>
+
+<p><span class="pagenum" id="Page_221">221</span></p>
+
+<p>He, as aforesaid, judiciously reads his <i>Title Page</i>,
+and considers what <i>Word</i> or <i>Words</i> have the greatest
+Emphasis in it. If many <i>Words</i> precede the Emphasis,
+he considers whether it be best to make one
+or two <i>Lines</i>, or more of them, by electing a <i>Body</i> bigger
+or less to <i>Set</i> the precedent <i>Matter</i> in, and whether
+any of these <i>Lines</i> ought to be <i>Indented</i>, either
+at one end or both, viz. <i>Set</i> in the middle of the
+<i>Line</i>. And what Words of Emphasis come in that
+precedent <i>Matter</i>; that he may <i>Set</i> them either in
+<i>Capitals</i>, <i>Roman</i>, <i>Italick</i>, or <i>English</i>; and at last
+bring the great Emphasis, which is generally the
+<i>Title</i> or <i>Name</i> of the <i>Book</i> in a <i>Line</i> by it self, and
+just fill it if he can; which he has some helps to do,
+by the great <i>Bodied Letters</i> of the <i>Lower Case</i>, or else
+by <i>Capitals</i>, <i>Roman</i>, <i>Italick</i> or <i>English</i>, of a proper <i>Body</i>,
+which best pleases his fancy, or is in present mode.</p>
+
+<p>If this <i>Word</i> of great Emphasis be <i>Set</i> in the
+<i>Lower Case</i>, yet he <i>Sets</i> the first <i>Letter</i> a <i>Capital</i>, and
+he <i>Sets</i> no <i>Space</i> between <i>Letter</i> and <i>Letter</i>, but
+between <i>Word</i> and <i>Word</i> he does, if there happens
+more than one <i>Word</i> in that <i>Line</i>: But if that <i>Word</i>
+be <i>Set</i> in <i>Capitals</i>, he chuses to <i>Set</i> a <i>Space</i> between
+every <i>Letter</i>, and sometimes he <i>Sets</i> two <i>Spaces</i>,
+yet that is rather to drive out the <i>Line</i>.</p>
+
+<p>If he <i>Sets</i> but one <i>Space</i> between the <i>Letters</i> in a
+<i>Word</i>, he <i>Sets</i> three <i>Spaces</i> between <i>Word</i> and <i>Word</i>:
+And if he <i>Set</i> two <i>Spaces</i> between <i>Letter</i> and <i>Letter</i>,
+he <i>Sets</i> four <i>Spaces</i> betwen <i>Word</i> and <i>Word</i>, as well
+to give a graceful appearance to the Eye, as to make
+a Visible and proportionable distinction between
+<i>Word</i> and <i>Word</i>.</p>
+
+<p><span class="pagenum" id="Page_222">222</span></p>
+
+<p>He also considers what <i>Whites</i> to <i>Set</i> between his
+<i>Lines</i>; as either a <i>Line</i> of <i>Quadrats</i>, and of what
+<i>Body</i>; or (if his <i>Title Page</i> be large) but a <i>Scaboard</i>:
+and at last <i>Justifies</i> his <i>Page</i> in <i>Length</i>, either by
+adding more <i>Whites</i> (where they may be proper) if his
+<i>Page</i> be too short, or by taking out or diminishing
+<i>Whites</i> if the <i>Page</i> be too long: And this he does by
+altering the <i>Body</i> of <i>Whites</i>, for if a <i>White-line</i> be
+<i>English</i>, he may take it out, and in its room put in
+<i>Pica</i>, <i>Long-primmer</i> or <i>Brevier</i>, according as he finds
+he has <i>Run out</i>; yet this he does with Consideration,
+where more or less <i>White</i> is properest.</p>
+
+<p>But the mode of ordering <i>Titles</i> varies; as may
+be seen by comparing the <i>Title Pages</i> 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 <i>Compositer</i> has a constant
+regard to.</p>
+
+<p>When he is to Work upon a continued Series of
+<i>Matter</i>, he <i>Sets</i> the <i>Title</i> of the <i>Chapter</i> or <i>Section</i> in
+a bigger <i>Body</i> and different Character than his <i>Matter</i>
+is <i>Set</i> in; as if the <i>Matter</i> be <i>Set</i> in <i>English Roman</i>,
+he <i>Sets</i> the <i>Title</i> in <i>Great Primer</i> or <i>Double
+Pica Italick</i>, but the <i>Words</i> of <i>Emphasis</i> he will <i>Set</i>
+in <i>Roman</i>, and varies the Character for them as well
+in the <i>Title</i>, as he does in the <i>Matter</i>.</p>
+
+<p>If his <i>Title</i> be short, he <i>Sets</i> it in the middle of
+the <i>Line</i>, by <i>Setting Quadrats</i> on both sides: If his
+<i>Title</i> be long, he <i>Sets</i> the middle <i>Line</i> in the middle:
+If it make three or more <i>Lines</i>, he <i>Indents</i> the
+first with an m <i>Quadrat</i>, and the other with two
+<span class="pagenum" id="Page_223">223</span>m <i>Quadrats</i>. Before his <i>Title</i> he sets a <i>White-line</i>,
+viz. a <i>Line</i> of <i>Quadrats</i>, and so he does after it; but
+with regard to what the bigness of the <i>Body</i> of the
+<i>Letter</i> the <i>Title</i> is <i>Set</i> in, <i>Runs out</i>; for these <i>Whites</i>
+must be set of such <i>Bodies</i> (bigger or less) as will
+make the difference of the <i>Body</i> the <i>Title</i> is <i>Set</i> in,
+a just number of <i>Lines</i> with those of the <i>Body</i> the
+<i>Matter</i> is <i>Set</i> in, because the length of the <i>Page</i>, as
+aforesaid, must be <i>Justified</i>. And he always forecasts
+to put rather more than less <i>White</i> before the
+<i>Title</i> than after it; because the <i>Title</i> has relation to
+the <i>Matter</i> of the <i>Chapter</i> or <i>Section</i> it is <i>Set</i> to, and
+therefore ought not to be so distinct, as from the
+precedent <i>Chapter</i> or <i>Section</i>.</p>
+
+<p>After his <i>Title</i>, he begins his <i>Chapter</i> or <i>Section</i> with
+a <i>Two-lin’d Letter</i>, or <i>Three</i> or <i>Four-lin’d Letter</i>,
+but <i>Indents</i> it not. He begins his <i>Chapter</i> or <i>Section</i>
+with the first <i>Line</i> in the <i>Stick</i>, unless his <i>Stick</i> be
+very Deep, or his <i>Two</i> or <i>Three-lin’d Letter</i> small,
+because it may else reach above the top of the <i>Stick</i>,
+and so hinder him from filling up <i>Lines</i> to the <i>Body</i>
+of the <i>Two</i> or <i>Three-lin’d Letter</i>.</p>
+
+<p>After the <i>Two</i> or <i>Three-lin’d Letter</i>, he <i>Sets</i> a <i>Capital
+Letter</i> of the <i>Body</i> his <i>Matter</i> is of, and <i>Indents</i>
+all, those <i>Lines</i> that are to fill up the <i>Great Letter</i>
+with an n <i>Quadrat</i>.</p>
+
+<p>He cannot use his <i>Composing-Rule</i> (mentioned in
+the foregoing part of this ¶) till he have filled up
+<i>Lines</i> to the <i>Body</i> of the said <i>Great Letter</i>; because
+his <i>Composing-Rule</i> is too long to go between the
+<i>Great Letter</i> and the <i>Head</i> of the <i>Stick</i>: but then
+he uses the end of a <i>Riglet</i> to rub along the <i>Lines</i> he
+<span class="pagenum" id="Page_224">224</span>has <i>Composed</i> to smoothen them, and so <i>Set</i> on till
+he has filled up the whole <i>Body</i> of the <i>Great Letter</i>,
+and most times somewhat above it; which <i>Letter</i>
+he afterwards <i>Justifies</i> with <i>Small Bodied Quadrats</i>,
+or with <i>Scaboards</i> or <i>Cards</i>, or with any or all of
+them till the <i>Great-letter</i> stands even with the number
+of <i>Lines</i> that it <i>Indents</i>, and afterwards uses
+his <i>Composing Rule</i>, and <i>Sets</i> the succeeding <i>Lines</i>
+to their full Length.</p>
+
+<p>If it be a great <i>Wooden Letter</i>, he begins his
+<i>Chapter</i> or <i>Section</i> with, it is most times too <i>Deep</i>
+for the height of the <i>Cheeks</i> of his <i>Stick</i>; therefore
+he <i>Justifies</i> his <i>Stick-full</i> just to the breadth of the
+<i>Wooden Letter</i> with <i>Quadrats</i> or <i>Quotations</i>, and <i>Sets</i>
+on between those <i>Quadrats</i> or <i>Quotations</i> and the
+<i>Head</i> of his <i>Stick</i>, as I shewed before, till his <i>Stick</i>
+be full of <i>Lines</i>; which <i>Lines</i> he <i>Empties</i>, leaving
+the <i>Quadrats</i> or <i>Quotations</i> in his <i>Stick</i>, to serve, as
+before, for the succeeding <i>Stick</i> or <i>Sticks</i>, till he
+have <i>Composed Lines</i> enough for the <i>Depth</i> of the
+<i>Wooden Letter</i>.</p>
+
+<p>As he <i>Sets</i> on, he considers how to <i>Point</i> his
+Work, viz. when to <i>Set</i> , where ; where : and
+where . where to make ( ) where [ ] ? ! and when
+a <i>Break</i>. But the Rules for these having been taught
+in many School-books, I need say nothing to them
+here, but refer you to them.</p>
+
+<p>And as he considers how to <i>Point</i>, so he considers
+what proper Names, either of Persons or Places, he
+meets with in his <i>Copy</i>, as also what Words of great
+Emphasis, and what Words of smaller Emphasis,
+what Obsolete Words, and what Foreign, <i>&amp;c.</i></p>
+
+<p><span class="pagenum" id="Page_225">225</span></p>
+
+<p>When he meets with proper Names of Persons or
+Places he <i>Sets</i> them in <i>Italick</i>, if the Series of his <i>Matter</i>
+be <i>Set</i> in <i>Roman</i>; or in <i>Roman</i> if the Series of his <i>Matter</i>
+be Set in <i>Italick</i>, and <i>Sets</i> the first Letter with a <i>Capital</i>,
+or as the Person or Place he finds the purpose
+of the Author to dignifie, all <i>Capitals</i>; but then,
+if conveniently he can, he will <i>Set</i> a <i>Space</i> between
+every <i>Letter</i>, and two or three before and after that
+Name, to make it shew more Graceful and Stately.
+For <i>Capitals</i> express Dignity where-ever they are <i>Set</i>,
+and Space and Distance also implies stateliness.</p>
+
+<p><i>Words</i> of great Emphasis are also <i>Set</i> in <i>Italick</i>,
+and sometimes begin with a <i>Capital Letter</i>: 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 <i>Capital</i>. I shall bring for instance an Observation
+I made above forty years ago on the Word <i>that</i>, 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 <i>Set</i> thus,
+that that That that that Man would have stand at
+the beginning of the <i>Line</i> 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 <i>Set</i> in <i>Italick</i>, and the middlemost
+That ought to begin with a <i>Capital</i>, because it is
+both the Thing and Word.</p>
+
+<p>Words of a smaller Emphasis may be <i>Set</i> in the
+running Character, viz. <i>Roman</i>, if it be the Series of the
+<i>Matter</i>; or <i>Italick</i>, if <i>Italick</i>, but begun with a <i>Capital</i>:
+Instance in the last Sentence, That which expresses
+both the Thing and Word, <i>&amp;c.</i> Here Thing and Word
+<span class="pagenum" id="Page_226">226</span>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 <i>Italick</i>.</p>
+
+<p>After a . though not at the end of a <i>Break</i> he begins
+with a <i>Capital</i>.</p>
+
+<p>When in <i>Composing</i> he comes near a <i>Break</i>, he for
+some <i>Lines</i> before he comes to it considers whether
+that <i>Break</i> will end with some reasonable <i>White</i>;
+If he finds it will, he is pleas’d, but if he finds he
+shall have but a little single <i>Word</i> in his <i>Break</i>, he
+either <i>Sets</i> wide to drive a Word or two more into
+the <i>Break-line</i>, or else he <i>Sets</i> close to get in that
+little Word, because a <i>Line</i> with only a little Word
+in it, shews almost like a <i>White-line</i>, which unless
+it be properly plac’d, is not pleasing to a curious
+Eye.</p>
+
+<p>Nor do good <i>Compositers</i> account it good Workmanship
+to begin a <i>Page</i> with a <i>Break-line</i>, unless
+it be a very short <i>Break</i>, and cannot be gotten in
+in the foregoing <i>Page</i>; but if it be a long <i>Break</i>, he
+will let it be the <i>Direction-line</i> of the fore-going <i>Page</i>,
+and <i>Set</i> his <i>Direction</i> at the end of it.</p>
+
+<p><i>Indenting</i> after a <i>Break</i> (unless it be the end of a
+<i>Chapter</i> or <i>Section</i>) is an m <i>Quadrat</i>, (more or less is
+not proper) <i>Set</i> at the beginning of the <i>Line</i>: But
+when Verses are <i>Indented</i>, two, three or four m <i>Quadrats</i>
+are used, according to the number of the Feet
+of the Verses, but most times according to the fancy
+of the Author.</p>
+
+<p><i>English</i> obsolete Words he <i>Sets</i> in the <i>English</i> Character,
+<span class="pagenum" id="Page_227">227</span>the first <i>Letter</i>, if the dignity of the Word
+require it, as aforesaid, with a <i>Capital</i>.</p>
+
+<p>Foreign Languages he meets with in his <i>Copy</i>, if
+the <i>Master Printer</i> have them in his House, he <i>Sets</i>
+them in the proper Character; if not, the Author
+must write them in the common Character, and
+the <i>Compositer Sets</i> them as they are written.</p>
+
+<p>That I may be the less unintelligent to the Reader,
+I will inform him that in <i>Printers</i> Dialect (as in
+this last Paragraph it is used) <i>Language</i> is understood
+<i>Letter</i>: For the <i>Compositer</i> does say, I shall
+use a Word or two of <i>Greek Letter</i>, or <i>Hebrew Letter</i>,
+or <i>Saxon Letter</i>, <i>&amp;c.</i> but I shall use a word
+or two of <i>Greek</i>, a Word or two of <i>Hebrew</i>, <i>Saxon</i>,
+<i>&amp;c.</i> so that the Word <i>Letter</i>, is in <i>Compositers</i> Dialect,
+understood by naming the Language.</p>
+
+<p>If <i>Indentures</i> instead of <i>Marginal Notes</i> come in a
+number of <i>Lines</i>, he <i>Indents</i> his <i>Stick</i>, as I shewed
+you he did for a <i>Wooden Letter</i>, leaving a convenient
+<i>White</i> between his <i>Matter</i> and <i>Indenture</i>, and
+then again <i>Indents</i> his <i>Stick</i> to <i>Set</i> the <i>Matter</i>
+that comes in those <i>Indentures</i>, allowing a reasonable
+<i>White</i> between the Top and the Bottom of his
+<i>Indenture</i>, and then <i>Justifies</i> it up to an exact number
+of <i>Lines</i>, as he did the <i>Wooden Letter</i>.</p>
+
+<p>If <i>Marginal Notes</i> come down the side (or sides,
+If the <i>Page</i> have two Columns) he chuses to <i>Set</i>
+them in on the <i>Stone</i>, rather than in his <i>Galley</i>; because
+both his <i>Page</i> and <i>Notes</i> stand safer, being
+cloathed with the <i>Furniture</i>, than they do when
+they stand Naked in the <i>Galley</i>. Therefore I shall
+say nothing of <i>Marginal Notes</i> till I come to <i>Imposing</i>.</p>
+
+<p><span class="pagenum" id="Page_228">228</span></p>
+
+<p>Some other Circumstances (according as variety
+of Work does happen) a <i>Compositer</i> 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.</p>
+
+<p>Nor (as afore was hinted) is a <i>Compositer</i> bound
+to all these Circumstances and Punctilio’s, because,
+in a strict sense, the Author is to discharge him of
+them in his <i>Copy</i>: Yet it is necessary the <i>Compositers</i>
+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
+<i>Master Printer</i>.</p>
+
+
+<h4 id="_6_Of_Tying_up_a_Page">
+  ¶ 6. <i>Of Tying up a</i> Page.
+</h4>
+
+<p>We may remember the <i>Compositer</i> has yet a
+<i>Page</i> in his <i>Galley</i>: This <i>Page</i> must be <i>Tyed up</i> with
+a <i>Packthred Cord</i>, courser or finer according to the
+bigness of his <i>Letter</i> and <i>Page</i>: For <i>Small Letter</i>,
+which rarely is used to great <i>Pages</i>, he chuses a fine
+<i>Packthred</i>, strong and limber; but for <i>great Letter</i>
+and <i>great Pages</i> a stronger that will better endure
+hard pulling at: Wherefore he seeks a <i>Cord</i> for his
+purpose, or else takes so much off the whole <i>Quoil</i>
+as will serve his turn, and taking the end on’t in
+his Right Hand, lays that end about an Inch within
+the <i>Direction-line</i>, and a little lower than the middle
+of the <i>Shank</i> of the <i>Letter</i>, and holds that end
+there close with the two Fore-fingers of his Left
+Hand, then he slides his Right Hand along the
+<span class="pagenum" id="Page_229">229</span><i>Cord</i>, straining it as stiff as he can along the right
+side of the <i>Page</i>, and turns it about the <i>Head</i> of
+the <i>Page</i> as close down to the <i>Ledge</i> of the <i>Galley</i> as
+he can, and so slides his Hand over the <i>Cord</i> till he
+draws it about all the sides of the <i>Page</i>: and when he
+comes to the first end of the <i>Cord</i>, he doubles up
+that end so as it stand above the <i>Face</i> of the <i>Letter</i>,
+and whips the <i>Cord</i> over that end, that the
+end may not slip; then he twists part of the remaining
+<i>Cord</i> about his Right Hand, and grasping
+his Left Hand Fingers about the <i>Direction</i> Corner
+of the <i>Page</i>, as well to hold the end of the <i>Cord</i>
+from slipping, as to keep the <i>Page</i> tight in its position,
+with his Right Hand he pulls the <i>Cord</i> as
+hard down the side of the <i>Page</i> as he can; and
+keeping the <i>Cord</i> straining, whips it again about
+the <i>Head</i> and other sides of the <i>Page</i>, and so again
+about all the sides of the <i>Page</i>, keeping it still straining;
+and always as he comes to the Right Hand side
+of the <i>Page</i>, pulling hard, and taking care that it
+slip not: Having whipt the <i>Cord</i> twice about the
+<i>Page</i>, he holding two of his Left Hand Fingers
+against the <i>Direction</i>-corner upon the <i>Cord</i>, 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 <i>Page</i>,
+and removes it a little from the <i>Ledges</i> of the <i>Galley</i>,
+that he may with the Nail of the Thumb of his
+Right Hand have room to thrust the <i>Cord</i> whipt
+about the <i>Page</i>, lower down upon the <i>Shank</i> of the
+<i>Letter</i>, (to make room for succeeding whippings
+of the Cord, and then thrusts or draws the <i>Page</i>
+<span class="pagenum" id="Page_230">230</span>close to the <i>Ledges</i> of the <i>Galley</i> again; then whips
+the <i>Cord</i> again about the <i>Page</i> (as before) till he has
+whipt it four or five times about the <i>Page</i>, taking care
+that the several whippings lye parallel to each other,
+not lapping over any of the former whippings.</p>
+
+<p>Having whipt the <i>Cord</i> four or five times about
+the <i>Page</i>, he with his <i>Bodkin</i> or the corner of a
+<i>Brass Rule</i> (which lies best at hand) fastens the <i>Cord</i>,
+by thrusting a noose of it between the several whippings
+and the Right Hand side of the <i>Page</i>, close up
+to the <i>Direction-line</i>, then draws the lower part of
+that Noose close up to the very corner of the <i>Direction-line</i>,
+that it may be the better fastned between
+the <i>Page</i> and the Whippings: Then, if his <i>Cord</i> 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 <i>Face</i> of the <i>Letter</i>; the reason will shew it self
+when we come to <i>Imposing</i>. Then he removes the
+<i>Page</i> pretty far from the <i>Ledges</i> of the <i>Galley</i>, to see
+if the Whippings lye about the middle of the <i>Shank</i>
+of the <i>Letter</i>; 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 <i>Page</i> be
+not too broad) he places his Fore or Middle Finger,
+or both, of his Right Hand on the Right Hand Side
+of the <i>Page</i>, and his Thumb on the Left; and
+bowing his other Finger or Fingers under the
+<i>Head</i> of the <i>Page</i>, he rears up the <i>Handle-end</i> of
+his <i>Galley</i> with his Left Hand almost upright, and
+so discharges the <i>Galley</i> of the <i>Page</i>, by delivering
+it upright into his Right Hand. Having his <i>Page</i>
+<span class="pagenum" id="Page_231">231</span>upright in his Right Hand, at the <i>Head</i>, he claps
+the Fingers of his <i>Left Hand</i> about the <i>Foot</i> of the
+<i>Page</i>, upon the ends of the <i>Lines</i> on the Right Hand
+Side of the <i>Page</i>, and his Thumb on the Left Hand
+side of the <i>Page</i>, with the Palm of his Hands towards
+the <i>Face</i> of the <i>Letter</i>, and such Fingers as
+he can spare bowed under the Foot of the <i>Page</i>,
+turning the <i>Page</i> with the <i>Face</i> of the <i>Letter</i> from
+him, and letting it rest upon the inside of his Fingers,
+under the Right Hand Side of the <i>Page</i>, and
+so goes with it to the <i>Correcting-stone</i>.</p>
+
+<p>But if the <i>Correcting-stone</i> be full of <i>Forms</i> or other
+<i>Letter</i>, as many times it is, then before he begins
+to <i>Tye</i> up his <i>Page</i> he provides a <i>Sheet</i> of <i>Waste
+Paper</i>, supposing it a <i>Quarto Page</i>, and doubles
+that Sheet in four, and while he has the <i>Page</i> upright
+in that Hand (as aforesaid) he takes that
+doubled Sheet into the Palm of his <i>Left Hand</i>, and
+claps it against the bottom of the <i>Page</i>, and turning
+his Left Hand outward, receives the <i>Page</i> flat upon
+the Paper on the Palm of his Hand: Then with his
+Right Hand grasps the Sides of the <i>Page</i> and the
+Sides of the Paper, which turn up again above the
+bottom of the <i>Page</i>, and sets it on a <i>Letter Board</i>,
+or some other board in a convenient place under
+his <i>Case</i>. He places that <i>Page</i> on the Left Hand the
+Board with the Foot of the <i>Page</i> towards him, that
+the other <i>Pages</i> that are in like manner set on the
+Board afterwards, may stand by it in an orderly
+succession against he comes to <i>Impose</i> them.</p>
+
+<p>If it be a large <i>Folio Page</i>, or a <i>Broad-side</i> he has
+<i>Tyed up</i>, he cannot take that into his Hands, because
+<span class="pagenum" id="Page_232">232</span>it is too broad for his Grasp; therefore he carries
+his <i>Galley</i>, <i>Page</i> and all to the <i>Correcting-stone</i>,
+and turns the Handle of the <i>Galley</i> 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 <i>Head-ledge</i> of the
+<i>Galley</i>, to hold it and keep it steady, and by the
+<i>Handle</i> draws the <i>Slice</i> with the <i>Page</i> upon it, out
+of the <i>Galley</i>, letting the <i>Slice</i> rest upon the <i>Correcting-stone</i>:
+Then he thrusts the <i>Head-end</i> of the
+<i>Slice</i> so far upon the <i>Correcting-stone</i>, that the <i>Foot</i>
+of the <i>Page</i> may stand an Inch or two within the
+outer edge of the <i>Correcting-stone</i>; and placing his
+Left Hand against the <i>Foot</i> of the <i>Page</i>, in the same
+posture he last plac’d it against the <i>Head-ledge</i> of the
+<i>Galley</i>, he draws the <i>Slice</i> from under the bottom of
+the <i>Page</i>, and leaves it upon the <i>Correcting-stone</i>. <i>See
+Plate 25. at</i> A.</p>
+
+<figure class="figcenter illowe30" id="i_p232a">
+  <img class="w100" src="images/i_p232a.jpg" alt="sliding a page off the slice">
+  <figcaption>
+    <i>Plate 25.</i>
+  </figcaption>
+</figure>
+
+
+<h4 id="_7_Of_Imposing">
+  ¶ 7. <i>Of</i> Imposing.
+</h4>
+
+<p><i>Imposing</i> is the placing of the <i>Pages</i> that belong to a
+<i>Sheet</i>, with the <i>Chase</i> and <i>Furniture</i> about them, in such
+an order as when the <i>Sheet</i> is wrought off at the <i>Press</i>,
+all the <i>Pages</i> may be Folded into an orderly succession.</p>
+
+<p>There are four <i>Volumns</i> in use that are differently
+<i>Imposed</i>, viz. <i>Folio</i>, <i>Quarto</i>, <i>Octavo</i> and <i>Twelves</i>.</p>
+
+<p>The manner of <i>Imposing</i> these <i>Sheets</i> will be plainer
+represented in a Table than by many words;
+therefore in <i>Plates 26</i>, <i>27</i>, <i>28</i>. I have given you
+Drafts of each <i>Volumn</i>, both <i>First</i> and <i>Second Form</i>,
+viz. <i>White Paper</i> and <i>Reteration</i>; as you may see
+noted over each <i>Form</i> in the Plates. For Example,
+the two <i>Forms</i> in the <i>Folio Sheet</i>: In the <i>First Form</i>
+<span class="pagenum" id="Page_233">233</span>you may see 1 on the Left Hand and 4 on the
+Right, which shews that the <i>First Page</i> must stand
+on the <i>Correcting-stone</i> on that Hand, and the
+<i>Fourth</i> on the Right Hand, with the <i>Foots</i> of the
+<i>Pages</i> towards you; and so for all the other <i>Forms</i>.
+The number of the <i>Page</i> belonging to each <i>Sheet</i>
+is marked in what place it is to stand on the <i>Stone</i>
+in the <i>Chase</i>, and the Figures of those Numbers are
+placed with their <i>Head</i> and <i>Foot</i> upwards and
+downwards, as the <i>Heads</i> and <i>Foots</i> of the <i>Pages</i>
+must stand in the <i>Chase</i>.</p>
+
+<figure class="figcenter illowe30" id="i_p234a">
+  <img class="w100" src="images/i_p234a.jpg" alt="to demonstrate imposing folio and quarto">
+  <figcaption>
+    <i>Plate 26.</i>
+  </figcaption>
+</figure>
+
+<p>The places of these <i>Pages</i> for all <i>Volumns</i> the <i>Compositer</i>
+has always in his memory, yet has he a help if he
+remember the places of but the first half of the number
+of <i>Pages</i> of each <i>Volumn</i>: For if he knows the place
+of the first <i>Page</i>, the <i>Page</i> that stands next it must be
+that number which makes one more than the number
+of all the <i>Pages</i> in the <i>Sheet</i>. For Example, in the <i>Folio</i>;
+next the <i>First Page</i> stands the <i>Fourth Page</i>, 1 and 4
+added makes 5, viz. one more than the number of
+<i>Pages</i> in the whole <i>Sheet</i>. <i>See Plate 26.</i> Again, In the
+<i>Twelves Volumn</i> next the <i>First Page</i> stands the <i>Twenty
+Fourth</i>, 1 and 24 added makes 25: Next 2 stands 23,
+which added makes 25, <i>viz.</i> one more than the number
+of <i>Pages</i> in the whole <i>Sheet</i>. This is a help, and a certain
+Rule for placing the <i>Pages</i> of any Volumn, if
+he knows but by memory the places of the first half
+number. <i>See Plate 27.</i> Thus you will find an <i>Even</i>
+and an <i>Odd Page</i> stand together.</p>
+
+<figure class="figcenter illowe30" id="i_p236a">
+  <img class="w100" src="images/i_p236a.jpg" alt="imposing octavo and twelves">
+  <figcaption>
+    <i>Plate 27</i>
+  </figcaption>
+</figure>
+
+<p>The other <i>Volumns</i>, viz. <i>Sixteens</i>, <i>Twenty-fours</i>,
+<i>Thirty-two’s</i>, are but the <i>Octavo’s</i> and <i>Twelves</i> doubled,
+or twice doubled and <i>Imposed</i> in <i>Half-Sheets</i>.
+For Example, The <i>Sixteens</i> is two <i>Octavo’s Imposed</i>
+<span class="pagenum" id="Page_234">234</span>on each side the <i>Short Cross</i>; the <i>Twenty-fours</i> is two
+<i>Twelves Imposed</i> on each side the <i>Long Cross</i>, and a
+<i>Thirty-two’s</i> is four <i>Octavo’s Imposed</i> in each <i>Quarter</i>
+of the <i>Chase</i>. And thus they double a Volumn as
+oft as they think fit. But as was said before, they
+are <i>Imposed</i> on each side the <i>Cross</i>, or in each <i>Quarter</i>
+of the <i>Chase</i>, as the Volumn that is doubled or
+re-doubled is <i>Imposed</i> in the whole <i>Chase</i>.</p>
+
+<p>In <i>Half-sheets</i>, all the <i>Pages</i> belonging to the
+<i>White Paper</i> and <i>Reteration</i> are <i>Imposed</i> in one <i>Chase</i>,
+and are plac’d, as you see by the Drafts (in <i>Plate
+28</i>.) of <i>Half-sheet Forms</i>. So that when a <i>Sheet</i>
+of <i>Paper</i> is Printed on both sides with the same
+<i>Form</i>, that <i>Sheet</i> cut in two in the <i>Short Cross</i>, if
+<i>Quarto</i> or <i>Octavo</i>, and in the <i>Short</i> and <i>Long Cross</i>,
+if <i>Twelves</i>, and folded as <i>Octavo</i> or <i>Twelves</i>; the
+<i>Pages</i> (I say) of each <i>Half-sheet</i> shall follow in an
+orderly succession.</p>
+
+<figure class="figcenter illowe30" id="i_p238a">
+  <img class="w100" src="images/i_p238a.jpg" alt="imposing half sheets">
+  <figcaption>
+    <i>Plate 28.</i>
+  </figcaption>
+</figure>
+
+<p>Having premised thus much, he takes up the
+<i>Pages</i> he set by on Papers in an orderly succession
+when he <i>Tyed</i> them up, grasping the edges of the
+Papers that stick up on both sides the <i>Page</i> tight,
+that so the bottom of the Paper may stand the
+stronger against the bottom of the <i>Letter</i>, to keep
+it from falling out; and bringing it thus to the
+<i>Correcting-stone</i>, he gets the two last Fingers of his
+Right Hand under the <i>Head</i> of the <i>Page</i>, but not
+under the Paper sticking up about the <i>Head</i> of the
+<i>Page</i>, keeping his other two Fingers and Thumb
+on the sides of the <i>Page</i>, and slips or slides his Left
+Hand, so as the Palm of it may turn towards the
+bottom of the <i>Page</i>; and rearing the <i>Page</i> up on
+<span class="pagenum" id="Page_235">235</span>end on his Right Hand, he discharges his Left to
+take away the Paper behind the <i>Page</i>; then he grasps
+his Left Hand about the <i>Foot-end</i> of the <i>Page</i> in the
+same posture that his Right Hand grasps the <i>Head-end</i>.
+And having the <i>Page</i> thus between his Hands
+with the bottom of the <i>Letter</i> towards him, he
+directs both his Hands to the place on the <i>Stone</i>
+where the <i>Page</i> must stand, and claps it down on
+the <i>Stone</i> so nimbly, that the whole bottom of the
+<i>Page</i> comes all at once to the Face of the <i>Stone</i>,
+lest otherwise he endanger the <i>Breaking</i>, <i>Squabbling</i>,
+or <i>Hanging</i>, <i>&amp;c.</i> of the <i>Page</i>. And thus he sets
+down all the <i>Pages</i> of the <i>Form</i>: which having
+plac’d in order and rank, as before I have shew’d in
+the Drafts of each respective Volumn, he lays the
+<i>Chase</i> about them; and (if he have not a <i>Form</i>
+already <i>Drest</i>) seeks out <i>Inner Side</i> and <i>Head-sticks</i>
+of such a thickness, as with the <i>Cross</i> may make
+a <i>Margin</i> between the adjoyning <i>Pages</i> convenient
+to the Volumn and size of the Paper.</p>
+
+<p>If his <i>Side</i> or <i>Head-sticks</i> be a little too thin, and
+and he cannot find any to his intended thickness, he
+puts a <i>Scaboard</i> or two between the <i>Head</i> or
+<i>Side-stick</i> and the <i>Cross</i>, as well to have more <i>Margin</i>
+as to commode the <i>Press-man</i> (if occasion be) when
+he makes <i>Register</i>, as I shall further shew when I
+come to the Section of the <i>Press-man</i>.</p>
+
+<p>Then he seeks outer <i>Side</i> and <i>Foot-sticks</i>, his <i>Side-sticks</i>
+of the exact length of the <i>Page</i>, or a <i>Scaboard</i>
+shorter, or he cuts them to that length, that the
+<i>Foot-stick</i> Bear not against the end of the <i>Side-stick</i>,
+because then the <i>Letter</i> will not <i>Rise</i>; for the
+<span class="pagenum" id="Page_236">236</span><i>Foot-stick</i> must be a little longer than the breadth of
+the <i>Page</i>, that it may shoot beyond the end of the
+<i>Side-stick</i>.</p>
+
+<p>Then he fits the <i>Chase</i> and <i>Furniture</i> at <i>Side</i> and
+<i>Foot</i>, with <i>Fore</i> and <i>Hind Quoins</i>, and takes off the
+<i>Cords</i> from the <i>Pages</i>, as shall be shew’d by and by.</p>
+
+<p>But if <i>Marginal Notes</i> come down the Side or
+or Sides of the <i>Pages</i> (for if there be two <i>Columns</i> in a
+<i>Page</i>, the <i>Marginal Notes</i> may come down both
+sides) then, before he fits his <i>Foot-sticks</i> he sets a
+<i>Scaboard</i> the length of the <i>Page</i>, against the side of
+the <i>Page</i> the <i>Notes</i> come on, and a row of <i>Quotations</i>
+almost down the length of the <i>Page</i>, or sometimes
+but one or two in a place at convenient
+distances, to keep the <i>Letter</i> of the Side of the <i>Page</i>
+upright, according as he finds his particular <i>Notes</i>
+stand near or far asunder, and afterwards fits his
+<i>Foot-stick</i>. Then he <i>Sets</i> his <i>Notes</i>, commonly
+between the <i>Cheeks</i> of his <i>Stick</i>, which for that purpose
+are fitted to the <i>Measure</i> of the <i>Quotation</i>: And
+having <i>Set</i> them, he places them in the proper places
+where they must come in, and with <i>Quotation
+Quadrats</i> of proper <i>Bodies</i>, <i>Justifies</i> them up, feeling
+(at last) carefully and cautiously at the <i>Foot</i>, that
+they be neither too soft nor too hard <i>Justified</i> to the
+length of the <i>Page</i>.</p>
+
+<p>Now if he have a <i>Chase</i>, or <i>Form</i>, or <i>Furniture</i> already
+<i>Drest</i> (these several phrases are used, though
+they all signifie the same thing.) If he have (I say)
+a <i>Form Drest</i>, that is, if he or other Workmen have
+been Working on the same <i>Work</i>, i. e. <i>Book</i>, before
+he uses one of the <i>Wrought-off Forms</i>, and having it
+<span class="pagenum" id="Page_237">237</span>on a <i>Letter-board</i>, <i>Rinc’d</i>, 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 <i>Stone</i> he <i>Imposes</i> on, and so as there
+may be a corresponding position, with the <i>Form
+Wrought off</i> and that <i>Imposing</i>, viz. that the <i>First
+Page</i> (and consequently all the rest) of the <i>Wrought
+off Form</i> stands on the same Hand with the <i>First
+Page</i> of that <i>Form</i> that is <i>Imposing</i>.</p>
+
+<p>Then taking out and laying the <i>Quoins</i> in their
+proper places, as I shew’d when he <i>Stript</i> the <i>Form</i>,
+at the latter end of ¶ 2. he a little wriggles the
+<i>Chase</i> from one Side to the other, and forward and
+backwards to Loosen it, and the <i>Cross</i> or <i>Crosses</i> from
+the close pinching of the <i>Letter</i> and <i>Furniture</i>:
+then takes it off the <i>Chase</i>, and lays it about those
+<i>Pages</i> he is <i>Imposing</i>: Then with his two fore-fingers
+and Thumbs he takes away the <i>Inner Side-stick</i>
+and the <i>Head-stick</i> at once, and at once removes
+them to the responding <i>Quarter</i> of the <i>Form Imposing</i>,
+into the responding places from whence he took
+them in the <i>Wrought off Form</i>. And as he does by
+the <i>Inner Side-sticks</i>, so he does by the outer <i>Side-sticks</i>,
+and by the <i>Quoins</i>; placing them in their
+respective proper places between the <i>Furniture</i> and
+<i>Chase</i>, or so many of the foremost <i>Quoins</i>, as will
+go in before the <i>Cords</i> are unwhipt from the <i>Pages</i>.
+Thus the <i>Wrought off Form</i> is <i>Stript</i> and <i>Naked</i>;
+and stands by to <i>Destribute</i>.</p>
+
+<p>Having thus translated the whole <i>Furniture</i> of
+the <i>Wrought off Form</i> to the <i>Form Imposing</i>, he finds
+the end of the <i>Cord</i> that he left sticking up above the
+<span class="pagenum" id="Page_238">238</span><i>Face</i> of the <i>Letter</i> (which perhaps by this time is
+got between the <i>Furniture</i> and the <i>Page</i>) and laying
+the Ball of his left Thumb, on the <i>Face</i> of the <i>Letter</i>
+at the <i>Direction</i> corner of the <i>Page</i>, to keep it from
+<i>Rising</i>, he takes the aforesaid end of the <i>Cord</i>, between
+the Fore-finger and Thumb of his Right Hand, and
+pulls gently to loosen the Noose that fastned the <i>Cord</i>
+when he <i>Tyed</i> up the <i>Page</i>, 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 <i>Side-stick</i>,
+and the other against the middle of the <i>Foot-stick</i>,
+and at once thrusts the <i>Page</i> close against the <i>Inner-Side</i>
+and <i>Head-stick</i>, and so makes room to get in
+all the <i>Quoins</i>. But if there be more than one <i>Page</i>
+in a <i>Quarter</i>, as in <i>Octavo’s</i> and <i>Twelves</i>, then he
+unties all the <i>Pages</i> of that <i>Quarter</i>, beginning with
+the <i>Inner Pages</i> first, before he can put in the
+<i>Quoins</i>. Then again, thrusting hard with his
+Thumbs, against the outer Sides of the Side and
+<i>Foot-sticks</i> of the several <i>Quarters</i>, to thrust the
+<i>Letter</i> up tight and Square, he looks over the <i>Form</i>
+as nicely as he can, to see what <i>Letter</i> or <i>Letters</i>
+may <i>Rise</i> in the <i>Form</i>, (that is, stand higher than the
+rest) and with the Balls of his Fingers of both his
+Hands, (the <i>Quoins</i> being close and hard thrust up)
+pats upon the <i>Face</i> of the <i>Letter</i> to beat them down:
+But this is not enough to smoothen the <i>Form</i>, but
+only to smoothen it so as the edges of the <i>Dressing-block</i>
+(when it comes to smoothen it quite) may not
+job against them. Then he takes the <i>Dressing-block</i>,
+described Section 9. ¶ 3. in his left Hand, and lays
+<span class="pagenum" id="Page_239">239</span>the smooth side of it upon the <i>Face</i> of the <i>Letter</i>,
+at the bottom of the <i>Quarter</i> next him; or he takes
+the <i>Shooting stick</i>, or sometimes the lower part of
+the clutched Fist of his right Hand, and knocks
+either with the Head of the <i>Shooting-stick</i> (or his Fist,
+as aforesaid) gently upon the upper Side of the
+<i>Dressing-block</i>, with quick knocks, removing the
+<i>Dressing-block</i> in a lineal rank upwards, and knocking
+still quick upon it, as it goes along and comes down
+again with the <i>Dressing-block</i>, 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 <i>Form</i>, still knocking with quick knocks upon
+the <i>Dressing-block</i>, that so he may be sure to press
+down every <i>Rising Letter</i> in the whole <i>Form</i>, if he
+see any <i>Spaces</i> or <i>Quadrats</i> stick up, he thrusts them
+down with his <i>Bodkin</i>.</p>
+
+<p>Then to <i>Lock</i> up the <i>Form</i>, he takes the <i>Shooting-stick</i>
+in his Left Hand and the <i>Mallet</i> in his Right,
+and placing the <i>Foot</i> of the <i>Shooting-stick</i> against the
+small <i>Quoin</i> between the <i>Side stick</i> and the <i>Chase</i>,
+drives that a little gently up, and then removes the
+<i>Shooting-stick</i> to the next <i>Quoin</i>, and so to the third
+<i>Quoin</i> (if there be so many) between the <i>Side-stick</i>
+and the <i>Chase</i>; Then removes his knocking to the
+thick end of the <i>Foot-stick</i>, and afterwards knocks
+the <i>Foot Quoins</i> gently up: Then knocks pretty
+strongly with the <i>Shooting-stick</i> against the thick end
+of the <i>Side stick</i>, and <i>Drives</i> the <i>Quoins</i> yet harder
+up: Then to the thick end of the <i>Foot stick</i>, and
+and <i>Drives</i> those <i>Quoins</i> also harder up. Then at last
+knocking again, against the thick ends of the <i>Side</i>
+<span class="pagenum" id="Page_240">240</span>and <i>Foot-sticks</i>, he knocks up the <i>Quoins</i> so hard,
+as that he thinks the <i>Form</i> may <i>Rise</i>: To try if it
+will, he draws the hither Side of the long Side of
+the <i>Chase</i>, about an Inch or two over the edge of
+the <i>Stone</i>; and putting his two hands under the <i>Chase</i>,
+Dances the <i>Form</i> three or four times so as it may just
+<i>Rise</i> off the <i>Face</i> of the <i>Stone</i>: but not so high as that
+any loose <i>Letters</i> or <i>Spaces</i> 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 <i>Rise</i> with the <i>Form</i>, he says the <i>Form Dances</i>,
+wherefore he looks carefully upon his <i>Pages</i> of <i>Letter</i>,
+to find out the Cause: For generally, either the
+<i>Letter Hangs</i> or the <i>Lines</i>, are ill <i>Justified</i>: or else it
+is not <i>Hard</i> enough <i>Lockt up</i>.</p>
+
+<p>If he finds by his Eye the <i>Letter Hangs</i>: he must
+<i>Un-lock</i> and <i>Loosen</i> the <i>Form</i>, or that <i>Quarter</i> that
+<i>Hangs</i> pretty <i>Loose</i>, that the <i>Letter</i> may be set to
+Right; which he does with patting upon the <i>Face</i> of
+the <i>Letter</i> where it <i>Hangs</i>, with the <i>Balls</i> of the
+<i>Fingers</i> of both his <i>Hands</i>, to twist or turn them
+into a Square Position.</p>
+
+<p>If it be only a <i>Single Letter</i> or two that drops,
+he thrusts the end of his <i>Bodkin</i> between every <i>Letter</i>
+of that Word, till he comes to a <i>Space</i>: and then
+perhaps by forcing those <i>Letters</i> closer, he may have
+room to put in another <i>Space</i> or a <i>Thin Space</i>; which
+if he cannot do, and he finds the <i>Space</i> stand <i>Loose</i>
+in the <i>Form</i>; he with the <i>Point</i> of his <i>Bodkin</i> picks
+the <i>Space</i> up and bows it a little; which bowing
+makes the <i>Letters</i> on each side the <i>Space</i> keep their
+parallel distance; For by its Spring it thrusts the
+<span class="pagenum" id="Page_241">241</span><i>Letters</i> that were closed with the end of the <i>Bodkin</i>
+to their adjunct <i>Letters</i>, that needed no closing. Or
+sometimes he chews a small bit of <i>Paper</i>, and with
+the <i>Point</i> of his <i>Bodkin</i> forces that in on one side of
+the <i>Space</i>: and so fills up the Vacancy between the
+<i>Space</i> and the <i>Letter</i>. But both these ways are
+meer present Helps, and (in plain terms) accounted
+Botches, as being an Argument that his <i>Lines</i> were
+not well <i>Justified</i> in his <i>Stick</i>.</p>
+
+<p>If he finds the <i>Form</i> or any part of it, was not
+hard enough <i>Lockt</i> up, he <i>Locks</i> all, or part harder
+up, as was shew’d before.</p>
+
+<p>But now his <i>Form Rises</i>; Wherefore he draws the
+Long <i>Side</i> of the <i>Chase</i> (as before) a little over the
+edge of the <i>Correcting-Stone</i>, and putting two or three
+of his Fingers into the Vacancy between the <i>Quoins</i>,
+or else into the Vacancy at the ends of the <i>Chase</i>; he
+rears the <i>Form</i> upon the farther <i>Side</i> of the <i>Chase</i>,
+and removing his right Hand to the Short end of
+the <i>Chase</i>, grasps it near the upper corner, and then
+discharges his left Hand also; and removes it to the
+diagonal corner of the <i>Chase</i>; and so slides the long
+<i>Side</i> of the <i>Chase</i> off the hither Edge of the <i>Correcting-Stone</i>:
+Then slipping his Hands to the bottom of
+the <i>Chase</i>, about two or three Inches within the
+corners, with the insides of his Hands towards the
+<i>Face</i> of the <i>Letter</i>, and leaning the upper <i>Side</i> of
+the <i>Chase</i> 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 <i>Chase</i>, he
+carries the <i>Form</i> so before him to the <i>Press</i>, and lays
+it upon the <i>Stone</i>, for the <i>Press-man</i> to make a <i>Proof</i>
+<span class="pagenum" id="Page_242">242</span>of. The <i>Proof</i> being made, the <i>Press-man</i> brings the
+<i>Proof</i>, and layes it on the <i>Compositers Case</i>: and he
+brings the <i>Form</i> again and layes it on the <i>Correcting-Stone</i>,
+and rubs it over with the <i>Ly-Brush</i>, as shall
+be shew’d in proper place. And the <i>Compositer</i> gives
+the <i>Correcter</i> the <i>Proof</i> and his <i>Copy</i> to <i>Correct</i> it by:
+which being <i>Corrected</i>, the <i>Correcter</i> gives it again to
+the <i>Compositer</i> to <i>Correct</i> the <i>Form</i> by.</p>
+
+
+<h4 id="_8_Of_Correcting">
+  ¶ 8. <i>Of</i> Correcting.
+</h4>
+
+<p>If there be but few <i>Faults</i>, and those easie ones,
+the <i>Compositer Gathers</i> the <i>Corrections</i> in his <i>Stick</i>,
+beginning at the bottom of every <i>Page</i>, and so ascending
+upwards: Because when he is <i>Correcting</i>, the
+<i>Corrections</i> of the top of the <i>Page</i> stand then first in
+the <i>Stick</i>, and therefore are readiest to his Hand.
+But if there be many <i>Faults</i> he brings the <i>Lower-Case</i>
+to the <i>Correcting Stone</i>, and takes his <i>Corrections</i> as
+he uses them.</p>
+
+<p>Then with the <i>Mallet</i> and <i>Shooting-stick</i> he <i>Unlocks</i>
+the <i>Form</i>, as was shew’d in ¶ 3 of this Section. But
+keeps the <i>Quoins</i> pretty tight up, to secure the <i>Letter</i>
+from <i>Squabbling</i> or <i>Hanging</i>.</p>
+
+<p>Then he Folds his <i>Proof</i> so oft double, till all
+the <i>Pages</i>, except that he intends to <i>Correct</i> first
+are Folded out of Sight, and he also Folds down the
+Left Hand <i>Margin</i> of that <i>Page</i> under the <i>Proof</i>, and
+then lays that Folded Side of the <i>Page</i> along, and
+close to the same <i>Page</i> in the <i>Mettle</i>: So that the
+<i>Head-line</i> in the <i>Proof</i> lye in the same range with
+the <i>Head-line</i> on the <i>Mettle</i>, and the <i>Foot-line</i> even
+<span class="pagenum" id="Page_243">243</span>with the <i>Foot-line</i> on the <i>Mettal</i>, and consequently
+all the <i>Lines</i> of that <i>Page</i> both on the <i>Proof</i> and <i>Mettal</i>
+agree, and stand in a mutual range.</p>
+
+<p>Now therefore he looks in the <i>Proof</i>, to see where
+the <i>Correcter</i> has markt a <i>Fault</i>, and having found
+it in the <i>Proof</i>, he runs along that <i>Line</i> with his Eye
+to the same <i>Line</i> on the <i>Mettle</i>, which he easily does,
+because the <i>Line</i> of <i>Mettle</i> stands in the same range
+with that in the <i>Proof</i>, and finding the <i>Fault</i> in the
+<i>Mettle</i> also, he having now his <i>Bodkin</i> in his right
+Hand, with the <i>Blade</i> of it between his Fore-finger
+and Thumb, within half an Inch or three quarters
+of the <i>Point</i>, and the middle of the <i>Bodkin</i> within
+his clutched Hand to guide and command it, he
+sticks the <i>Point</i> of his <i>Bodkin</i> into the <i>Neck</i> of the
+<i>Letter</i>, viz. between the <i>Beard</i> and the <i>Face</i>, and
+lifts it with the <i>Point</i> of the <i>Bodkin</i> so high up above
+the <i>Face</i> of the other <i>Letters</i>, that he can lay hold of
+it with the Fore-finger and Thumb of his left Hand
+to take it quite out.</p>
+
+<p>I must a little digress, to paraphrase on the posture
+he holds the <i>Bodkin</i> in: For in the sticking his <i>Bodkin</i>
+into the <i>Letter</i>, he holds the <i>Blade</i> of it, so that it
+may make as small an angle with the <i>Face</i> of the
+<i>Letter</i> in the <i>Form</i> as he can, viz. as flat towards
+the <i>Face</i> of the <i>Letter</i> as he can, without touching
+the <i>Face</i> of any of the adjacent <i>Letters</i> with the
+<i>Blade</i> of the <i>Bodkin</i>; For if he touches the <i>Face</i>
+though lightly, yet it may more or less <i>Batter</i> and
+spoil the <i>Face</i> of those <i>Letters</i> it touches, and so he
+creates himself a fresh trouble to mend them.</p>
+
+<p>The reason why he holds the <i>Blade</i> of the <i>Bodkin</i>
+<span class="pagenum" id="Page_244">244</span>as flat to the <i>Form</i> as he can, is, Because a small
+Horizontalish entrance of the <i>Point</i> of the <i>Bodkin</i>
+into the <i>Neck</i> of the <i>Letter</i>, will raise the <i>Letter</i> up
+above the <i>Face</i> of the <i>Form</i>, the <i>Blade</i> of the <i>Bodkin</i>
+being fastned in the little Hole it makes in the <i>Neck</i>
+of the <i>Letter</i>: But if he should stick the Point of
+the <i>Bodkin</i> straight or straightish down upon any
+part of the <i>Letter</i>, it would indeed make an Hole,
+but not fasten in the <i>Mettle</i>, to draw it up; for the
+weight of the <i>Letter</i> would make it slip off the round
+and smooth <i>Point</i> of the <i>Bodkin</i>. Besides the pressing
+the <i>Point</i> of the <i>Bodkin</i> with his right Hand
+against the side of the next <i>Letter</i> on his left Hand,
+keeps the <i>Point</i> of the <i>Bodkin</i> fast in the little Hole
+it makes in the <i>Neck</i> of the <i>Letter</i>, and therefore
+though the <i>Bodkin</i> have but a little entrance, yet it
+has hold enough to draw it up by. Now to return.</p>
+
+<p>Having taken the Fault out, he puts the <i>Letter</i>
+that the <i>Correcter</i> markt in the <i>Margin</i> of the <i>Proof</i>
+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 <i>Letters</i> being
+of equal thickness, gives him no trouble to <i>Justifie</i>
+the <i>Line</i> again after the Fault is <i>Corrected</i>; 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 <i>Space</i> between two words (where
+he finds most convenient) to <i>Justifie</i> the <i>Line</i> again:
+Or suppose an n to come out, and an m to be put
+in; now he must take out a <i>Space</i> where he finds
+most convenient to make room for the m, as being
+thicker by a <i>Space</i> than an n. Thus as he <i>Corrects</i>
+<span class="pagenum" id="Page_245">245</span>he still has a care to keep his <i>Lines</i> true <i>Justified</i>;
+which he tries by pressing the Balls of his two
+middle Fingers pretty hard against the ends of three
+<i>Lines</i>, to make them rise a little above the <i>Face</i> of
+the <i>Form</i>, whereof the <i>Line</i> he examines is the
+middlemost; for if that <i>Line</i> is not hard enough
+<i>Justified</i>, he will between the Balls of his Fingers
+find it hollow, or it will not <i>Rise</i> with the other
+two: And if it be too hard <i>Justified</i>, he will find
+the Balls of his Fingers <i>Bear</i> only or hardest against
+that <i>Line</i>, and the <i>Line</i> on each side it will not <i>Rise</i>.</p>
+
+<p>If there be a long <i>word</i> or more left out, he
+cannot expert to <i>Get</i> that in into that <i>Line</i>, wherefore
+he must now <i>Over-run</i>; that is, he must put so
+much of the fore-part of the <i>Line</i> into the <i>Line</i>
+above it, or so much of the hinder part of the <i>Line</i>
+into the next <i>Line</i> under it, as will make room for
+what is <i>Left out</i>: Therefore he considers how <i>Wide</i>
+he has <i>Set</i>, that so by <i>Over-runing</i> the fewer <i>Lines</i>
+backwards or forwards, or both, (as he finds his help)
+he may take out so many <i>Spaces</i>, or other <i>Whites</i>
+as will amount to the <i>Thickness</i> of what he has <i>Left
+out</i>: Thus if he have <i>Set wide</i>, he may perhaps <i>Get</i>
+a small <i>Word</i> or a <i>Syllable</i> into the foregoing <i>Line</i>; and
+perhaps another small <i>Word</i> or <i>Syllable</i> in the following
+<i>Line</i>, which if his <i>Leaving out</i> is not much, may
+<i>Get</i> it in: But if he <i>Left out</i> much, he must <i>Over-run</i>
+many <i>Lines</i>, either backwards or forwards, or both,
+till he come to a <i>Break</i>: And if when he comes at
+a <i>Break</i> it be not <i>Gotten in</i>; he <i>Drives</i> out a <i>Line</i>.
+In this case if he cannot <i>Get in a Line</i>, by <i>Getting
+in</i> the <i>Words</i> of that <i>Break</i> (as I just now shew’d you
+<span class="pagenum" id="Page_246">246</span>how he <i>Gets-in</i> what was left out in the <i>Proof</i>) or
+by making less <i>White</i> to the <i>Title</i> of a <i>Section</i> or
+<i>Chapter</i> (if any happen in that <i>Page</i>) he must <i>Over-run</i>
+the next <i>Page</i> backwards or forwards, till that
+<i>Line Comes in</i>: Thus sometimes he <i>Over-runs</i> all the
+succeeding <i>Pages</i> of the <i>Sheet</i>, and at last perhaps
+<i>Drives</i> out a <i>Line</i> to <i>Come in</i> in the next <i>Sheet</i>.</p>
+
+<p>If he have <i>Set</i> a word or small sentence twice, he
+must take that out, and <i>Drive-out</i> his <i>Matter</i>. If he
+be near a <i>Break</i>, and the <i>White</i> of that <i>Break</i> not
+very long, he may perhaps <i>Drive it Out</i> at the <i>Break</i>
+by putting in part of the next <i>Line</i> to fill up almost
+so much as he took out; but not quite so much,
+unless his <i>Matter</i> was at first so <i>Wide Set</i> that he
+can <i>Space</i> out no more, or unless the <i>Break-line</i> he
+comes to have so much <i>White</i> in it that he fears
+<i>Getting-in</i> that <i>Line</i>: If either of these inconveniences
+happen, he <i>Drives-out</i> as much as he can
+backwards in the <i>Matter</i>; that is, he takes out so
+much as he thinks he cannot <i>Drive-out</i> when he is at
+the <i>Break</i>: He takes it out at the beginning of the
+<i>Line</i>, and puts it in at the latter end of the <i>Line</i>
+before it: But first he takes out almost so much of
+the beginning of his Second upper <i>Line</i>, to make
+room for it: I say almost so much, because he
+intends to <i>Space-out</i> the rest if it were not too <i>Wide
+Set</i> at first. And thus he runs on from <i>Line</i> to <i>Line</i>,
+still taking out less and less at the beginning of
+every former <i>Line</i>, and putting it into the <i>Line</i>
+above that, that he may <i>Space-out</i> his <i>Matter</i> as he
+<i>Over-runs</i>, till his <i>Double-Setting</i> is <i>Driven-out</i>.</p>
+
+<p>But if he have <i>Set</i> a <i>Line</i> or <i>Lines</i> twice, and
+<span class="pagenum" id="Page_247">247</span>cannot <i>Drive</i> it or them <i>Out</i> at a <i>Break</i> or <i>Breaks</i>;
+or that he cannot <i>Set</i> more <i>Whites</i> at the beginning
+of a <i>Section</i> or <i>Chapter</i>, he must <i>Over-run</i> the next
+<i>Page</i> or more, or the whole <i>Sheet</i> till it be <i>Driven-out</i>:
+And if in <i>Over-runing</i> the whole <i>Sheet</i>
+it be not <i>Driven-out</i>, he must <i>Set</i> so many
+<i>Lines</i>, of the following <i>Matter</i> as will make up
+the last <i>Page</i>.</p>
+
+<p>Many times either for <i>Getting-in</i> or <i>Driving-out</i>,
+the <i>Compositer</i> will chuse to <i>Over-run</i> in his <i>Stick</i>, and
+then he <i>Wets</i> the <i>Page</i> he is to <i>Over-run</i>, with the
+<i>Spunge</i> (that the <i>Letter</i> may the better stick together)
+and he separates so much of the former part of the
+<i>Page</i> as he intends to <i>Over-run</i>, from the rest of the
+<i>Page</i>, and places himself before the <i>Notches</i> of the
+<i>Letter</i>, and takes up about an Inch and an half or
+two Inches of the first Separated <i>Line</i>, and brings it
+to the <i>Stick</i>; and as it it is coming along he turns
+the <i>Notches</i> upwards, and places that <i>Taking up</i> in
+the <i>Stick</i>. When he <i>Takes-up</i>, he places the Inside
+of the first Joynt of his middle Finger of his right
+Hand against the beginning of that <i>Line</i>, and the
+Ball of his Thumb against the other end of that
+<i>Taking-up</i>, and the Ball of his Fore-finger behind the
+<i>Taking-up</i>, about the middle of it, and so pinching
+it lightly brings it to his <i>Stick</i>, as aforesaid. And
+having thus by several <i>Takings-up</i>, gotten a <i>Line</i>
+into his <i>Stick</i>, he looks it over to see what <i>Spaces</i>
+or other <i>White</i> he can take out or put in, according
+as he has either <i>Left-out</i> or <i>Set-twice</i>, and then he
+<i>Justifies</i> the <i>Line</i> again, as was shew’d in ¶ 5. of
+this Section. And thus he <i>Over-runs Line</i> after <i>Line</i>,
+<span class="pagenum" id="Page_248">248</span>till he has <i>Gotten-in</i> or <i>Drove-out</i> his <i>Leaving-out</i>,
+or his Twice <i>Set Matter</i>.</p>
+
+<p>If the <i>Compositer</i> is not firmly resolv’d to keep himself
+strictly to the Rules of good Workmanship,
+he is now tempted to make <i>Botches</i>; viz. <i>Pidgeon-holes</i>,
+<i>Thin-Spaces</i>, no <i>Space</i> before a <i>Capital</i>, <i>Short</i>
+&amp;s, <i>Abbreviations</i> or <i>Titled Letters</i>, <i>Abbreviate
+Words</i>, &amp;c. And if Botching is in any Case excusable,
+it is in this; for with too great <i>Spacing-out</i> or
+too <i>Close Setting</i>, he many times may save himself a
+great deal of Labour, besides the vexation of mind, and
+other accidental mischiefs that attend <i>Over-running</i>.</p>
+
+<p>It sometimes chances that a <i>Compositer</i>, by having
+two or more <i>Pages</i> in his <i>Sheet</i> with the same
+<i>Direction-line</i>, or by mistaking the right place of his
+<i>Page</i> when he set it by on a Paper under his <i>Case</i>,
+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 <i>Transposes</i> two <i>Pages</i>, or more, in his <i>Sheet</i>: In
+this case he <i>Unlocks</i> that <i>Quarter</i>, or those <i>Quarters</i>
+the <i>Pages</i> are in, and loosning the <i>Cross</i> or <i>Crosses</i>
+from those <i>Pages</i> and their <i>Furniture</i>, takes the rest
+off the <i>Correcting-stone</i> with their <i>Furniture</i> about
+them: And if it be a <i>Folio</i> or <i>Quarto</i> he does not
+wet the <i>Pages</i>, because those <i>Forms</i> have <i>Furniture</i>
+about every side of the <i>Page</i>, which will keep up
+the <i>Letter</i> from falling down; But he only places
+the Balls of his two Thumbs against the outside of
+the <i>Furniture</i>, about the middle of the <i>Head</i> and
+<i>Foot</i> of the <i>Page</i>, and the insides of his two middle
+Fingers, assisted by his Fourth and Little Fingers,
+<span class="pagenum" id="Page_249">249</span>in a parallel position to his middle Fingers,
+(to strengthen them against the <i>Furniture</i>) about
+the middle of the <i>Sides</i> of the <i>Page</i>, letting the
+length of his Fingers reach as far from each corner
+of the <i>Page</i> 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 <i>Page</i> out of its wrong place,
+and sets it by on the <i>Stone</i>, till in the same manner
+he removes the other <i>Transpos’d Page</i> into the place
+of the first remov’d <i>Page</i>: And thus if there be
+more than two <i>Transpos’d Pages</i> in the <i>Sheet</i>, he removes
+them all, and <i>Sets</i> the right <i>Pages</i> in their
+right places.</p>
+
+<p>But if it be an <i>Octavo</i> or <i>Twelves</i>, or any other
+<i>Form</i> that has <i>Gutter-sticks</i> between two <i>Pages</i>, he
+must Wet those <i>Pages</i> he leaves on the <i>Stone</i>, because
+when he removes one <i>Page</i>, by the help of
+the <i>Gutter-stick</i>, one side of the other <i>Page</i> will stand
+<i>Naked</i>; and consequently with the Shaking, Joggling,
+or Trembling of the <i>Stone</i> or Floor, the <i>Letters</i>
+on that side will be in great hazard of falling
+down, especially if the <i>Face</i> of the <i>Stone</i> happens
+not to be truly Horizontal: I say, happens not to
+be truly Horizontal, because the <i>Stone</i> is seldom laid
+with any caution, but only by guess.</p>
+
+<p>Having placed the <i>Pages</i> in their right places, he
+again lays the <i>Chase</i> about them, and <i>Locks</i> them
+up again, as was shew’d in ¶ 7. of this Section:
+Then he carries the <i>Form</i> to the <i>Press</i>, and lays it
+on the <i>Stone</i> for a <i>Second Proof</i>, and sometimes for
+<span class="pagenum" id="Page_250">250</span>a <i>Third Proof</i>; which having <i>Corrected</i>, he at last
+brings the <i>Form</i> to the <i>Press</i>, and again lays it on
+the <i>Stone</i> Right, viz. in <i>Folio’s</i> and <i>Octavo’s</i> with
+the <i>Foot</i> of the <i>First</i> or <i>Third Page</i> (which he easily
+knows by their <i>Signatures</i>) towards him, and the
+side of it next the <i>Plattin</i>: And in <i>Quarto’s</i> and
+<i>Twelves</i>, with the <i>Foot</i> of the <i>First</i> or <i>Third Page</i>
+next the <i>Tympan</i>.</p>
+
+<p>After all this <i>Correcting</i> a <i>Revise</i> is made, and if
+any <i>Faults</i> are found in any <i>Quarter</i> of it, or in all
+the <i>Quarters</i>, he calls to the <i>Press-man</i> to <i>Unlock</i>
+that <i>Quarter</i>, or the whole <i>Form</i>, that he may <i>Correct</i>
+those <i>Faults</i>: For when the <i>Form</i> is on the <i>Press</i>
+it is not the <i>Compositers</i> task to <i>Un-lock</i> the <i>Form</i>:
+Neither would a good <i>Press-man</i> be content he
+should make a knocking on his <i>Press</i>, especially if
+the <i>Press-man</i> have <i>Made-ready</i> his <i>Form</i>, as shall be
+shewed in the next Section.</p>
+
+
+<h4 id="_9_Of_Counting_or_Casting_off_Copy">
+  ¶ 9. <i>Of</i> Counting <i>or</i> Casting off Copy.
+</h4>
+
+<p><i>Counting</i> or <i>Casting off Copy</i> (for both Phrases are
+indifferently us’d) is to examine and find how much
+either of <i>Printed Copy</i> will <i>Come-in</i> into any intended
+number of <i>Sheets</i> of a different <i>Body</i> or <i>Measure</i>
+from the <i>Copy</i>; or how much <i>Written Copy</i> will
+make an intended number of <i>Sheets</i> of any assigned
+<i>Body</i> and <i>Measure</i>.</p>
+
+<p>The Rule and Method of <i>Counting off</i> either <i>Printed</i>
+or <i>Written Copy</i> is the same, only <i>Written Copy</i>
+is more difficult, because subject to be irregularly
+Writ: Therefore if I shew you how the <i>Compositer
+<span class="pagenum" id="Page_251">251</span>Casts off Written Copy</i>, I do at the same time inform
+you how to <i>Count off Printed Copy</i>.</p>
+
+<p>The <i>Compositer</i> therefore first considers what <i>Bodied
+Letter</i> his Work is to be wrought on: then he
+carefully peruses the <i>Copy</i>, considering with himself
+whether it be evenly Written or unevenly Written,
+<i>viz.</i> 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
+<i>Letter</i> and <i>Letter</i>, <i>Word</i> and <i>Word</i>, as between
+<i>Line</i> and <i>Line</i>, he has scarce more trouble to <i>Count
+it off</i> than <i>Printed Copy</i>.</p>
+
+<p>Wherefore, the <i>Measure</i> being given, he <i>Composes</i>
+one <i>Line</i> in his <i>Measure</i>: The <i>Matter</i> he <i>Composes</i>
+he chuses out of that part of his <i>Copy</i> that in his
+Judgement he admits is most indifferently Written,
+between Wide and Close, as being such as his whole
+<i>Copy</i>, one part with another, will likeliest <i>Come-in</i>
+alike with. This <i>Line</i> being <i>Compos’d</i>, he considers
+how much of his <i>Copy</i> it takes up, <i>viz.</i> whether it
+runs <i>Line</i> for <i>Line</i>, or whether two <i>Lines</i> of his
+<i>Copy</i> make one <i>Line</i> in his <i>Stick</i>; or whether a <i>Line</i>
+and an half, or a quarter, or half quarter of his
+<i>Copy</i>, <i>&amp;c.</i> make one <i>Line</i> in his Stick; or whether
+a <i>Line</i> of his <i>Copy</i> make two <i>Lines</i> in his <i>Stick</i>, or
+a <i>Line</i> and a half, or a quarter, or half a quarter,
+<i>&amp;c.</i> and accordingly calculates what just number
+of <i>Lines</i> will make another just number of <i>Lines</i> in
+his <i>Stick</i>. For Example.</p>
+
+<p>If his <i>Copy</i> and <i>Measure</i> run <i>Line</i> for <i>Line</i>, then
+consequently 10, 20, 30 <i>Lines</i> of the <i>Copy</i> will make
+<span class="pagenum" id="Page_252">252</span>10, 20, 30 <i>Lines</i> in the <i>Measure</i>; and accordingly he
+counts what number of <i>Lines</i> in his <i>Copy</i> will make
+a <i>Page</i>; and by that, what number of <i>Lines</i> will
+make two <i>Pages</i>, four <i>Pages</i>, eight <i>Pages</i>, and
+consequently so many <i>Pages</i> and <i>Sheets</i> as he is
+to <i>Count off</i>.</p>
+
+<p>If two <i>Lines</i> of <i>Copy</i> make one <i>Line</i> in the <i>Stick</i>,
+then consequently ten <i>Lines</i> in the <i>Copy</i> will make
+five <i>Lines</i> in the <i>Stick</i>; twenty <i>Lines</i> in the <i>Copy</i>
+ten <i>Lines</i> in the Stick, <i>&amp;c.</i></p>
+
+<p>If a Line and a half of the <i>Copy</i> make one <i>Line</i>
+in the <i>Stick</i>, then fifteen <i>Lines</i> of <i>Copy</i> makes ten
+<i>Lines</i> in the <i>Stick</i>, thirty makes twenty, <i>&amp;c.</i></p>
+
+<p>But a pair of <i>Compasses</i> makes the best expedition
+in <i>Counting off of Copy</i>, and (by my experience)
+I have found the surest way. I <i>Compose</i> one <i>Line</i> as
+aforesaid; if the <i>Line</i> I <i>Compos’d Gets-in</i> part of the
+next <i>Line</i>, viz. the second <i>Line</i> of the <i>Copy</i>, I
+place one Foot of a pair of <i>Compasses</i> at the beginning
+of the <i>First Line</i>, and open the other Foot to
+what was <i>Got-in</i> of the <i>Second Line</i>, and turn the
+<i>Compasses</i> about upon the Foot in the Second <i>Line</i>,
+till the other Foot reach the <i>Third Line</i> of the <i>Copy</i>;
+then turn about the Foot in the <i>Third Line</i> of the
+<i>Copy</i> till the other Foot falls in the <i>Fourth Line</i> of
+the <i>Copy</i>; and so from the <i>Fourth</i>, to the <i>Fifth</i>,
+<i>Sixth</i>, <i>&amp;c.</i> till the <i>Compasses</i> end with a <i>Line</i> in
+the <i>Copy</i>, or near the end of a <i>Line</i>, remembring as
+I go along, how oft I turn’d the <i>Compasses</i> about.
+Suppose, for Example, seven times: Then I number
+the <i>Lines</i> of <i>Copy</i>, beginning with the first <i>Line</i>
+and ending with the last <i>Line</i>, that the Points of
+<span class="pagenum" id="Page_253">253</span>the <i>Compasses</i> were turn’d over, and find them
+Eight, Nine, Ten, <i>&amp;c.</i> and say Eight, Nine, Ten,
+<i>&amp;c.</i> <i>Lines</i> of the <i>Copy</i>, makes Seven <i>Lines</i> of
+the <i>Measure</i>.</p>
+
+<p>As now I have shew’d you how I <i>Count off Copy</i>
+if it come in more than <i>Line</i> for <i>Line</i>, so I shall
+shew you how I proceed if a Line in the <i>Copy Drive
+out</i> in the <i>Measure</i>.</p>
+
+<p>It is but placing one Foot of a pair of <i>Compasses</i>
+at the farther end of the first <i>Line</i>, and opening the
+other Foot to the place where the <i>Compos’d Line</i>
+ended, and by turning about the <i>Compasses</i>, as
+before, to the Second, Third, Fourth <i>Lines</i>, <i>&amp;c.</i>
+till they end in the beginning of a <i>Line</i> in the <i>Copy</i>;
+for then (as before) counting the number of <i>Lines</i>,
+beginning with the first, and ending with the last;
+Suppose Eight, Nine, Ten, <i>&amp;c.</i> I say Eight, Nine,
+Ten, <i>&amp;c.</i> <i>Lines</i> of the <i>Copy</i> makes so many <i>Lines</i>
+as is the number of times the Feet of the <i>Compasses</i>
+were turned about, between the first <i>Line</i> and
+the last <i>Line</i>.</p>
+
+
+<p class="center p2" id="Another_way">
+  <i>Another way Arithmetically perform’d.</i>
+</p>
+
+<p>Suppose it be requir’d to know how many <i>Sheets</i>
+127 <i>Pages</i> of <i>Written Copy</i> will make? I count the
+number of <i>Letters</i> contained in an ordinary <i>Written
+Line</i> of <i>Copy</i>, such a <i>Line</i> as I guess is likely to
+<i>Run</i> <i>Line</i> for <i>Line</i> with the generality of the rest of
+the <i>Copy</i>: And (for Example) I find 43 <i>Letters</i> in
+that <i>Line</i>: Then I count the number of <i>Lines</i> in an
+whole <i>Page</i>, and find 35 <i>Lines</i>, I Multiply 43 by
+<span class="pagenum" id="Page_254">254</span>35, the Product is 1505 for the number of <i>Letters</i>
+in an whole <i>Page</i>: Then I multiply 1505 by 127,
+the number of <i>Pages</i> in the whole <i>Written Copy</i>;
+the Product is 191135, the number of <i>Letters</i> in
+the whole <i>Written Copy</i>.</p>
+
+<p>If it be now required to know how many <i>Sheets</i>
+in <i>Quarto</i>, of the <i>English Body</i> this <i>Written Copy</i>
+will make, agreeable to any <i>Measure</i> already <i>Printed</i>?
+As for Example, the length of a <i>Page</i> given is
+33 <i>Lines</i>, and in one <i>Line</i> is contained 47 <i>Letters</i>:
+I multiply 47, the number of <i>Letters</i> in one <i>Line</i>,
+by 33, the number of <i>Lines</i> in a <i>Page</i>, the Product
+is 1551. With this Product I divide 191135, the
+number of <i>Letters</i> in the whole <i>Written Copy</i>, and
+the Product gives 123, that is, 123 <i>Pages</i> in <i>Quarto</i>,
+which divided by 8, the number of <i>Pages</i> in one
+<i>Sheet</i>, gives 15 <i>Sheets</i> and 3 <i>Pages</i>.</p>
+
+<p>If it be required to know how many <i>Sheets</i> it will
+make of <i>Pica</i> in an <i>Octavo</i>, or of <i>Long Primer</i> or
+<i>Brevier</i> in <i>Twelves</i>, <i>&amp;c.</i> the manner of Working is
+the same: For Multiplying the number of <i>Letters</i>
+in one <i>Line</i> by the number of <i>Lines</i> in one <i>Page</i>,
+and Deviding the number of <i>Letters</i> in the whole
+Work (suppose, as in the foregoing Operation by
+191135) by the number of <i>Letters</i> in one <i>Page</i>, the
+Product gives the number of <i>Pages</i> in the Quotient:
+And then at last Deviding the number of <i>Pages</i>
+by 16 if an <i>Octavo</i>, or 24 if <i>Twelves</i>, <i>&amp;c.</i> you have
+in the Quotient the number of <i>Sheets</i>, and in the Remain
+(if any be) the number of <i>Pages</i>.</p>
+
+<p>These two last ways are the surest Rules for <i>Counting
+off Copy</i>: But yet the <i>Compositer</i> has several Considerations
+<span class="pagenum" id="Page_255">255</span>upon his <i>Copy</i> before he dares conclude he
+has truly and exactly <i>Counted off</i>.</p>
+
+<p>For first, a strict regard must be had to the <i>Breaks</i>
+that come in the <i>Copy</i>: For long <i>Breaks</i> in the <i>Copy</i>
+are generally likely to be <i>Got-in</i>, and consequently
+a <i>Line</i> is <i>Got-in</i>: But short <i>Breaks</i> often <i>Drive-out</i> a
+<i>Line</i>. Therefore though the <i>Compositer</i> has already
+in general <i>Cast off</i> his <i>Copy</i>, yet he more particularly
+considers his <i>Breaks</i>; and indeed they serve as so
+many Regulators to him, to keep him within the
+bounds of his <i>Counted off Copy</i>: For every <i>Break</i> he
+examines by the number of <i>Lines</i> from the last
+<i>Break</i>, by the length of the <i>Break</i>, and by the close
+or wide Writing of his <i>Copy</i>, whether it will be <i>Got-in</i>
+or <i>Drove-out</i>, and accordingly marks it in his <i>Copy</i>,
+before he reckons he has done <i>Counting off</i>.</p>
+
+<p>A <i>Break</i> to be <i>Got-in</i> he marks thus [, and adjoyns
+in Numerical Figures, the number of <i>Lines</i> the
+<i>Matter</i> between the last <i>Break</i> and it will make.
+A <i>Break</i> to be <i>Drove-out</i> he marks thus - - -, and (as
+aforesaid) adjoyns Numerical Figures to remember
+him what number of <i>Lines</i> he accounted that <i>Matter</i>
+to make from the last <i>Break</i>.</p>
+
+<p>If <i>Chapters</i>, <i>Sections</i> or <i>Paragraphs</i> happens in the
+<i>Copy</i>, the <i>Compositer</i> takes room enough to set them
+and their Titles gracefully in; and marks in Numerical
+Figures what number of <i>Lines</i> he assigns
+for it.</p>
+
+<p>If as he <i>Counts off</i> his <i>Copy</i> he finds <i>Abreviated
+Words</i>, he tells the <i>Abreviated Words</i> to the full
+number of <i>Letters</i> that spells the Word at length,
+because in <i>Composing</i> he <i>Sets</i> those Words at length:
+<span class="pagenum" id="Page_256">256</span>And should he not consider it in his <i>Counting off</i>, he
+would in <i>Composing</i> find his <i>Matter Run out</i> from
+his <i>Copy</i>.</p>
+
+<p>Scarce any <i>Copy</i> 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 <i>Copy</i>, wherefore he considers
+both these accidents in his <i>Copy</i>, and accordingly
+allows for them.</p>
+
+<p>If it happens that much <i>Italick</i> comes in the <i>Copy</i>,
+as sometimes two or three <i>Lines</i>, or more, or half
+a <i>Page</i>, an whole <i>Page</i>, or several <i>Pages</i>; the <i>Compositer</i>
+considers <i>Italick</i> is thinner than <i>Roman</i>, and
+consequently <i>Gets-in</i> more than <i>Roman</i> does, and
+therefore in his <i>Counting off</i> will allow accordingly
+for it.</p>
+
+<p>The proportion that I allow for it is as 9 to 10,
+or which is all one, as 45 <i>Roman Letters</i> is to 50
+<i>Italick Letters</i>: So that if a <i>Measure</i> holds 45 <i>Roman
+Letters</i>, the same <i>Measure</i> will hold 50 <i>Italick
+Letters</i>.</p>
+
+<p>As <i>Italick</i> is thinner than <i>Roman</i>, so the <i>English
+Face</i> is thicker than the <i>Roman</i>; wherefore if he
+meets with the <i>English Face</i>, he considers that
+accordingly.</p>
+
+<p>I find the proportion to be as 40 to 43, <i>viz.</i> 40
+<i>English Faced Letters</i> fill the same <i>Measure</i> that 43
+<i>Roman</i> does; and consequently for every 40 <i>Lines</i>
+to be <i>Set</i> in <i>English</i> he must <i>Count off</i> 43 <i>Lines</i>;
+and so proportionaply for more or less.</p>
+
+<p>But yet I shall not deliver these my Observations
+on the <i>Italick</i> and <i>English</i> to hold thus in all <i>Italicks</i>
+<span class="pagenum" id="Page_257">257</span>and <i>Englishes</i>, nor all <i>Romans</i> of the same <i>Body</i> to
+be of an equal Thickness, because some are <i>Cut</i>
+Thicker or Thinner on the <i>Face</i>: And besides,
+sometimes <i>Letter Cast</i>, though in the same <i>Matrices</i>,
+are by the <i>Founder Cast</i> Thicker or Thinner, and
+consequently in either Circumstance <i>Drive-out</i> or
+<i>Get-in</i>: Wherefore a <i>Compositer</i> will consider what
+<i>Fount</i> of <i>Letter</i> it is he Works on, and accordingly
+<i>Count off</i> his <i>Copy</i>.</p>
+
+
+<h4 id="_10_Of_Papering_up_of_Pages">
+  ¶ 10. <i>Of</i> Papering up <i>of</i> Pages.
+</h4>
+
+<p><i>Papering up</i> of <i>Pages</i>, or <i>Papering</i> up of <i>Letter</i>,
+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 <i>Compositer</i>,
+it becomes mine too to shew how it is performed.</p>
+
+<p>It is thus: When a <i>Book</i> is finisht, and the <i>Compositer</i>
+is to <i>Work</i> on other <i>Letter</i> afterwards; the
+<i>Wrought off Letter</i> is to be <i>Papered up</i>. The <i>Press-man</i>
+therefore having <i>Washt</i> the <i>Wrought-off Forms</i>,
+the <i>Compositer Rinces</i> them, as was shewed in Section
+22. ¶ 3. He <i>Rinces</i> the <i>Letter</i> as well as if it were
+<i>Rinced</i> for present use, or rather better: for else the
+<i>Inck</i> that is desolved among the <i>Ly</i> would, with long
+standing by, harden between the <i>Letter</i>, and make
+the <i>Letter</i> stick so fast together that when it comes
+afterwards to be <i>Destributed</i>, the <i>Compositer</i> shall not
+without great difficulty and trouble get them asunder.
+This sticking together of the <i>Letter</i> is call’d <i>Baking</i>
+of the <i>Letter</i>. And <i>Compositers</i> in this Case say,
+<i>The Letter is Bak’d</i>.</p>
+
+<p><span class="pagenum" id="Page_258">258</span></p>
+
+<p>The <i>Compositer</i> having <i>Stript</i> the <i>Form</i>, whips <i>Cords</i>
+as tight as he can about every <i>Page</i>, not to <i>Tye</i> them
+up for good and all, but aswell to keep up the <i>Letter</i>
+on the sides of the <i>Pages</i> that it fall not down, while
+it stands by for some dayes on the <i>Letter-board</i> to <i>Dry</i>,
+as to keep the <i>Letter</i> tight together that he may the
+better with his Hands take an whole <i>Page</i> at once off
+the <i>Letter-board</i>.</p>
+
+<p>When it is <i>Dry</i>, if the <i>Pages</i> are not too broad for
+his Grasp, he places his Body against a side of the
+<i>Pages</i>, and the Balls of his two Thumbs against the
+side of a <i>Page</i>, one indifferently between the middle
+and <i>Head</i> of the <i>Page</i>, and the other between the
+middle and <i>Foot</i> of the <i>Page</i>, and with the three
+Fore-fingers of each Hand placed on the other side
+of the <i>Page</i>, grasps the <i>Page</i> between them and his
+Thumbs; and to keep his Hands the steddier,
+stretches the insides of his Little-fingers one against
+the <i>Head</i> the other against the <i>Foot</i> of the <i>Page</i>:
+And having the <i>Page</i> thus Steddy between his Hands
+close prest on all the sides of the <i>Page</i>, he with a
+quick motion nimbly rears one side of the <i>Page</i> 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 <i>Galley</i> and <i>Tyes</i> it
+firmly up; as was shewed ¶ 6. of this Section.</p>
+
+<p>As he took and <i>Tyed</i> up this one <i>Page</i>, so he takes
+and Tyes up all the <i>Pages</i>. But if a <i>Page</i> be too big
+for his Grasp, he underlays the <i>Slice</i> of a <i>Galley</i> till it
+lye within a Scaboard so high as the edge of the
+<i>Letter-board</i>, and getting some one to hold the <i>Slice</i>
+steddy against the edge of the <i>Letter-board</i> he slides
+<span class="pagenum" id="Page_259">259</span>the <i>Page</i>, with the <i>Head</i> or <i>Foot</i> forwards upon the
+<i>Slice</i>, and so carries the <i>Page</i> to the <i>Galley</i> and <i>Tyes</i>
+it up, as aforesaid.</p>
+
+<p>He sends the Boy to the Warehouse-keeper for so
+much Paper as he finds he shall want; and if the
+<i>Pages</i> are small, he layes a single Sheet down on
+the <i>Correcting-Stone</i> or on a <i>Letter-board</i>, and sets a
+<i>Page</i> down on that Sheet of Paper, so as the farther
+Side of the <i>Page</i> may stand towards one end of the
+Sheet; and so far on the Sheet, as that the end of it
+may lap over the <i>Face</i> of the <i>Letter</i>, and about half
+way down the <i>Shank</i> of the <i>Letter</i>, on the hither
+side the <i>Page</i>: And smoothing the Paper tight over
+the <i>Face</i> of the <i>Letter</i>, and half way down the <i>Shank</i>
+on the hither Side, and quite down the <i>Shank</i> at the
+<i>Head</i> and <i>Foot</i> of the <i>Page</i>, he folds the loose Paper
+that hangs over the ends of the <i>Page</i>, from each
+corner of the <i>Page</i>, 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 <i>Face</i> of the <i>Letter</i>; and also folds the
+loose Paper at the ends of the <i>Page</i> down into Angles,
+as he did the former loose ends: Then rearing
+his <i>Page</i> over the further side, lays the <i>Face</i> 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 <i>Page</i>, 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
+<span class="pagenum" id="Page_260">260</span>either over the <i>Face</i> or Bottom of the <i>Letter</i>, and
+turns the <i>Page</i> upon those folded Lappets, that its
+weight may press and keep them close under
+the <i>Page</i>.</p>
+
+<p>If the Pages are large, so as one <i>Sheet</i> will not
+compass them twice or thrice about, to be strong
+enough to bear the <i>Letter</i>, which generally sinks
+downwards into the middle of a <i>Page</i>, he lays two,
+or sometimes three Sheets under the <i>Page</i>: 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 <i>Page</i>.</p>
+
+<p>Having thus <i>Paper’d up</i> the <i>Pages</i>, and folded the
+Lappets under them, he writes upon the upper side
+what <i>Letter</i> it is, <i>viz.</i> <i>Long-Primer Roman</i>, <i>Long-Primer
+Italick</i>, <i>Pica Roman</i>, <i>Pica Italick</i>, <i>Pica English</i>,
+<i>English Roman</i>, <i>Italick</i>, <i>&amp;c.</i> and sets them
+by for the <i>Master-Printer</i> to dispose of.</p>
+
+
+<h3 id="_23_Of_the_Correcter_and_his_Office">
+  §. 23. <i>Of the</i> Correcter, <i>and his Office</i>.
+</h3>
+
+<p>A <i>Correcter</i> should (besides the <i>English</i> Tongue)
+be well skilled in Languages, especially in
+those that are used to be Printed with us, <i>viz.</i> the
+<i>Latin</i>, <i>Greek</i>, <i>Hebrew</i>, <i>Syriack</i>, <i>Caldæ</i>, <i>French</i>, <i>Spanish</i>,
+<i>Italian</i>, <i>High Dutch</i>, <i>Saxon</i>, <i>Low Dutch</i>, <i>Welch</i>,
+<i>&amp;c.</i> 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
+<span class="pagenum" id="Page_261">261</span>Orthography (if the <i>Correcter</i> 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.</p>
+
+<p>He ought to be very knowing in Derivations
+and Etymologies of Words, very sagacious
+in <i>Pointing</i>, skilful in the <i>Compositers</i> whole
+Task and Obligation, and endowed with a quick
+Eye to espy the smallest <i>Fault</i>.</p>
+
+<p>But I shall say no more of his Qualifications; but
+suppose him endowed with all necessary accomplishments
+for that Office.</p>
+
+<p>The <i>Compositer</i> either carries him a <i>Proof</i>, or
+sends the Boy with it to his Appartment, which
+is commonly some little Closet adjoyning to the
+<i>Composing-room</i>; And the <i>Master-Printer</i> appoints
+him some one that is well skill’d in true and quick
+Reading, to Read the <i>Copy</i> to him, whom I shall
+call the <i>Reader</i>.</p>
+
+<p>This <i>Reader</i>, as I said, Reads the <i>Copy</i> to him,
+and the <i>Correcter</i> gives attention; and at the same
+time carefully and vigilantly examines the <i>Proof</i>,
+and considers the <i>Pointing</i>, <i>Italicking</i>, <i>Capitalling</i>,
+or any error that may through mistake, or
+want of Judgement be committed by the <i>Compositer</i>.</p>
+
+
+<table class="autotable3">
+<tr>
+<td class="tdl">
+If he finds one <i>Letter Set</i> instead of another, as
+in this Word tho for the, he dashes out the wrong
+<span class="pagenum" id="Page_262">262</span>
+<i>Letter</i> thus thø, and Writes the <i>Letter</i>
+it should be on the Right Hand <i>Margin</i>
+of the <i>Page</i>, right against the same <i>Line</i>,
+and makes a Dash behind it, as you may
+see in the <i>Margin</i>.
+</td>
+<td class="tdc">
+e/
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If two or three, or more Words in the
+same <i>Line</i> have <i>Faults</i> in them, as in these
+Words, <img class="glyph"
+src="images/i_p262a.png" alt="an example of transposed text">; where first
+an o is <i>Set</i> 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 <i>Line</i>,
+as you may see in the <i>Margin</i>.
+</td>
+<td class="tdc">
+a/ c/ r/ o/
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+But if one word be <i>Set</i> instead of another,
+as Scoff instead of Smile, here he
+marks Scoff out thus <img class="glyph"
+src="images/i_p262b.png" alt="example of a word struck through">, and writes
+Smile, as in the <i>Margin</i>.
+</td>
+<td class="tdc">
+Smile /
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a <i>Word</i> or <i>Words</i>, or <i>Letter</i>, or <i>Point</i>
+be <i>Left out</i> he makes this mark ʌ where
+it is <i>Left out</i> for a mark of Insertion, and
+Writes in the <i>Margin</i> what must come in.
+</td>
+<td class="tdc">
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a <i>Space</i> be <i>Left out</i> he makes the former
+mark of Insertion where it should
+come in, and makes this mark <img class="glyph"
+src="images/i_p262c.png" alt="a symbol"> in the
+Margin.
+</td>
+<td class="tdc">
+<img class="glyph"
+src="images/i_p262c.png" alt="a symbol">/
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a whole Sentence be <i>Left out</i>, too
+long to be Writ in the <i>Margin</i>, he makes
+the mark of <i>Insertion</i> where it is <i>Left out</i>,
+and only Writes (Out) in the <i>Margin</i>. If
+the Sentence <i>Left out</i> be not very long,
+he Writes it under the <i>Page</i>, or on the
+Left Hand <i>Margin</i> of the <i>Page</i>:
+
+<span class="pagenum" id="Page_263">263</span>
+</td>
+<td class="tdc">
+(Out)
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+But if it be too large to be Writ in the
+<i>Margin</i>, or under the <i>Page</i>, he
+Writes in the <i>Margin</i>, See the Copy.
+</td>
+<td class="tdc">
+<span class="nw">(See the Copy)</span>
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a Word or Sentence be <i>Set</i>
+twice, as Him Him, he marks out
+one Him thus <img class="glyphsmall"
+src="images/i_p263him.png" alt="example of a word struck through">, and makes
+this mark <img class="glyph"
+src="images/i_p263a.png" alt="a proofing symbol"> in the <i>Margin</i>, for <i>Deleo</i>,
+to take out.
+</td>
+<td class="tdc">
+<img class="glyph"
+src="images/i_p263a.png" alt="a proofing symbol"> /
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a <i>Letter</i> be turned thus <img class="glyph"
+src="images/i_p263b.png" alt="a turned letter with a slash">, he
+dashes it out as you see, and makes
+this mark in the <i>Margin</i>.
+</td>
+<td class="tdc">
+<img class="glyph"
+src="images/i_p263c.png" alt="a proofing symbol"> /
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If Words are <i>Transposed</i>, 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 <i>Fault</i>
+thus, <img class="glyph15"
+src="images/i_p263d.png" alt="example of transposed words marked by the proofer">, and
+makes this mark <img class="glyph"
+src="images/i_p263e.png" alt="a proofing symbol"> in the <i>Margin</i>.
+The like mark he makes
+in <i>Matter</i> and <i>Margin</i> if two <i>Letters</i>
+are <i>Transpos’d</i>.
+</td>
+<td class="tdc">
+<img class="glyph"
+src="images/i_p263e.png"  alt="a proofing symbol"> /
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a <i>Space</i> or an m or n <i>Quadrat</i>,
+<i>&amp;c.</i> stick up, and <i>Print Black</i>, as
+between these<img class="glyph"
+src="images/i_p263f.png" alt="example of a printing error">words, he marks
+in the <i>Margin</i> thus.
+</td>
+<td class="tdc">
+|
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+If a <i>Word</i> be <i>Set</i> in <i>Roman Letter</i>
+instead of <i>Italick</i> or <i>English Letter</i>,
+he dashes the Word underneath
+<span class="u">thus</span>, and Writes <i>Ital.</i> or
+<i>Eng.</i> in the <i>Margin</i>.
+</td>
+<td class="tdc">
+Ital/ Eng/
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+In like manner, if a single <i>Let-</i>
+or more <i>Letters</i> be Set in <i>Roman
+<span class="pagenum" id="Page_264">264</span>
+Letter</i>, and it should be <i>Italick</i> or
+<i>English Letter</i>; or if in <i>English</i> or
+<i>Italick</i>, and it should be <i>Roman Letter</i>,
+he dashes the <i>Letter</i> or <i>Letters</i>
+<span class="u">thus</span> underneath, and writes <i>Ital.</i>
+<i>Rom.</i> or <i>Eng.</i> in the <i>Margin</i>:
+</td>
+<td class="tdc">
+
+
+
+
+
+
+
+<span class="nw">Ital/ Rom/ Eng/</span>
+
+</td>
+</tr>
+
+<tr>
+<td class="tdl">
+<i>Or if Lower-Case Letters</i> be <i>Set</i> instead of
+<i>Capitals</i>, he dashes them underneath,
+and Writes <i>Capt.</i> in the <i>Margin</i>.
+</td>
+<td class="tdc">
+
+
+Capt./
+</td>
+</tr>
+</table>
+
+
+<p>Having Read the <i>Matter</i> of the <i>Proof</i> he examines
+again if the <i>Form</i> be right <i>Impos’d</i>, for though he
+before turn’d the <i>Pages</i> in the <i>Proof</i> 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 <i>Direction Word</i>, but by examining the whole Sentence
+the <i>Direction</i> comes in, both at the end of the
+<i>Page</i>, and the beginning of the next <i>Page</i>.</p>
+
+<p>He examines that all the <i>Signatures</i> are right, and
+all the <i>Titles</i> and <i>Folio’s</i>.</p>
+
+<p>If the Work be large <i>Forms</i> and small <i>Letter</i>, he
+has a second, and sometimes a third <i>Proof</i>, which
+he Reads as the first.</p>
+
+<p>After the Second or Third <i>Proof</i> he has a <i>Revise</i>,
+which is also a <i>Proof-sheet</i>: He examines in this
+<i>Revise</i>, <i>Fault</i> by <i>Fault</i>, if all the <i>Faults</i> he markt in
+the last <i>Proof</i> were carefully mended by the <i>Compositer</i>;
+if not, he marks them in the <i>Revise</i>.</p>
+
+<p>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 <i>Heap</i> be spoiled,
+he is obliged to make Reparation.</p>
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+<div class="chapter">
+
+<p><span class="pagenum" id="Page_265">265</span></p>
+
+
+  <h2 class="nobreak" id="Advertisement_to_AUTHORS">
+    Advertisement to AUTHORS.
+  </h2>
+</div>
+
+
+<p><i>Although I have in the precedent</i> Exercises
+<i>shew’d the Accomplishments of a good</i> Compositer,
+<i>yet will not a curious Author trust either
+to his Care or Abilities in</i> Pointing, Italicking,
+Capitalling, Breaking, &amp;c. <i>Therefore it
+behoves an Author to examine his</i> Copy <i>very
+well e’re he deliver it to the</i> Printer, <i>and to Point
+it, and mark it so as the</i> Compositer <i>may
+know what Words to</i> Set <i>in</i> Italick, English,
+Capitals, &amp;c.</p>
+
+<p class="higher"><i>For his</i> Italick <i>Words he draws a line under
+them <span class="u">thus</span>: For</i> English <i>Words he draws two
+lines under them <span class="bb2"><span class="bb1">thus</span></span>; and for</i> Capitals <i>a line
+of Pricks <span class="bdotted">thus</span>, or else draws a line with Red
+Inck</i>.</p>
+
+<p><i>If his</i> Copy, <i>or any part of it, be Written in
+any Foreign Language, he is strictly to spell that
+<span class="pagenum" id="Page_266">266</span>Foreign Language right: Because the</i> Compositer,
+<i>as I said in the Preface to this</i> <img class="glyph"
+src="images/i_p266.png" alt="an S symbol">, <i>takes
+no notice of any thing therein but the very</i>
+Letters, Points <i>and</i> Characters <i>he finds in his</i>
+Copy.</p>
+
+<p><i>If an Author have not (through haste in Writing)
+made</i> Breaks <i>in proper places; when he
+comes to peruse his</i> Copy <i>he may find cause to
+make several</i> Breaks <i>where he made none: In
+such a case he makes a</i> Crotchet [ <i>thus, at
+the Word he would have begin his new Paragraph</i>.</p>
+
+<p><i>Thus in all particulars he takes care to deliver
+his</i> Copy <i>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</i>
+Proof, <i>the</i> Compositer <i>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</i> Master-Printer.</p>
+
+<hr class="tb">
+
+<p>The next <i>Exercises</i> (God willing) shall be
+<span class="pagenum" id="Page_267">267</span>the <i>Press-mans</i> Trade, The Office of the
+<i>Ware-house-keeper</i>, The <i>Customs</i> of the <i>Chapel</i>,
+And a <i>Dictionary</i> to explain the hard Words
+and Phrases used in the whole Practice of
+<i>Typography</i>: Which will be the Conclusion
+of this Second Volume.</p>
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+<div class="chapter">
+  <h2 class="nobreak" id="ADVERTISEMENT">
+    <i>ADVERTISEMENT.</i>
+  </h2>
+</div>
+
+
+<p>There is now coming forth a small Book, intituled
+<i>Enneades Arithmeticæ</i>; the Numbring Nines, or
+<i>Pythagoras</i> his Table, extended to all Whole Numbers
+under 10000. And the Numbring Rods of
+the Right Honourable <i>John</i> Lord <i>Nepeer</i>, 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, <i>&amp;c.</i> The Divine
+Wisdom having from the Beginning <i>Disposed all
+things in Measure, Number and Weight</i>, Sap. 11. 21.</p>
+
+<p>Printed for <i>Joseph Moxon</i>, at the Sign of <i>Atlas</i>
+in <i>Ludgate-street</i>. Where also these Numbring Rods,
+(commonly call’d <i>Napier’s</i> Bones) are made and
+sold.</p>
+
+<p><span class="pagenum"><a id="Page_268"></a><a id="Page_269"></a>269</span></p>
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+
+<div class="chapter">
+
+<figure class="figcenter illowe30" id="p269">
+  <img class="w100" src="images/p269.jpg" alt="section heading with large black-letter type">
+</figure>
+
+<h2>
+  The Press-mans Trade.
+</h2>
+</div>
+
+
+<h3 id="PREFACE2">
+  PREFACE.
+</h3>
+
+
+<p><i>The</i> Printing-Press <i>that a</i> Press-man <i>works
+at, is a Machine invented upon mature consideration
+of Mechanick Powers, deducted from
+Geometrick Principles; and therefore a</i> Press-man
+<i>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</i> Press, <i>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
+<span class="pagenum" id="Page_270">270</span>alone will intitle him to be an Understanding</i> Press-man:
+<i>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</i>.</p>
+
+
+<h3 id="_24_1_Of_the_Press-mans_Trade">
+  §. 24. ¶. 1. <i>Of the</i> Press-mans <i>Trade</i>.
+</h3>
+
+<p>An understanding <i>Press-man</i> therefore knows
+not only how to direct a Printers Joyner to
+Set up and Fasten a <i>Press</i> when it is made, but also
+how to give a strange Joyner and Smith instructions
+how to make a <i>Press</i>, and all its parts, in a
+Symetrical proportion to any unwonted size, if in
+a strange place he shall have occasion to use it.</p>
+
+<p>I have already at large insisted upon the dimensions
+of every particular Member of an ordinary
+siz’d <i>Press</i> in § 10, 11. But in those Sections did
+omit shewing you how the <i>Press</i> is Set up and Fastned;
+yet promised to do it when I came to the
+<i>Press-mans</i> 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 <i>London</i> 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 <i>Press</i>
+as the <i>Press-man</i> himself.</p>
+
+<p>The Joyner therefore having set together the
+Frame, <i>viz.</i> the <i>Cheeks</i>, <i>Feet</i>, <i>Cap</i>, <i>Head</i>, <i>Till</i>,
+<i>Winter</i>, <i>Hind-Posts</i>, <i>Ribs</i>, <i>Carriage</i>, <i>&amp;c.</i> The <i>Press-man</i>
+directs, and sees him perform as follows by and
+<span class="pagenum" id="Page_271">271</span>by. For I should have told you that before the <i>Head</i>
+is put into its place, the <i>Press-man</i> besmears the
+whole Tennanted ends and Tennants well with
+Soap or Grease, and also the Mortesses the <i>Head</i>
+slides in, and so much of the <i>Cheeks</i> as the ends of
+the <i>Head</i> work against, that the <i>Head</i> may the
+easier work up and down.</p>
+
+<p>He also before the <i>Carriage</i> is laid on the <i>Ribs</i>,
+besmears the two edges of the <i>Plank</i> and the under
+side of the <i>Coffin</i> well with Soap or Grease; and the
+like he does by the inside of the <i>Wooden Ribs</i>, that
+they may slide the easier beside each other.</p>
+
+<p>Now to return to the Joyner. The <i>Press-man</i>,
+I say, directs and sees him perform as follows.</p>
+
+<p>1. To place the <i>Feet</i> upon an Horizontal Level
+Floor, as I shewed in the First Volume, Numb. 7.
+§ 7. when I spoke of the Level that Carpenters
+use.</p>
+
+<p>2. To erect the <i>Cheeks</i> perpendicularly upright,
+as I shewed <i>Vol.</i> 1. <i>Numb.</i> 7. § 8. when I treated of
+the <i>Plumb-line</i>.</p>
+
+<p>3. To place the <i>Stays</i> or <i>Braces</i> so as the <i>Press</i>
+may be kept in the most Steddy and Stable position,
+as well to give a check to the force of the hardest
+<i>Pull</i> he makes, as to the hardest Knock the <i>Bar</i>
+shall make against the farther <i>Cheek</i>, if by chance
+(as sometimes it does) it slip out of the <i>Press-mans</i>
+Hand.</p>
+
+<p>This consideration may direct him to place one
+<i>Brace</i> against the end of the <i>Cap</i> that hangs over the
+hither <i>Cheek</i>, and in a range parallel with the fore
+and hind side of the <i>Cap</i>: For the more a <i>Brace</i>
+<span class="pagenum" id="Page_272">272</span>stands aslope to the two parrallel sides, the less it
+resists a force offered to the end of them, <i>viz.</i> the
+hither end of the <i>Cap</i>, which is one main <i>Stay</i> to the
+whole <i>Press</i>.</p>
+
+<p>If he place another <i>Brace</i> against the hinder corner
+of the farther end of the <i>Cap</i>, it will resist the <i>Spring</i>
+of the <i>Bar</i>, if it slip out of the <i>Press-mans</i> Hand.</p>
+
+<p>And if he places two other <i>Braces</i>, one against the
+hither corner of the hind-side of the <i>Cap</i>, and the
+other against the farther corner of the fore-side of
+the <i>Cap</i>, the <i>Press</i> will be sufficiently <i>Braced-up</i>, if
+the Room will afford convenience to place the farther
+end of the <i>Braces</i> against.</p>
+
+<p>By convenience I mean a firm solidity to place
+the end of the <i>Braces</i> against, be it either a Stone-wall,
+Brick-wall, or some principal Post, or a Girder,
+<i>&amp;c.</i> that will not start or tremble at the force
+of a <i>Pull</i>.</p>
+
+<p>The <i>Braces</i> 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 <i>Cap</i>, viz. that the
+farther end of the <i>Brace</i> neither dips lower or
+mounts higher than the upper side of the <i>Cap</i>. Neither
+ought the <i>Brace</i>, though thus posited, to stand
+aslope or askew, <i>viz.</i> make unequal angles with
+the side of the <i>Cap</i> it is fastned to, but it ought to
+stand Square, and make right angles with the respective
+side of the <i>Cap</i>; because in those Positions
+the <i>Braces</i> best resists the force of continued
+<i>Pulls</i>.</p>
+
+<p><span class="pagenum" id="Page_273">273</span></p>
+
+<p>But though this be by the Rules of Architecture,
+the strongest, firmest, and most concise method for
+<i>Bracing-up</i> a <i>Press</i>, yet will not the Room the <i>Press</i>
+is to stand in always admit of convenience to place
+the <i>Braces</i> thus: Therefore the <i>Press-man</i> ought to
+consider the conveniences of the Room, both for the
+places to fit the <i>Braces</i> to, and the positions to set
+the <i>Braces</i> in; placing his <i>Braces</i> as correspondent
+as he can to these Rules.</p>
+
+<p>If he doubt the crazy make of the <i>Winter</i>, he
+will cause two <i>Battens</i> of three or four Inches broad,
+and a full Inch thick, to be nailed close to the outer
+sides of the Feet of the <i>Press</i>, which will both
+strengthen the <i>Winter</i>, and keep the lower part of
+the <i>Cheeks</i> from flying out, and also hinder the
+<i>Press</i> from working into a twisting Position.</p>
+
+<p>And though I am loath to name the <i>Under-laying</i>
+of the <i>Feet</i>, because at the best it is but a <i>Botch</i>,
+and Subjects the whole <i>Press</i> to an unstable position
+yet because by accident it may happen, the aforesaid
+<i>Battens</i> will also keep these Underlays from working
+out.</p>
+
+<p>Joyners that Work to Printers have got a Custom
+to place a strong Piece of Timber between the middle
+of the <i>Cap</i> 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 <i>Press</i> alone
+will keep it close to the Floor, and the strength of
+Stuff between the Mortesses in the <i>Cheeks</i> and the
+ends of them, are intended to be made strong enough
+to resist the Rising of the <i>Head</i>: For should that
+strength of Stuff start, neither their strong Piece of
+<span class="pagenum" id="Page_274">274</span>Timber, nor the strength of the Roof, would resist
+the Rising of the <i>Head</i>: but <i>Head</i> and <i>Cap</i>, 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 <i>Head</i> works in, and the upper ends of the <i>Cheeks</i>,
+and the Strength of Stuff between the Mortesses
+that the Tennants of the <i>Winter</i> lyes in, and the
+lower ends of the <i>Cheeks</i> resist the whole strength of
+the working of the <i>Spindle</i> out of its <i>Nut</i>. So that
+the <i>Cap</i> suffers no pressure upwards or the <i>Feet</i> downwards,
+unless the force of the <i>Spindle</i> break the
+strength of Stuff between the <i>Head</i> and the upper
+ends of the <i>Cheeks</i>, or the strength of Stuff between
+the <i>Winter</i> and the lower ends of the <i>Cheeks</i>.</p>
+
+<p>The <i>Press</i> being thus far fastned, the <i>Carriage</i> 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 <i>Press-man</i> can <i>Lay</i> the <i>Stone</i>;
+and before the <i>Stay</i> of the <i>Carriage</i> can be fitted under
+the end of the <i>Ribs</i>.</p>
+
+
+<h4 id="_2_Of_Laying_or_Bedding_the_Stone">
+  ¶ 2. <i>Of</i> Laying <i>or</i> Bedding <i>the</i> Stone.
+</h4>
+
+<p>We will suppose the Wooden <i>Ribs</i> to lye on the
+<i>Winter</i> exactly, flat and Horizontal, therefore the
+<i>Press-man</i> now <i>Lays</i> the <i>Stone</i>: If the <i>Stone</i> be a
+good thick Marble Stone, and all the way of an
+equal thickness between the <i>Face</i> and the Bottom,
+he may <i>Bed</i> or <i>Lay</i> it upon so many large <i>Sheets</i>
+of Brown Paper as will raise the <i>Face</i> about a <i>Brevier</i>
+<span class="pagenum" id="Page_275">275</span>above the Superficies of the <i>Coffin</i>, and the
+<i>Stone</i> will do good service.</p>
+
+<p>Or he may <i>Bed</i> or <i>Lay</i> it on Bran; which indeed
+the <i>Press-man</i> most commonly does, if the <i>Stone</i> be
+qualified as aforesaid.</p>
+
+<p>The manner how he lays it on Bran is thus,</p>
+
+<p>He grasps an handful of Bran and lays it down at
+the hither corner of the <i>Coffin</i> 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, <i>&amp;c.</i> towards the further
+side, till he have filled the whole breadth of the
+<i>Coffin</i>. Then he in like manner lays another row
+of Hillocks, beginning at the hither side of the
+<i>Coffin</i>; and so a third and fourth row, <i>&amp;c.</i> till the
+length of the <i>Coffin</i> is filled as well as the breadth:
+Then with a <i>Riglet</i> he drives the tops of these
+Hillocks into the Valleys between them, to spread
+the Bran into an equal thickness in the whole <i>Coffin</i>.
+Which done, he lays the <i>Stone</i> upon it.</p>
+
+<p>But in this case he considers to lay so much Bran
+thus into the <i>Coffin</i> as may make the <i>Face</i> of the
+<i>Stone</i> rise about a <i>Great Primer</i> higher than the Superficies
+of the <i>Coffin</i>: 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 <i>Face</i> of
+the <i>Stone</i>, to lye about a <i>Great Primer</i>, as aforesaid,
+higher than the Superficies of the <i>Coffin</i>.</p>
+
+<p>But if it be a thin <i>Stone</i>, or a <i>Purbeck</i> or <i>Portland
+Stone</i>, it is great odds if it be thus <i>Laid</i>, but it
+breaks with the first <i>Pull</i>: Therefore these <i>Stones</i>
+<span class="pagenum" id="Page_276">276</span>are generally <i>Laid</i> or <i>Bedded</i> with Plaister of <i>Paris</i>,
+which before it hardens, will of it self run into an
+Horizontal position.</p>
+
+<p>This Plaister of <i>Paris</i> is tempered with fair Water
+to the consistence of Batter for Pancakes, or
+somewhat thicker, and such a quantity is put into
+the <i>Coffin</i> as may raise the <i>Face</i> of the <i>Stone</i> about a
+Scaboard higher than the Superficies of the <i>Coffin</i>.</p>
+
+<p>The different matter the <i>Stone</i> is <i>Laid</i> on is the
+reason why the <i>Face</i> is <i>Laid</i> of different heights
+above the Superficies of the <i>Coffin</i>: For by the force
+of a <i>Pull</i> about a dozen Sheets of Brown Paper may
+be squeez’d closer by a <i>Brevier Body</i>, which brings
+the <i>Face</i> of the <i>Stone</i> into the same Level with the
+Superficies of the <i>Coffin</i>. And Bran squeezes much
+more. But Plaister of <i>Paris</i> not at all.</p>
+
+<p>When he <i>Lays</i> the <i>Stone</i> on Bran, or on Plaister of
+Paris, he and his Companions slings the <i>Stone</i> in
+two strong Packthreds, placing one towards either
+end of the <i>Stone</i>; and each of them taking an end
+of each String in each of their Hands, with the
+<i>Face</i> of the <i>Stone</i> upwards, and brought as near as
+they can into an Horizontal Position, they with
+great care and caution let it into the <i>Coffin</i>, and as
+near as they can, so as the whole bottom of the
+<i>Stone</i> touch the <i>Bedding</i> all at once; lest by raking
+the <i>Bedding</i> with any part of the bottom of the
+<i>Stone</i> first, the Horizontal form of the <i>Bedding</i> be
+broken.</p>
+
+<p>Having laid the <i>Stone</i> down, they draw the Packthred
+from under it: And by squeezing a little Water
+out of a Spunge upon about the middle of the <i>Face</i>
+<span class="pagenum" id="Page_277">277</span>of the <i>Stone</i>, try whether the <i>Stone</i> 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 <i>Stone</i>, the <i>Stone</i> lies Horizontal:
+But if it have a propensitude to one side more than
+another, the declivety is on that side, and the <i>Stone</i>
+must be new <i>Laid</i>.</p>
+
+<p>Having laid it Horizontal, they <i>Justifie</i> it up with
+the <i>Justifiers</i> I mentioned in § 11. ¶ 17.</p>
+
+
+<h4 id="_3_Of_Setting_the_Rounce">
+  ¶ 3. <i>Of</i> Setting <i>the</i> Rounce.
+</h4>
+
+<p>The <i>Rounce</i> being well <i>Set</i> does not only ease a
+<i>Press-man</i> in his Labour, but contributes much to
+Riddance in a train of Work.</p>
+
+<p>In the old-fashioned <i>Presses</i> used here in <i>England</i>,
+the <i>Press-man</i> finds often great trouble and loss of
+Time in <i>Setting</i> the <i>Rounce</i>: Because the <i>Girts</i> being
+nailed to the <i>Carriage-board</i> behind, and to the
+Frame of the <i>Coffin</i> before, he cannot alter the position
+of the <i>Rounce</i> without un-nailing and nailing the
+<i>Girts</i> again, both before and behind. Nay, and
+sometimes though he thinks he has been very careful
+in <i>Winding</i> the <i>Girts</i> off or on the <i>Barrel</i> of the
+<i>Rounce</i>, as he finds occasion requires; Yet by straining
+either of the <i>Girts</i> too hard, or not hard enough,
+or by an accidental slip of either of the <i>Girts</i>, or by
+stirring the <i>Rounce</i> out of a Set position, when he
+thinks he has <i>Set</i> the <i>Rounce</i>, he has it to do again.
+Besides, The <i>Carriage-board</i>, <i>Frame</i> of the <i>Coffin</i>,
+and the <i>Rounce-barrel</i>, all suffer tearing to pieces by
+often drawing out and driving in o Nails.</p>
+
+<p><span class="pagenum" id="Page_278">278</span></p>
+
+<p>But in these new-fashioned <i>Presses</i> all these inconveniences
+are avoided, for the <i>Press-man</i>, without
+nailing or un-nailing, <i>Sets</i> the <i>Rounce</i> to what Position
+he will, only by lifting up the Iron <i>Clicker</i> that
+stops the wheel: For then <i>Winding</i> off so much <i>Girt</i>,
+and <i>Winding</i> up so much <i>Girt</i> at the opposite end of
+the <i>Carriage</i>, his <i>Rounce</i> is <i>Set</i>, without hope or
+Hazzard.</p>
+
+<p>He <i>Sets</i> the <i>Rounce</i> to such a position, that when
+the fore-end of the <i>Tympan</i> will just lye down and
+rise free, without touching the fore-edge of the <i>Plattin</i>,
+then a line drawn or imagined from the Axis
+of the <i>Handle</i> of the <i>Rounce</i>, to a Perpedicular or
+<i>Plumb-line</i>, let fall from the Axis of the <i>Spindle</i> of
+the <i>Rounce</i>, 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.</p>
+
+
+<h4 id="_4_Of_Hanging_the_Plattin">
+  ¶ 4. <i>Of</i> Hanging <i>the</i> Plattin.
+</h4>
+
+<p>When the <i>Press-man Hangs</i> the <i>Plattin</i>, he lays a
+<i>Form</i> upon the <i>Press</i>, and about a Quire of Paper
+doubled upon it (this Quire of <i>Paper</i> thus doubled is
+called the <i>Cards</i>) then layes the <i>Plattin</i> upon the
+<i>Cards</i>, and so <i>Runs</i> the <i>Carriage</i> and <i>Plattin</i> in, till
+the middle of the <i>Plattin</i> lye just under the <i>Toe</i> of
+the <i>Spindle</i>: Then he puts the <i>Pan</i> of the <i>Plattin</i> in
+its place, and in part Justifies the <i>Head</i>, as shall be
+shewed in the next ¶. And he un-screws the <i>Hose-screws</i>,
+till the Spuares at the ends of the <i>Hose</i> come
+down to about a quarter of an Inch of the Square of
+<span class="pagenum" id="Page_279">279</span>the Socket they are fitted into in the ends of the <i>Garter</i>,
+and when the <i>Toe</i> of the <i>Spindle</i> is fitted into
+the <i>Nut</i> in the <i>Pan</i> of the <i>Plattin</i>, he examines by
+straining a Pack-thred against the two foresides of
+the <i>Cheeks</i> of the <i>Press</i>, whether the fore-edge of the
+<i>Plattin</i> is set in a parallel Range with the fore-sides
+of the <i>Cheeks</i>: If it be not, he twists the ends till the
+edge of the <i>Plattin</i> stands parallel with the Pack-thred,
+and consequently with the <i>Cheeks</i>.</p>
+
+<p>Then with the <i>Bar</i> he <i>Pulls</i> the <i>Spindle</i> hard down
+upon the <i>Plattin</i>, and Sets the edges of a <i>Paper-board</i>
+between the <i>Bar</i> and the farther <i>Cheek</i> of the <i>Press</i>,
+to keep the <i>Bar</i> from starting back.</p>
+
+<p>And having provided fine Whip-cord, he knots
+a Noose on one end and puts it over one of the <i>Hooks</i>
+of the <i>Plattin</i>, lashing the Whip-cord also upon the
+farthermost <i>Notch</i> of the <i>Hose-hook</i>, and again upon
+the <i>Plattin-hook</i>, and again upon the <i>Hose-hook</i>,
+and again upon the <i>Plattin-hook</i>: So that here is now
+three Lashes of whip-cord upon the <i>Plattin-hook</i>, and
+upon the farthermost <i>Notch</i> of the <i>Hose-hook</i>. Wherefore
+he Lashes his fourth Lashing of whip-cord now
+upon the second <i>Notch</i>, viz. the middlemost <i>Notch</i>
+of the <i>Hose-hook</i>, reiterating these Lashes on the
+middlemost <i>Notch</i> and <i>Plattin-hook</i> also three times.
+And thus in like manner Lashes also three Lashes
+upon the third and last <i>Notch</i> of the <i>Hose-hook</i> and
+also of the <i>Plattin-hook</i>, observing to draw every
+Lashing of an equal strength.</p>
+
+<p>Then he begins to whip about these Lashings to
+draw them close together: He begins, I say, at
+at the bottom of the Lashings, <i>viz.</i> close above the
+<span class="pagenum" id="Page_280">280</span><i>Plattin-hook</i>, and draws his whippings very tight and
+hard, and contiguous above one another, till he have
+whipt so near the top of the Lashings, <i>viz.</i> near
+the <i>Hose-hooks</i> that he finds the Lashings (which
+now spread wide asunder because the <i>Notches</i> of the
+<i>Hose-hooks</i> 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.</p>
+
+<p>In like manner he begins at the opposite diagonal
+corner of the <i>Plattin</i>, and lashes and whips that:
+And also the two other corners of the <i>Plattin</i> as he
+did the first, carefully observing to draw all his lashings
+and whippings of an equal strength, lest any
+corner of the <i>Plattin</i> either mount or dip.</p>
+
+<p>If he finds he strained the whip-cord not hard
+enough; or (when he is in his train of work) that
+the <i>Plattin-cords</i> with long working work loose;
+or that the <i>Toe</i> of the <i>Spindle</i> and the <i>Nut</i> it works
+in, have worn one another; he by turning the
+<i>Screws</i> at the upper ends of the <i>Hose</i>, draws up the
+<i>Nut</i> of the <i>Plattin</i> closer to the <i>Toe</i> of the <i>Spindle</i>,
+and by consequence strains the <i>Plattin-cords</i> tighter
+up; which is also a great convenience in these new-fashioned
+<i>Presses</i>: For, for any of these aforesaid accidents
+the <i>Press-man</i> that works at our <i>English-Presses</i>
+must new <i>Hang</i> his <i>Plattin</i>: When (as aforesaid)
+in these new <i>Presses</i> he only turns about a
+<i>Screw</i>.</p>
+
+<p><span class="pagenum" id="Page_281">281</span></p>
+
+
+<h4 id="_5_Of_Justifying_the_Head">
+  ¶ 5. <i>Of</i> Justifying <i>the</i> Head.
+</h4>
+
+<p><i>Justifying</i> the <i>Head</i> is to put into the Mortesses in
+the <i>Cheeks</i> between the upper sides of the Tennants of
+the <i>Head</i>, and the upper sides of the Mortesses in the
+<i>Cheeks</i>, an equal and convenient thickness of (either)
+square pieces of Felt, Pastboards, or Scaboards (some
+or all of them) that when the <i>Press-man Pulls</i>, the
+Tennants of the <i>Head</i> shall have an equal Horizontal
+level Check.</p>
+
+<p>In <i>Justifying</i> the <i>Head</i>, the <i>Pull</i> is to be made <i>Longer</i>
+or <i>Shorter</i>.</p>
+
+<p>If the <i>Press-man</i> be tall and strong and his work
+be <i>Light</i>, that is, a small <i>Form</i> and great <i>Letter</i>,
+which needs not so strong a <i>Pull</i> as a Large <i>Form</i> and
+small <i>Letter</i>, he covets to have a <i>Short-pull</i>; that
+is, that the <i>Spindle</i> shall give an <i>Impression</i> by that
+time the <i>Bar</i> comes but about half way to the hither
+<i>Cheek</i> (in Printers Language <i>Down</i>.)</p>
+
+<p>But if the <i>Press-man</i> be low, and not very strong,
+he will require a <i>Longer Pull</i>, especially if the work
+be <i>Heavy</i>, viz. a Large <i>Form</i> and small <i>Letter</i>:
+Because the heighth of the <i>Bar</i> is generally made to
+lye at the command of a reasonable Tall man, and
+therefore a Low man cannot Pull the Handle of the
+<i>Bar</i> 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 <i>Pull</i>: So that if the <i>Pull</i> be
+not <i>Longer</i>, he cannot fall enough backwards to get
+the <i>Handle</i> of the <i>Bar</i> within his command and force.
+And therefore a Low man and <i>Heavy Work</i> requires a
+long and <i>Soaking Pull</i>.</p>
+
+<p><span class="pagenum" id="Page_282">282</span></p>
+
+<p>A long or a <i>Soaking</i> or <i>Easie Pull</i>, is when the
+<i>Form</i> feels the force of the <i>Spindle</i> by degrees, till the
+<i>Bar</i> comes almost to the hither <i>Cheek</i> of the <i>Press</i>,
+and this is also call’d a <i>Soft Pull</i>; because it comes
+Soft and Soakingly and easily down: And for the
+contrary reason the <i>Short Pull</i> is call’d an <i>Hard Pull</i>,
+because it is suddenly perform’d.</p>
+
+<p>That which makes a <i>Hard Pull</i>, is putting into
+the Mortesses in the <i>Cheeks</i> solid Blocks of Wood,
+which will scarce Squeeze by the Strength of a <i>Pull</i>:
+And that which causes a <i>Soft Pull</i> 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 <i>Pull</i> grows <i>Longer</i>; which
+the <i>Press-man</i> mends, by putting in another Felt or
+Pastboard into each Mortess.</p>
+
+<p>The <i>Head</i> cannot be conveniently and well <i>Justifyed</i>
+soon after the laying of the <i>Stone</i>, if it be <i>Laid</i>
+on Bran, because though the Force of the <i>Spindle</i>
+will at the immediate time of the <i>Pull</i> Squeeze the
+Bran in the <i>Coffin</i> close, yet so soon as the force of
+the <i>Spindle</i> 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 <i>Stone</i> upwards
+again: So that generally for a day or two
+Working the <i>Stone</i> will not lye Solid, though at
+length through the often and constant Squeezing the
+Bran it will. But if the <i>Stone</i> be <i>Laid</i> on Brown Paper,
+or Plaister of Paris, it quickly finds a Solid Foundation.</p>
+
+<p>When the <i>Press-man Justifies</i> the <i>Head</i>, he unscrews
+<span class="pagenum" id="Page_283">283</span>the <i>Female Screws</i> of the <i>Head Screws</i>, that
+the weight of the <i>Head</i> may draw it down, to make
+room to put the <i>Justifyers</i> into the Mortesses in the
+<i>Cheeks</i>; and when he has put in so many as he
+thinks convenient, he <i>Screws</i> up the <i>Head</i> again as
+hard as he can. Then lays the <i>Cards</i> on the <i>Form</i>, on
+the <i>Press</i>, and <i>Runs in</i> the <i>Carriage</i> under the <i>Plattin</i>,
+and <i>Pulls</i> hard upon it, while his <i>Companion
+Screws</i> up the <i>Head</i> as hard and tight as he can, that
+the <i>Carriage, Tympan</i>, &amp;c. may <i>Run</i> the freelier
+under the <i>Plattin</i>.</p>
+
+
+<h4 id="_6_Of_Oyling_the_Iron_Work_of_the_Press">
+  ¶ 6. <i>Of</i> Oyling <i>the Iron Work of the</i> Press.
+</h4>
+
+<p>The <i>Ribs</i>, the <i>Tympan Joynts</i>, the <i>Frisket Joynts</i>,
+the <i>Garters</i>, both ends of the <i>Rounce-Spindle</i>,
+the <i>Nut</i> and <i>Spindle</i>, and the <i>Toe</i> of the <i>Spindle</i>,
+are all to be well Oyl’d; that they may all perform
+their several offices the easier, lightlier and nimbler;
+both <i>Upper</i> and <i>Under hand</i>.</p>
+
+<p>All but the <i>Nut</i> and <i>Spindle</i>, and <i>Toe</i> of the <i>Spindle</i>,
+are Oyl’d with a Feather dipt in a spoonful, or
+little Pot, or Oyster-shell, <i>&amp;c.</i> of Sallad Oyl; and
+that feather dabb’d upon so much of the <i>Ribs</i> as he can
+come at, at either end of the <i>Press</i>: For then by
+<i>Running</i> the <i>Carriage</i> three or four times quick <i>Out</i>
+and <i>In</i>, it desperses the Oyl equally the whole length
+of the <i>Ribs</i>, and at the same time Oyls the <i>Cramp-Irons.</i></p>
+
+<p>And for Oyling the <i>Joynts</i>, he commonly takes
+out the <i>Pins</i> and Oyls them, and puts them in
+again; and with the edge of a Feather dabs a
+<span class="pagenum" id="Page_284">284</span>little Oyl between the Crevices of the <i>Joynts</i>.</p>
+
+<p>He thrusts the Feather in between the <i>Spindle</i> of
+the <i>Rounce</i> and its <i>Collers</i>.</p>
+
+<p>To Oyl the <i>Nut</i> and <i>Spindle</i>, he pours a good
+quantity of Oyl in at the <i>Hole</i> in the <i>Head</i>, and
+with a Cork stops the hole again to keep out dust
+and filth: Then drawing the <i>Bar</i> quick to and fro
+about half a score times, he works the Oyl equally
+about the <i>Nut</i> and <i>Spindle</i>.</p>
+
+<p>To Oyl the <i>Toe</i> of the <i>Spindle</i>, he pours about a
+Spoonful of Oyl into the <i>Plattin-pan</i>.</p>
+
+
+<h4 id="_7_Of_Making_Register_and_Making_Ready_a_Form">
+  ¶ 7. <i>Of</i> Making Register, <i>and</i> Making Ready <i>a</i> Form.
+</h4>
+
+<p>A curious <i>Press-man</i> will take care that against the
+<i>Compositer</i> brings a <i>Form</i> to the <i>Press</i> his <i>Press-stone</i> be
+wip’d very clean; for if any (though small) hard extuberant
+matter lye on it, the <i>Letter</i> that lyes on
+that extuberant matter will, with <i>Pulling</i>, quickly
+<i>Rise</i>, and not only Print harder than the rest of the
+<i>Form</i>, but bear the force of the <i>Plattin</i> off of the <i>Letters</i>
+adjacent to it. And therefore many times a
+<i>Press-man</i> will receive the <i>Form</i> from the <i>Compositer</i>
+when he has only Set the <i>Form</i> on the side of its
+<i>Chase</i> upon the <i>Press-stone</i>, that he may be the Surer
+the <i>Face</i> of the <i>Stone</i> is clean when he layes the <i>Form</i>
+down; as also that he may carefully examine that
+the backside of the <i>Form</i> is clean before he goes about
+to make <i>Register</i>, or otherwise make ready his <i>Form</i>.</p>
+
+<p><i>Making Register</i> is to <i>Quoin</i> up a <i>Form</i> and otherwise
+alter <i>Whites</i> (if need be) between the <i>Crosses</i> and
+<i>Pages</i>: So as that when a second <i>Form</i> of the same
+<span class="pagenum" id="Page_285">285</span><i>Volumne</i>, <i>Measure</i> and <i>Whites</i>, is plac’d in the same
+position, all the Sides of each <i>Page</i> shall fall exactly
+upon all the Sides of the <i>Pages</i> of the first <i>Form</i>.</p>
+
+<p>The first process a <i>Press-man</i> makes towards this
+Operation, is the chusing and placing of his <i>Points</i>:
+For to large Paper he chuses <i>Short Shanked Points</i>,
+and to small Paper <i>Long Shanked Points</i>, and
+proportionable to intermediate sizes of Paper:
+For his <i>Points</i> ought to be placed so as that when he
+is in his Train of work, they prick the <i>Point-holes</i>
+within the grasp of the hollow between his hand,
+Thumb, and Fore-finger; because when he shall
+Work the <i>Reteration</i> he may the better manage and
+Command the sheet he lays on the <i>Tympan</i> and <i>Points</i>.</p>
+
+<p>Nor will he place his <i>Points</i> too near the edge of
+the <i>Paper</i>, because when he Works the <i>Reteration</i>,
+he would be forc’d to carry his furthermost <i>Point-hole</i>
+the further from him, which in a long train of
+Work loses Time: For the <i>Laying Sheets</i> quickly
+on their <i>Point-holes</i> adds much to riddance. So
+also the less distance between the further and hither
+<i>Point-hole</i> makes more riddance than if they are far
+distant; because he must draw his Body so much
+the further back to place that <i>Hole</i> on its <i>Point</i>.
+Therefore he places the hither <i>Point</i> farther into
+the Paper than the farther <i>Point</i>, if it be <i>Folio</i>,
+<i>Quarto</i> or <i>Octavo</i>, but to <i>Twelves</i> equally distant
+from both edges of the Paper.</p>
+
+<p>By placing the <i>Points</i> unequally from the edges
+of the Paper, as in <i>Folio’s</i>, <i>Quarto’s</i> and <i>Octavo’s</i> (as
+aforesaid) he also secures himself the more from a
+<i>Turn’d Heap</i> when he works the <i>Reteration</i>; because
+<span class="pagenum" id="Page_286">286</span>without very much altering the <i>Quoins</i>, he
+shall not be able to make <i>Register</i>: And <i>Press-men</i>
+(especially if they Work upon the same sort of
+Work) seldom or never remove the <i>Quoins</i> on the
+further side the <i>Carriage</i>, nor on the right hand end
+of the <i>Carriage</i>, but let them lye as gages for the
+next <i>Form</i>: For thrusting the <i>Chase</i> close against
+these <i>Quoins</i>, the <i>Register</i> is almost (if not quite)
+made: The <i>Compositer</i> having before, according to his
+Task, chosen the <i>Chases</i> exactly of an equal size, and
+made strait and equal <i>Whites</i> between the <i>Crosses</i>, &amp;c.</p>
+
+<p>Having chosen his <i>Points</i>, he places them so that
+they may both stand in a straight line parallel with
+the top and bottom sides of the <i>Tympan</i>; which to
+know, he strains a Packthred cross the whole <i>Tympan</i>,
+laying it at once upon the middle of the <i>Heads</i>
+of both the <i>Point-Screws</i>, (for we will suppose the
+Joyner hath made the Mortesses into which the <i>Point
+Screws</i> are Let, parrallel with both the ends of the
+<i>Tympan</i>) then if both the <i>Points</i> 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 <i>Screws</i> them fast.</p>
+
+<p>Then he layes the <i>Tympan</i> down upon the <i>Form</i>,
+holding the <i>Frisket-end</i> of it in his Left-hand,
+about an Inch or an Inch and a half above the <i>Face</i>
+of the <i>Letter</i>, and Sinks his Body downwards till
+he can see between the <i>Form</i> and <i>Tympan</i>, and with
+the Ball of the middle finger of his Right-hand
+presses a little gently upon the <i>Tympan</i> just over the
+<i>Point-ends</i> of each <i>Point</i> successively, to see if the
+<i>Points</i> fall in or near the middle of the <i>Slits</i> in the
+<span class="pagenum" id="Page_287">287</span><i>Short-Cross</i>. If they fall exactly in the middle of
+those <i>Slits</i>, the <i>Form</i> lyes right between the middle
+of both the ends: If they fall not exactly in the
+middle of both these <i>Slits</i>, he moves the <i>Form</i> between
+the ends of the <i>Carriage</i>, till they do, and
+then <i>Quoins</i> up the two ends of the <i>Chase</i>.</p>
+
+<p>Then laying the <i>Tympan</i> flat down upon the <i>Form</i>,
+he layes the <i>Blankets</i> in it: (They are call’d the
+<i>Blankets</i> though generally it is but one <i>Blanket</i>
+doubled:) Then he puts the <i>Iron-Pins</i>, fastned
+through the hither side of the Inner <i>Tympan</i> into the
+Holes made through the hither side of the outer
+<i>Tympan</i> for Gages: And turning about the Tongues of
+the <i>Iron-Buttons</i>, that are fitted into the outer Side of
+the outer <i>Tympan</i> over the upper Side of the <i>Inner-Tympan</i>,
+he <i>Screws</i> the <i>Button</i> fast down. He also
+<i>Screws</i> down the <i>Iron-Button</i> at the end of the <i>Tympan</i>.
+These <i>Buttons</i> thus Screwed down are to keep
+the <i>Inner-Tympan</i> fast in, that it Spring not upwards.</p>
+
+<p>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 <i>Long-Cross</i>; and
+the Short Crease over the middle of the <i>Gutters</i> of
+the <i>Short-Cross</i>, if the <i>Short-Cross</i> lye in the middle
+of the <i>Form</i>, (for in <i>Twelves</i> it does not, but
+then he guesses at the middle;) then wetting his
+<i>Tympan</i> (as shall in proper place be shewed) he turns
+it down upon the Paper, and <i>Running in</i> the <i>Carriage</i>,
+<i>Pulls</i> that Sheet, which with the force of the <i>Pull</i>
+now the <i>Tympan</i> is wet, will stick to the <i>Tympan</i>;
+and turning up the <i>Tympan</i> again sees how well the
+Sheet was laid; that is, how even it was Laid: For
+<span class="pagenum" id="Page_288">288</span>if it was laid even on the <i>Form</i>, the <i>Margin</i> about
+the out sides of all the outer <i>Pages</i> 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 <i>Tympan</i>,
+and removes it by his discretion till it be laid even:
+And then <i>Pulls</i> again upon it to fasten it to the <i>Tympan</i>.
+This Sheet is call’d the <i>Tympan-sheet</i>.</p>
+
+<p>Then he lays another Sheet even upon the <i>Tympan-sheet</i>,
+for a Register Sheet, and a Waste Sheet
+over that to keep it clean from any filth the <i>Face</i> of
+the <i>Letter</i> may have contracted and imprint upon it,
+and <i>Pulls</i> these two Sheets. Then he <i>Runs out</i> the
+<i>Carriage</i>, and takes up the <i>Tympan</i>, and takes off the
+two Sheets, laying the waste Sheet by: But turns
+the other Side of the <i>Register-Sheet</i> the proper way
+his Volumne requires, <i>viz.</i> end-ways if it be <i>Octavo</i>
+or <i>Folio</i>; or Side-ways if <i>Twelves</i> or <i>Quarto</i>, <i>&amp;c.</i>
+as at large you see in the Section of <i>Imposing</i>. And
+laying the <i>Point-holes</i> in the <i>Register-Sheet</i> over the
+<i>Points</i>, lays his waste Sheet on again, <i>Runs-in</i> the
+<i>Carriage</i>, and <i>Pulls</i> upon that the Second side of the
+<i>Register-sheet</i>, to try how well the Impression of the
+Sides of all the <i>Pages</i> agree, and lye upon the Impression
+in the first <i>Pull’d</i> Side. If he finds they agree
+perfectly well, <i>Register</i> is made. But if the Impression
+of the last <i>Pull’d</i> Side of the <i>Register-sheet</i>
+stand be-hither the Impression of the first <i>Pull’d</i> side,
+either the whole length of the Sheet or part, he observes
+how much it stands be-hither: If the thickness
+of a <i>Scaboard</i>, a <i>Nomparell</i>, a <i>Long-Primmer</i>, &amp;c. he
+loosens the <i>Quoin</i> or <i>Quoins</i> on the farther side of the
+<i>Carriage</i>, and opens one or both of them, <i>viz.</i> removes
+<span class="pagenum" id="Page_289">289</span>them backwards till they stand a <i>Scaboard</i>, a
+<i>Nomparell</i>, a <i>Long Primmer</i>, &amp;c. off the sides of
+their respective Corners: Then <i>Knocks</i> up one or
+both the opposite <i>Quoins</i>, till he have removed the
+<i>Chase</i>, and the <i>Chase</i> by consequence has forc’d the
+opened <i>Quoin</i> or <i>Quoins</i> close against their Corners.
+Or if the Impression of the last <i>Pulled Side</i>, stands
+within the Impression of the first <i>Pulled Side</i>; he
+observes how much also; and Loosning the hither
+<i>Quoin</i> or <i>Quoins</i>, and <i>Knocking up</i> the opposite as
+before, makes <i>Register</i>, for the Sides of the Sheet.</p>
+
+<p>Then he observes how the <i>Register</i> of the <i>Head</i>
+and <i>Foot</i> agrees. And if he finds it agrees on both
+sides the <i>Short Cross</i>, he has good <i>Register</i>; supposing
+the <i>Compositer</i> has performed his Office, <i>viz.</i> made
+all his <i>Pages</i> of an equal Length, &amp;c.</p>
+
+<p>If the Impression of the Last <i>Pulled Sheet</i>, lye
+without the Impression of the first <i>Pulled Sheet</i>, towards
+the upper or lower end of the <i>Tympan</i>, he
+opens the <i>Quoins</i> at the respective end, and <i>Knocks-up</i>
+the opposite till he have made <i>Register</i>: Which to
+try he <i>Pulls</i> another clean <i>Register-sheet</i> as before.
+And if he finds <i>Register</i> agree on all the Sides of the
+<i>Form</i> the Task is performed: If not, he mends as
+aforesaid till it do.</p>
+
+<p>But it sometimes happens that the <i>Compositer</i> has
+not made an exact equal <i>White</i> between all the sides
+of the <i>Crosses</i>: In this case, altering the <i>Quoins</i> will
+not make good <i>Register</i>; wherefore the <i>Press-man</i>
+observes which side has too much or too little <i>White</i>;
+and unlocking the <i>Form</i> takes out or puts in such a
+number of <i>Scaboards</i> as he thinks will make good
+<span class="pagenum" id="Page_290">290</span><i>Register</i>: which he tryes by <i>Pulling</i> a Sheet, and if
+need be, mending as before, till he have <i>Pull’d</i> a
+Sheet with good <i>Register</i>.</p>
+
+<p>Although the <i>Press-man</i> have made <i>Register</i>, yet he
+must further <i>Make Ready</i> the <i>Form</i> before he can go
+to Work upon it. Under this phrase of <i>Making
+Ready the Form</i> is comprehended many Considerations,
+leading to several various Operations; For
+first, The <i>Frisket</i> must be <i>Cut</i>: which to perform,
+the <i>Press-man</i> fits the <i>Match-Joynts</i> of the <i>Frisket</i>
+into the <i>Match-Joynts</i> of the <i>Tympan</i>, and pins them
+in with the <i>Frisket-pins</i>: And having <i>Beaten</i> the <i>Form</i>,
+turns down the <i>Frisket</i> and <i>Tympan</i> on the <i>Form</i>.
+And having also Rubbed the <i>Blankets</i> to soften them,
+lays them smooth and even in the <i>Outer-Tympan</i>, and
+<i>Pins</i> the <i>Inner Tympan</i> in upon them, as was shewed
+in the beginning of this ¶, and <i>Pulls</i> as before, and
+as shall farther be shewed in ¶ 15. upon the bare
+<i>Frisket</i>.</p>
+
+<p>Then he <i>Runs out</i> the <i>Carriage</i>, and takes up the
+<i>Tympan</i> and <i>Frisket</i> together off the <i>Form</i> and lays
+them on the <i>Gallows</i>; Then takes the <i>Frisket-pins</i> out
+again, and takes off the <i>Frisket</i>: And laying it flat
+on a <i>Paper-board</i>, with the point of a Pen-knife cuts
+through the <i>Frisket</i> about all the Sides of each <i>Page</i>,
+allowing to each <i>Page</i> he thus cuts out of the <i>Friket</i>
+about a <i>Nomparil Margin</i> on all the sides of the cut
+cut <i>Pages</i>: Then he puts and pins his <i>Frisket</i> again
+on the <i>Tympan</i>, as before.</p>
+
+<p><i>2dly</i>, He takes care that the <i>Tympan</i> be well <i>Wet</i>;
+which he does by squeezing Water out of a <i>Spunge</i>
+on the backside of it, till it be well Wet all over, and
+well soak’d and limber.</p>
+
+<p><span class="pagenum" id="Page_291">291</span></p>
+
+<p><i>3dly</i>, That the <i>Form</i> be well and fast <i>Lock’d up</i>.</p>
+
+<p><i>4thly</i>, That no <i>Letters</i> or <i>Spaces</i> lye in the <i>White-lines</i>
+of the <i>Form</i>; which may happen if the <i>Compositer</i>
+have <i>Corrected</i> any thing since the <i>Form</i> was laid on
+the <i>Press</i>, and the <i>Compositer</i> through oversight
+pickt them not all up.</p>
+
+<p><i>5thly</i>, If any <i>Wooden Letters</i> or other <i>Cuts</i> be in
+the <i>Form</i>, that they be exactly <i>Letter-high</i>: If not,
+(for it seldom happens they are) he must make
+them so; If they are too <i>Low</i>, (as they generally
+be) he <i>Under-lays</i> them: But first He examines how
+much they are too <i>Low</i>, by laying one Card or one
+Scaboard or two Scaboards, or a Scaboard and a
+Card, <i>&amp;c.</i> upon the Face of the <i>Wooden Cut</i>, and
+gently feeling with the Balls of the Fingers of his
+right Hand if the intended <i>Under-lay</i>, viz. the Scaboard,
+Card, <i>&amp;c.</i> lye exactly even with the <i>Face</i> of
+the <i>Letter</i>, If it do not, he tries thicker or thinner
+<i>Under-lays</i> till he have evened the <i>Under-lay</i> with
+the <i>Face</i> of the <i>Letter</i>: For then the Balls of his Fingers
+will go smoothly and equally over the <i>Under-lay</i>
+and the <i>Face</i> of the <i>Letter</i>, as if they were one
+and the same Superficies.</p>
+
+<p>Having evened his <i>Under-lay</i>, he <i>Unlocks</i> that
+<i>Quarter</i> it is in, and takes the <i>Wooden Cut</i> out of the
+<i>Form</i>, and cutting a Scaboard or Card or what it
+wants a little smaller than the bottom of his <i>Wooden
+Cut</i>, he lays it into the place he took the <i>Wooden
+Cut</i> out of, or else he Pasts the <i>Under-lay</i> on the
+bottom of the <i>Wooden Cut</i>, and puts the <i>Wooden Cut</i>
+into its place again upon the <i>Under-lay</i>. But yet he
+trusts not to his Judgment altogether for the thickness
+<span class="pagenum" id="Page_292">292</span>of the <i>Underlay</i>: But <i>Locking up</i> the <i>Form</i> again,
+<i>Pulls</i> the <i>Cards</i> upon it to sink it as low as it will go,
+and <i>Beats</i> and <i>Pulls</i> a Sheet to see how it pleases
+him. If it be too low, which he finds by the Pale
+Printing of it, he <i>Underlays</i> it a little more, and again
+trys by Printing till it pleases him. But by no means
+he lets the <i>Cut</i> stand too high, though but a small
+matter, For then it will Print too <i>Hard</i> and too
+<i>Black</i>, and deface the beauty and fairness of the <i>Cut</i>;
+So that it may better stand about half a Card too
+low, than in the least too high.</p>
+
+<p>If the <i>Wooden Cut</i> be too high, he causes a Joyner
+to Plain off some at the bottom.</p>
+
+<p><i>6thly</i>, If a <i>White Page</i> or <i>Pages</i> happen in a <i>Form</i>,
+and he uses a <i>New-drawn Frisket</i>, then he does not
+<i>Cut out</i> that <i>Page</i>: But if he Work with an <i>Old
+Frisket</i>, and that <i>Page</i> is already <i>Cut out</i>, he Sews,
+or sometimes Pastes on a Scaboard, if the <i>Page</i> be
+not too broad, or a strong Pasteboard to the <i>Sides</i>
+and <i>Crosses</i>, to cover the <i>White-page</i> in the <i>Form</i>,
+that it Print not Black.</p>
+
+<p>If the sides of the <i>Pages</i> adjacent to the <i>White-page</i>
+Print <i>Hard</i>, as most commonly they do, because
+the <i>White-page</i> is generally lower than <i>Letter</i>
+high, so that the force of the <i>Spindle</i> squeezes the
+yielding <i>Paper</i>, <i>Tympan</i> and <i>Blankets</i> below the Plain
+of the <i>Face</i> of the <i>Letter</i>; and besides the force of
+the <i>Spindle</i> falling upon the center of the <i>Plattin</i>,
+and the Plain of the <i>Plattin</i> not finding resistance
+to entertain it equally, presses lower down upon the
+low <i>White-page</i>, than upon the <i>Face</i> of the <i>Letter</i>;
+so that the <i>Press-man</i> either <i>Underlays</i> the <i>White-page</i>,
+<span class="pagenum" id="Page_293">293</span>as he does <i>Wooden Cuts</i>, or else he fits a
+<i>Bearer</i> on the <i>Frisket</i>.</p>
+
+<p>The <i>Bearer</i> is a <i>Riglet</i> of a convenient thickness:
+and this convenient thickness the <i>Press-man</i> finds as I
+shewed you how he found the thickness of his <i>Under-lays</i>
+for <i>Wooden Cuts</i>; only with this difference, that
+as then he made his <i>Wooden Cut</i> exactly <i>Letter-high</i>,
+so now he maks his <i>Bearer</i> and the <i>Furniture</i> his
+<i>Bearer</i> bears on <i>Letter-high</i>: Wherefore he Pasts one
+side of his <i>Bearer</i>, and lays it as he would have it on
+the <i>Furniture</i>, with the Pasted side upwards; and
+laying his <i>Tympan</i> and <i>Frisket</i> down upon the <i>Form</i>,
+with his Fingers presses on the outside the <i>Inner-Tympan
+Frisket</i> and all, upon the place where the
+<i>Beares</i> lies; So that with the Paste the <i>Bearer</i> sticks
+to the side of the <i>Frisket</i>, which he takes up again:
+and if he thinks the Paste not strong enough to hold
+it till the <i>Form</i> is wrought off, he sews it to the <i>Frisket</i>
+by pricking his Needle on both sides the <i>Bearer</i>, and
+lashing the Thred over it so often till he thinks it
+fast enough sew’d on.</p>
+
+<p><i>7thly</i>, He examines whether the <i>Frisket</i> <i>Bites</i> not:
+That is, whether no part of it Print upon any of the
+sides of any of the <i>Pages</i>: if they do he cuts away so
+much and about a <i>Nomparel</i> more off the <i>Frisket</i>
+where it <i>Bites</i>.</p>
+
+<p><i>8thly.</i> He examines if the <i>Beards</i> of the <i>Letter</i>
+Print at the Feet of the <i>Pages</i>: If they do, He considers
+whether the too short or too far <i>Running</i> in of
+the <i>Carriage</i> causes it. Or whether it be only the
+<i>Beard</i> of a short <i>Page</i> that Prints; If it be the <i>Beard</i>
+of a short <i>Page</i> that Prints, he remedies it with an
+<span class="pagenum" id="Page_294">294</span><i>Under-lay</i> as I shewed he did in the <i>White Page</i>.</p>
+
+<p>If the <i>Carriage</i> be <i>Run</i> in too short, and the <i>Feet</i>
+of the <i>Pages</i> stand towards the <i>Plattin</i>, the <i>Hind-side</i>
+of the <i>Plattin</i> will press strong upon the <i>Feet</i> of
+those <i>Pages</i>: And if the <i>Carriage</i> be <i>Run</i> in too far,
+the <i>Feet</i> of the <i>Pages</i> that stand towards the hinder
+<i>Rail</i> of the <i>Tympan</i> will most feell the force of <i>Plattin</i>,
+and according to a greater or less proportion of that
+force, and to the softness or yielding of the <i>Paper</i>,
+<i>Tympan</i>, and <i>Blankets</i>, and all other <i>Springs</i> in the
+<i>Press</i>, mentioned in §. 11. ¶ 1. of this <i>Volumne</i>, the
+<i>Feet</i> of the <i>Pages</i> and <i>Beard</i> of the <i>Letter</i> will more
+or less Print <i>Hard</i>.</p>
+
+<p>Wherefore in this case he <i>Runs</i> the <i>Carriage</i> under
+the <i>Plattin</i>, till the farther Edge of the <i>Plattin</i> just
+cover the <i>Feet</i> of those <i>Pages</i>, and with a piece of
+Chalk makes a White stroke over the <i>Board</i> of the
+hither side of the <i>Carriage</i> behind, and the upper
+side of the <i>Rail</i> of the <i>Ribs</i>: Then he <i>Runs</i> in the
+<i>Carriage</i> again, till the Foreside of the <i>Plattin</i> just
+cover the <i>Feet</i> of the <i>Pages</i> next the <i>Hind Rail</i> of the
+<i>Tympan</i>, and makes another mark with Chalk on the
+<i>Rail</i> of the <i>Ribs</i> to joyn with the mark he first made
+on the <i>Board</i> of the <i>Carriage</i>. Then he <i>Runs</i> out the
+<i>Carriage</i>, and lays the <i>Tympan</i> down on the <i>Form</i>;
+and <i>Runs</i> in the <i>Carriage</i> again till he joyn the mark
+or line he made first on the <i>Carriage-board</i> and <i>Rail</i>
+of the <i>Ribs</i>, and makes a mark with Chalk on the
+farther <i>Rail</i> of the <i>Tympan</i> just range with the Foreside
+of the <i>Plattin</i>. This mark on the <i>Tympan</i> shews
+him how far he must <i>Run</i> the <i>Carriage</i> in against the
+Fore-edge of the <i>Plattin</i> for the <i>First Pull</i>. Then he
+<span class="pagenum" id="Page_295">295</span><i>Runs</i> in the <i>Carriage</i> farther, till he joyn the same
+Mark or Line on the <i>Carriage-board</i> to the second
+Mark he made on the <i>Rail</i> of the <i>Ribs</i>, and makes
+another Mark on the further <i>Rail</i> of the <i>Tympan</i> just
+range with the Fore-side of the <i>Plattin</i>, for the Mark
+he is no <i>Run</i> the <i>Carriage</i> in to against the Fore-edge
+of the <i>Plattin</i>, for his <i>Second Pull</i>.</p>
+
+<p><i>9thly</i>, He Examines if the <i>Catch</i> of the <i>Bar</i> will
+hold the <i>Bar</i> when the <i>Spindle</i> makes a small Spring,
+<i>viz.</i> When the <i>Bar</i> flies but a little way back from
+the pressure of the <i>Form</i>: If it will not, he knocks
+up the <i>Catch</i> a little higher till it will, and then Screws
+the <i>Screw</i> on the <i>Shank</i>, and consequently the <i>Catch</i>
+close and firm against the <i>Cheek</i> of the <i>Press</i>.</p>
+
+<p>But if the <i>Catch</i> stand too high, so that it will not
+without a great Spring, (<i>viz.</i> when the <i>Bar</i> is <i>Pull’d</i>
+hard from the farther <i>Cheek</i>) fly up; He then knocks
+upon the top of the <i>Catch</i> to sink it lower; And
+when it is well fitted Screws it up again, as before.</p>
+
+<p>If the <i>Catch</i> of the <i>Bar</i> stand too Low, it will not
+hold the <i>Bar</i>; But it will <i>Come down</i> again of it self
+when he is in his train of Work: For if, as it often
+happens, he lets the <i>Bar</i> fly harder than ordinary
+back, or if it slip out of his Hand, it will knock hard
+against the <i>Cheek</i>, and Spring back again.</p>
+
+<p>If the <i>Catch</i> of the <i>Bar</i> stand but a little too High,
+the Violence of the <i>Bars</i> flying back to make it stick
+on the <i>Catch</i> will soon Loosen the Square of the <i>Bar</i>
+in the <i>Eye</i> of the <i>Spindle</i>; and indeed subject the
+whole <i>Press</i> to an unstable condition.</p>
+
+<p>This is another ease and convenience these New-fashioned
+<i>Presses</i> gives the <i>Press-man</i>: For in the Old
+<span class="pagenum" id="Page_296">296</span>make of the <i>Press</i>, when the <i>Catch</i> of the <i>Bar</i> holds
+too hard, or too soft, he is troubled to Raise or Sink
+the <i>Catch</i> with the thickness of <i>Scaboards</i>, which being
+indevisable, does not without trouble or luck
+justen it to an exact Heighth. And besides, These
+<i>Under-lays</i> being but put under the <i>Catch</i> upon the
+<i>Wooden Bearer</i> without any Fastning, are very subject
+to work out by the constant disturbance the
+motion of the several Parts of the <i>Press</i> (when at
+work) gives it: Or else (which is worse) he many
+times is forced to batter the <i>Cheek</i> of the <i>Press</i>, with
+drawing and driving of Nails out and in it, to fit
+on another <i>Catch</i> bigger or lesser, whereas here
+with a softer or an harder knock of the Hammer
+(as aforesaid) he Raises or Sinks the <i>Catch</i>, and afterwards
+Screws it firmly up.</p>
+
+<p><i>10thly</i>, He considers whether the <i>Stay</i> of the
+<i>Frisket</i> stands neither too forwards or too backwards.
+The <i>Stay</i> may stand too forwards, though when it is
+leisurely turn’d up it stays the <i>Frisket</i>: Because, when
+the <i>Press-man</i> is in a Train of Work, though he
+generally throws the <i>Frisket</i> 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 <i>Batten</i> fastned
+on the <i>Cap</i>, and the Perpendicular <i>Batten</i> fastned
+to the aforesaid <i>Batten</i> (as is described in §. 11. ¶ 21.
+of this Volumne) will by their shaking cause a Spring,
+which will throw the <i>Frisket</i> back again upon the
+<i>Tympan</i>: Nay, though (as sometimes it happens)
+a solid Wall serves to do the Office of a <i>Stay</i> for the
+<i>Frisket</i>; yet with a little too hard throwing it up,
+<span class="pagenum" id="Page_297">297</span>the <i>Frisket</i> 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.</p>
+
+<p>If the <i>Stay</i> stand too backward, then after he has
+given the <i>Frisket</i> a Touch to bring it down, it will
+be too long e’re it come down, and so hinder his
+Riddance.</p>
+
+<p>Therefore he places the <i>Stay</i> so, that the <i>Frisket</i>
+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 <i>Tympan</i>.</p>
+
+<p><i>11thly</i>, He considers the Scituation of the <i>Foot-step</i>,
+and that he places so as may best suit with his own
+Stature; For a Tall man may allow the <i>Foot-step</i> to
+stand farther off and lower than a Short, because his
+Legs reach farther under the <i>Carriage</i>, and can tread
+hard to add strength to his <i>Pull</i>; when a Short man
+must strain his Legs to feel the <i>Foot-step</i>, and consequently
+diminish the force of his <i>Pull</i>.</p>
+
+<p><i>12thly</i>, He fits the <i>Gallows</i>, so that the <i>Tympan</i>
+may stand as much towards an upright as he can:
+Because it is the sooner clapt down upon the <i>Form</i>
+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 <i>Reteration</i> Sheets their lying upon the <i>Points</i>
+secures them.</p>
+
+<p>In these New-fashioned <i>Presses</i> there is no trouble
+to place the <i>Gallows</i>, so as it may mount the <i>Tympan</i>
+<span class="pagenum" id="Page_298">298</span>to any Position: For sliding the <i>Male-duftails</i> made
+on the <i>Feet</i> of the <i>Gallows</i> through the <i>Female Duftails</i>
+fastned on the <i>Planck</i> of the <i>Carriage</i>, performs this
+great trouble that in our English <i>Presses</i> requires Un-nailing
+the Studs of the <i>Gallows</i> and Nailing them again;
+and many times tearing them and the <i>Carriage-Planck</i>
+to pieces: And that so oft as the fancy of the
+<i>Press-man</i> alters, or another Work-man comes to
+Work at that <i>Press</i>.</p>
+
+<p><i>13thly</i>, Few <i>Press-men</i> will Set the range of the
+<i>Paper Bench</i> to stand at right angles with the <i>Plank</i>
+of the <i>Carriage</i>: But draws the farther end of the
+<i>Paper Bench</i> so as the hither side may make an Angle
+of about 75 Degrees (more or less) with the hither
+side of the <i>Carriage</i>: The reason is, if the hither side of
+the <i>Paper Bench</i> stand at right Angles with the hither
+side of the <i>Carriage</i>, he must carry his Hand farther
+when he <i>Lays out Sheets</i> which would hinder riddance:
+Besides his <i>Companion</i> has a nearer access to
+it, to look over the <i>Heap</i>; which he frequently does,
+to see the constant Complexion of the Work.</p>
+
+<p><i>14thly</i>, The <i>Press-man</i> brings his <i>Heap</i> and Sets
+it on the hither end of the <i>Paper Bench</i> as near the
+<i>Tympan</i> as he can, yet not to touch it, lest it stop the
+<i>Tympan</i> in a train of Work: and he places an end of
+the <i>Heap</i> towards him. Then taking off the <i>Paper-board</i>
+that cover’d it when it was Prest, he lays the
+long sides of it parallel to the sides of the <i>Paper
+Bench</i>: Then he takes the uppermost Sheet (which
+as you may Remember is a Waste-sheet) and lays it
+on the empty <i>Paper-board</i>; And taking Three or
+Four or Five Quires off his <i>Heap</i> in both his Hands,
+<span class="pagenum" id="Page_299">299</span>he lifts it a pretty height above his Head, and claps
+it as hard as he can down upon the rest of the <i>Heap</i>,
+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.</p>
+
+<p>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 <i>Heap</i>, to prepare those Sheets ready for him
+to snatch off the <i>Heap</i>.</p>
+
+<p><i>15thly</i>, He considers if the <i>Face</i> of the <i>Tympan</i>
+be moist enough, for a <i>Tympan-sheet</i> to stick to, for
+though he Wet the back-side of it before to supple it,
+yet if the <i>Tympan</i> be strong, the Water will not soak
+quite through to moisten the <i>Face</i>, So that he wets
+the Spunge in fair Water, and besprinkles the upper
+side or <i>Face</i> of the <i>Tympan</i> all over: And squeezing
+the Water that is left in the Spunge well out again,
+rubs it quickly and gently all over the <i>Face</i> of the
+<i>Tympan</i>, to drink up or lick off the body of Water
+that he besprinkles on, and only leaves moisture
+on the <i>Face</i> of the <i>Tympan</i> to hold the Sheet.</p>
+
+<p>Here accrews now a benefit by the make of these
+New-fashioned <i>Presses</i> to the Master <i>Printer</i>: For
+these <i>Presses</i> having a <i>Gutter</i> fastned to the <i>Hind-rail</i>
+of the <i>Carriage</i> (as was described in § 10. ¶ 9. of
+this Volumne) to receive the Water that falls from
+the <i>Tympan</i>, and to convey it beyond the farther
+side of the <i>Press</i>, secures the <i>Blank</i> of the <i>Carriage</i>
+<span class="pagenum" id="Page_300">300</span>from Wet and moisture, and consequently from that
+cause of Rotting.</p>
+
+<p>Then he takes a Sheet of Paper off the <i>Heap</i> for a
+<i>Tympan-sheet</i>, and Folds it exactly into four quarters,
+and lays the Creases of the Sheet exactly upon
+the middle of the <i>Short</i> and <i>Long Crosses</i>, if the Volumn
+of the <i>Form</i> allows them both to be in their
+respective middles of the <i>Chase</i>; if not, he lays the
+Creases exactly against the Notches in the <i>Chase</i> that
+are made for them respectively: And if his <i>Frisket</i> be
+Blackt with former Work, he lays a Sheet of Waste-Paper
+upon the Creast-sheet: Then lays the <i>Tympan</i>
+down on the <i>Form</i>, and <i>Pulls</i> on these two Sheets,
+and takes up his <i>Tympan</i> again, and lays by the
+Waste-Sheet; but the Creast-Sheet he lays on the
+<i>Tympan</i>. But first presses the <i>Tympan</i> downwards,
+from under the Shank of each <i>Point</i> successively,
+puts the two opposite sides of the Sheet under the
+<i>Shancks</i> of the <i>Points</i>, and the <i>Holes</i> the <i>Points</i> prickt
+with <i>Pulling</i> exactly under the bottom Revits of the
+<i>Points</i>: 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 <i>Tympan</i>,
+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, <i>viz.</i> within
+the Impression the <i>Form</i> made. For when he has
+fastned that corner down, he tears off the <i>Margin</i>,
+(by guess) in a straight line athwart the very corner,
+that it may not lye in his way to catch at as he <i>Takes
+off Sheets</i>, when he is in his train of Work.</p>
+
+<p>This Sheet is called the <i>Tympan-sheet</i>; and is only
+<span class="pagenum" id="Page_301">301</span>as a standing mark to lay all the other Sheets exactly
+even upon, while he Works upon <i>White-paper</i>.</p>
+
+<p>The <i>Press-man</i> does now suppose he has <i>Made
+Ready</i>: Yet for assurance he will try his <i>Register</i>
+once more, lest some of the <i>Quoins</i> should have slipt.
+How he made <i>Register</i> I shewed you before, wherefore
+if his <i>Register</i> be not good, he mends it as I
+there shewed. But we will suppose it now good,
+wherefore he gently <i>Knocks</i> up all the <i>Quoins</i> in the
+corners, with an equal force to fasten them.</p>
+
+<p>Though I have in Numerical order set down these
+Operations, Circumstances and Confederations in
+this ¶: yet does not the <i>Press-man</i> 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.</p>
+
+
+<h4 id="_8_Of_Drawing_the_Tympans_and_Frisket">
+  ¶ 8. <i>Of</i> Drawing <i>the</i> Tympans <i>and</i> Frisket.
+</h4>
+
+<p><i>Drawing</i> the <i>Tympans</i> or <i>Frisket</i> is the Covering
+and Pasting on of Vellom, Forrels or Parchment upon
+the <i>Frames</i>. To each <i>Tympan</i> and <i>Frisket</i> is chose a
+Skin large enough to cover and lap about the Frames.</p>
+
+<p>These Skins the <i>Press-man</i> 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.</p>
+
+<p>Then the Boy having provided a Brush and about
+<span class="pagenum" id="Page_302">302</span>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 <i>Tympan</i>; then lays it
+on the middle of the Skin, and rearing each side
+successively up, Pastes the Skin also from the insides
+the <i>Tympan</i> to the outer edges of the Skin, and lays
+the <i>Tympan</i> down flat again: Then he Pastes all the
+other sides of the <i>Tympan</i>, 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
+<i>Tympan</i> 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.</p>
+
+<p>Having thus Drawn the sides, he with the Point
+of a Pen-knife cuts square holes in the Skin, just
+where the <i>Iron-Joynts</i> fall, for the Joynts to fall into,
+and Draws and Strains the ends of the <i>Tympan</i> as he
+did the Sides; wrapping the ends of the Skin under
+the under-sides of the <i>Tympan</i>, and where Wood is,
+drives in the points of Nails, as before.</p>
+
+<p>Then setting it by to dry; when it is dry, he
+draws the Nails.</p>
+
+<p>As he Drew this <i>Tympan</i>, so he Draws the other:
+and the <i>Frisket</i> also: only, because he cannot drive
+in Nails, (the <i>Frisket</i> being all made of Iron) he
+doubles the Skin over the sides of the <i>Frisket</i>, 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
+<span class="pagenum" id="Page_303">303</span>or two Thick of Paper all over the inside of it; as
+well to strengthen as to thicken it.</p>
+
+<figure class="figcenter illowe30" id="i_p302b">
+  <img class="w100" src="images/i_p302b.jpg" alt="wetting the quires">
+  <figcaption>
+    <i>Plate 29.</i>
+  </figcaption>
+</figure>
+
+
+<h4 id="_9_Of_Wetting_Paper">
+  ¶ 9. <i>Of Wetting Paper.</i>
+</h4>
+
+<p>Paper is commonly <i>Wet</i> in a Tray full of fair
+Water. The <i>Press-man</i> places the length of the Tray
+before him; his dry <i>Heap</i> on the Left Hand the
+Tray, and a <i>Paper-Board</i> with its Breadth before him
+on his Right Hand of the Tray: He lays first a
+Waste Sheet of Paper on the <i>Paper-board</i>, lest the
+Board might Soyl or foul the first Sheet of the
+<i>Heap</i>. Then he takes up the first <i>Token</i>, 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 <i>Wet</i> it: And he lays that <i>Token</i> athwart,
+or somewhat Crossing the rest of the <i>Heap</i>, that he
+may the easier know when he has <i>Wet</i> that <i>Token</i>.</p>
+
+<p>Then taking the first Quire of the <i>Heap</i> 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.</p>
+
+<p>The reason why he lays the first Laying-down
+Dry, is, because it lying under the rest of the <i>Heap</i>
+<span class="pagenum" id="Page_304">304</span>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.</p>
+
+<p>Having laid down his Dry Laying, he takes another
+Quire off the Dry <i>Heap</i>, 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 <i>Heap</i>, 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.</p>
+
+<p>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.</p>
+
+<p>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
+<i>Heap</i>; and discharging his Right Hand, brings it to
+<span class="pagenum" id="Page_305">305</span>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 <i>Heap</i>.</p>
+
+<p>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.</p>
+
+<p>In the same manner he Wets all the Quires of his
+Dry <i>Heap</i>. <i>See Plate 29.</i></p>
+
+<p>But having Wet his first <i>Token</i>, 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 <i>Heap</i>, and so as the hither corner may Hang
+out on the hither side of the <i>Heap</i> about an Inch and
+an half: This Sheet is called the <i>Token-Sheet</i>, as being
+a mark for the <i>Press-man</i> when he is at Work to
+know how many <i>Tokens</i> of that <i>Heap</i> is <i>Wrought-off</i>,
+and consequently to know how many is to Work.</p>
+
+<p>When he has Wet the first <i>Token</i>, he removes the
+next uppermost Dry <i>Token</i> askew on the Dry <i>Heap</i>,
+and successively all the rest, as I shewed in the beginning
+of this ¶.</p>
+
+<p>Having Wet the whole <i>Heap</i>, he lays a Waste
+<span class="pagenum" id="Page_306">306</span>Sheet of Paper upon it, that the <i>Paper-Board</i> to be
+laid on, Soyl not the last Sheet of the <i>Heap</i>: 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.</p>
+
+<p>The Paper being thus Wet, he takes up the whole
+<i>Heap</i> upon the <i>Paper-board</i>, and sets it by in a convenient
+place of the Room, and lays another <i>Paper-board</i>
+upon it: And upon the middle of the <i>Paper-board</i>,
+sets about Half an Hundred Weight, and lets
+it stand by to press, commonly till next Morning:
+For <i>Press-men</i> generally Wet their Paper after they
+have left Work at Night.</p>
+
+<p>The manner how Paper is <i>Set out</i>, shall be shewed
+when I come to the Office of the <i>Warehouse-keeper</i>.</p>
+
+
+<h4 id="_10_Of_Knocking_up_the_Balls">
+  ¶ 10. <i>Of</i> Knocking up <i>the</i> Balls.
+</h4>
+
+<p><i>Ball Leathers</i> (as I said before in § 11. ¶ 21.) are
+either <i>Pelts</i> or <i>Sheep-skins</i>: If <i>Pelts</i>, 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 <i>Press-mans</i> use: If Wet, he
+having before-hand provided a round Board, of
+about Nine inches and an half Diameter: Supposing
+the <i>Ball-stocks</i> to be six Inches diameter, lays the
+Round Board upon the whole <i>Pelt</i>, and cuts by the
+out-side of the Board so many round pieces as he can
+out of the <i>Pelt</i>, reserving two for his present Use.</p>
+
+<p>And hanging the rest up (commonly upon the
+<span class="pagenum" id="Page_307">307</span><i>Braces</i> of the <i>Press</i>) to dry, that they may not Stink
+or Mould before he have occasion to use them.</p>
+
+<p>But if his <i>Pelts</i> 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.</p>
+
+<p>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 <i>Press-man</i> sometimes
+a great deal of trouble, to make his <i>Balls Take</i>. He
+also lays the <i>Ball Leathers</i> in <i>Soak</i> to supple them.</p>
+
+<p>When they (either <i>Pelts</i> or <i>Leathers</i>) are well
+<i>Soaked</i>, he Rubs them well with both his Hands,
+and then twists and wrings them (as Women do
+Cloaths) to get the Water out again.</p>
+
+<p>When they are well wrung, he Sits down upon a
+Seat about fourteen or fifteen Inches high, commonly
+a <i>Heap</i> of <i>White Paper</i>, if it stand conveniently
+for him; but not upon a <i>Printed Heap</i>, least his
+Weight pressing it cause the un-dryed <i>Inck</i> to <i>Set-off</i>:
+He sits down, I say, and lays the <i>Ball-stock</i> 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 <i>Ball-stock</i> towards his Belly.
+Then taking the <i>Ball-Leather</i>, 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 <i>Ball-stock</i>, he with the Head of
+<span class="pagenum" id="Page_308">308</span>the <i>Sheeps-foot</i> drives a <i>Ball-nail</i> into the middle of
+the Plaight, a little more than half an Inch above the
+the edge of the <i>Ball-stock</i>: But he Drives the <i>Ball-nail</i>
+not quite up to the Head, but leaves about almost a
+quarter of an Inch of the Nail out; that with the
+<i>Claw</i> of the <i>Sheeps-foot</i> he may Draw the Nail again
+when occasion serves.</p>
+
+<p>Having driven the first Nail, he turns about the
+<i>Ball-stock</i>, till the opposite side, and as near as he can
+guess, point of the edge of the <i>Ball-stock</i> lyes directly
+upwards between his Thighs, (as before,) and then
+taking as near as he can guess the opposite edge of
+the <i>Ball-leather</i> between his Fore-fingers and Thumb
+of his Left Hand, he holds the edge of the <i>Ball-leather</i>
+upright, and having his Wooll or Hair <i>Teized</i>,
+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 <i>Ball-leather</i> and the hollow
+of the <i>Ball stock</i>; which bringing to the hollow of
+the <i>Ball-stock</i>, he draws the <i>Ball-leather</i> over it; and
+lapping the edges of the <i>Ball-leather</i> 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 <i>Ball</i>
+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.</p>
+
+<p>If he have put too much or too little Wooll into the
+<i>Ball</i>, he either takes some out, or adds more to, as
+<span class="pagenum" id="Page_309">309</span>the respective Half may require. Then lays it down
+again between his Thighs, as before, and lays another
+Plaight in the middle of the <i>Ball-leather</i> 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 <i>Ball-stock</i>, as before.</p>
+
+<figure class="figcenter illowe30" id="i_p308a">
+  <img class="w100" src="images/i_p308a.jpg" alt="knocking up the balls">
+  <figcaption>
+    <i>Plate 30</i>
+  </figcaption>
+</figure>
+
+<p>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
+<i>Ball</i>; 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
+<i>Balls</i> have been Wrought with, and blackt with
+<i>Inck</i>, with the <i>Head</i> of the <i>Sheeps-foot</i> 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 <i>Ball</i>
+pleases him.</p>
+
+<p>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.</p>
+
+<p>Then he considers if his <i>Ball</i> 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 <i>Ball-stock</i>: For
+when the <i>Ball</i> has been Wrought withal, it will grow
+so hard, that the Wooll will not move out of its place.</p>
+
+<p>Having <i>Knockt up</i> one <i>Ball</i> well, he <i>Knocks up</i> the
+other, as the first.</p>
+
+<p><span class="pagenum" id="Page_310">310</span></p>
+
+<p>The <i>Balls</i> are well <i>Knockt up</i>, when the Wooll is
+equally dispersed about all the Sides, and the middle
+smoothly covered with the <i>Leather</i>, 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
+<i>Press-man</i> to Work with; or too little, for that will
+make the <i>Leathers</i>, as the Wooll settles with Working
+soon flap, and wrap over it self into Wrinkles. So
+that he cannot so well destribute his <i>Balls</i>: But the
+<i>Balls</i> ought to be indifferently plump, to feel like an
+Hard stuft Bed-pillow, or a strong Spunge a little
+moistned with Water.</p>
+
+<p>Having Knockt up the <i>Balls</i>, and Rub’d out the
+<i>Inck</i>, as shall be shewed in the next ¶, he trys if his
+<i>Balls</i> will <i>Take</i>, that is, he Dabs the top of one of
+them three or four times lightly upon the hither part
+of the <i>Inck-block</i>; If he finds the <i>Inck</i> sticks to it
+equally all about, and that so much as has toucht
+the <i>Inck-block</i> is Black, it <i>Takes</i>: But if scarce any of
+the <i>Leather</i> is Black, or that it be Black and
+White in Splotches, then the <i>Balls</i> does not <i>Take</i>:
+Wherefore he considers whether his <i>Ball</i> be too Wet,
+or else Greasie, for each of these inconveniences
+will hinder the <i>Taking</i> of the <i>Ball</i>.</p>
+
+<p>If it be too Wet, he burns half a Sheet or an
+whole Sheet of Waste Paper, and waves his <i>Ball</i> to
+and fro over the flame of it; but so quick and cautiously
+that he neither shrinks the <i>Leather</i> or Dryes it
+too much: In Winter time when a fire is at Hand,
+he dryes it gently by the fire.</p>
+
+<p>If it be Greasie, he with the edge of the <i>Ball-knife</i>
+<span class="pagenum" id="Page_311">311</span>scrapes off the thick Oyl, that Works down out
+of the <i>Nut</i> and <i>Spindle</i> of the <i>Press</i>, or else with the
+point of his Knife takes a convenient quaintity of
+Oyl out of the <i>Plattin-pan</i>, or for want of either
+takes fresh Sallad Oyl and smears and spreads it well
+all over the whole <i>Ball-leather</i>; and then holding the
+<i>Ball-knife</i> in his Right Hand, with its edge a little
+sloping downwards that it cut not the <i>Ball-leather</i>,
+and the handle of the <i>Ball-Stock</i> in his Left Hand,
+he joyns the bottom of the <i>Ball-leather</i>, viz. as
+near the outer edge of the <i>Leather</i> as he can, for the
+<i>Ball Nails</i> to the edge of the <i>Ball-knife</i>, and turning
+the <i>Ball</i> about by its Handle, presses it hard against
+the sloapt edge of the <i>Ball-knife</i>, and at once drives
+the laid on Oyl and Grease too before the sloapt edge
+of the <i>Ball-knife</i>; but he keeps the Handle of the <i>Ball-Stock</i>,
+and consequently the whole <i>Ball</i> too, constantly
+turning, that the whole circumference of the
+<i>Ball</i> may be <i>Scraped</i>: And as the <i>Ball</i> has performed
+a Revolution against the sloapt edge of the <i>Ball-knife</i>,
+he draws gradually his Left Hand a little backish, that
+the sloapt edge of the <i>Ball-knife</i> may by several
+Spiral revolutions of the <i>Ball</i>, scrape up to the very
+top of the <i>Ball</i>, and carries before it the Oyl and
+Grease thither: Which having there, he gathers up
+upon the <i>Blade</i> of his <i>Ball-knife</i> and disposes of it, as
+of so much Dirt and Filth.</p>
+
+<p>After a due process of either of these Operations
+respectively, his <i>Ball</i> will <i>Take</i>, and he again dabs
+gently the top of his <i>Ball</i> three or four times on the
+<i>Inck-block</i> (as before) and finding it <i>Take</i>, he takes the
+Handle of it into the clutched Fingers of his Left
+<span class="pagenum" id="Page_312">312</span>Hand, holding the <i>Ball-stock</i> just a little above the
+circle of his Fore-finger and Thumb, and grasps
+the Handle of the other <i>Ball-stock</i> 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 <i>Ball-stock</i>;
+and trys if that <i>Ball</i> will <i>Take</i>, by dabbing the Leather
+of it three or four times upon the other <i>Ball</i>;
+If it do not <i>Take</i> with dabbing, he twists the <i>Balls</i>
+in either Hand close and hard, contrary to one another,
+to besmear the upper with the under <i>Ball</i>.
+If after this, the upper <i>Ball</i> do not <i>Take</i>, he considers
+the cause, and remedies it, as he did the
+first <i>Ball</i>.</p>
+
+
+<h4 id="_11_Of_Rubbing_out_Inck">
+  ¶ 11. <i>Of</i> Rubbing out Inck.
+</h4>
+
+<p>Before the <i>Press-man</i> goes to Work, he Rubs out
+his <i>Inck</i>.</p>
+
+<p>If the <i>Inck</i> have lain long on the <i>Inck-block</i> since
+it was <i>Rubbed out</i>, the Superficies of it generally is
+dryed and hardened into a Film or Skin, wherefore
+the <i>Press-man</i> carefully takes this Film quite off with
+the <i>Slice</i> before he disturb the Body of the <i>Inck</i>:
+For should any, though never so little of it, mingle
+into the <i>Inck</i>, when the <i>Ball</i> happens to take up
+that little particle of Filin, and delivers it again upon
+the <i>Face</i> of the <i>Letter</i>, it will be a <i>Pick</i>, and
+Print black, and deface the Work: And if it get
+between the <i>Face</i> of two or more <i>Letters</i>, or the
+<i>Hollows</i> of them, it will obliterate all it covers.
+And if it be <i>Pull’d</i> upon, and the <i>Press-man</i> not
+<span class="pagenum" id="Page_313">313</span>careful to over-look his Work, it may run through
+the whole <i>Heap</i>.</p>
+
+<p>Wherefore having carefully skinned off the Film
+with the edge of the <i>Slice</i>, he scrapes his <i>Slice</i> clean
+with the <i>Ball-knife</i>, lest some small parts of the Film
+should yet stick to, or remain on the <i>Slice</i>: And
+then with the <i>Slice</i> brings the body of <i>Inck</i> into the
+middle of the Plain of the <i>Inck-block</i>, and searches
+the sides of the <i>Inck-block</i>, by thrusting the edge of
+the <i>Slice</i> forwards along them and all the angles of
+the <i>Inck-block</i>, and so scrapes off all the <i>Inck</i> as clean as
+he can, and gathers it to the whole mass of <i>Inck</i>:
+Then with the <i>Slice</i> 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 <i>Rubbing</i> it with the <i>Brayer</i>, grasping
+the Handle of it in his Right Hand, he begins to <i>Rub</i>
+with all his strength at the hithermost side-boundings
+of the Body of <i>Inck</i>, and keeping <i>Rubbing</i>
+through the almost whole length of the <i>Inck-block</i>,
+he gradually proceeds to the farther side of the Body
+of <i>Inck</i>. In this manner of <i>Rubbing</i> he bears
+hardest upon the farther edge of the <i>Brayer</i>, because
+the hither sides of the <i>Inck-block</i> are not fenced in
+with Rails about them; and should he <i>Rub</i> with the
+bottom of the <i>Brayer</i> flat upon the <i>Inck-block</i>, he
+might draw too great a body of <i>Inck</i> to the unfenced
+sides; so that the <i>Inck</i> would be subject to run off:
+This <i>Rubbing</i> is only to spread the <i>Inck</i> pretty equally
+over the superfices of the <i>Inck-block</i>: Wherefore he
+now begins a circular <i>Rubbing</i>, observing in the circulation
+<span class="pagenum" id="Page_314">314</span>of the <i>Brayer</i> 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 <i>Inck</i>,
+that it may somewhat slide over it, that the <i>Inck</i> be
+not lickt up high on the sides of the <i>Brayer</i>.</p>
+
+<p>Then with the Handle of the <i>Slice</i> in his Left Hand
+and the Handle of the <i>Brayer</i> in his Right, he joyns
+the bottom edge of the <i>Slice</i> to the side of the <i>Brayer</i>,
+holding the flat of the <i>Slice</i> Horizontal, and the bottom
+of the <i>Brayer</i> perpendicular both over the <i>Inck-block</i>,
+and keeping his <i>Brayer</i> and <i>Slice</i> in this position,
+by turning the <i>Handle</i> of the <i>Brayer</i> in his Right Hand,
+held pretty stiff against the edge of the <i>Slice</i>, he
+scrapes off all the <i>Inck</i> that the side of the <i>Brayer</i>
+has lickt up: And setting down his <i>Brayer</i>, he takes
+the <i>Slice</i> in his Right Hand and lays what <i>Inck</i> he
+scrapes off the side of the <i>Brayer</i> again upon the <i>Inck-Block</i>,
+and <i>Slices</i> the whole mass of <i>Inck</i> into the farthermost
+corner of the <i>Inck-block</i>.</p>
+
+<p>This <i>Rubbing</i> of the <i>Inck</i> may serve when the
+<i>Inck-block</i> had <i>Inck</i> on it before.</p>
+
+<p>But if no <i>Inck</i> were on the <i>Inck-block</i> before, then
+he lays new <i>Inck</i> on the <i>Inck-block</i>: Wherefore he considers
+what Work he Works on: whether it be small
+or great <i>Letter</i>: If it be small <i>Letter</i>, or curious
+Work, the <i>Inck</i> must be <i>Strong</i> he Works with: But
+if it be great <i>Letter</i> or sleight Work, he makes <i>Soft
+Inck</i> serve, or at least mingles but a little <i>Hard Inck</i>
+with it.</p>
+
+<p>If the <i>Inck</i> be too <i>Hard</i>, as sometimes in very frosty
+Weather it will be, then, though his Work be curious,
+yet he must <i>Rub</i> in a little <i>Soft Inck</i> to soften it;
+<span class="pagenum" id="Page_315">315</span>because it will not else <i>Destribute</i> well upon the <i>Balls</i>;
+especially if the <i>Leathers</i> 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 <i>Form</i> full of <i>Picks</i>.</p>
+
+<p>Sometimes when he finds the <i>Inck</i> too pale, he
+<i>Rubs</i> in <i>Blacking</i>, but he first joults the bottom of the
+<i>Blacking Tub</i> 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 <i>Tub</i>.</p>
+
+<p>But when he either mingles <i>Strong</i> and <i>Weak Inck</i>
+together, or else puts in <i>Blacking</i>, he applies himself
+again first to <i>Rubbing</i> with the <i>Brayer</i>, the length-way
+of the <i>Inck-block</i>, as before, and then to a circular <i>Rubbing</i>,
+as before; and to cleansing his <i>Brayer</i>, as before; and
+this long-ways <i>Rubbing</i>, circular <i>Rubbing</i>, and cleansing
+his <i>Brayer</i>, he reiterates so oft, till he judge the
+whole mass of Inck sufficiently <i>Rubbed</i> and mingled,
+and the <i>Blacking</i> perfectly imbibed by the <i>Inck</i>: And
+then he <i>Slices</i> the whole mass of <i>Inck</i> to the farthermost
+corner of the <i>Inck-block</i>, as before.</p>
+
+
+<h4 id="_12_Of_Destributing_the_Balls">
+  ¶ 12. <i>Of</i> Destributing <i>the</i> Balls.
+</h4>
+
+<p>I shewed you in ¶ 10 of this § how he dabb’d the
+<i>Ball</i> on the <i>Inck-block</i>, to try if it would <i>Take</i>: And
+I shewed you in what Posture he handled the <i>Balls</i>
+when he tryed if the other <i>Ball</i> would <i>Take</i>: Therefore
+for <i>Taking Inck</i> and Handling the <i>Balls</i> I (to
+avoid tautology) refer you to that ¶.</p>
+
+<p>Having now <i>Taken Inck</i>, and gotten the <i>Balls</i> in
+his Hands, in that posture, he Works them side-ways
+<span class="pagenum" id="Page_316">316</span>upon one another to and from him, and with a craft
+(acquired by use) in the Handling of the <i>Balls</i>, all
+the while keeps the Handles, and consequently the
+whole <i>Ball-stocks</i> (both) turning round in his Hands
+and in a motion contrary to each other, <i>viz.</i> His
+under <i>Ball</i> moving from the Left Hand to the Right,
+and his upper <i>Ball</i> moving from his Right Hand to
+to the Left; and by and by in a second motion contrary
+to the first, <i>viz.</i> his under <i>Ball</i> moving from
+the Right Hand to the Left, and his upper <i>Ball</i>
+moving from the Left Hand to the Right.</p>
+
+<p>And these motions and Operations he continues
+so long till he judges, and in part perceives the <i>Inck</i>
+is equally <i>Destributed</i> all over the whole <i>Ball-Leathers</i>.</p>
+
+<p>The first way of turning the <i>Ball Handles</i>, while
+the <i>Balls</i> are moved to and from him, is made by
+pressing the ends or Balls of the fingers of both his
+Hands upon the <i>Ball-handles</i> 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 <i>Ball-Handles</i>,
+therefore he lightly and almost insensibly,
+tosses the <i>Ball-stocks</i> a little up, that when they are
+dis-ingaged from a close grasp, his fingers ends may
+the easier draw the <i>Handles</i> towards him. This is
+a Hand-craft, which by continued use and practice,
+becomes familiar to his Hands.</p>
+
+<p><span class="pagenum" id="Page_317">317</span></p>
+
+
+<h4 id="_13_Of_Beating">
+  ¶ 13. <i>Of</i> Beating.
+</h4>
+
+<p>The <i>Press-man</i> imagines, or by his eye judges the
+length of his <i>Form</i> (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 <i>Octavo Form</i> is
+exactly devided by four Rows of <i>Pages</i>.</p>
+
+<p>He places his Left Hand <i>Ball</i> at the hither end of
+the first Row, so that though the <i>Ball</i> 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 <i>Ball</i> he sets upon the hither end of the
+third Row: He sets his <i>Balls</i> close upon the <i>Face</i> of
+the <i>Letter</i>, with the <i>Handles</i> of the <i>Ball-stocks</i> a little
+bending towards him: But as he presses them upon
+the <i>Face</i> of the <i>Letter</i>, he mounts them perpendicular;
+and lifting at once both the <i>Balls</i> lightly just
+clear off the <i>Face</i> of the <i>Letter</i>, he removes them
+about the fifth part of the breadth of the <i>Form</i> upwards,
+<i>viz.</i> towards the farther side of the <i>Form</i>,
+and again sets them close down upon the <i>Face</i> of the
+<i>Letter</i>, with the Handles of the <i>Ball-stocks</i> again bending
+a little towards him, as before: and as he presses
+them upon the <i>Face</i> of the <i>Letter</i>, mounts them perpendicular,
+as before: Thus in about four or five
+or six such motions, or rather removes of the <i>Balls</i>,
+according to the breadth of the <i>Form</i>, he <i>Beats</i> over
+the first and third Rows. Thus <i>Beating</i> from the hither
+<span class="pagenum" id="Page_318">318</span>towards the farther side, is in <i>Press-mens</i> phrase
+called <i>Going up the Form</i>.</p>
+
+<p>The reason why he bends the <i>Handles</i> of the <i>Ball-stocks</i>
+a little towards him, is, that the <i>Ball-leathers</i>
+drag not upon the <i>Face</i> of the <i>Letter</i>; for then the
+edges of the hollows between the <i>Lines</i> or <i>Words</i>, or
+the edges of the cavities below the <i>Face</i> would scrape
+<i>Inck</i> off the <i>Balls</i> to stop up or choak the <i>Form</i>. And
+the reason why (before he removes them) he mounts
+the <i>Handles</i> of the <i>Ball-stocks</i> a little perpendicular,
+is, that the <i>Balls</i> may touch in their greatest capacity
+upon the <i>Face</i> of the <i>Letter</i>.</p>
+
+<p>To <i>Come down the Form</i>, he skips his <i>Balls</i> 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 <i>Handles</i>
+of the <i>Ball-stocks</i> a little towards him, so now he
+bends them a little from him: That the <i>Ball-leathers</i>
+(now <i>Coming down</i>) drag not, as aforesaid. Then in
+like manner he again skips the <i>Balls</i> from the second
+and fourth Row to the first and third Row, and
+again <i>Goes up the Form</i> with the <i>Balls</i>, as he did before.
+And then again skips, as before, and <i>Comes
+down the Form</i> again with the <i>Balls</i>.</p>
+
+<p>Having thus gone twice upwards and twice downwards
+with the <i>Balls</i>, the <i>Form</i> is sufficiently <i>Beaten</i>
+in a train of Work, when the <i>Face</i> of the <i>Letter Takes</i>
+well.</p>
+
+<p>But if he <i>Beats</i> the first Sheet of a fresh <i>Form</i>, or
+after a <i>Form</i> is <i>Washed</i>, or he makes a <i>Proof</i>, he <i>Goes</i>
+three four or five times <i>Upwards</i> and <i>Downwards</i>:
+Least the <i>Face</i> of the <i>Letter</i> should happen to be Wet
+<span class="pagenum" id="Page_319">319</span>or moist, and consequently un-apt to take <i>Inck</i>,
+without reiterated <i>Beatings</i>.</p>
+
+
+<h4 id="_15_Of_Pulling">
+  ¶ 15. <i>Of</i> Pulling.
+</h4>
+
+<p>We will suppose now two <i>Press-men</i> going in the
+Morning to their train of Work: The one they
+distinguish by the name of <i>First</i>, the other his <i>Second</i>,
+these call one another <i>Companions</i>: The <i>First</i> is he
+that has wrought longest at that <i>Press</i>, 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.</p>
+
+<p>All the priviledge that the <i>First</i> has above the <i>Second</i>
+is, that the <i>First</i> takes his choice to <i>Pull</i> or <i>Beat</i> the
+agreed stint first: And that the <i>Second Knocks up
+the Balls</i>, <i>Washes the Forms</i>, <i>Teizes Wooll</i>, and does
+the other more servile Work, while the <i>First</i> is imploid
+about making <i>Register</i>, ordering the <i>Tympan</i>,
+<i>Frisket</i>, and <i>Points</i>, &amp;c. or otherwise <i>Making Ready</i>
+the <i>Form</i>, &amp;c.</p>
+
+<p>The <i>First</i> now takes his spell at <i>Pulling</i>: For the <i>First</i>
+and <i>Second</i> take their spell of <i>Pulling</i> and <i>Beating</i> an
+agreed number of <i>Tokens</i>: Sometimes they agree to
+change every three <i>Tokens</i>, which is three Hours
+work, and sometimes every six <i>Tokens</i>; that they
+may both <i>Pull</i> and <i>Beat</i> a like number of <i>Tokens</i>
+in one day.</p>
+
+<p>Under the general notion of <i>Pulling</i> and <i>Beating</i> is
+comprised all the operations that is in a train of work
+<span class="pagenum" id="Page_320">320</span>performed by the <i>Puller</i> and the <i>Beater</i>: For though
+the <i>Puller Lays on Sheets</i>, Lays down the <i>Frisket</i>, Lays
+down the <i>Tympans</i> and <i>Frisket</i>, <i>Runs in</i> the <i>Carriage</i>,
+<i>Runs out</i> the <i>Carriage</i>, takes up the <i>Tympans</i>, Takes
+up the <i>Frisket</i>, <i>Picks</i> the <i>Form</i>, Takes off the Sheet,
+and Lays it on the <i>Heap</i>, yet all these Operations are
+in the general mingled and lost in the name of <i>Pulling</i>.
+And as in <i>Pulling</i>, so in <i>Beating</i>; for though the
+<i>Beater Rubs</i> out his <i>Inck</i>, <i>Slices</i> it up, <i>Destribute</i> the
+<i>Balls</i>, peruses the <i>Heap</i>, &amp;c. yet all these Operations
+are lost in the general name of <i>Beating</i>. Thus
+they say the <i>First</i> or the <i>Second</i> is <i>Pulling</i>; or, the <i>First</i>
+or the <i>Second</i> is <i>Beating</i>; though they are performing
+the different Operations aforesaid: unless upon particular
+occasions the respective Operations are particularly
+nam’d.</p>
+
+<p>As there are many Operations conjunct to <i>Pulling</i>,
+and <i>Beating</i>, so the <i>Press-man</i> performs them with
+various Set and Formal Postures and Gestures of the
+Body. For,</p>
+
+<p>To take a Sheet off the <i>Heap</i>, He places his Body
+almost straight before the hither side of the <i>Tympan</i>:
+I say almost straight, Because it is more straight before
+the side of the <i>Tympan</i> than it is before the angle
+made by the <i>Paper-bench</i> and the side of the <i>Tympan</i>:
+But he nimbly twists the upper part of his Body a
+little backwards towards the <i>Heap</i>, the better to see he
+takes but one Sheet off, which he loosens from the rest
+of the <i>Heap</i> (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
+<i>Heap</i>, and receiving the hither end of the Sheet
+<span class="pagenum" id="Page_321">321</span>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
+<i>Tympan</i>: And at the same time twists his Body again
+straight before the <i>Tympan</i>, only a very little moving
+his right Foot from its first Station a little forwards
+under the <i>Carriage Plank</i>: And as the Sheet is coming
+to the <i>Tympan</i> (we suppose now he Works upon
+<i>White Paper</i>) 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 <i>Tympan-sheet</i>,
+but he is careful the upper corner of the
+Sheet be first laid even, upon the upper corner of
+the <i>Tympan-sheet</i>; 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 <i>Tympan-sheet</i>, 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 <i>Tympan-sheet</i>,
+while his Right Hand being disingaged, as aforesaid,
+is removed to the backside the <i>Ear</i> of the <i>Frisket</i>,
+and with it gives it a light touch to double it down
+upon the <i>Tympan</i>. And by this time his Left Hand
+is also disingaged, and slipt to the hither under corner
+of the <i>Frisket</i>, to receive it, that it fall neither too
+hard or too quick down upon the <i>Tympan</i>: For hard
+<span class="pagenum" id="Page_322">322</span>falling may shake the loose Sheet on the <i>Tympan</i> out
+of its place; and so may the quick pressure of the Air
+between the <i>Tympan</i> and <i>Frisket</i>, after the Sheet is
+well laid: and while his Left Hand receives the <i>Frisket</i>
+his right is disingaged from the <i>Ear</i> of the <i>Frisket</i>,
+and removed to the middle of the back-side
+the <i>Tympan</i>; which he grasps between the Balls of
+his Fingers and Thumb, to lift it off the <i>Gallows</i>,
+and double it and the <i>Frisket</i> together on the
+<i>Form</i>. And while the <i>Tympan</i> is coming, he slips
+his Left Hand Fingers from under the <i>Frisket</i> to the
+hither outer corner of it, as well to keep the Sheet
+close to the <i>Tympan</i> in its position, as to avoid the
+jobbing of the lower side of the <i>Frisket</i> against any
+small square shoulder, either of the <i>Furniture</i>, <i>Quoins</i>,
+<i>Chase</i>, or the corners that may stand higher than
+their common Plain.</p>
+
+<p>Then nimbly slipping his Left Hand, he with it
+grasps the <i>Rounce</i>, and with a moderate strength,
+nimbly gives its <i>Winch</i> about one Turn round; I say
+about, because the first <i>Pull</i> will generally fall out to be
+made about the middle of the <i>Carriage</i>; (as was shewed
+in § 11. ¶ 16.) but perhaps not just in the
+middle: yet to regulate his <i>Runing in</i>, he made a mark
+before on the farther Rail of the <i>Tympan</i>, (as I shewed
+in ¶ 3. of this §) to which mark he <i>Runs</i> the <i>Carriage
+in</i>, till he bring the mark in a Range with the
+fore-edge of the <i>Plattin</i>; and as it is coming, skips
+his Hand to within an Inch or two of the end of the
+<i>Bar</i>, and then at once gently leans his Body back,
+that his Arm as he <i>Pulls</i> the <i>Bar</i> towards him may
+keep a straight posture; because in a <i>Pull</i> it has then
+<span class="pagenum" id="Page_323">323</span>the greatest strength. And he also slips his right Foot
+upon the <i>Foot-step</i>, while his Left Hand holds fast by
+the <i>Rounce</i>; as well to rest on the <i>Foot-step</i> and <i>Rounce</i>,
+as to enable his Body to make a stronger <i>Pull</i>;
+which will prove <i>Longer</i> or <i>Shorter</i>, according to
+the strength put to it, and also the <i>Hard</i> or <i>Soft Justifying</i>
+of the <i>Head</i>, (as was shewed in ¶ 5. of this §.)</p>
+
+<p>Then disingaging his Right Hand again from the
+<i>Handle</i> of the <i>Bar</i>, he slips it to the <i>Bow</i> of the <i>Bar</i>,
+before the Handle fly quite back to the <i>Cheek</i> of the
+<i>Press</i>: For should the <i>Bar</i> by its forcible Spring
+knock hard against the <i>Cheek</i> of the <i>Press</i>, 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 <i>Bar</i> flyes back, the more he
+hinders quick riddance in recovering it again. But
+yet he must let the <i>Bar</i> fly so far back as that the
+<i>Tympan</i> may just rise clear off the <i>Plattin</i>; lest when
+he <i>Runs in</i> his <i>Second Pull</i>, the <i>Face</i> of the <i>Plattin</i> rub
+upon the <i>Tympan</i>, and shoves the Sheet upon the
+<i>Face</i> of the <i>Letter</i>, and sometimes <i>Slurs</i>, and sometimes
+<i>Doubles</i> it upon the <i>Face</i> of the <i>Letter</i>.</p>
+
+<p>Having <i>Pull’d</i> the <i>First Pull</i>, and having the
+<i>Rounce</i> still in his Left Hand, He turns the <i>Rounce</i> about
+again, till the <i>Carriage Runs in</i> so far, as that the
+second mark on the Rail of the <i>Tympan</i> comes into
+a Range with the hither edge of the <i>Plattin</i>, as before
+the first mark did; and then <i>Pulls</i> his second <i>Pull</i>,
+as he did his first; and slips his Right Hand again
+off the <i>Handle</i> of the <i>Bar</i> to the <i>Bow</i>, (as before) and
+guides the <i>Bar</i> up to its <i>Catch</i> leisurely, that coming
+<span class="pagenum" id="Page_324">324</span>now near the <i>Cheek</i> it knock not against it: and just as
+he has <i>Pulled</i> his <i>Second Pull</i>, he gives a pretty quick
+and strong pressure upon the <i>Rounce</i>, to turn it back,
+and the <i>Carriage</i> out again: And so soon as he has
+given that one pressure, (as aforesaid) he desingages
+his Left Hand from the <i>Rounce</i>, and claps the fingers
+of it under the middle of the <i>Tympan</i>, and on the <i>Ear</i>
+of the <i>Frisket</i>: and while this is doing, removes his
+Right Hand to the now upper, but immediately it
+will be the under-side of the <i>Tympan Rail</i>, within
+four or five Inches of the upper end of it, to receive
+the <i>Tympan</i>, as it is lifted up off the <i>Form</i> by his Left
+Hand. And having thus received it, lets it descend
+gently down on the <i>Gallows</i>. And as it is descending,
+slips his Left Hand fingers under the hither lower
+corner of the <i>Frisket</i>, and gives the <i>Frisket</i> a toss
+up; while by this time his Right Hand being disingaged
+from the <i>Tympan</i>, is ready to catch the <i>Frisket</i>
+by the <i>Ear</i>, and convey it quick and gently to its
+<i>Stay</i>: And while the <i>Frisket</i> 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
+<i>Pulled off Sheet</i>, 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 <i>Points</i>, and
+draws it somewhat towards him; and as it comes,
+catches it near the upper corner of the same side of the
+<span class="pagenum" id="Page_325">325</span>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 <i>Paper-bench</i>
+carries the Sheet over the <i>Heap</i> of <i>White-paper</i> to a
+<i>Paper-board</i>, which before he placed beyond that
+<i>Heap</i> on his Right Hand, (as aforesaid in ¶ 14.) and
+lays it down upon a Waste-sheet laid for that purpose
+on that <i>Paper-board</i>; but while it is coming over the
+<i>White-paper Heap</i>, 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 <i>Tympan</i> towards the side of
+the <i>Paper-bench</i>.</p>
+
+<p>Thus you see both the <i>Press-mans</i> 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.</p>
+
+<p>Having thus <i>Pulled</i> one Sheet, and laid it down:
+He turns his Body towards the <i>Tympan</i> again, and as
+he is turning gives the next Sheet on the <i>White-paper
+Heap</i> 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 <i>Heap</i>, and lays it on the <i>Tympan</i>,
+&amp;c. as he did the first; and so successively every
+Sheet till the whole <i>Heap</i> of <i>White-paper</i> be
+<i>Wrought off</i>.</p>
+
+<p>As he comes to a <i>Token-sheet</i>, he un-doubles that,
+and smooths out the Crease with the back-side of
+<span class="pagenum" id="Page_326">326</span>the Nails of his Right Hand, that the <i>Face</i> of the
+<i>Letter</i> may Print upon smooth Paper. And being
+Printed off, he folds it again, as before, for a <i>Token-sheet</i>
+when he works the <i>Reiteration</i>.</p>
+
+<p>Having <i>Wrought off</i> the <i>White-paper</i>, he turns the
+<i>Heap</i> thus:</p>
+
+<p>He takes the <i>Paper-board</i> that his <i>White-paper</i> lay
+on, and sets it down on the ground: Then removes
+the <i>Heap</i> to his Left Hand; then takes up the <i>Paper-board</i>,
+and lays it on his Right Hand: And if it be
+<i>Twelves</i>, or any <i>Form Imposed</i> like <i>Twelves</i>, as <i>Twenty
+fours</i>, &amp;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 <i>Wrought off Heap</i> so
+much at once between both his Hands as he can well
+govern, without disordering the eveness of the sides of
+the <i>Heap</i>, viz. a <i>Token</i>, or more, and lays that upon
+the <i>Paper-board</i>; then takes another grasp in
+like manner, and lays that on the first grasp, and so
+successively, till he have turned the whole <i>Heap</i>, grasp
+by grasp. Then removes the <i>Heap</i> near the <i>Tympan</i>,
+and lays the other <i>Paper-board</i> beyond it, as the first
+<i>Paper-board</i> stood before; always remembring to
+lay a Waste-sheet first on the <i>Paper-board</i>.</p>
+
+<p>Having now turned the <i>Heap</i>, and made <i>Register</i>
+on the <i>Reteration Form</i> (as was shewed in ¶ 7. of
+this §) he Works off the <i>Reteration</i>: But he somewhat
+varies his posture in the <i>Laying on his Sheets</i>:
+For as before, when he wrought <i>White Paper</i>, he
+<span class="pagenum" id="Page_327">327</span>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 <i>Point-hole</i> 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 <i>Point-hole</i> over its respective <i>Point</i>: which having
+done, he slips his Body a little backwards, and both
+his Hands with it, his Right Hand towards the hither
+<i>Point-hole</i>, with the back-sides of the Nails of his
+fingers to draw or stroak it over the <i>Point</i>: 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 <i>Point-hole</i> on that <i>Point</i> also:
+Then <i>Pulls</i> that Sheet, as before, as he did the
+<i>White Paper</i>, and so successively all the rest of the
+<i>Reteration</i>. Only, the <i>Token-sheets</i>, as he meets with
+them, he Folds not down again, as he did the <i>White
+Paper</i>.</p>
+
+<p>If a <i>Press-man</i> have no <i>Companion</i>, but works alone;
+he has a little oblong Square <i>Form</i> or Bench
+made to stand so high as the <i>Face</i> of the <i>Letter</i> upon
+the <i>Press-stone</i>, and so long as to contain the <i>Balls</i>
+when set upon the <i>Ball-leathers</i>.</p>
+
+<p>This Form or Bench some Work-men will place
+on the hither side the hither <i>Cheek</i>, within about half
+an Inch of the foreside of the <i>Cheek</i>: And other
+Work-men will place it on the farther side of the <i>Carriage</i>;
+each sort of Work-men supposing that in the
+place he sets it, the <i>Balls</i> stand most commodious for
+<span class="pagenum" id="Page_328">328</span>his quick taking up and setting down: I shall not
+plead the convenience of either, but in short speak
+to the inconveniences of both.</p>
+
+<p>The inconvenience of placing it on the hither side
+the hither <i>Cheek</i>, is, that the <i>Press-man</i> must twist
+his Body somewhat about to take up the <i>Balls</i>. And
+the inconvenience of placing it on the further side the
+<i>Carriage</i>, is, that the <i>Press-man</i> must thrust his Body
+over the <i>Form</i> to take up the <i>Balls</i>: both ways strain
+the Body, and hinder riddance.</p>
+
+<p>Those that place it on the hither side the <i>Cheek</i>,
+begin and end their <i>Beating</i> as has already been shewed,
+<i>viz.</i> on the hither side the <i>Form</i>: But those
+that place it on the farther side the <i>Carriage</i>, begin
+and end their <i>Beating</i> on the Rows on the farther side
+the <i>Form</i>.</p>
+
+<p>One <i>Press-man</i> in his train of Work will <i>Beat</i> so
+soon as he has laid the <i>Tympan</i> on the <i>Gallows</i> after
+<i>Pulling</i>: Another will not <i>Beat</i> till he has laid his
+Sheet on the <i>Tympan</i>, and doubled the <i>Frisket</i> down
+on it: both sorts fancying their own way most quick
+and commodious: For these conveniences are the
+purposes they both drive at.</p>
+
+
+<h4 id="_16_Of_Printing_Red_or_other_Colours_with_Black">
+  ¶ 16. <i>Of Printing</i> Red, <i>or other Colours with</i> Black.
+</h4>
+
+<p>When <i>Red</i> and <i>Black</i> are to be Printed upon the
+same Sheet, the <i>Press-man</i> first <i>Makes Register</i>, as
+was shewed ¶ 7. and <i>Makes Ready</i> his <i>Form</i> as was
+shewed ¶ 14. of this §. Then having a new <i>Frisket
+Drawn</i>, as was shewed ¶ 8. He Prints upon his new
+<i>Frisket</i> with <i>Black</i>. And having before a <i>Proof-sheet</i>
+<span class="pagenum" id="Page_329">329</span>Printed <i>Black</i>, with the Words to be Printed <i>Red</i>
+under-lined on that <i>Proof-sheet</i>; He takes off his
+<i>Frisket</i>, and lays it flat on a <i>Paper-board</i>, and with a
+sharp-pointed Pen-knife neatly cuts out those words
+on the <i>Frisket</i>, and about half a Scaboard <i>Margin</i>
+round about the words, that he finds under-lined on
+the <i>Proof-sheet</i>: Then sets the <i>Frisket</i> by till he has
+wrought off his <i>Heap</i> with <i>Black</i>, and puts his common
+<i>Frisket</i> on the <i>Joynts</i> of the <i>Tympan</i> again.</p>
+
+<p>While the <i>Press-man</i> is <i>Cutting</i> the <i>Frisket</i>, the <i>Compositer</i>
+takes those <i>Words</i> out of the <i>Form</i> that are
+<i>Under-lin’d</i> on the <i>Proof-sheet</i>, and in their place puts
+<i>Quadrats</i>, m-<i>Quadrats</i>, <i>Spaces</i>, &amp;c. to <i>Justifie</i> the
+<i>Lines</i> up again.</p>
+
+<p>Then <i>Locking up</i> the <i>Form</i>, the <i>Press-man</i> Works
+off the <i>Heap</i> Black, as was shewed in the last ¶.</p>
+
+<p>Having wrought off his <i>Heap</i> Black, he takes off
+the common <i>Frisket</i>, and puts on his new cut <i>Frisket</i>:
+Then taking a piece of thick Scaboard he cuts it
+into so many small slips as there are <i>Whites</i> in the
+<i>Form</i> to be Printed with <i>Red</i>; These small slips he
+cuts exactly to the length of the <i>Quadrats</i>, &amp;c. the
+<i>Compositer</i> put in, and to the breadth of the <i>Body</i>; but
+rather a small matter less than bigger, lest they bind
+at the bottom of the <i>Shank</i> of the <i>Letter</i>: for when
+the <i>Compositer</i> takes out the <i>Quadrats</i>, &amp;c. he put in
+before the <i>Form</i> was <i>Wrought off</i> Black, these slips
+of Scaboards the <i>Press-man</i> pricks on the Point of a
+<i>Bodkin</i> and puts them into their respective holes: And
+being loosen’d off the Point of the <i>Bodkin</i> with the
+blunt Point of another <i>Bodkin</i>, are laid down flat on
+the <i>Press-stone</i>; These slips are called <i>Underlays</i>, and
+<span class="pagenum" id="Page_330">330</span>are described in ¶ 14. of this §. Upon these <i>Underlays</i>
+the <i>Compositer</i> puts in again the <i>Words</i> or <i>Letters</i>
+he took out before the <i>Form</i> was <i>Wrought off
+Black</i>: So that these <i>Words</i> now stand higher than
+the other <i>Matter</i> of the <i>Form</i>, and therefore will
+Print when the other <i>Matter</i> will not. But yet for
+the more assurance that the other <i>Matter</i> Print not,
+the <i>New-cut Frisket</i> was prepar’d, which hinders any
+thing to Print but what Prints through the Holes
+cut in it; which Holes these <i>Underlaid Words</i> fall
+exactly through.</p>
+
+<p>Having mingled the Red, or any other intended
+Colour with <i>Varnish</i>, as shall be shew’d in the next
+¶, he <i>Beats</i> the <i>Form</i> as with <i>Black</i>; and <i>Pulls</i> it
+very lightly, lest these <i>Underlaid Words</i> standing
+higher than the rest of the <i>Matter</i>, Print too <i>Hard</i>.</p>
+
+
+<h4 id="_17_Of_mixing_and_Grinding_Colours_with_Varnish">
+  ¶ 17. <i>Of mixing and Grinding Colours with</i> Varnish.
+</h4>
+
+<p><i>Varnish</i> is the common <i>Menstruum</i> for all Colours
+that are to be used in Printing.</p>
+
+<p><i>Red</i> is the chief Colour that is used with <i>Black</i> in
+Book-Printing: of <i>Reds</i> there are two sorts in general
+use, <i>viz.</i> <i>Vermillion</i> and <i>Red-Lead</i>; <i>Vermillion</i>
+is the deepest and purest Red, and always used
+to Books of Price. <i>Red-Lead</i> is much more faint
+and foul, and though more used than <i>Vermillion</i>,
+yet used only to Books of Vulgar Sale and Low
+price, as Almanacks, <i>&amp;c.</i></p>
+
+<p>Yet may other Colours also be used to Print withal;
+yea, any Colours that are used in Oyl-Painting,
+as <i>Lake</i> and <i>Russet</i>, which are <i>Reds</i> deeper than
+<span class="pagenum" id="Page_331">331</span><i>Vermillion</i>; <i>Virditur Indico</i> and <i>Bice</i> for Blews;
+<i>Orpment</i>, <i>Pinck</i>, <i>Yellow Oaker</i>, for Yellow: <i>Virdigreace</i>,
+and Green <i>Virditur</i>, for Greens: or what
+other Colours may be fancied.</p>
+
+<p>But all Colours for Printing must be Ground with
+<i>Soft Varnish</i>; especially those Colours that are of
+themselves Dryers; as <i>Red-Lead</i>, <i>Vermillion</i>, <i>Orpment</i>,
+<i>Verdigrease</i>; For should they be Ground
+with <i>Hard Varnish</i> the Colour’d <i>Inck</i> would dry and
+harden so quick and fast upon the <i>Form</i>, that it
+would soon be choaked up, and consequently want
+<i>Washing</i> e’re the <i>Form</i> be <i>Wrought off</i>; which would
+be very troublesome to the <i>Press-man</i>, because he
+must expect to have all his <i>Underlays</i> to new fit to
+their places: And besides, it will so Dry and Harden
+upon the <i>Balls</i>, that the Grain of the <i>Leathers</i>
+would quickly tear off, and fill the <i>Form</i> full of
+<i>Picks</i>.</p>
+
+<p>The fittest Colours therefore for Printing, are
+such as are of the lightest Body and Brightest
+Colour.</p>
+
+<p>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
+<i>Varnish</i>.</p>
+
+
+<h4 id="_18_Of_Printing_with_Gold_and_Silver">
+  ¶ 18. <i>Of Printing with Gold and Silver.</i>
+</h4>
+
+<p>This Operation is seldom used but for Printing
+Names; and therefore rarely drest in a <i>Form</i> to the
+<i>Press</i>; but is usually Printed in the <i>Stick</i>: And then
+the <i>Compositer Justifies</i> his Stick very <i>Hard</i>, as well
+<span class="pagenum" id="Page_332">332</span>that the <i>Letters</i> fall not out when the <i>Back</i> of the
+<i>Stick</i> is turned upwards, as that the strength of the
+<i>Hard Varnish</i> the <i>Face</i> of the <i>Letter</i> is <i>Beat</i> with,
+pulls not the <i>Letter</i> out of the <i>Stick</i>.</p>
+
+<p>Therefore the <i>Press-man</i> makes two little <i>Balls</i>,
+by tying about an Handful of Wooll in new clean
+Leather, and dabs one of his <i>Balls</i> upon the Hardest
+<i>Varnish</i> he has, and with the other destributes his <i>Varnish</i>
+to a convenient Fatness, as he did his <i>Balls</i> in ¶ 12.
+With one of these <i>Balls</i> he <i>Beats</i> the <i>Name</i>; and having
+his Paper <i>Wet</i>, he lays a single <i>Blanket</i> on the <i>Correcting-stone</i>,
+and his Paper on the <i>Blanket</i>; and
+with a <i>Riglet</i> fitted to the <i>Stick</i>, he presses the <i>Letter</i>
+to keep it straight in <i>Line</i>: Then places the <i>Face</i>
+of the <i>Letter</i> exactly flat down upon the Paper, and
+with the force of both his Hands presses the <i>Letter</i>
+hard and even down upon the Paper, to receive an
+Impression: But he takes care not to wriggle the
+<i>Letter</i> in the <i>Stick</i> backwards or forwards, lest
+either the <i>Beard</i> Print, or the sides of the <i>Letter</i> be
+more or less besmeared with the <i>Varnish</i>: Because
+the Gold or Silver will stick to the least Sully that
+the <i>Varnish</i> may chance to make.</p>
+
+<p>Then cutting his Gold or Silver to a size full big
+enough to cover the Printed <i>Name</i> or <i>Matter</i>, 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 <i>Matter</i>, and lets the Paper
+lye by a while; as well that it may dry, as the
+<i>Varnish</i> Harden, (which will quickly be) he with
+his Handkerchief gently wipes over the Printed
+<i>Matter</i>. So shall all the Gold or Silver that was
+<span class="pagenum" id="Page_333">333</span>toucht by the <i>Varnish</i>, stick to the <i>Varnish</i> on the
+Paper, and the other will wipe away.</p>
+
+<p>If he lifts to Polish it, he uses a Tooth or the Ivory
+Handle of a Knife.</p>
+
+
+<h3 id="_19_rules_observed">¶ 19. <i>Rules observed; and Remedies to the Inconveniences
+the</i> Press-man <i>may meet with in a Train
+of Work</i>.</h3>
+
+<p>1. The <i>Press-man</i> is to make a <i>Proof</i> so oft as occasion
+requires: If he takes off his <i>Form</i> to make a
+<i>Proof</i>, he <i>Un-locks</i> and lays the <i>Quoins</i>, as shall be
+shewed when I come to <i>Washing</i> of the <i>Form</i>: but many
+<i>Printing-houses</i> have an empty <i>Press</i> stands by to
+make <i>Proves</i> on.</p>
+
+<p>The <i>Compositer</i> having brought the <i>Form</i> to the
+<i>Press</i>, lays it down on the <i>Press-stone</i>, and the <i>Press-man</i>
+places it even under the <i>Plattin</i>, that the <i>Plattin
+Bear</i> not harder on the hither or farther side of
+the <i>Form</i>: Then he <i>Pulls</i> the <i>Cards</i> upon the <i>Form</i>,
+to press it into a flat position: Then <i>Beats</i> the <i>Form</i>
+four or five times over, that he may be sure it <i>Take</i>:
+Then he lays the <i>Proof-sheet</i> on the <i>Form</i>, so as by
+his Judgement it shall have an equal <i>Margin</i> on all
+its opposite sides, and a double <i>Blanket</i> on the <i>Proof-sheet</i>;
+and <i>Running in</i> the <i>Carriage</i>, <i>Pulls</i> the <i>Proof-sheet</i>:
+Having <i>Pull’d</i> it, he <i>Runs-out</i> the <i>Carriage</i>
+again, and takes the <i>Proof-sheet</i> off the <i>Form</i>. Then
+with the <i>Ly-brush</i> dipt in <i>Ly</i>, he <i>Rubs over</i> the <i>Face</i>
+of the <i>Letter</i> three or four times, to Wash off what
+<i>Inck</i> may remain on it, and carries the <i>Form</i>
+<span class="pagenum" id="Page_334">334</span>again to the <i>Correcting-stone</i> and lays it down: And
+the <i>Proof</i> he carries to the <i>Compositers Case</i>.</p>
+
+<p>2. If the <i>Form</i> he Works on be <i>Small-letter</i>, or <i>Old
+Letter</i>, he uses <i>Strong Inck</i>; and <i>Beats Lean</i>: For
+<i>Weak Inck</i> and <i>Fat Beating</i>, will quickly Choak up
+the <i>Face</i> of the <i>Letter</i>. But to fetch off <i>Hard Inck</i>
+thin <i>Beat</i> on the <i>Face</i> of the <i>Letter</i>, he <i>Pulls Hard</i>.
+But if the <i>Form</i> be great <i>Letter</i> or <i>Black English Letter</i>,
+it will allow <i>Fatter Beating</i>.</p>
+
+<p>3. He keeps a constant and methodical posture and
+gesture in every action of <i>Pulling</i> and <i>Beating</i>, 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 <i>Pull</i>
+of the same strength upon the same <i>Form</i>, with the
+same <i>Beating</i>, and with the same <i>Blankets</i>, &amp;c. will
+give the same Colour and Impression.</p>
+
+<p>4. That every two Sheets, if the <i>Form</i> be small
+<i>Letter</i> (rarely three, unless <i>Great Letter</i>) he <i>Takes Inck</i>;
+and so soon as he comes off the <i>Form</i>, viz. has <i>Beat</i>
+it, he falls to <i>Destributing</i> his <i>Balls</i>. And that Sheet
+which he <i>Takes</i> not <i>Inck</i> he steps to the <i>Heap</i> to overlook
+the Colour, <i>viz.</i> whether he has <i>Taken</i> too much
+or too little <i>Inck</i>; and to see if no accidents have
+befallen the <i>Form</i>, viz. that no <i>Letters</i>, <i>Quadrats</i> or
+<i>Furniture</i>, &amp;c. Rise, that no <i>Letters</i> are <i>Batter’d</i>;
+That <i>Bearers</i> fail not, <i>viz.</i> grow so thin with long
+<i>Pulling</i> on, as not to perform the office of <i>Bearers</i>;
+that the <i>Register</i> keep good; that no <i>Pick</i> be got
+into the <i>Form</i>, or any other accident that may deface
+<span class="pagenum" id="Page_335">335</span>the beauty of the Work, but all this while still
+keeps his <i>Balls Destributing</i>.</p>
+
+<p>If he have taken too much <i>Inck</i>, which sometimes
+may happen (but seldom for want of carelessness)
+he will not <i>Take Inck</i> again, till he have
+wrought his <i>Balls</i> to a good and moderate Colour.
+But if the Sheet already <i>Pull’d</i>, be so <i>Black</i> that it
+may not tolerably pass, he Doubles or Folds it in the
+middle and lays it cross the <i>Heap</i>, that the <i>Gatherer</i>
+may take or leave it, in case the <i>Heap</i> falls Short.
+If he foresee the next Sheet will also be too <i>Black</i>, he
+takes a Dry Sheet of Waste Paper between his <i>Balls</i>
+and <i>Destributes</i> upon that Dry Sheet, that it may
+take off the <i>Inck</i>.</p>
+
+<p>If in doing this, the strength of the <i>Inck</i> have
+<i>Pull’d</i> the <i>Paper</i> to pieces, so that small rowl’d-up
+bits may stick upon the <i>Ball-leathers</i>, if they be but
+a few he picks them off with his Fore-finger and
+Thumb, but if there be many he makes his <i>Balls</i>
+clean by <i>Scraping</i> them (as I shewed in ¶ 10. of this
+§) for else these small rowl’d-up bits of Paper will be
+apt to fill the <i>Form</i> full of <i>Picks</i>.</p>
+
+<p>If <i>Letters</i>, <i>Quadrats</i> or <i>Furniture Rise</i>, he puts
+them down, the <i>Letters</i> and <i>Quadrats</i> with his <i>Bodkin</i>,
+and the <i>Furniture</i> with his <i>Hammer</i>, and <i>Locks</i>
+the <i>Quarter</i> they are in, a little Harder.</p>
+
+<p>If any <i>Letters</i> are <i>Batter’d</i>, he <i>Unlocks</i> the <i>Quarter</i>
+they are in, and desires the <i>Compositer</i> to put in others
+in their room.</p>
+
+<p>If <i>Bearers</i> Fail, that is, Squeeze thinner with long
+<i>Pulling</i> on, he takes those <i>Bearers</i> off, if they are on
+the <i>Frisket</i>, and puts on thicker: But if the <i>Furniture</i>,
+<span class="pagenum" id="Page_336">336</span>were <i>Under-laid</i> (as I shewed in ¶ 7. of this
+§) he <i>Unlocks</i> the <i>Quarter</i> they are in, and <i>Underlays</i>
+them according to his Judgement.</p>
+
+<p>If <i>Register</i> be <i>Out</i>, which sometimes happens by
+the starting of the <i>Quoins</i>, he mends it, as I shewed in
+¶ 7. of this §.</p>
+
+<p>If a few <i>Picks</i> are got into the <i>Form</i>, that is, little
+bits of Paper, Skin or Film of <i>Inck</i>, Grease or other
+filth which may stick to the <i>Face</i>, or get into the
+hollows of the <i>Letter</i>, he with the point of a Needle
+picks them out: But if many be gotten in, he takes
+off the <i>Form</i> and Washes it, as shall hereafter be
+shewed.</p>
+
+<p>And though he every other Sheet overlook the
+<i>Heap</i> (as was said before) yet his <i>Companion</i> that <i>Pulls</i>,
+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 <i>Tympan</i>, 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
+<i>Tympan</i> till he has mended what was amiss.</p>
+
+<p>And that he may <i>Take Inck</i> more equally, to keep
+the <i>Balls</i> of an equal Fatness, he keeps the <i>Rubb’d out
+Inck</i> on the <i>Inck-block</i> of an equal Fatness; which to
+do, he with the under-edge of the bottom of the
+<i>Brayer</i>, draws often from the mass of <i>Inck</i> a small,
+(and as near as he can guess) an equal quantity of
+<i>Inck</i>, viz. about the quantity of a Pea, and with the
+<i>Brayer</i> Rubs and disperses that <i>Inck</i> of an equal thickness,
+all over the hither corner of the <i>Inck-block</i>.
+While this is doing he holds the <i>Balls</i> upright on one
+<span class="pagenum" id="Page_337">337</span>another in his Left Hand, leaning the Handle of
+the uppermost <i>Ball-stock</i> against his Breast.</p>
+
+<p>The equal and often <i>Taking</i> of <i>Inck</i> in a small
+quantity, and constant <i>Destributing</i> of the <i>Balls</i>, is
+the onliest means to keep the <i>Heap</i> throughout of an
+equal Colour, and to avoid <i>Beating</i> of <i>Fryers</i>.</p>
+
+<p>5. If he meets with naughty Sheets in his Work;
+as torn, or stain’d, <i>&amp;c.</i> he Prints them not, but
+throws them under the <i>Paper-bench</i>; 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.</p>
+
+<p>6. And though his constant care is to Lay every
+particular Sheet even upon the <i>Heap</i>, yet it often
+happens either through <i>White Pages</i> that may come
+in the <i>Form</i>, 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 <i>Plattin</i>
+on one side or end of the <i>Form</i>; I say it often happens
+by these accidents, that the <i>Heap</i>, 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 <i>Heap</i> most
+prest in the <i>Tympan</i>, and by consequence makes the
+Paper there more Huffie; Because deep pressure of
+the <i>Letter</i> into the Paper below the common level
+of the Sheet bears the Paper off from the <i>Heap</i>, on
+the underside the Sheet; and the greater the number
+of Sheets are thus Printed off and laid on the <i>Heap</i>,
+the more that side or end of the <i>Heap</i> shall Rise:
+<span class="pagenum" id="Page_338">338</span>And by the Rule of Contraries, when <i>White Pages</i>
+come in the <i>Form</i>, the greater number of Sheets laid
+on the <i>Heap</i>, shall where those <i>White Pages</i> lye,
+make the <i>Heap</i> 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 <i>Heap</i>, and as
+the <i>Heap</i> accumulates heighth, throws the <i>Heap</i>
+more or less towards the dripping side, or end over
+the bottom of the <i>Heap</i>.</p>
+
+<p>To remedy which, he claps the insides of both his
+Hands against both the ends of the <i>Heap</i>, but more
+forcibly against the Hanging over end towards the
+other end, till he has drove the <i>Heap</i> into an upright
+position.</p>
+
+<p>If either of the sides hang over, he with the inside
+of his Left Hand commonly against the farther side
+of the <i>Heap</i>, and the outside of his Right Hand fingers
+on the hither side the <i>Heap</i>, 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 <i>Heap</i> rises
+above the Level, he with the inside flats of one or
+both of his Hands presses it down into an Horizontal
+Plain.</p>
+
+<p>7. If it be a <i>Reteration</i> he Works, and a great
+Number is laid on, he uses a <i>Tympan-cloath</i> instead
+of a <i>Tympan-sheet</i>: This <i>Tympan-cloath</i> is a Fine and
+<span class="pagenum" id="Page_339">339</span>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 <i>Tympan-sheet</i>, and Pastes the corners of the under
+side of it to the <i>Tympan</i>, and Works upon it as
+on a <i>Tympan-sheet</i>.</p>
+
+<p>One reason why he uses a Cloath to Work the
+<i>Reteration</i> 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 <i>Inck</i> that wrought off the <i>White Paper</i> Sets off
+upon the <i>Tympan Cloath</i>, it may in clean <i>Ly</i> be washt
+clean again: For a good <i>Press-man</i> will not Work on
+a foul <i>Tympan Cloath</i> or (if he use no Cloath) on a foul
+<i>Tympan-sheet</i>, because as the <i>Inck</i> of the <i>White-paper</i>
+aforesaid, set off on the <i>Tympan Cloath</i>, so the more
+the <i>Tympan Cloath</i> has gathered <i>Inck</i> from the <i>White-Paper</i>,
+the more it will Return or give back again,
+towards the besmearing of every Sheet that is Printed
+on it.</p>
+
+<p>The reason why the <i>Press-man</i> does not use a
+Cloath to Work the <i>White Paper</i> with, is, because
+in Working the <i>White-Paper</i>, the use of the <i>Tympan-Sheet</i>
+is principally to lay all the Sheets of the <i>Heap</i>
+even by, as being of the exact size with all the rest
+of the <i>Heap</i>, which a <i>Tympan-Cloath</i> is not, nor
+could it, without great trouble, be reduced to that
+size by the <i>Press-man</i>, or if reduced to that size,
+without much difficulty be laid even or square on
+the <i>Tympan</i>: Because the <i>Cloath</i> when <i>Wet</i>, will be
+hard to be kept straight and square, but every side
+<span class="pagenum" id="Page_340">340</span>will naturally run into irregularities, which a Sheet of
+<i>White Paper</i> will not do.</p>
+
+<p>8. Sometimes, through the loose <i>Hanging</i> of the
+<i>Plattin</i> on its <i>Cords</i>, or through the much wearing
+of the <i>Hose</i>, or the <i>Garter</i>, or the <i>Worms</i> in the <i>Nut</i>
+and <i>Spindle</i>, or the irregular wearing of the <i>Toe</i> of
+the <i>Spindle</i> in its <i>Nut</i>, or too much play of the Tennants
+of the <i>Head</i> in their Mortesses, or the irregular
+dryness of the <i>Tympan</i>, or through irregular <i>Runing
+in</i> of the <i>Carriage</i>, It will happen that the <i>Letter</i>
+will <i>Double</i> upon the Sheets, that is, Print double.</p>
+
+<p>If the loose Hanging of the <i>Plattin</i> be the cause,
+it is easily mended by turning about the <i>Female Screws</i>
+fitted to the tops of the <i>Hose</i>, as was shewed ¶ 4. of
+this §.</p>
+
+<p>If the <i>Hose</i> be worn, or the square holes the <i>Hose</i>
+Works in, it may for the present be botcht up by putting
+Scaboards between the <i>Hose</i> and the square holes
+of the <i>Till</i>; but to mend it perfectly either another
+<i>Till</i> must be made, or a new <i>Hose</i>, or both.</p>
+
+<p>If the <i>Garter</i> be worn too wide; the Smith must
+either mend the Old, or make a new one.</p>
+
+<p>If the <i>Worms</i> of the <i>Nut</i> or <i>Spindle</i> be worn, the
+<i>Spindle</i> must be examin’d by the Smith, and made true,
+and have a new <i>Nut</i> Cast on it.</p>
+
+<p>If the <i>Toe</i> of the <i>Spindle</i> and its <i>Nut</i>, or either of
+them be worn irregularly, it is Smiths Work to
+mend.</p>
+
+<p>If the Tennants in the <i>Head</i> have too much Play
+in their Mortesses; which though it seldom happens,
+yet if the <i>Head</i> were not made of well seasoned Stuff,
+the Tennants may be subject to shrink, and so have
+<span class="pagenum" id="Page_341">341</span>too much play. There is no substantial remedying
+this fault, but by making a new <i>Head</i>.</p>
+
+<p>If an unproper temperature of the <i>Tympan</i> 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 <i>Face</i> of the <i>Letter</i>, and in part
+Print it before it come to feel the force of the <i>Plattin</i>;
+(but this is rather slurring than <i>Doubling</i>) and when
+the force of the <i>Plattin</i> does come, the spring in the
+dryed part will again remove the Paper, and the
+force of the <i>Plattin</i> gives its full Impression where
+the Paper is thus removed, but when it is real <i>Doubling</i>,
+it happens generally on the whole Sheet.</p>
+
+<p>This <i>Doubling</i> or <i>Slurring</i> is mended, by reducing the
+dryest part of the <i>Tympan</i> to an equal moist temperature
+with the moistest.</p>
+
+<p><i>Doubling</i> often happens in the middle of the <i>Form</i>,
+and the reason is, because the foreside of the <i>Plattin</i>
+Prints beyond the middle of the <i>Form</i> at the first
+<i>Pull</i>, and the hindside of the <i>Plattin</i> by the <i>Second
+Pull</i> reprints part of the <i>First Pull</i>: So that a Spring
+in the <i>Tympan</i> removes the Paper in this interval of
+Time.</p>
+
+<p>This fault is mended by exact observing the <i>Runing
+in</i> of the <i>Carriage</i>.</p>
+
+<p><i>Doubling</i> may also happen by the too loose and
+flapping straining of the <i>Tympan</i>, when it was first
+<i>Drawn</i>.</p>
+
+<p>This cannot be mended without taking the <i>Tympan</i>
+off, and <i>Drawing</i> on a new one.</p>
+
+<p>A <i>Press-man</i> having <i>Pull’d</i> a Sheet, may by some
+accident (either of Object or Discourse) let it ly on the
+<span class="pagenum" id="Page_342">342</span><i>Form</i> after he has <i>Run-out</i> the <i>Carriage</i>, and afterwards
+forget it was <i>Pull’d</i>, yet may perhaps lift the
+<i>Tympan</i> a little off the <i>Form</i>, which lifting off (if the
+<i>Joynts</i> are not very good) will remove the Sheet, if
+then he <i>Pull</i> it again, it will <i>Double</i>.</p>
+
+<p>This fault because it is but an accident I shall pass
+by, and only say,</p>
+
+<p>If the <i>Joynts</i> are so faulty (as sometimes Old
+<i>Joynts</i> are) that the <i>Press-man</i> cannot keep <i>Register</i>
+with them, the Smith must make new or mend the
+Old.</p>
+
+<p>9. When the <i>Press-man</i> 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 <i>Leather</i>
+over the remaining Nail’d-on half, with the <i>Incky
+sides</i> of each half next each other, and Rowls up the
+<i>Leathers</i> close, and laies them in a Bowl or Pan of
+Water to Soak till he has Din’d.</p>
+
+<p>He also covers the <i>Form</i> with the <i>Tympan</i>, to keep
+it from dust or filth that may fall on it: And takes
+out the <i>Blankets</i> and lays them on the <i>Heaps</i>: And
+with a <i>Spunge</i> Wet in Water besprinkles the backside
+of the <i>Tympan</i>, to Soak it whiles he is at Dinner.</p>
+
+<p>Coming again to his Work afternoon, he takes
+the <i>Handles</i> of the <i>Ball-stocks</i> between his Thighs,
+(being seated as before, when he knockt up the <i>Balls</i>,
+¶ 10.) to hold them fast, and he takes the turn’d
+down backsides of the <i>Ball-leathers</i> 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 <i>Teizes</i> his Wooll, by
+<span class="pagenum" id="Page_343">343</span>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 <i>Ball</i> 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 <i>Teazed</i> the <i>Wooll</i> he <i>Knocks up</i>
+his <i>Balls</i> again, as I shewed in ¶ 10.</p>
+
+<p>Then he goes to the <i>Tympan</i>, and squeezing his
+<i>Spunge</i> as dry as he can, he rubs it over the backside
+of the <i>Tympan</i>, to Suck up the Water, that may lye
+on it.</p>
+
+<p>Then taking the <i>Blankets</i>, he rubs them between
+both his Hands to soften them; for we must suppose
+that the Mornings <i>Pulling</i> on them has compacted
+and hardned them: being well Rub’d, he lays them
+in the <i>Tympan</i> again, as was shewed before in ¶ 7.
+and falls again to his Afternoons train of Work.</p>
+
+<p>Having wrought all day, though his <i>Form</i> be not
+<i>Wrought off</i>, it may yet be <i>Foul</i>, so that he must <i>Wash</i> it:
+Nay, in small <i>Letter</i> a good <i>Press-man</i> will <i>Wash</i> his
+<i>Form</i> twice a day: Wherefore he calls to the Boy to
+Heat the <i>Ly</i>, somewhat before he is ready for it,
+about a Heating time: And having a <i>Shooting-stick</i>
+lying by him on the <i>Till</i> or some other convenient
+place, drives every <i>Quoin</i> between the <i>Furniture</i> and
+the <i>Chase</i> 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
+<i>Corners</i> of the <i>Carriage</i>; and through the <i>Quoins</i>
+droven against them, and upon the two <i>Corners</i> of the
+<span class="pagenum" id="Page_344">344</span><i>Carriage</i> of the <i>Tympan</i> and their <i>Quoins</i>, and lets
+the <i>Quoins</i> ly; but he <i>Unlocks</i> all the opposite <i>Quoins</i>,
+and takes them out of their places; laying those
+<i>Quoins</i> that he takes from between the fore-end of
+the <i>Carriage</i> and the <i>Chase</i> on the hithermost upper
+long side of the <i>Plattin</i>, the hithermost <i>Quoin</i> on
+the hithermost side of the <i>Plattin</i>, and the farthermost
+<i>Quoin</i> on the farthermost side of the <i>Plattin</i>;
+with their small ends towards him, and fromwards
+him as they lay on the <i>Carriage</i>. The <i>Quoins</i> that he
+takes from the hither side of the <i>Carriage</i>, he lays on
+the hithermost Return side or end of the <i>Plattin</i>;
+that on his Left Hand on the <i>Carriage</i>, towards the
+farther Corner of the <i>Plattin</i>, and that <i>Quoin</i> on the
+Right Hand on the <i>Carriage</i>, towards the hither
+corner of the <i>Plattin</i>, with their small ends towards
+the Hand they lay on, on the <i>Carriage</i>.</p>
+
+<p>Having taken out and placed these four <i>Quoins</i>,
+he tryes if the <i>Form</i> will <i>Rise</i>, as was shewed § 22.
+¶ 7. then takes up the <i>Form</i>, and carries it to the
+<i>Ly-Trough</i>, and lays it in it, even as the <i>Compositer</i>
+brought the <i>Form</i> to the <i>Press</i>, and laid it on the
+<i>Press-stone</i>. § 22. ¶ 7. and taking the <i>Ly Kettle</i>, or
+<i>Chafer</i>, in his Left Hand pours the <i>Ly</i> Scalding hot
+place by place over the whole <i>Form</i>: And then
+with the ends of the Hair of the <i>Ly Brush</i> rubs gently
+over the whole <i>Form</i>: And as he thus <i>Rubs</i> with
+his Right Hand Rocks the <i>Ly-Trough</i> a little on its
+Axis, that the Body of <i>Ly</i> may accompany the <i>Ly-Brush</i>
+in its progress from the hither to the farther
+side of the <i>Form</i>: And thus he <i>Washes</i> the <i>Form</i> still
+on, till he perceive the <i>Face</i> of the <i>Letter</i> purely
+clean.</p>
+
+<p><span class="pagenum" id="Page_345">345</span></p>
+
+<p>Then he lets the <i>Ly</i> out again into the <i>Ly-Kettle</i>
+at the Hole and Pipe in the Left Hand hither corner
+of the <i>Ly-Trough</i>: and stopping the hole again, sets
+by the <i>Ly-Kettle</i>. Then with a Dish or two of fair
+Water he <i>Rinces off</i> the Laver of the <i>Ly</i> that may ly
+on the <i>Face</i> of the <i>Letter</i>, and rears up the <i>Form</i> and
+throws a Dishful or two of fair Water on the backside
+of it, to <i>Rince</i> it also. Then takes the <i>Form</i>
+out of the <i>Ly-Trough</i>, and sets it by, shelving with its
+<i>Face</i> against the Wall, to Dry.</p>
+
+<p>If the <i>Heap</i> be <i>Wrought off</i>, he lets the <i>Compositer</i>
+know it, to take Charge of it.</p>
+
+<p>Having <i>Wrought off</i> his <i>Heap</i>, he takes it off the
+<i>Paper-bench</i>, and sets it by on the floor, covering it
+with a Waste-sheet: And gives notice to the Boy,
+or to the <i>Ware-house-keeper</i>, to fetch it away and
+<i>Hang it up</i> to Dry.</p>
+
+<p>Then he draws the <i>Balls</i>, and takes the <i>Blankets</i>
+out of the <i>Tympan</i> (as at Noon:) And if he have
+Paper to <i>Wet</i>, <i>Wets</i> it as was shewed ¶ 9. of this §.</p>
+
+
+<h3 id="_25_The_Office_of_the_Warehouse-keeper">
+  § 25. <i>The Office of the</i> Warehouse-keeper.
+</h3>
+
+
+<h4 id="_1_Of_Hanging_up_Paper">
+  ¶ 1. <i>Of</i> Hanging up <i>Paper</i>.
+</h4>
+
+
+<p>The <i>Warehouse-keeper</i> takes the <i>Heap</i> out of the
+<i>Press-room</i>, and carries it into the <i>Warehouse</i>,
+or other <i>Drying-place</i>, and setting it upon a Form
+or Bench of convenient heighth, with an end of the
+<i>Heap</i> from him, he takes the <i>Handle</i> of the <i>Peel</i> in
+his Left Hand, and lays the <i>Board</i> flat down upon
+the <i>Heap</i>, with the Left Hand side of the <i>Board</i> towards
+<span class="pagenum" id="Page_346">346</span>the Left Hand side of the <i>Heap</i>, 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 <i>Peel</i> may ly on the middle of the <i>Heap</i>:
+Then with his Right Hand he doubles over so much
+of the <i>Heap</i> as he thinks good, perhaps about a
+<i>Quire</i>, or half a <i>Quire</i>, or about seventeen Sheets,
+more or less, either as he can allow them time to <i>Dry</i>,
+or have room on his <i>Racks</i> to <i>Hang</i> them on. Having
+thus doubled his first <i>Doubling</i> on the <i>Heap</i>, he removes
+the Left Hand half of the <i>Peel</i> almost off the
+<i>Heap</i>, viz. to about two Inches within the Left Hand
+side of the <i>Heap</i>, and doubles, as before, a second
+<i>Doubling</i> to hang over the first <i>Doubling</i>, towards the
+Left Hand about two Inches, as aforesaid, on the
+<i>Peel</i>, and as near as he can guess, the same number
+of Sheets. And having these two <i>Doublings</i> on his
+<i>Peel</i>, he takes the <i>Peel</i> off the <i>Heap</i>, and holding
+the <i>Handle</i> a little aslope, that the <i>Shorter Folding-over</i>
+of the Sheets may open from the <i>Peel</i>, he lifts
+it up, and places it at one end of his first <i>Rack</i>, and
+lets it hang on it, by drawing the <i>Peel</i> from under the
+Paper. In like manner he Loads and unloads his
+<i>Peel</i> again successively, till he have <i>Hung up</i> the whole
+<i>Heap</i>. See Plate 31.</p>
+
+<figure class="figcenter illowe30" id="i_p344b">
+  <img class="w100" src="images/i_p344b.jpg" alt="collecting sheets on the peel">
+  <figcaption>
+    <i>Plate 31</i>
+  </figcaption>
+</figure>
+
+<p>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 <i>Hung up</i> to
+<i>Hang</i> with their edges against the side of the former
+<i>Hanging-up</i>, but to lap over, so as every Right Hand
+<i>Doubling</i> may lap about two Inches over the Left
+Hand <i>Doubling</i>; that when the <i>Books</i> are taken down,
+<span class="pagenum" id="Page_347">347</span>the <i>Warehouse-keeper</i> clapping the flat side of his <i>Peel</i>
+against the Right Hand edge of the Paper, slides several
+<i>Doublings</i> over one another (perhaps three or
+four:) And putting the <i>Peel</i> under them, takes them
+off the <i>Racks</i>, and lays them on the <i>Heap</i> again, on
+a clean Waste Paper, and sets the <i>Heap</i> orderly by,
+till it comes to be <i>Gather’d</i>.</p>
+
+<p>The <i>Warehouse-keeper</i> is also very careful to lay all
+the Sheets, so as the respective <i>Signatures</i> of every
+Sheet may ly exactly over the respective <i>Signature</i>
+of the first Sheet, lest when the <i>Books</i> come to be
+<i>Gathered</i>, some Sheets may be <i>Turned</i>, which will
+give him a great deal of trouble to <i>Turn</i> them right
+when he <i>Colations</i> the <i>Books</i>.</p>
+
+<figure class="figcenter illowe30" id="i_p346a">
+  <img class="w100" src="images/i_p346a.jpg" alt="hanging sheets on the rack">
+  <figcaption>
+    <i>Plate 32.</i>
+  </figcaption>
+</figure>
+
+
+<h4 id="_2_Of_Laying_the_Heaps">
+  ¶ 2. <i>Of</i> Laying the Heaps.
+</h4>
+
+<p><i>Laying the Heaps</i> is to place them on Benches or
+Forms of a convenient Heighth, in an orderly <i>Signatural</i>
+Succession. By an orderly <i>Signatural</i> succession,
+I mean the first <i>Signature</i>, 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 <i>Page</i>, as the <i>Volumn</i> requires,
+that hath the single <i>Signature</i> A at the bottom of
+it upwards, and towards the hither side of the
+Bench. On the Right Hand side of the <i>Heap</i> A is
+B, and next it C, in like order D E F, &amp;c.</p>
+
+<p><span class="pagenum" id="Page_348">348</span></p>
+
+
+<h4 id="_3_Of_Gathering_of_Books">
+  ¶ 3. <i>Of</i> Gathering of Books.
+</h4>
+
+<p><i>Gathering of Books</i> is to take one Sheet off every
+<i>Heap</i>, beginning at the last <i>Heap</i> first, <i>viz.</i> at the
+Left Hand end of the Range. The <i>Gatherer</i> 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 <i>Heap</i> from the Left Hand, <i>viz.</i> towards
+the Right; and lays the second Sheet on the first,
+and so successively a third, a fourth, a fifth, &amp;c.
+till he has <i>Gathered</i> the last Sheet on his Right
+Hand; still observing to lay the middle of each
+Sheet under his Thumb, and all the single <i>Signatures</i>
+on each Sheet orderly and successively on
+one another.</p>
+
+<p>Thus he <i>Gathers</i> on, till one of all the <i>Heaps
+Comes off</i>; which when it does, he Doubles or
+Quires up all the other <i>Heaps</i>, and lays them by till
+he can <i>Bundle</i> and Tye them up; which when he has
+also done, he writes upon them <i>Imperfections</i> of (the
+<i>Title</i> of the <i>Book</i>) and Writes on it the <i>Signature</i> of
+the Sheet that is Wanting, and sets it by in a convenient
+place of the <i>Warehouse</i>, that he may have recourse
+to it on any occasion.</p>
+
+<p>Though I shewed how he <i>Gathered</i> the <i>Books</i>, yet
+shewed not how he <i>Knocks them up</i> and <i>Folds</i> them:
+Wherefore,</p>
+
+<p>Having thus <i>Gathered</i> one <i>Book</i>, he <i>Knocks it up</i>,
+that is, he carries it to a Table provided on purpose
+<span class="pagenum" id="Page_349">349</span>near him; and taking the ends of the <i>Book</i> 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 <i>Book</i> on the plain of the Table, he lifts the
+whole <i>Book</i> a little above the plain of the Table,
+(about an Inch or two, more or less) and while the
+whole <i>Book</i> 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
+<i>Book</i>, and also that the edges of such Sheets as may
+lye above the edges of the <i>Book</i> may be joulted
+downwards, and lye even in the same Range with
+the rest of the edges.</p>
+
+<p>And as he is <i>Knocking up</i> the lower edge of the
+<i>Book</i>, he at the same time evens the two ends of
+the <i>Book</i>, by thrusting the Bows of his Thumbs and
+Fingers against the ends of the <i>Book</i>, 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 <i>Book</i>
+at the same time.</p>
+
+<p>Having thus even’d all the edges, he lays the
+<i>Book</i> 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 <i>Knocks</i>, as before; and
+then <i>Folds up</i>, or <i>Doubles</i> the <i>Book</i>, according to its
+respective <i>Volumn</i>.</p>
+
+<p><span class="pagenum" id="Page_350">350</span></p>
+
+<p>If it be <i>Folio</i>, <i>Quarto</i>, <i>Octavo</i> or <i>Sixteens</i>, he <i>Folds</i>
+it in the <i>Short Cross</i>; but if it be <i>Twelves</i>, <i>Eighteens</i>,
+<i>Twenty-fours</i>, he <i>Folds</i> it in the <i>Long Cross</i>.</p>
+
+<p>But most times before he <i>Folds</i> the <i>Books</i> he will
+<i>Colation</i> them: (as shall be shewed by and by:) therefore
+having <i>Gathered</i> the <i>Book</i>, he lays it by on a
+Sheet of Waste Paper, and <i>Gathers</i> a second <i>Book</i> as
+he did the first, and lays that flat open on the first,
+then <i>Gathers</i> a third, fourth, fifth <i>Book</i>, &amp;c. as before,
+and lays them successively on each other, till
+he have raised an <i>Heap</i> of <i>Books</i> so high, that he
+grows cautious of laying more on, lest its heighth
+should exceed his management. Then <i>Gathers</i> on,
+and raises another <i>Heap</i> or <i>Heaps</i> till one of the <i>Signatures</i>
+comes off.</p>
+
+
+<h4 id="_4_Of_Colationing_Books">
+  ¶ 4. <i>Of</i> Colationing Books.
+</h4>
+
+<p>The <i>Colationing of Books</i>, is,</p>
+
+<p>First, To examine whether the whole number of
+Sheets that belong to a <i>Book</i> are <i>Gathered</i> in the <i>Book</i>.</p>
+
+<p>Secondly, To examine that two Sheets of one
+sort are not <i>Gathered</i>.</p>
+
+<p>Thirdly, To examine whether the proper <i>Signature</i>
+of every Sheet lye on its proper corner of the
+<i>Gathered Book</i>.</p>
+
+<p>To do this, The <i>Colationer</i> provides himself with
+a <i>Bodkin</i>; 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.</p>
+
+<p><span class="pagenum" id="Page_351">351</span></p>
+
+<p>Now having the <i>Heap</i> of <i>Gathered Books</i> before him,
+with the single <i>Signature</i> A lying upwards on his
+Right Hand, and his Left Arm cross the <i>Heap</i>, and
+his Hand near the <i>Signature</i> corner, with his <i>Bodkin</i>
+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
+<i>Gathered Heap</i> of <i>Books</i> between his Thumb and
+hinder Joynt of his Fore-finger, and immediately
+pricks into the Sheet B, casting his Eye upon the
+<i>Signature</i>, as well to see that it is B, as to see that
+it is singly B, and not B 2, B 3, <i>&amp;c.</i> For if the single
+<i>Signature</i> lye not on the same corner of the
+<i>Heap</i>, the Sheet must be turned till it do. In like
+manner he picks up and receives C D, <i>&amp;c.</i> still casting
+his Eye that it be the right <i>Letter</i>, and single
+<i>Signature</i>, as aforesaid.</p>
+
+<p>If he finds two Sheets of the same <i>Signature</i>, he
+takes one out and lays it by, or else on the <i>Heap</i>, if
+they be not all <i>Gathered</i>.</p>
+
+<p>If he finds one Sheet wanting, he fetches that
+Sheet from the <i>Heap</i>; or if he want it at the <i>Heap</i>
+the <i>Book</i> is laid by as <i>Unperfect</i> till he have <i>Colationed</i>
+the whole <i>Impression</i> of <i>Books</i>, to see if he can make it
+<i>Perfect</i> with some other <i>Book</i>, that may have two of
+the same Sheets <i>Gathered</i> in it.</p>
+
+<p>Having examined that his <i>Book</i> is <i>Perfect</i>, he
+<i>Knocks</i> and <i>Folds it up</i>, as was shewed in the last ¶.</p>
+
+<p>Having <i>Gathered</i>, <i>Colationed</i> and <i>Folded</i> these
+<i>Books</i>, he <i>Tells</i> them, to see how the <i>Impression Holds
+out</i>; and as he <i>Tells</i> them, he lays a set number of
+<span class="pagenum" id="Page_352">352</span><i>Books</i> (if the <i>Books</i> be <i>Thick</i>, five, if Thinner, Ten,
+if very Thin, twenty five or fifty) with the <i>Folded
+Side</i> or <i>Back</i> one way, and the same <i>Number</i> of <i>Books</i>,
+with the <i>Folded</i> or <i>Back-side</i> the other way, <i>viz.</i> the
+edges of the latter number of <i>Books</i> upon the <i>Backs</i>
+of the former <i>Number</i>: As well to distinguish and
+Count the <i>Number</i> of <i>Books</i> readily, as to keep the
+Bundle in a flat and Horizontal position. For if the
+<i>Backs</i> of the <i>Quired Books</i> in a Bundle, should lye all
+one way, the <i>Fold</i> of the <i>Back</i> being more or less
+hollow in the middle of each <i>Book</i>, will in a <i>Number</i>
+of <i>Books</i>, by springing upwards, mount the <i>Backs</i>;
+and consequently the edges of the <i>Books</i> in the
+<i>Bundle</i> will be depressed, so that in a great
+<i>Bundle</i> the <i>Books</i> will be subject to slide off
+one another.</p>
+
+<p>These <i>Books</i> being thus Counted, he sets them by
+on Waste Paper in convenient Piles, <i>viz.</i> 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 <i>Impression</i> is set by.</p>
+
+<p>And before he Tyes them up, he puts them into
+the <i>Standing Press</i>, placing in it so many <i>Books</i> as the
+<i>Press</i> will hold, both in width and Heighth; observing
+to set in every <i>Pile</i> he puts Range by Range into
+the <i>Press</i>, an equal number of <i>Books</i>, that each
+<i>Pile</i> may equally feel the force of the Screw.</p>
+
+<p>Then with a strong Iron Bar he turns about the
+<i>Spindle</i> as oft he can, with his main Strength to
+Squeeze and <i>Press</i> the <i>Books</i> as close and tight as he
+can together: and so lets them stand in <i>Press</i> about
+<span class="pagenum" id="Page_353">353</span>a Day and a Night. Then takes them out, and in
+like manner puts in more <i>Books</i>, till the whole Impression
+is <i>Prest</i>. See Plate 32.</p>
+
+<p>As he takes each number of <i>Books</i>, he Tyes them
+up with Packthred, lays a Waste Paper under and
+upon each <i>Bundle</i>; and if the <i>Master-Printer</i> Printed
+the <i>Impression</i> for Himself, he writes the <i>Title</i> of
+the <i>Book</i>, and number of the <i>Books</i> on the uppermost
+Waste Paper, and sets them by square and orderly
+on the Shelves in the <i>Warehouse</i>, to deliver them
+out according to the <i>Master-Printers</i> order. But if
+the <i>Impression</i> 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.</p>
+
+<figure class="figcenter illowe30" id="i_p352a">
+  <img class="w100" src="images/i_p352a.jpg" alt="pressing the books">
+  <figcaption>
+    <i>Plate 33</i>
+  </figcaption>
+</figure>
+
+
+<h4 id="_5_Of_Setting_out_Paper">¶ 5. <i>Of</i> Setting out <i>Paper</i>, <i>and</i> Culling <i>the</i> Cording
+Quires.</h4>
+
+<p>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 ¶.</p>
+
+<p>Two of the twenty Quires in a Ream are called
+<i>Cording Quires</i>, viz. the two <i>Out-side Quires</i>; because
+the whole Ream is Corded or Tyed up between them.
+They are also called <i>Cassie Quires</i>, 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
+<span class="pagenum" id="Page_354">354</span>some good Sheets are in <i>Culling</i> found among them,
+as shall be farther shewed by and by.</p>
+
+<p>The <i>Warehouse-keeper</i> therefore when he <i>Sets out</i>
+Paper, lays by the uppermost <i>Cording Quire</i>, 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 <i>Token</i>; which <i>Token</i>,
+if it be set out for <i>Half</i> a <i>Press</i>, viz. a <i>Single Press-man</i>,
+is generally but five Quires, and is indeed often
+called <i>Half</i> a <i>Token</i>: But if it be for an <i>Whole Press</i>,
+it contains Ten Quires. This <i>Token</i> he lays by near
+him, upon a Waste Sheet of Paper, and again applies
+himself to <i>Set out</i> the next <i>Token</i> in the same manner,
+but lays the next <i>Token</i> with the backs of the Quires
+over the edges of the former <i>Token</i>, and thus <i>Sets out</i>
+so many <i>Tokens</i> as his <i>Heap</i> requires, yet always considers
+how his Paper <i>Holds out</i>, whether five and
+twenties, or but four and twenties: If it <i>Holds out</i>
+five and twenties, he <i>Sets out</i> in every Fourth, Fifth,
+or Sixth <i>Token</i> Eleven Quires, to secure the <i>Impression</i>
+to <i>Hold out</i>. If but four and twenties, he <i>Sets out</i>
+Eleven Quires, in every second <i>Token</i>, and at last a
+Quire more to the whole <i>Heap</i> to make good the
+wanting Sheets of every Quire, and to make <i>Proves</i>,
+<i>Revises</i>, <i>Register-Sheets</i>, <i>Tympan-Sheets</i>, and to supply
+other accidents that may happen at the <i>Press</i>,
+<span class="pagenum" id="Page_355">355</span>either by naughty Sheets, or Faults committed in
+<i>Beating</i>, <i>Pulling</i>, <i>Bad Register</i>, &amp;c. for all or any of
+these accidents that happens to a Sheet, the <i>Press-man</i>
+doubles it, and lays by in the <i>Heap</i> as Waste, as
+I shewed § 24. ¶ 18. (4) and still he remembers, as
+aforesaid to lay by the two <i>out-side Quires</i> of every
+Ream; and at last lays on the <i>Heap</i> another Waste
+Sheet of Paper, and so brings it to the <i>Press</i> to be
+<i>Wet</i>.</p>
+
+<p>The <i>Culling the Cording Quires</i>, is, to examine
+every Sheet one by one. To do it, he lays the <i>Cording
+Quires</i>, or many <i>Cording Quires</i> 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, <i>viz.</i> so much as he judges the <i>Book-binder</i>
+would take off with his <i>Plow</i>, to make the
+<i>Leaf</i> square with other <i>Leaves</i>, 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.</p>
+
+<p>Having thus <i>Cull’d</i> all the <i>Cording Quires</i>, 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 <i>Cull’d</i>, he tells into an
+<i>Heap</i> or <i>Heaps</i>, as far as it will go.</p>
+
+<p>But yet the careful <i>Warehouse-keeper</i> will not give
+the <i>Press-man</i> this <i>Culd</i> Paper to Print at the begining
+or end of a <i>Book</i>, but disposes that <i>Heap</i> or <i>Heaps</i>
+so as they may be used about the middle of the <i>Book</i>:
+For though we call’d it good Paper, yet it very rarely
+<span class="pagenum" id="Page_356">356</span>happens to be so beautiful as the <i>Inside Quires</i>.</p>
+
+<p>The Bad Paper he also <i>Tells out</i> into Quires, but
+allows no more than four and twenty Sheets to the
+Quire, because it is commonly set by in the <i>Warehouse</i>
+to be sold.</p>
+
+<p>It is also the Office of the <i>Warehouse-keeper</i> 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 <i>Master-Printer</i> he Trusts with Books,
+and for how long Time; that so the <i>Master-Printer</i>
+may as oft as he pleases have an account how the
+<i>Impression</i>, or part of it, is disposed of.</p>
+
+
+<h2 id="As_an_Appendix">
+  <span class="norm">(<i>As an Appendix.</i>) <i>Ancient Customs used in a</i> Printing-house.</span>
+</h2>
+
+<p>Every <i>Printing-house</i> is by the Custom of Time
+out of mind, called a <i>Chappel</i>; and all the
+Workmen that belong to it are <i>Members of the Chappel</i>:
+and the Oldest Freeman is <i>Father of the Chappel</i>.
+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 <i>England</i>)
+who for the Books of Divinity that proceeded from
+a <i>Printing-house</i>, gave it the Reverend Title of
+<i>Chappel</i>.</p>
+
+<p>There have been formerly Customs and By-Laws
+made and intended for the well and good Government
+of the <i>Chappel</i>, and for the more Civil and orderly
+deportment of all its Members while in the
+<i>Chappel</i>; and the Penalty for the breach of any of
+<span class="pagenum" id="Page_357">357</span>these Laws and Customs is in Printers Language called
+a <i>Solace</i>.</p>
+
+<p>And the Judges of these <i>Solaces</i>, and other Controversies
+relating to the <i>Chappel</i>, or any of its Members,
+was plurality of Votes in the <i>Chappel</i>. It being
+asserted as a Maxim, <i>That the Chappel cannot Err</i>.
+But when any Controversie is thus decided, it always
+ends in the Good of the <i>Chappel</i>.</p>
+
+<p>1. Swearing in the <i>Chappel</i>, a <i>Solace</i>.</p>
+
+<p>2. Fighting in the <i>Chappel</i>, a <i>Solace</i>.</p>
+
+<p>3. Abusive Language, or giving the Ly in the
+<i>Chappel</i>, a <i>Solace</i>.</p>
+
+<p>4. To be Drunk in the <i>Chappel</i>, a <i>Solace</i>.</p>
+
+<p>5. For any of the Workmen to leave his Candle
+burning at Night, a <i>Solace</i>.</p>
+
+<p>6. If the <i>Compositer</i> let fall his <i>Composing-stick</i>, and
+another take it up, a <i>Solace</i>.</p>
+
+<p>7. Three <i>Letters</i> and a <i>Space</i> to lye under the
+<i>Compositers Case</i>, a <i>Solace</i>.</p>
+
+<p>8. If a <i>Press-man</i> let fall his <i>Ball</i> or <i>Balls</i>, and another
+take it up, a <i>Solace</i>.</p>
+
+<p>9. If a <i>Press-man</i> leave his <i>Blankets</i> in the <i>Tympan</i>
+at Noon or Night, a <i>Solace</i>.</p>
+
+<p>These <i>Solaces</i> were to be bought off, for the good
+of the <i>Chappel</i>: Nor were the price of these <i>Solaces</i>
+alike: For some were 12 <i>d.</i> 6 <i>d.</i> 4 <i>d.</i> 2 <i>d.</i> 1 <i>d.</i> <i>ob.</i>
+according to the nature and quality of the <i>Solace</i>.</p>
+
+<p>But if the Delinquent prov’d Obstinate or Refractory,
+and would not pay his <i>Solace</i> at the Price of
+the <i>Chappel</i>; they <i>Solac’d</i> him.</p>
+
+<p>The manner of <i>Solacing</i>, thus.</p>
+
+<p>The Workmen take him by force, and lay him on
+<span class="pagenum" id="Page_358">358</span>his Belly athwart the <i>Correcting-stone</i>, and held him
+there while another of the Work-men, with a Paper-board,
+gave him 10 <i>l. and a Purse</i>, 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 <i>Solaced</i> with so much violence,
+that he presently Pissed Blood, and shortly after dyed
+of it.</p>
+
+<p>These nine <i>Solaces</i> were all the <i>Solaces</i> usually and
+generally accepted: yet in some particular <i>Chappels</i>
+the <i>Work-men</i> did by consent make other <i>Solaces</i>, viz.</p>
+
+<p>That it should be a <i>Solace</i> for any of the Workmen
+to mention Joyning their Penny or more apiece
+to send for Drink.</p>
+
+<p>To mention spending <i>Chappel-money</i> till <i>Saturday</i>
+Night, or any other before agreed time.</p>
+
+<p>To Play at <i>Quadrats</i>, or excite any of the <i>Chappel</i>
+to Play at <i>Quadrats</i>; either for Money or Drink.</p>
+
+<p>This <i>Solace</i> is generally Purchas’d by the Master-Printer;
+as well because it hinders the Workmens
+work, as because it Batters and spoils the <i>Quadrats</i>:
+For the manner how they Play with them is Thus:
+They take five or seven more m <i>Quadrats</i> (generally
+of the <i>English Body</i>) and holding their Hand
+below the Surface of the <i>Correcting Stone</i>, shake them
+in their Hand, and toss them up upon the <i>Stone</i>, and
+then count how many <i>Nicks</i> 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 <i>Nicks</i> upwards in so
+many throws; for all the rest are free: and he pays
+the Bett.</p>
+
+<p><span class="pagenum" id="Page_359">359</span></p>
+
+<p>For any to <i>Take up a Sheet</i>, if he receiv’d <i>Copy-money</i>;
+Or if he receiv’d no <i>Copy-money</i>, and did <i>Take
+up a Sheet</i>, and carryed that Sheet or Sheets off the
+Printing-House till the whole Book was Printed off
+and Publisht.</p>
+
+<p>Any of the Workmen may purchase a <i>Solace</i> for
+any trivial matter, if the rest of the <i>Chappel</i> consent
+to it. As if any of the Workmen Sing in the <i>Chappel</i>;
+he that is offended at it may, with the <i>Chappels</i>
+Consent purchase a penny or two penny <i>Solace</i> for
+any Workmans singing after the <i>Solace</i> is made; Or
+if a Workman or a Stranger salute a Woman in the
+<i>Chappel</i>, after the making of the <i>Solace</i>, it is a <i>Solace</i> of
+such a Value as is agreed on.</p>
+
+<p>The price of all <i>Solaces</i> to be purchased is wholly
+Arbitrary in the <i>Chappel</i>. And a Penny <i>Solace</i> may
+perhaps cost the Purchaser Six Pence, Twelve Pence,
+or more for the <i>Good of the Chappel</i>.</p>
+
+<p>Yet sometimes <i>Solaces</i> may cost double the Purchase
+or more. As if some <i>Compositer</i> have (to affront
+a <i>Press-man</i>) put a Wisp of Hay in the <i>Press-mans
+Ball-Racks</i>; If the <i>Press-man</i> cannot well brook
+this affront, he will lay six Pence down on the <i>Correcting
+Stone</i> to purchase a <i>Solace</i> of twelve Pence
+upon him that did it; and the <i>Chappel</i> cannot in Justice
+refuse to grant it: because it tends to the <i>Good of
+the Chappel</i>: And being granted, it becomes every
+Members duty to make what discovery he can: because
+it tends to the farther <i>Good of the Chappel</i>: And
+by this means it seldom happens but the Agressor
+is found out.</p>
+
+<p>Nor did <i>Solaces</i> reach only the <i>Members of the
+<span class="pagenum" id="Page_360">360</span>Chappel</i>, but also Strangers that came into the <i>Chappel</i>,
+and offered affronts or indignities to the <i>Chappel</i>,
+or any of its Members; the <i>Chappel</i> would determine
+it a <i>Solace</i>. Example,</p>
+
+<p>It was a <i>Solace</i> for any to come to the <i>Kings Printing-house</i>
+and ask for a Ballad.</p>
+
+<p>For any to come and enquire of a <i>Compositer</i>, whether
+he had News of such a Galley at Sea.</p>
+
+<p>For any to bring a Wisp of Hay, directed to any
+of the <i>Press-men</i>.</p>
+
+<p>And such Strangers were commonly sent by some
+who knew the <i>Customs of the Chappel</i>, and had a mind
+to put a Trick upon the Stranger.</p>
+
+<p>Other Customs were used in the <i>Chappel</i>, which
+were not <i>Solaces</i>, viz. Every new Workman to pay
+half a Crown; which is called his <i>Benvenue</i>: This
+<i>Benvenue</i> being so constant a Custome is still lookt
+upon by all Workmen as the undoubted Right of the
+<i>Chappel</i>, and therefore never disputed; yet he who
+has not paid his <i>Benvenue</i> is no Member of the <i>Chappel</i>,
+nor enjoys any benefit of <i>Chappel-Money</i>.</p>
+
+<p>If a Journey-man Wrought formerly upon the
+same Printing House, and comes again to Work on
+it, pays but half a <i>Benvenue</i>.</p>
+
+<p>If a Journey-man <i>Smout</i> more or less on another
+Printing House, and any of the <i>Chappel</i> can prove it,
+he pays half a <i>Benvenue</i>.</p>
+
+<p>I told you before that abusive Language or giving
+the Lye was a <i>Solace</i>: But if in discourse, when any
+of the Workmen affirm any thing that is not believed,
+the <i>Compositer</i> knocks with the back corner of his
+<i>Composing-stick</i> against the lower Ledge of his <i>Lower
+<span class="pagenum" id="Page_361">361</span>Case</i>, and the <i>Press-man</i> knocks the Handles of his
+<i>Ball-stocks</i> together: Thereby signifying the discredit
+they give to his Story.</p>
+
+<p>It is now customary that Journey-men are paid
+for all Church Holy days that fall not on a <i>Sunday</i>,
+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, <i>&amp;c.</i></p>
+
+<p>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 <i>Way-goose</i>;
+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
+<i>Correcter</i>, <i>Founder</i>, <i>Smith</i>, <i>Joyner</i>, and <i>Inck-maker</i>,
+who all of them severally (except the <i>Correcter</i> 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 <i>Correcter</i> they expect
+nothing, because the Master Printer chusing him, the
+Workmen can do him no kindness.</p>
+
+<p>These <i>Way-gooses</i>, are always kept about <i>Bartholomew-tide</i>.
+And till the Master-Printer have given
+this <i>Way-goose</i>, the Journey-men do not use to Work
+by Candle Light.</p>
+
+<p>If a Journey-man marry, he pays half a Crown to
+the <i>Chappel</i>.</p>
+
+<p><span class="pagenum" id="Page_362">362</span></p>
+
+<p>When his Wife comes to the <i>Chappel</i>, she pays six
+Pence: and then all the Journey-men joyn their two
+Pence apiece to Welcome her.</p>
+
+<p>If a Journey-man have a Son born, he pays one
+Shilling.</p>
+
+<p>If a Daughter born, six Pence.</p>
+
+<p>The <i>Father</i> of the <i>Chappel</i> drinks first of <i>Chappel
+Drink</i>, except some other Journey-man have a <i>Token</i>;
+viz. Some agreed piece of Coin or Mettle markt by
+consent of the <i>Chappel</i>: for then producing that <i>Token</i>,
+he Drinks first. This <i>Token</i> is always given to him
+who in the Round should have Drank, had the last
+<i>Chappel-drink</i> held out. Therefore when <i>Chappel-drink
+comes in</i>, they generally say, <i>Who has the Token?</i></p>
+
+<p>Though these Customs are no <i>Solaces</i>; yet the
+<i>Chappel</i> Excommunicates the delinquent; and he
+shall have no benefit of <i>Chappel-money</i> till he have paid.</p>
+
+<p>It is also Customary in some Printing-houses that
+if the <i>Compositer</i> or <i>Press-man</i> 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.</p>
+
+<p>The <i>Compositers</i> are Jocosely call’d <i>Galley Slaves</i>:
+Because allusively they are as it were bound to their
+<i>Gallies</i>.</p>
+
+<p>And the <i>Press-men</i> are Jocosely call’d <i>Horses</i>: Because
+of the hard Labour they go through all day
+long.</p>
+
+<p>An Apprentice when he is Bound pays half a
+Crown to the <i>Chappel</i>, and when he is made Free, another
+half Crown to the <i>Chappel</i>; but is yet no
+Member of the <i>Chappel</i>; And if he continue to
+<span class="pagenum" id="Page_363">363</span>Work Journey-work in the same House, he pays another
+half Crown, and is then a Member of the
+<i>Chappel</i>.</p>
+
+<p>A <i>Founding-House</i> is also call’d a <i>Chappel</i>: But I
+suppose the Title was originally assum’d by <i>Founders</i>,
+to make a Competition with <i>Printers</i>.</p>
+
+<p>The Customes used in a <i>Founding-House</i> are made
+as near as may be to those of a <i>Printing-house</i>: 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</p>
+
+<p><i>First</i>, To call <i>Mettle</i> Lead, a Forfeiture.</p>
+
+<p><i>Secondly</i>, A Workman to let fall his <i>Mold</i>, a Forfeiture.</p>
+
+<p><i>Thirdly</i>, A Workman to leave his Ladle in the
+<i>Mettle</i> Noon or Night, a Forfeiture.</p>
+
+<p>The Printers of <i>London</i>, Masters and Journey-men
+have every Year a general Feast, which since the
+re-building of <i>Stationers Hall</i> is commonly kept there.
+This Feast is made by four Stewards, <i>viz.</i> 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.</p>
+
+<p>It is commonly kept on or about <i>May-day</i>: When,
+about ten a Clock in the Morning they meet at
+<i>Stationers Hall</i>, and from thence go to some Church
+thereabouts; Four Whifflers (as Servitures) by two
+<span class="pagenum" id="Page_364">364</span>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 <i>Stationers</i>, 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.</p>
+
+<p>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
+<i>Stationers Hall</i>; 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.</p>
+
+<p>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
+<span class="pagenum" id="Page_365">365</span>make their Cheer go cheerfuller down, are entertained
+with Musick and Songs all Dinner time.</p>
+
+<p>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.</p>
+
+<p>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 <i>Prinners</i> 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, <i>viz.</i> from the Year of Christ 1621.</p>
+
+<p>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
+<span class="pagenum" id="Page_366">366</span>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.</p>
+
+<p>This Ceremony being over, such as will go their
+ways; but others that stay, are Diverted with Musick,
+Songs, Dancing, Farcing, <i>&amp;c.</i> till at last they all
+find it time to depart.</p>
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+<div class="chapter">
+
+<p><span class="pagenum" id="Page_367">367</span></p>
+
+
+  <h2 class="nobreak" id="A">
+    A
+    DICTIONARY,
+  </h2>
+</div>
+
+<blockquote>
+<p>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.</p>
+</blockquote>
+
+
+<p>Though I give you a Dictionary of so many
+Words and Phrases as are mentioned in these
+<i>Exercises</i>, yet I do not exhibit this as a <i>Dictionary</i>
+so perfect, that all the obstruce
+Words and Phrases used among <i>Printers</i>, <i>Letter-cutters</i>
+and <i>Founders</i> 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 <i>Dictionary</i> may in time be
+compleated, that may render so great a number of
+Words used in <i>England</i> by <i>English-men</i> 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.</p>
+
+<p><span class="pagenum" id="Page_368">368</span></p>
+
+
+<p class="center">A</p>
+
+<p><i>Abreviations</i> are Characters, or else marks on <i>Letters</i>,
+to signifie either a Word or Syllable. &amp; is the
+Character for And, <sup>e</sup> is The abreviated, <sup>t</sup> 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
+<i>Shorten</i> or <i>Get in Matter</i>; but now are wholly left
+off as obsolete.</p>
+
+<p><i>Accented Letters</i> are much used in <i>Latin</i> Authors,
+and more in <i>Greek</i>. The Vowels are only accented,
+and are called <i>Grave</i>, thus accented à; <i>Acute</i>, thus
+accented á; <i>Circumflex</i>, thus accented â; and <i>Deerecis</i>,
+thus accented ä.</p>
+
+<p><i>Accents</i> are Dashes or Marks over the Vowels.</p>
+
+<p><i>Air-hole.</i> See § 18. ¶ 1.</p>
+
+<p><i>Ascending Gage.</i> See § 12. ¶ 5.</p>
+
+<p><i>Ashes.</i> <i>Letter-Founders</i> call the <i>Skimmings</i> of their
+<i>Mettle</i>, and the Sweepings of their House <i>Ashes</i>;
+and save both, to send to the Refiners; who with
+their fierce Fire draw all the <i>Mettle</i> out of the <i>Ashes</i>.
+See <i>Fat Ashes</i>. See <i>Lean Ashes</i>.</p>
+
+<p><i>Ash-hole.</i> See § 18. ¶ 1.</p>
+
+<p><i>Assidue</i> is Thin Brass Plate, such as adorns <i>Bartholomew</i>-Fair
+Hobby Horses: <i>Founders</i> use it to
+<i>Underlay</i> the <i>Body</i>, or the <i>Mouth-piece, &amp;c.</i> of their
+<i>Mold</i>, if it be too Thin. See § 16.</p>
+
+
+<p class="center">B</p>
+
+<p><i>Back of a Composing-stick.</i> See § 9. ¶ 4.</p>
+
+<p><i>Backside of the Form</i> is the underside that touches
+upon the <i>Correcting-stone</i> or <i>Press-stone</i>.</p>
+
+<p><i>Bad Copy.</i> See § 24. ¶ 4.</p>
+
+<p><span class="pagenum" id="Page_369">369</span></p>
+
+<p><i>Bad work.</i> Any Fault at the <i>Case</i>, or <i>Press</i>, or at
+the <i>Furnace</i>, or at the <i>Dressing-block</i>, &amp;c. is in Workmens
+Language called <i>Bad Work</i>.</p>
+
+<p><i>Bake.</i> See § 22. ¶ 10.</p>
+
+<p><i>Balls.</i> See § 24. ¶ 10.</p>
+
+<p><i>Ball-knife.</i> An old blunt-edg’d Knife, that <i>Press-men</i>
+lay by, to scrape their <i>Balls</i> with.</p>
+
+<p><i>Ball-leathers.</i> See § 24. ¶ 10.</p>
+
+<p><i>Ball-Nails.</i> The <i>Nails</i> that <i>Ball-leathers</i> are Tackt
+to the <i>Ball-stocks</i> with.</p>
+
+<p><i>Ball-stocks.</i> See § 11. ¶ 21.</p>
+
+<p><i>Balls Take.</i> See § 11. ¶ 21.</p>
+
+<p><i>Beak.</i> See § 12. ¶ 2.</p>
+
+<p><i>Beam.</i> See § 12. ¶ 4.</p>
+
+<p><i>Beard of a Letter</i>, is the outer angle of the Square
+Shoulder of the <i>Shank</i>, which reaches almost up to
+the <i>Face</i> of the <i>Letter</i>; and is commonly scraped
+off by the <i>Founder</i>: As in § 2. ¶ 2.</p>
+
+<p><i>Beard-Gage.</i> See § 13. ¶ 4.</p>
+
+<p><i>Bearer.</i> See § 4. &amp; § 24. ¶ 7.</p>
+
+<p><i>Beat.</i> See § 24. ¶ 13.</p>
+
+<p><i>Beat Fat.</i> If a <i>Press-man Takes</i> too much <i>Inck</i>
+with his <i>Balls</i>, he <i>Beats Fat</i>. The <i>Black English Faced
+Letter</i> is generally <i>Beaten Fat</i>.</p>
+
+<p><i>Beat Lean</i>, is to <i>Take</i> but little <i>Inck</i>, and often:
+All <i>Small Letter</i> must be <i>Beaten Lean</i>.</p>
+
+<p><i>Bed.</i> See § 24. ¶ 2.</p>
+
+<p><i>Benvenue.</i> See Ancient Customs.</p>
+
+<p><i>Bite.</i> See § 24. ¶ 7.</p>
+
+<p><i>Blankets.</i> Woollen Cloath, or White Bays, to lay
+between the <i>Tympans</i>.</p>
+
+<p><i>Blocks.</i> See § 20. ¶ 3.</p>
+
+<p><i>Block-Groove.</i> ibid.</p>
+
+<p><span class="pagenum" id="Page_370">370</span></p>
+
+<p><i>Body.</i> See § 1. ¶ 2. &amp; § 15. ¶ 1.</p>
+
+<p><i>Botching Matrices.</i> See § 17. ¶ 3.</p>
+
+<p><i>Bottom line.</i> See § 14. ¶ 2.</p>
+
+<p><i>Bottom of the Matrice.</i> See §. 17. ¶ 1.</p>
+
+<p><i>Bottom Plate.</i> See §. 15. ¶ 1.</p>
+
+<p><i>Bow.</i> See § 15. ¶ 1.</p>
+
+<p><i>Brace</i>, is a Character <i>Cast</i> in <i>Mettle</i> thus marked
+<img class="glyphsmall"
+src="images/braceup.png" alt="horizontal curly brace"> The <i>Compositer</i> is to have these <i>Cast</i> of several
+Breadths, viz. to several numbers of <i>Lines</i> of a designed
+<i>Body</i> (most commonly of <i>Pica Body</i>) that they
+may hook in or Brace so many <i>Lines</i> as his <i>Copy</i>
+may shew him; as at <i>Charge</i> is a Brace of four
+<i>Lines</i>. See also § 24. ¶ 1.</p>
+
+<p><i>Brass-Rules.</i> See § 2. ¶ 2.</p>
+
+<p><i>Brayer</i> is a round <i>Wooden Rubber</i>, almost of the
+fashion of a <i>Ball-stock</i>, but flat at the bottom, and not
+above three Inches Diameter: It is used in the <i>Inck-Block</i>
+to <i>Bray</i> or <i>Rub Inck</i>.</p>
+
+<p><i>Break</i>, a piece of a <i>Line</i>. Also the <i>Mettle</i> that is
+contiguous to the <i>Shank</i> of a <i>New Cast Letter</i>: This
+<i>Break</i> is formed in the <i>Mouth-piece</i> of the <i>Letter-mould</i>,
+and is called a <i>Break</i>, because it is always broke
+from the <i>Shank</i> of a <i>Letter</i>.</p>
+
+<p><i>Breaking off</i> is breaking the <i>Break</i> from the <i>Shank</i>
+of the <i>Letter</i>. See § 19. ¶ 3.</p>
+
+<p><i>Brevier.</i> See § 2. ¶ 2.</p>
+
+<p><i>Broad-side</i>, a Form of one full <i>Page</i>, Printed on one
+side of a whole Sheet of Paper.</p>
+
+<p><i>Broken Letter.</i> By broken <i>Letter</i> is not meant the
+breaking of the <i>Shanks</i> of any of the <i>Letters</i>, but the
+breaking the orderly Succession the <i>Letters</i> stood in
+in a <i>Line</i>, <i>Page</i>, or <i>Form</i>, &amp;c. and mingling the <i>Letters</i>
+<span class="pagenum" id="Page_371">371</span>together, which mingled <i>Letters</i> is called <i>Py</i>.</p>
+
+<p><i>Bur.</i> See <i>Rag</i>.</p>
+
+
+<p class="center">C</p>
+
+<p><i>Cannon.</i> See § 2. ¶ 2.</p>
+
+<p><i>Card.</i> When several <i>Bodies</i> of <i>Letter</i> are <i>Set</i> in a
+<i>Page</i>, <i>Compositers</i> to <i>Justifie</i> that <i>Page</i> to an exact
+Length, put a <i>Card</i> to some <i>White-line</i>, or other
+<i>Break</i> and Lengthen out the <i>Page</i> the thickness of a
+<i>Card</i>. And <i>Press-men</i> also use a <i>Card</i> for an underlay.
+See § 22. ¶ 4. &amp;c. § 24. ¶ 7.</p>
+
+<p><i>Cards.</i> About a Quire of Paper, which <i>Press-men</i>
+use to <i>Pull</i> down the Spring or rising of a <i>Form</i>,
+which it is many times subject to by hard <i>Locking-up</i>.
+See § 24. ¶ 4.</p>
+
+<p><i>Carriage</i>, is a part of the <i>Press</i>. For which See § 10.
+¶ 9. It is also a part of the <i>Letter-Mold</i>: For
+which See § 15. ¶ 3.</p>
+
+<p><i>Case.</i> See § 3.</p>
+
+<p><i>Case lies.</i> See § 22. ¶ 1.</p>
+
+<p><i>Case is full</i>, viz. a <i>Case</i> full of <i>Letter</i>, wanting no
+Sorts.</p>
+
+<p><i>Case is Low.</i> When a <i>Case</i> grows empty, <i>Compositers</i>
+say the <i>Case is Low</i>.</p>
+
+<p><i>Case Stands still.</i> When the <i>Compositer</i> is not at
+Work at his <i>Case</i>, it is said, <i>The Case stands still</i>.</p>
+
+<p><i>Cassie Paper.</i> See § 25. ¶ 5.</p>
+
+<p><i>Cast</i>, is to <i>Cast Letter</i>. See § 19. ¶ 1.</p>
+
+<p><i>Cast off Copy.</i> See § 22. ¶ 9.</p>
+
+<p><i>Catch of the Bar.</i> See § 11. ¶ 11.</p>
+
+<p><i>Chappel.</i> See Customs.</p>
+
+<p><span class="pagenum" id="Page_372">372</span></p>
+
+<table class="autotable3">
+<tr>
+<td class="tdl">
+<i>Charge</i>, is to fill
+</td>
+<td class="tdc brwidth">
+
+<img src="images/leftbr.png" class="brace" alt="a curly brace">
+
+</td>
+<td class="tdl">
+<i>Paper</i> with great <i>Pages</i>.<br>
+<span class="nw">a <i>Page</i> with long and many <i>Lines</i>.</span><br>
+a <i>Line</i> with many <i>Letters</i>.<br>
+a <i>Pot</i> with Stubs and <i>Antimony</i>.<br>
+</td>
+</tr>
+</table>
+
+
+<p><i>Chase.</i> See § 9. ¶ 6.</p>
+
+<p><i>Cheeks</i>, is a part of the <i>Press</i>; for which See § 10.
+¶ 2. and part of the <i>Dressing-block-groove</i>. For
+which See § 20. ¶ 3.</p>
+
+<p><i>Choak.</i> If a <i>Form</i> be not Washt in due time, the
+<i>Inck</i> will get into the Hollows of the <i>Face</i> of the
+<i>Letter</i>: And that getting in of the <i>Inck</i> is called
+<i>Choaking</i> of the <i>Letter</i>, or <i>Choaking</i> of the <i>Form</i>.</p>
+
+<p><i>Claw</i> of the <i>Sheeps-foot</i>. See § 11. ¶ 20.</p>
+
+<p><i>Clean Proof.</i> When a <i>Proof</i> has but few Faults in it,
+it is called a clean <i>Proof</i>.</p>
+
+<p><i>Close Matter.</i> <i>Matter</i> with few <i>Breaks</i> or <i>Whites</i>.</p>
+
+<p><i>Close Work.</i> ibid.</p>
+
+<p><i>Colation Books.</i> See § 25. ¶ 4.</p>
+
+<p><i>Come.</i> When the <i>Face</i> and <i>Shank</i> of a <i>Letter</i> is
+<i>Cast</i> perfect, <i>Founders</i> say, <i>It Comes well</i>; if unperfect
+they say, It does not come, or <i>It comes not well</i>.</p>
+
+<p><i>Come Down</i>, the <i>Toe</i> of the <i>Spindle</i> is said to <i>Come
+down</i> by <i>Pulling</i> the <i>Bar</i>: So is the <i>Bar</i> when it is
+<i>Pull’d</i> near the hither <i>Cheek</i>: Also, the <i>Press-man</i> is
+said to <i>Come down the Form</i> with his <i>Balls</i>: For which
+See § 24. ¶ 13.</p>
+
+<p><i>Companion.</i> See § 24. ¶ 15.</p>
+
+<p><i>Comes off.</i> A <i>Form</i> that receives a good <i>Impression</i>,
+<i>Comes off well</i>, if a bad <i>Impression</i>, it <i>Comes off ill</i>, or
+it <i>Comes not well off</i>. Also a phrase used in <i>Gathering</i>
+of <i>Books</i>; for a <i>Heap</i> that is <i>Gathered off</i> is said to
+<i>Come off</i>. See § 25. ¶ 3.</p>
+
+<p><span class="pagenum" id="Page_373">373</span></p>
+
+<p><i>Composing Rule.</i> See § 24. ¶ 4.</p>
+
+<p><i>Compositer.</i> He that <i>Composes</i> or <i>Sets</i> the <i>Letters</i>.</p>
+
+<p><i>Composing-stick.</i> See § 9. ¶ 4.</p>
+
+<p><i>Copy-money.</i> See Customs.</p>
+
+<p><i>Cording-quire.</i> See § 25. ¶ 5.</p>
+
+<p><i>Correct.</i> When the <i>Corrector</i> reads the <i>Proof</i>, or the
+<i>Compositer</i> mends the <i>Faults</i> he markt in the <i>Proof</i>,
+they are both said to <i>Correct</i>; the <i>Correcter</i> the
+<i>Proof</i>, the <i>Compositer</i> the <i>Form</i>.</p>
+
+<p><i>Correcting-stone.</i> See § 6.</p>
+
+<p><i>Corrections.</i> the <i>Letters</i> markt in a <i>Proof</i> are call’d
+<i>Corrections</i>. See § 22. ¶ 8.</p>
+
+<p><i>Counter Punch.</i> See § 13. ¶ 2.</p>
+
+<p><i>Counting off Copy.</i> See § 22. ¶ 9.</p>
+
+<p><i>Coyns.</i> See § 8.</p>
+
+<p><i>Cramp Irons.</i> See § 11. ¶ 15.</p>
+
+<p><i>Cross Long, Short.</i> See <i>Chase</i>.</p>
+
+<p><i>Cull Paper.</i> See § 25. ¶ 5.</p>
+
+<p><i>Cut the Frisket.</i> See § 24. ¶ 7.</p>
+
+
+<p class="center">D</p>
+
+<p><i>Dance.</i> See § 22. ¶ 7.</p>
+
+<p><i>Dele.</i> See § 23.</p>
+
+<p><i>Destribute.</i> See § 22. ¶ 3.</p>
+
+<p><i>Destributing-stick.</i> See ibid.</p>
+
+<p><i>Devil.</i> The <i>Press-man</i> sometimes has a Week-Boy
+to <i>Take Sheets</i>, as they are Printed off the <i>Tympan</i>:
+These Boys do in a Printing-House, commonly black
+and Dawb themselves; whence the Workmen do Jocosely
+call them <i>Devils</i>; and sometimes <i>Spirits</i>,
+and sometimes <i>Flies</i>.</p>
+
+<p><i>Direction</i>, the word that stands alone on the
+Right Hand in the bottom <i>Line</i> of a <i>Page</i>.</p>
+
+<p><span class="pagenum" id="Page_374">374</span></p>
+
+<p><i>Direction-line.</i> The <i>Line</i> the <i>Direction</i> stands in.</p>
+
+<p><i>Double Letter.</i> æ œ st sh, and several others <i>Cast</i>
+on one <i>Shank</i> are called <i>Double Letters</i>: ſ and f have
+several <i>Ascending Letters</i> joyned to them, because
+their <i>Beaks</i> hanging over their <i>Stems</i> would (were
+they not <i>Cast</i> on one <i>Shank</i>) ride upon the tops of the
+Stems of the adjoyning ascending <i>Letter</i>.</p>
+
+<p><i>Double.</i> A Sheet that is twice <i>Pulled</i> and lifted
+never so little off the <i>Form</i> after it was first <i>Pulled</i>,
+does most commonly (through the Play of the <i>Joynts</i>
+of the <i>Tympan</i>) take a double <i>Impression</i>: This Sheet
+is said to <i>Double</i>. Or if the <i>Press-man Run in</i> so, as
+the Fore-side of the <i>Plattin</i> Print with the <i>First Pull</i>
+into part of the <i>Second Pull</i>, or the hind edge of the
+<i>Plattin Print</i> with his <i>Second Pull</i> into part of his
+<i>First Pull</i>; either of these twice Printing is called
+<i>Doubling</i>. <i>Doubling</i> also happens through the loose
+<i>Hanging</i> of the <i>Plattin</i>, and through too much play
+the Tennants of the <i>Head</i> may have in the <i>Mortesses</i>
+of the <i>Cheeks</i>, and indeed through many Wearings
+and crasienesses that often happens in several parts
+of the <i>Press</i>. See § 24. ¶ 18.</p>
+
+<p><i>Dress</i> a <i>Chase</i>, or <i>Dress</i> a <i>Form</i>, is all one. It is
+to fit the <i>Pages</i> and the <i>Chase</i> with <i>Furniture</i> and
+<i>Quoins</i>. See § 22. ¶ 7.</p>
+
+<p><i>Dress Letter.</i> See § 21. ¶ 1.</p>
+
+<p><i>Dressing Block.</i> See § 20. ¶ 3.</p>
+
+<p><i>Dressing Block-groove.</i> ibid.</p>
+
+<p><i>Dressing Hook.</i> See § 20. ¶ 1.</p>
+
+<p><i>Dressing Knife.</i> See § 20. ¶ 4.</p>
+
+<p><i>Dressing Sticks.</i> See § 19. ¶ 6.</p>
+
+<p><i>Drive out.</i> When a <i>Compositer Sets Wide</i>, he is said
+<span class="pagenum" id="Page_375">375</span>to <i>Drive out</i> or <i>Run out</i>. In <i>Founding</i>, If <i>Letter</i> be
+<i>Cast</i> too Thick in the <i>Shank</i> it <i>Drives out</i>, or if it be
+<i>Cast</i> too Thick in any part of the <i>Shank</i>, as the <i>Head</i>,
+the <i>Foot</i>, the sides at <i>Head</i> or <i>Foot</i>, or <i>Body</i> at <i>Head</i>
+or <i>Foot</i>: They say, <i>It Drives out at Head</i>, <i>It Drives
+out at Foot</i>, &amp;c.</p>
+
+
+<p class="center">E</p>
+
+<p><i>Empty Case.</i> See § 22. ¶ 3. &amp; <i>See Case is Low.</i></p>
+
+<p><i>Easie Pull.</i> See § 24. ¶ 5.</p>
+
+<p><i>Easie Work.</i> See § 22. ¶ 4. And <i>Great Letter</i> and
+a <i>Small Form</i> the <i>Press-man</i> calls <i>Easie Work</i>.</p>
+
+<p><i>Empty Press.</i> A <i>Press</i> that Stands by, which no
+Workman Works at: Most commonly every <i>Printing-House</i>
+has one of them for a <i>Proof-Press</i>: viz. to
+make <i>Proves</i> on.</p>
+
+<p><i>English Body.</i> See § 1. ¶ 2.</p>
+
+<p><i>English Face.</i> Plate 26. 27. are <i>English Face Letters</i>.</p>
+
+<p><i>Even Page.</i> The <i>First Page</i> of a <i>Sheet</i> or <i>Form</i> is
+called an <i>Odd Page</i>, but the <i>Second</i>, <i>Fourth</i>, <i>Sixth</i>,
+or any other even numbred <i>Page</i> is called an <i>Even
+Page</i>. See § 22. ¶ 7.</p>
+
+
+<p class="center">F</p>
+
+<p><i>Face of a Letter</i>, See § 13. ¶ 13.</p>
+
+<p><i>Face of a Page, or Form.</i> The Superficies of a <i>Page</i>
+or <i>Form</i>, where the <i>Faces</i> of every <i>Letter</i> lies in the
+same Plain.</p>
+
+<p><i>Face-Gage.</i> See § 12. ¶ 5.</p>
+
+<p><i>Face of a Matrice.</i> See § 17. ¶ 1.</p>
+
+<p><i>Fat Ashes.</i> <i>Founders</i> call their Ashes <i>Fat</i>, if they
+are considerably Heavy, because then they have
+much <i>Mettle</i> in them.</p>
+
+<p><i>Fat.</i> See <i>Beat Fat</i>.</p>
+
+<p><span class="pagenum" id="Page_376">376</span></p>
+
+<p><i>Fat Face</i>, or <i>Fat Letter</i>, is a broad Stemmed
+<i>Letter</i>.</p>
+
+<p><i>Female Gage</i>, <i>Screws</i>, &amp;c. The <i>Hollow Gage</i>, or
+<i>Hollow Screw</i> that receives its <i>Match Gage</i> or <i>Screw</i>,
+&amp;c.</p>
+
+<p><i>First.</i> See § 24. ¶ 15.</p>
+
+<p><i>First Form.</i> The <i>Form</i> the <i>White Paper</i> is Printed
+on, which generally by Rule ought to have the <i>First
+Page</i> of the Sheet in it.</p>
+
+<p><i>First Page.</i> See § 22. ¶  7.</p>
+
+<p><i>First Pull.</i> See § 11. ¶ 16. &amp; § 24. ¶ 7. Considerations
+8. &amp; § 24. ¶ 15.</p>
+
+<p><i>Flat-Gage.</i> See § 12. ¶ 3.</p>
+
+<p><i>Flat Table.</i> See § 12. § 8.</p>
+
+<p><i>Fly.</i> See <i>Devil</i>.</p>
+
+<p><i>Follow.</i> viz. <i>See if it follows</i>, is a Term used as well
+by the <i>Corrector</i> as by the <i>Compositer</i> and <i>Press-man</i>.
+It is used by the <i>Corrector</i> and <i>Compositer</i> when they
+examine how the beginning <i>Matter</i> of a succeeding
+<i>Page</i> agrees with the ending <i>Matter</i> of the precedent
+<i>Page</i>: And how the <i>Folio’s</i> of those <i>Pages</i> properly
+and numerically follow and succeed one another,
+Lest the <i>Pages</i> should be <i>Transposed</i>. But the <i>Press-man</i>
+only examines that the <i>Folio</i> and beginning word
+of the <i>Second Page</i>, and <i>Signature</i> of the <i>First</i> and
+<i>Third Page</i> (when the <i>Reteration</i> is on the <i>Press</i>) follows
+the <i>Folio</i> and <i>Direction</i> of the <i>First Page</i>, and
+the <i>Signature</i> of the <i>Third Page</i> follows the <i>Signature</i>
+of the <i>First Page</i>, orderly according to the Volumne,
+lest the <i>Form</i> should be laid wrong on the <i>Press</i>.</p>
+
+<p><i>Foot of the Letter.</i> The <i>Break-end</i> of the <i>Shanck</i> of
+a <i>Letter</i>.</p>
+
+<p><span class="pagenum" id="Page_377">377</span></p>
+
+<p><i>Foot-line.</i> See § 14. ¶ 12.</p>
+
+<p><i>Foot of a Page.</i> The bottom or end of a <i>Page</i>. See
+§ 22. ¶ 7.</p>
+
+<p><i>Foot-Step.</i> See § 11. ¶ 21. &amp; § 24. ¶ 7. &amp; Considerations
+11.</p>
+
+<p><i>Foot-stick.</i> See § 8.</p>
+
+<p><i>Form.</i> The Pages when they are fitted into a <i>Chase</i>.</p>
+
+<p><i>Foul Proof.</i> When a <i>Proof</i> has many <i>Faults</i> markt
+in it.</p>
+
+<p><i>Fount.</i> Is the whole number of <i>Letters</i> that are <i>Cast</i>
+of the same <i>Body</i> and <i>Face</i> at one time. See § 2. ¶ 2.</p>
+
+<p><i>Frisket.</i> See § 10.</p>
+
+<p><i>Froze out.</i> In Winter when the Paper is Froze, and
+the <i>Letter</i> Froze, so as the Workmen cannot Work.
+They say, <i>They are Froze out</i>.</p>
+
+<p><i>Fryer.</i> When the <i>Balls</i> do not <i>Take</i>, the <i>Un-taking</i>
+part of the <i>Balls</i> that touches the <i>Form</i> will be left
+White, or if the <i>Press-men</i> Skip over any part of the
+<i>Form</i>, and touch it not with the <i>Balls</i>, though they
+do <i>Take</i>, yet in both these cases the White places
+is cal’d a <i>Fryer</i>.</p>
+
+<p><i>Full Form</i> or <i>Page</i>. A <i>Form</i> or <i>Page</i> with few or
+no <i>Breaks</i> or <i>White-lines</i>.</p>
+
+<p><i>Full Press.</i> When two Men Work at the <i>Press</i>. It
+is called a <i>Full Press</i>.</p>
+
+<p><i>Furnace.</i> See § 18.</p>
+
+<p><i>Furnace open</i>, or <i>Wind Furnace</i>. See § 18. ¶ 2.</p>
+
+<p><i>Funnel.</i> See § 18.</p>
+
+<p><i>Furniture.</i> See § 8.</p>
+
+<p><span class="pagenum" id="Page_378">378</span></p>
+
+
+<p class="center">G</p>
+
+<p><i>Gage.</i> Gages mentioned in this Volumne have an
+adjunct Name, as <i>Flat Gage</i>, <i>Joynt Gage</i>, <i>Italick
+Gage</i>, <i>Long Gage</i>, <i>Male Gage</i>, <i>Short Gage</i>, <i>Standing
+Gage</i>, <i>Steel Gage</i>, which See respectively.</p>
+
+<p><i>Galley.</i> See § 5.</p>
+
+<p><i>Galley-Slave.</i> See the Customs.</p>
+
+<p><i>Gallows.</i> See § 10.</p>
+
+<p><i>Garter.</i> See § 11. ¶ 14.</p>
+
+<p><i>Gather Books.</i> See § 25. ¶ 3.</p>
+
+<p><i>Geat</i>, is the little Spout or Gutter made in the Brim
+of <i>Casting Ladles</i>.</p>
+
+<p><i>Get in.</i> <i>Matter</i> is <i>Got in</i> in a <i>Line</i>, <i>Page</i>, <i>Sheet</i> or
+<i>Book</i>, if <i>Letter</i> be Thinner <i>Cast</i> than the <i>Printed
+Copy</i> the <i>Compositer Sets</i> by. Or <i>Matter</i> is <i>Got in</i> if
+the <i>Compositer Sets Closer</i>: Or if he <i>Widens</i> his <i>Measure</i>;
+or puts more <i>Lines</i> in a <i>Page</i>. See a <i>Line</i>.</p>
+
+<p><i>Girts.</i> See § 11. ¶ 21.</p>
+
+<p><i>Good Colour.</i> Sheets Printed neither too Black or
+too White.</p>
+
+<p><i>Good of the Chappel.</i> Forfeitures and other <i>Chappel</i>
+Dues are Collected for the <i>Good of the Chappel</i>, viz.
+to be spent as the <i>Chappel</i> approves.</p>
+
+<p><i>Good Work</i>, is called so in a twofold sense: The
+Master-Printer calls it <i>Good Work</i> when the <i>Compositers</i>
+and <i>Press-men</i> have done their duty; and the
+Work-men call it <i>Good Work</i>, if it be <i>Light Easie
+Work</i>, and they have a good price for it.</p>
+
+<p><i>Go up the Form.</i> See § 24. ¶ 13.</p>
+
+<p><i>Great Cannon.</i> See § 2. ¶ 2.</p>
+
+<p><i>Great Numbers.</i> See <i>Lay on</i>. Above 2000 Printed
+on one Sheet are accounted <i>Great Numbers</i>.</p>
+
+<p><span class="pagenum" id="Page_379">379</span></p>
+
+<p><i>Great Primmer.</i> See § 2. ¶ 2.</p>
+
+<p><i>Gutter-stick.</i> See § 8.</p>
+
+
+<p class="center">H</p>
+
+<p><i>Hag.</i> See § 15. ¶ 1.</p>
+
+<p><i>Half a Line.</i> When <i>Letter Drives out</i> or <i>Gets in</i> in
+the <i>Body</i>, in a number of <i>Lines</i>, <i>Founders</i> say, <i>It
+Drives out or Gets in</i> Half a <i>Line</i>, a whole <i>Line</i>, a quarter
+of a <i>Line</i>, &amp;c. <i>viz.</i> <i>Half a Body</i>, a <i>whole Body</i>, a quarter,
+<i>&amp;c.</i> of a <i>Body</i>.</p>
+
+<p><i>Half a Press.</i> When but one Man Works at the
+<i>Press</i>, It is called <i>Half a Press</i>.</p>
+
+<p><i>Half Work.</i> He that Works but three days in the
+Week, does but <i>Half Work</i>.</p>
+
+<p><i>Hammer end of a Punch.</i> See § 13. ¶ 13.</p>
+
+<p><i>Hangs.</i> See <i>Letter Hangs</i>. &amp; § 22. ¶ 4.</p>
+
+<p><i>Hang the Plattin.</i> See § 24. ¶ 4.</p>
+
+<p><i>Hang up Paper.</i> See § 25. ¶ 1.</p>
+
+<p><i>Hard Inck.</i> <i>Inck very well Boyled.</i> See § 11. ¶ 23.</p>
+
+<p><i>Hard Justifying.</i> See § 22. ¶ 4.</p>
+
+<p><i>Hard Pull.</i> See § 24. ¶ 5.</p>
+
+<p><i>Hard Work.</i> See § 22. ¶ 4. And small <i>Letter</i> and
+a <i>Large Form</i>, <i>Press-men</i> call <i>Hard Work</i>.</p>
+
+<p><i>Head.</i> See § 10. ¶ 5.</p>
+
+<p><i>Head Line.</i> See § 14. ¶ 2.</p>
+
+<p><i>Head of a Page.</i> The top or beginning of a <i>Page</i>.
+See § 22. ¶ 7.</p>
+
+<p><i>Head-stick.</i> See § 8.</p>
+
+<p><i>Heap.</i> So many Reams or Quires as is <i>Set out</i> by
+the <i>Warehouse-keeper</i> for the <i>Press-man</i> to <i>Wet</i>, is
+call’d a <i>Heap</i>: But then it is call’d a <i>Dry Heap</i>, till
+the <i>Press-man</i> have <i>Wet</i> it, and then it is indeed called
+a <i>Heap</i>. See also § 25.</p>
+
+<p><span class="pagenum" id="Page_380">380</span></p>
+
+<p><i>Heap holds out.</i> When it hath its full intended
+Number of Sheets.</p>
+
+<p><i>Heavy Work.</i> See <i>Hard Work</i>.</p>
+
+<p><i>Heighth.</i> See <i>High against Paper</i>.</p>
+
+<p><i>High against Paper.</i> If a <i>Punch</i> be not Sunk deep
+enough into the <i>Matrice</i>, the <i>Letter Cast</i> will not
+stand high enough against Paper. And if it be Sunk
+too deep into the <i>Matrice</i>, the <i>Letter Cast</i> will be
+too <i>High</i> against Paper. See § 17. ¶ 2.</p>
+
+<p><i>Holds out</i>, or <i>Holds not out</i>. These Terms are
+applicable to the Quires of <i>White-paper</i>, to <i>Wrought-off
+Heaps</i>, to <i>Gathered Books</i>, and to sorts of <i>Letter</i>
+&amp;c. If Quires of White Paper have twenty five
+Sheets a piece in them, they say, <i>The Paper holds
+out five and twenties</i>. Of <i>Wrought off Heaps</i>, the
+<i>Heap</i> that <i>Comes off</i> first in <i>Gathering</i> is said, <i>Not to
+Hold out</i>. Of <i>Gathered Books</i>, if the intended number
+of perfect <i>Books</i> are <i>Gathered</i>, they say the <i>Impression
+Holds out</i>: But if the intended number of
+<i>Perfect Books</i> cannot be <i>Gathered</i> off the <i>Heaps</i>, they
+say the <i>Impression Holds not out</i>. And so for Sorts of
+<i>Letter</i>, either when it is in the <i>Founding House</i>, or
+in the <i>Printing House</i>.</p>
+
+<p><i>Hole.</i> By a <i>Hole</i>, in Printers dialed, is meant and
+understood a place where private Printing is used,
+<i>viz.</i> the Printing of Unlicensed <i>Books</i>, or Printing
+of other mens <i>Copies</i>. Many Printers for Lucre of
+Gain have gone into <i>Holes</i>, and then their chief
+care is to get a <i>Hole</i> Private, and Workmen Trusty
+and Cunning to conceal the <i>Hole</i>, and themselves.</p>
+
+<p><i>Holy-days.</i> See Customs.</p>
+
+<p><i>Hollows of a Letter.</i> The <i>Sinking in</i> of the <i>Counter-Punch</i>
+<span class="pagenum" id="Page_381">381</span>into the <i>Punch</i> makes these <i>Hollows</i>, so does
+Sculping into the <i>Face</i> of the <i>Punch</i>. See § 9. ¶ 4.</p>
+
+<p><i>Hooks.</i> See <i>Hags</i>.</p>
+
+<p><i>Horse.</i> The Form or Bench <i>Press-men</i> set the <i>Heaps</i>
+of Paper on. See also Customs.</p>
+
+<p><i>Horse-flesh.</i> If any Journeyman set down in his
+Bill on <i>Saturday</i> Night more Work than he has done,
+that Surplusage is called <i>Horse-flesh</i>: And he abates
+it in his next Bill.</p>
+
+<p><i>Hose.</i> See § 11. ¶ 14.</p>
+
+<p><i>Hours.</i> <i>Press-men</i> reckon their Work by Hours,
+accounting every <i>Token</i> to an Hours Work: And
+though it be the same effectually with <i>Tokens</i>, yet
+they make their prizes of different Work by the
+Hour; and it passes current for a <i>Token</i>. If two Men
+Work at the <i>Press</i> ten Quires is an Hour; if one
+Man, five Quires is an Hour.</p>
+
+
+<p class="center">I</p>
+
+<p><i>Jaws.</i> See § 15. ¶ 6.</p>
+
+<p><i>Imperfections of Books.</i> See § 25. ¶ 3.</p>
+
+<p><i>Imperfections of Letters.</i> When the <i>Founder</i> has not
+<i>Cast</i> a proportionable number of each sort of <i>Letter</i>,
+the wanting <i>Letters</i> are called <i>Imperfections</i>, as making
+the rest of the <i>Fount</i> unperfect. See <i>Sorts</i>.</p>
+
+<p><i>Impose.</i> See § 22. ¶ 7.</p>
+
+<p><i>Impression holds out.</i> See <i>Holds out</i>.</p>
+
+<p><i>In-Page.</i> See <i>Out-Page</i>.</p>
+
+<p><i>Insertion.</i> If the <i>Compositer</i> have left out Words or
+<i>Lines</i>, the <i>Corrector</i> inserts it, and makes this mark
+ʌ where it is <i>Left out</i>, which is called the mark for
+<i>Insertion</i>. See § 23.</p>
+
+<p><span class="pagenum" id="Page_382">382</span></p>
+
+<p><i>Joynt flat Gage.</i> See § 14. ¶ 4.</p>
+
+<p><i>Joynts.</i> See § 10. ¶ 9.</p>
+
+<p><i>Inner Tympan.</i> See § 11. ¶ 10.</p>
+
+<p><i>Italick Gage.</i> See § 12. ¶ 6.</p>
+
+<p><i>Justifie a Matrice.</i> See § 17. ¶ 2.</p>
+
+<p><i>Justifie a Mold.</i> See § 16.</p>
+
+<p><i>Justifie a Stick</i>, viz. a <i>Composing-stick</i>. See § 22. ¶ 4.</p>
+
+
+<p class="center">K</p>
+
+<p><i>Keep in</i>, is a caution either given to, or resolved on,
+by the <i>Compositer</i>, when there may be doubt of
+<i>Driving out</i> his <i>Matter</i> beyond his <i>Counting off</i>, wherefore
+he <i>Sets close</i>, to <i>Keep in</i>.</p>
+
+<p><i>Keep out</i>, is a caution either given to or resolved
+on, by the <i>Compositer</i>, when there may be doubt of
+<i>Getting in</i> his <i>Matter</i> too fast for his <i>Counting off</i>:
+Wherefore he <i>Sets Wide</i>, to <i>Drive</i> or <i>Keep out</i>.</p>
+
+<p><i>Kern.</i> See § 19. ¶ 5.</p>
+
+<p><i>Kerning-Knife.</i> See § 19. ¶ 5.</p>
+
+<p><i>Kerning-stick.</i> See § 19. ¶ 5.</p>
+
+<p><i>Knife backt Sculptor</i>, is a Sculptor with a thin edge
+on its back.</p>
+
+<p><i>Knife-file.</i> A file with a thin edge.</p>
+
+<p><i>Knock up Balls.</i> See § 24. ¶ 10.</p>
+
+<p><i>Knock up Books.</i> See § 25. ¶ 3.</p>
+
+<p><i>Knock up a Letter.</i> It sometimes happens with
+old <i>Letter</i>, that a <i>Letter</i> may be worn so low that
+it will not Print well in a <i>Page</i>: The Workman
+then takes that <i>Letter</i> out of the <i>Form</i>, and holds
+the <i>Shank</i> of it upon the side of the <i>Chase</i>, and with
+the <i>Head</i> of the <i>Shooting-stick</i> beats lightly upon
+the <i>Foot</i> of the <i>Shank</i>, till he have battered <i>Mettle</i>
+<span class="pagenum" id="Page_383">383</span>enough out of the <i>Shank</i>, to raise it higher against
+Paper: If it prove too high against Paper, he Rubs
+the bottom of the <i>Shank</i> upon the side of the <i>Chase</i>
+to rub it down: This Operation seldom happens,
+unless another of the same sort of <i>Letter</i> is wanting,
+and hard to come by: For else the <i>Compositer</i> will
+bow the <i>Letter</i>, and pop it into a Waste <i>Box</i> in his
+<i>Case</i>, where he puts all naughty <i>Letters</i>, that he
+may not be troubled with them another time.</p>
+
+<p><i>Knot.</i> See § 20. ¶ 3.</p>
+
+
+<p class="center">L</p>
+
+<p><i>Ladles.</i> See § 18. ¶ 3.</p>
+
+<p><i>Lay in Sheets.</i> When the <i>Press-man</i> lays <i>Sheets</i>
+on the <i>Tympan</i>, it is stiled <i>Laying in Sheets</i>.</p>
+
+<p><i>Lay out Sheets.</i> When the <i>Press-man</i> takes <i>Sheets</i>
+off the <i>Tympan</i>, and lays them on the <i>Heap</i>, it is
+stiled <i>Laying out Sheets</i>.</p>
+
+<p><i>Lay on.</i> A phrase used for the Number of Books
+to be Printed. Thus they say, There is 1000,
+2000, 3000, <i>&amp;c.</i> <i>Laid on</i>. See <i>Great Numbers</i>. See
+<i>Small Numbers</i>.</p>
+
+<p><i>Lean Ashes.</i> Founders call their Ashes <i>Lean</i>, if they
+are <i>Light</i>; because then they have little <i>Mettle</i> in
+them. See <i>Fat Ashes</i>.</p>
+
+<p><i>Lean.</i> See Beat Lean.</p>
+
+<p><i>Lean Face.</i> A Letter whose Stems and other
+Stroaks have not their full width.</p>
+
+<p><i>Lean Stroaks.</i> The fine Stoaks in a Letter.</p>
+
+<p><i>Leather Groove.</i> See § 17. ¶ 2.</p>
+
+<p><i>Letter-Board.</i> See § 7.</p>
+
+<p><i>Letter Hangs.</i> If the <i>Compositer</i> has been careless
+in Emptying his <i>Composing-stick</i>, so as to set the <i>Letter</i>
+<span class="pagenum" id="Page_384">384</span>loosely down in the <i>Galley</i>, and they stand not perfectly
+Square and Upright, the <i>Letter</i> Hangs: Or
+if after <i>Overrunning</i> on the <i>Correcting-stone</i> he has
+not Set his <i>Letter</i> in a Square position again, before
+he <i>Locks up</i>, (for we may suppose when the <i>Pages</i>
+are Open’d the <i>Letter</i> stands Loose, and more or
+less out of Square) So then, the <i>Matter</i> standing
+thus out of Square, is said to <i>Hang</i>. See § 22. ¶ 4, 7.</p>
+
+<p><i>Light Work.</i> See <i>Easie Work</i>.</p>
+
+<p><i>Liner.</i> See § 12. ¶ 7.</p>
+
+<p><i>Lining-Stick.</i> See § 16. ¶ 2.</p>
+
+<p><i>Lock up.</i> See § 22. ¶ 7. and § 21. ¶ 1.</p>
+
+<p><i>Long Cross.</i> See <i>Chase</i>.</p>
+
+<p><i>Long Gage.</i> See § 12. ¶ 5.</p>
+
+<p><i>Long Primmer.</i> See § 2. ¶ 2.</p>
+
+<p><i>Long Pull.</i> See § 24 ¶ 5.</p>
+
+<p><i>Loose Justifying.</i> See § 22. ¶ 4.</p>
+
+<p><i>Low against Paper.</i> See <i>Heigth against Paper</i>.</p>
+
+<p><i>Low Case.</i> When the <i>Compositer</i> has <i>Compos’d</i> almost
+all his <i>Letters</i> out of his <i>Case</i>, he says his <i>Case</i>
+is <i>Low</i>.</p>
+
+<p><i>Lower Case.</i> See § 3.</p>
+
+
+<p class="center">M</p>
+
+<p>m <i>Thick</i>. See § 13. ¶ 1.</p>
+
+<p><i>Make a Measure.</i> See § 22. ¶ 4.</p>
+
+<p><i>Make ready the Form.</i> See § 24. ¶ 7.</p>
+
+<p><i>Male Gage.</i> The outer <i>Gage</i>, or outer <i>Screw</i>, that
+enters or fits into its <i>Match Gage</i> or <i>Screw</i>, &amp;c.</p>
+
+<p><i>Mallet.</i> See § 9.</p>
+
+<p><i>Matrice.</i> See § 17. ¶ 1.</p>
+
+<p><i>Matter.</i> The series of the discourse of the <i>Compositers
+Copy</i>.</p>
+
+<p><span class="pagenum" id="Page_385">385</span></p>
+
+<p><i>Measure.</i> The width of a <i>Page</i>. See <i>Composing-Stick</i>.</p>
+
+<p><i>Mettle.</i> See § 18. ¶ 2.</p>
+
+<p><i>Mold.</i> See § 15. ¶ 1.</p>
+
+<p><i>Monk.</i> When the <i>Press-man</i> has not <i>Destributed</i>
+his <i>Balls</i>, some splotches of <i>Inck</i> may lye on one or
+more of them, which in <i>Beating</i> he delivers upon
+the <i>Form</i>; so that the Sheet Printed on has a
+black blotch on it: Which Blotch is called a
+<i>Monk</i>.</p>
+
+<p><i>Mouth-piece.</i> See § 15. ¶ 1.</p>
+
+
+<p class="center">N</p>
+
+<p>n <i>Thick</i>. See § 13. ¶ 1.</p>
+
+<p><i>Naked Form</i>, or <i>Page</i>, is when the <i>Furniture</i> is
+taken from about all sides of the <i>Form</i> or <i>Page</i>. See
+§ 22. ¶ 7.</p>
+
+<p><i>Neck of a Letter.</i> So much of the <i>Punch</i> as is Sunk
+into the <i>Matrice</i> is called the <i>Neck</i>; and when that
+<i>Letter</i> is <i>Cast</i> of <i>Mettle</i>, it is so much as comes above
+the Square of the <i>Shank</i>, <i>viz.</i> above the <i>Beard</i>.</p>
+
+<p><i>Nick.</i> See § 15. ¶ 1.</p>
+
+<p><i>Nomparel.</i> See § 2. ¶ 2.</p>
+
+<p><i>Notch of the Matrice.</i> See § 17. ¶ 2.</p>
+
+<p><i>Notes.</i> <i>Quotations</i> down the side of a <i>Page</i> are called
+<i>Notes</i>.</p>
+
+<p><i>Number Laid</i> on. See <i>Lay on</i>.</p>
+
+<p><i>Nut of the Spindle.</i> The <i>Female Screw</i> that receives
+the <i>Worms</i> of the <i>Spindle</i>.</p>
+
+
+<p class="center">O</p>
+
+<p><i>Odd Page.</i> The First, Third, Fifth, Seventh, and
+all un-even numbred <i>Pages</i> are <i>Odd Pages</i>.</p>
+
+<p><i>Off.</i> A <i>Press-man</i> usually says, <i>I am off</i>, meaning he
+<span class="pagenum" id="Page_386">386</span>has <i>Wrought off</i> his <i>Token</i>, his <i>Heap</i>, his <i>Form</i>.</p>
+
+<p><i>Open Matter.</i> Full of <i>Breaks</i> and <i>Whites</i>.</p>
+
+<p><i>Open Furnance.</i> See § 18. ¶ 2.</p>
+
+<p><i>Open the Form.</i> See § 22. ¶ 2.</p>
+
+<p><i>Open Work.</i> See <i>Open Matter</i>.</p>
+
+<p><i>Over-run.</i> See § 22. ¶ 8.</p>
+
+<p><i>Out.</i> A <i>Compositer</i> usually says, <i>I am Out</i>, meaning
+he has <i>Set out</i> his <i>Page</i>, <i>Form</i>, or <i>Copy</i>. See also § 23.</p>
+
+<p><i>Out-Page.</i> In <i>Octavo’s</i>, <i>Twelves</i>, <i>Sixteens</i>, every
+<i>Out-side Page</i> in the Sheet is called an <i>Out-Page</i>, the
+rest are called <i>In-pages</i>.</p>
+
+<p><i>Out of Register.</i> Bad <i>Register</i>. See § 24. ¶ 7.</p>
+
+
+<p class="center">P</p>
+
+<p><i>Pale Colour.</i> If there be not <i>Blacking</i> enough in the
+<i>Inck</i>, or the <i>Form</i> be <i>Beaten</i> with too <i>Lean Balls</i>, the
+Work will be said to have a <i>Pale Colour</i>.</p>
+
+<p><i>Pallat.</i> See § 15. ¶ 1.</p>
+
+<p><i>Pan.</i> The great <i>Ladle</i> that <i>Founders</i> melt their
+<i>Mettle</i> in, when they are <i>Casting Letters</i>, is called the
+<i>Pan</i>. See also § 9. ¶ 18.</p>
+
+<p><i>Paper-bench.</i> See <i>Horse</i>.</p>
+
+<p><i>Paper-board.</i> See § 7.</p>
+
+<p><i>Paper the Case.</i> See § 22. ¶ 1.</p>
+
+<p><i>Paper Windows.</i> See Customs.</p>
+
+<p><i>Paper up Letter.</i> <i>Pages.</i> See § 22. ¶ 10.</p>
+
+<p><i>Pearl.</i> See § 2. ¶ 2.</p>
+
+<p><i>Peel.</i> See § 11. ¶ 22.</p>
+
+<p><i>Pelts.</i> Sheep Skins untan’d, used for <i>Ball Leathers</i>.</p>
+
+<p><i>Pica.</i> See § 2. ¶ 2.</p>
+
+<p><i>Picks.</i> When either pieces of the Skin or Film that
+grows on <i>Inck</i> with standing by, or any dirt get into
+<span class="pagenum" id="Page_387">387</span>the <i>Hollows</i> of the <i>Face</i> of the <i>Letter</i>, that Film or
+Dirt will fill or choak up the <i>Face</i> of the <i>Letter</i>, and
+Print Black; and is called a <i>Pick</i>; because the <i>Press-man</i>
+with the point of a Needle, picks it out.</p>
+
+<p><i>Pidgeon-holes.</i> See § 22. ¶ 24.</p>
+
+<table class="autotable3">
+<tr>
+<td class="tdl">
+<i>Plattin.</i><br>
+<i>Plattin-hooks.</i> <br>
+<i>Plattin-pan.</i><br>
+<i>Plattin-plate.</i><br>
+</td>
+<td class="tdc brwidth">
+
+<img src="images/rightbr.png" class="brace" alt="a curly brace">
+
+</td>
+<td class="tdl">
+See §9. ¶ 18
+</td>
+</tr>
+</table>
+
+<p><i>Play with Quadrats.</i> See Customs.</p>
+
+<p><i>Plow.</i> See § 20. ¶ 5.</p>
+
+<p><i>Points.</i> See § 11. ¶ 19. Also , ; : . - ? ! (’)
+[ * § †, and other marks, are all by <i>Printers</i> and
+<i>Founders</i> called <i>Points</i>.</p>
+
+<p><i>Point-holes.</i> The two Holes the <i>Points</i> prick in a
+Sheet of Paper. See § 22. ¶ 7.</p>
+
+<p><i>Point-Screws.</i> See § 11. ¶ 9.</p>
+
+<p><i>Press.</i> See § 10.</p>
+
+<p><i>Press-man.</i> See § 24. ¶ 1.</p>
+
+<p><i>Press goes.</i> When the <i>Press-men</i> are at Work, the
+<i>Press</i> is said to <i>Go</i>.</p>
+
+<p><i>Press goes Hard</i>, <i>Heavy</i>. See § 24. ¶ 5. and <i>Press
+goes Easie</i>, <i>Light</i>.</p>
+
+<p><i>Press stands still.</i> When the <i>Press-men</i> are not at
+Work, the <i>Press</i> is said to <i>stand still</i>.</p>
+
+<p><i>Press-stone.</i> See § 11. ¶ 17.</p>
+
+<p><i>Proof.</i> See § 24. ¶ 18.</p>
+
+<p><i>Proof Letters.</i> See § 16. ¶ 2.</p>
+
+<p><i>Proof Press.</i> See <i>Empty Press</i>.</p>
+
+<p><i>Print Hand.</i> See Plate 11, 12, 13, 14, 15, 16, 17.</p>
+
+<p><i>Pull</i>—— <i>Easie</i>, <i>Long</i>, <i>Short</i>, <i>Soft</i>. See § 24. ¶ 5.</p>
+
+<p><span class="pagenum" id="Page_388">388</span></p>
+
+<p><i>Punch.</i> See § 13. ¶ 1.</p>
+
+<p><i>Py.</i> when a <i>Page</i> is broken, those broken <i>Letters</i>
+are called <i>Py</i>. See <i>Broken Letter</i>.</p>
+
+
+<p class="center">Q</p>
+
+<p><i>Quadrats.</i> See § 19. ¶ 1.</p>
+
+<p><i>Quarters.</i> <i>Quarto’s</i>, <i>Octavo’s</i> and <i>Twelves Forms</i> are
+<i>Imposed</i> in <i>Quarters</i>. They are called <i>Quarters</i>, not
+from their equal divisions; but because they are <i>Imposed</i>
+and <i>Lockt up</i> apart. Thus half the <i>Short-Cross</i>
+in a <i>Twelves Form</i> is called a <i>Quarter</i>, though it be
+indeed but one Sixth part of the <i>Form</i>.</p>
+
+<p><i>Quoins.</i> See § 8.</p>
+
+<p><i>Quotation Quadrats</i>, Are <i>Cast</i> the heighth of the
+<i>Quotation</i>. They are <i>Cast</i> of different <i>Bodies</i>, that the
+<i>Compositer</i> may have choice of them to <i>Justifie</i> his
+<i>Notes</i> or <i>Quotations</i> exactly against the designed <i>Line</i>
+of the <i>Page</i>.</p>
+
+
+<p class="center">R</p>
+
+<p><i>Racks.</i> See § 11. ¶ 22. &amp; § 12. ¶ 19.</p>
+
+<p><i>Rag.</i> When <i>Letter Cast</i> has a Bur on any of its
+edges, that Bur is called a <i>Rag</i>.</p>
+
+<p><i>Register.</i> See § 15. ¶ 1. &amp; § 24. ¶ 7.</p>
+
+<p><i>Register-sheet.</i> The Sheet or Sheets Printed to
+make <i>Register</i> with.</p>
+
+<p><i>Reteration.</i> The <i>Second Form</i>, or the <i>Form</i> Printed
+on the backside of the <i>White Paper</i>.</p>
+
+<p><i>Revise.</i> See § 23.</p>
+
+<p><i>Ribs.</i> See § 10. ¶ 8. &amp; § 11. ¶ 15.</p>
+
+<p><i>Riglet.</i> Is a sort of <i>Furniture</i> of an equal Thickness
+all its Length. It is <i>Quadrat</i> high, of several Thicknesses,
+viz. a <i>Nomparel</i>, <i>Brevier</i>, <i>Long-primmer</i>, <i>Pica</i>,
+&amp;c. Thick.</p>
+
+<p><span class="pagenum" id="Page_389">389</span></p>
+
+<p><i>Rince the Form.</i> See § 22. ¶ 2.</p>
+
+<p><i>Rincing-Trough.</i> The Trough <i>Forms</i> are <i>Rinced</i> in.</p>
+
+<p><i>Rise.</i> A <i>Form</i> is said to <i>Rise</i>, when in Rearing it off
+the <i>Correcting-stone</i> no Letter or <i>Furniture</i>, &amp;c. stay
+behind. See § 22. ¶ 7.</p>
+
+<p><i>Rounce.</i> See § 11. ¶ 16.</p>
+
+<p><i>Rowl up the Ball Leathers.</i> See § 24. ¶ 18.</p>
+
+<p><i>Rub Letter.</i> See § 19. ¶ 4.</p>
+
+<p><i>Rubs not.</i> When the <i>Shank</i> is <i>Cast</i> too <i>Thin</i>, that in
+Rubbing part of the <i>Face</i> or the <i>Topping</i> or <i>Footing</i>
+<i>Rubs</i> away: <i>Founders</i> say, <i>It does not Rub</i>.</p>
+
+<p><i>Rubs well.</i> When the <i>Shank</i> of a <i>Letter</i> has a proper
+Thickness, <i>Founders say, It Rubs well</i>.</p>
+
+<p><i>Rub out Inck.</i> See § 24. ¶ 11.</p>
+
+<p><i>Rules.</i> viz. <i>Brass Rules</i>. See § 2. ¶ 2.</p>
+
+<p><i>Run in the Carriage.</i> See § 24. ¶ 15.</p>
+
+<p><i>Runs on Sorts</i>, when <i>Matter</i> runs much on some
+few Sorts of <i>Letters</i>, they say, <i>it Runs on Sorts</i>, See
+<i>Sorts</i>.</p>
+
+<p><i>Run out from Copy.</i> See <i>Drive out</i>.</p>
+
+
+<p class="center">S</p>
+
+<p><i>Scaboard.</i> See § 8.</p>
+
+<p><i>Second at the Press.</i> See § 24. ¶ 15.</p>
+
+<p><i>Second Pull.</i> See § 11. ¶ 16. Considerations 8. &amp;
+§ 24. ¶ 15.</p>
+
+<p><i>Sets Foul.</i> See <i>foul Proof</i>.</p>
+
+<p><i>Sets Clean.</i> See <i>Clean Proof</i>.</p>
+
+<p><i>Sets Close.</i> See <i>Get in</i>.</p>
+
+<p><i>Sets Wide.</i> See <i>Drive out</i>.</p>
+
+<p><i>Set out Paper.</i> See § 25. ¶ 5.</p>
+
+<p><i>Set the Rounce.</i> See § 24. ¶ 3.</p>
+
+<p><i>Sets off.</i> Work that is newly <i>Wrought off</i> at the <i>Press</i>
+<span class="pagenum" id="Page_390">390</span>often <i>Sets off</i>, especially if it be <i>Fat Beaten</i> with <i>Soft
+Inck</i>: For when it comes to be <i>Beaten</i>, or sometimes
+only hard prest by the <i>Book-binder</i>, the moist <i>Inck</i>
+spreads and delates it self round about the <i>Face</i> of
+every <i>Letter</i>, and sullies and stains the whole <i>White
+Paper</i>.</p>
+
+<p><i>Shake.</i> See § 19. ¶ 1.</p>
+
+<p><i>Shank</i>, the square <i>Mettle</i> the <i>Face</i> of a <i>Letter</i> stands
+on, is called the <i>Shank</i> of a <i>Letter</i>.</p>
+
+<p><i>Sheeps-foot.</i> See § 11. ¶ 20.</p>
+
+<p><i>Shooting-stick.</i> See § 9. ¶ 2.</p>
+
+<p><i>Short-cross.</i> See <i>Chase</i>.</p>
+
+<p><i>Short-Page.</i> See § 12. ¶ 5.</p>
+
+<p><i>Side-stick.</i> See § 8.</p>
+
+<p><i>Signature.</i> See § 22. ¶ 4.</p>
+
+<p><i>Sinck Matrices.</i> See <i>Sinck Punches</i>.</p>
+
+<p><i>Sinck Punches.</i> See § 17. ¶ 1.</p>
+
+<p><i>Slice.</i> See § 11. ¶ 11.</p>
+
+<p><i>Sliding-Gage.</i> See § 12. ¶ 4.</p>
+
+<p><i>Sliding-Socket.</i> See § 12. ¶ 4.</p>
+
+<p><i>Small Numbers.</i> Under 1500 <i>Laid on</i> is accounted
+a <i>Small Number</i>. See <i>Great Numbers</i>; and See <i>Lay on</i>.</p>
+
+<p><i>Smoak Vent.</i> See § 18. ¶ 1.</p>
+
+<p><i>Smout.</i> 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 <i>Smouting</i>.</p>
+
+<p><i>Soaking Pull.</i> See § 24. ¶ 5.</p>
+
+<p><i>Soft Pull.</i> ibid.</p>
+
+<p><i>Soft Inck.</i> <i>Inck</i> or <i>Varnish</i> moderately boiled. See §
+11. ¶ 23.</p>
+
+<p><i>Solace.</i> See Customs.</p>
+
+<p><span class="pagenum" id="Page_391">391</span></p>
+
+<p><i>Sop the Balls.</i> When a <i>Press-man</i> has taken too much
+<i>Inck</i>, he is said to <i>Sop the Balls</i>.</p>
+
+<p><i>Sorts.</i> The <i>Letters</i> that lye in every <i>Box</i> of the
+<i>Case</i> are separately called <i>Sorts</i> in <i>Printers</i> and <i>Founders</i>
+Language; Thus a is a <i>Sort</i>, b is a <i>Sort</i>, c is a
+<i>Sort</i>, <i>&amp;c.</i></p>
+
+<p><i>Space Thick</i>, <i>Space Thin</i>. See § 12. ¶ 1.</p>
+
+<p><i>Spindle.</i> See § 11. ¶ 12. 16.</p>
+
+<p><i>Spirit.</i> See <i>Devil</i>.</p>
+
+<p><i>Spring.</i> See § 15. ¶ 1.</p>
+
+<p><i>Squabble.</i> A <i>Page</i> or <i>Form</i> is <i>Squabbled</i> when the
+<i>Letter</i> of one or more Lines are got into any of the
+adjacent <i>Lines</i>; or that the <i>Letter</i> or <i>Letters</i> are
+twisted about out of their square Position.</p>
+
+<p><i>Stem.</i> The strait <i>Flat</i> stroaks of a straight <i>Letter</i> is
+called <i>Stem</i>. See § 14. ¶ 1.</p>
+
+<p><i>Stick.</i> The <i>Composing-stick</i> commonly so called.</p>
+
+<p><i>Stickfull.</i> See § 22. ¶ 4.</p>
+
+<p><i>Stiff Justifying.</i> See § 22. ¶ 4.</p>
+
+<p><i>Stirring-Pote.</i> See § 18. ¶ 2.</p>
+
+<p><i>Stoak-hole.</i> See § 18. ¶ 1.</p>
+
+<p><i>Stoaking-Rod.</i> A Rod of thick Wyer put into such
+an Handle as is the Handle of a <i>Letter-Ladle</i>. Founders
+use it to stir up the Fire in the <i>Furnace</i>.</p>
+
+<p><i>Stone.</i> See § 19. ¶ 1.</p>
+
+<p><i>Stool.</i> See § 15. ¶ 1.</p>
+
+<p><i>Stop.</i> See § 19. ¶ 1.</p>
+
+<p><i>Strip a Form.</i> See § 22. ¶ 2.</p>
+
+<p><i>Stroaks</i>, are fat, lean, fine, hair. See § 14. ¶ 2.</p>
+
+<p><i>Superiour Letters</i>, are often set to <i>Marginal Notes</i>:
+They are <i>Letters</i> of a <i>Small Face</i>, high <i>Justifyed</i> by
+<span class="pagenum" id="Page_392">392</span>the Founder in the <i>Mold</i> near the <i>Top-Line</i>.</p>
+
+<p><i>Swash-Letters.</i> See Plate 15.</p>
+
+
+<p class="center">T</p>
+
+<p><i>Tache.</i> A small Board with <i>Notches</i> in its Fore-edge;
+either nailed upon the Fore-edge of the <i>Work-Bench</i>,
+or screwed into the <i>Vice</i>; so as the <i>Notches</i> may stand
+forwards to rest the <i>Shank</i> of a <i>Punch</i> in. See § 12 ¶
+9.</p>
+
+<p><i>Tail of Letters.</i> See § 14. ¶ 2.</p>
+
+<p><i>Take off.</i> See Customs.</p>
+
+<p><i>Taking off.</i> See § 22. ¶ 3.</p>
+
+<p><i>Take up.</i> See § 22. ¶ 3.</p>
+
+<p><i>Take up a Sheet.</i> See Customs.</p>
+
+<p><i>Take Inck.</i> See § 24. ¶ 10.</p>
+
+<p><i>Teze Wooll, or Hair</i>. See § 24. ¶ 18.</p>
+
+<p><i>Thick Letter.</i> A <i>Fount of Letter</i> that <i>Rubs</i> not high
+enough into the <i>Neck</i> is called <i>Thick Letter</i>; and consequently
+will <i>Drive out Matter</i>. See § 17.  ¶ 2.</p>
+
+<p><i>Thick Space.</i> See § 13. ¶ 1.</p>
+
+<p><i>Thin Space</i>, ought by a strict orderly and methodical
+measure to be made of the Thickness of the
+seventh part of the <i>Body</i>; though <i>Founders</i> make
+them indifferently Thicker or Thinner.</p>
+
+<p><i>Throat.</i> See § 15. ¶ 1. &amp; 6.</p>
+
+<p><i>Till.</i> See § 10. ¶ 6.</p>
+
+<p><i>Toe of the Spindle.</i> See § 11. ¶ 12.</p>
+
+<p><i>Token.</i> See § 25. ¶ 5.</p>
+
+<p><i>Token Sheet.</i> See § 24. ¶ 9. 15.</p>
+
+<p><i>Tongue.</i> See § 20. ¶ 3.</p>
+
+<p><i>Tooth of the Plow.</i> The pointed edge that Cuts the
+Groove in the bottom of the Shanks in the Blocks.
+See § 21. ¶ 5.</p>
+
+<p><span class="pagenum" id="Page_393">393</span></p>
+
+<p><i>Transpose.</i> See § 22. ¶ 7. &amp; § 23.</p>
+
+<p><i>Turn for a Letter.</i> It often happens when <i>Matter</i>
+Runs upon <i>Sorts</i>, especially in <i>Capitals</i>, or some
+other Sorts seldom used, that the <i>Compositer</i> wants
+that Sort the <i>Matter Runs on</i>; wherefore he is loath
+to <i>Destribute Letter</i> for that Sort; or perhaps his <i>Case</i>
+is otherwise Full. Wherefore instead of that <i>Letter</i>
+or Sort, he <i>Turns</i> a <i>Letter</i> of the same Thickness,
+with the <i>Foot</i> of the <i>Shank</i> upwards, and the <i>Face</i>
+downwards; which <i>Turned Letter</i> being easie to
+be seen, he afterwards when he can accommodate
+himself with the right Sort, takes out, and puts
+the right <i>Letter</i> in its room. It is also a word used
+jocosely in the <i>Chappel</i>, when any of the Workmen
+complain of want of Money, or any thing else, he
+shall by another Workman be answered, <i>Turn for it</i>,
+viz. Make shift for it.</p>
+
+<p><i>Tympan.</i> See § 10. ¶ 10.</p>
+
+<p><i>Tympan-Cloath.</i> See § 24. ¶ 18.</p>
+
+<p><i>Tympan-sheet.</i> See § 24. ¶ 7.</p>
+
+
+<p class="center">V</p>
+
+<p><i>Vantage.</i> When a <i>White-page</i> or more happens in
+a Sheet, the <i>Compositer</i> calls that <i>Vantage</i>: So does
+the <i>Press-man</i>, when a <i>Form</i> of one <i>Pull</i> comes to
+the <i>Press</i>.</p>
+
+<p><i>Varnish.</i> See § 11. ¶ 23.</p>
+
+<p><i>Visorum.</i> See § 22. ¶ 4.</p>
+
+<p><i>Un-lock the Form.</i> See § 22. ¶ 2.</p>
+
+<p><i>Underlaid.</i> A Phrase used by <i>Press-men</i> for the
+<i>Light</i> and <i>Easie</i>, or <i>Heavy</i> and <i>Hard Running in</i> of
+the <i>Carriage</i>. Thus they say, <i>The Press goes light and
+<span class="pagenum" id="Page_394">394</span>easie under Hand</i>, or it <i>goes heavy or hard under
+Hand</i>.</p>
+
+<p><i>Upper Hand</i>, when the <i>Spindle</i> goes soft and easie,
+the <i>Press-men</i> say, <i>It goes well under Hand</i>, or
+<i>Above Hand</i>. But the contrary if it goes <i>Hard and
+Heavy</i>.</p>
+
+
+<p class="center">W</p>
+
+<p><i>Wash the Form.</i> See § 24. ¶ 18.</p>
+
+<p><i>Way-goose.</i> See Customs.</p>
+
+<p><i>Weak-Inck.</i> See <i>Soft-Inck</i>.</p>
+
+<p><i>Wedge.</i> See § 20. ¶ 3.</p>
+
+<p><i>White-line.</i> A Line of <i>Quadrats</i>.</p>
+
+<p><i>White-Page.</i> A <i>Page</i> that no <i>Matter</i> comes in.</p>
+
+<p><i>White-Paper.</i> Although the first <i>Form</i> be Printed
+off, yet <i>Press-men</i> erronically call that <i>Heap White-Paper</i>,
+till the <i>Reteration</i> be Printed.</p>
+
+<p><i>Whole-press.</i> See <i>Full-Press</i>.</p>
+
+<p><i>Wind-furnace.</i> See <i>Open-furnace</i>.</p>
+
+<p><i>Wind-hole.</i> See § 18. ¶ 1.</p>
+
+<p><i>Wood.</i> See § 15. ¶ 11.</p>
+
+<p><i>Wyer.</i> See § 15. ¶ 9.</p>
+
+
+<p class="center p2">
+  FINIS.
+</p>
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+<div class="chapter">
+
+<p><span class="pagenum"><a id="Page_395"></a><a id="Page_396"></a><a id="Page_397"></a>397</span></p>
+
+
+  <h2 class="nobreak" id="TYPOGRAPHICAL_CORRECTIONS">
+    TYPOGRAPHICAL CORRECTIONS
+  </h2>
+</div>
+
+
+<table class="autotable3 tablecenter">
+<tr>
+<td class="tdr">
+</td>
+<td class="tdr">
+</td>
+<td class="tdc">
+In
+</td>
+<td class="tdc">
+In
+</td>
+</tr>
+<tr>
+<td class="tdc">
+Page
+</td>
+<td class="tdc">
+Line
+</td>
+<td class="tdc">
+Original
+</td>
+<td class="tdc">
+Reprint
+</td>
+</tr>
+<tr>
+<td class="tdr">
+17
+</td>
+<td class="tdr">
+9
+</td>
+<td class="tdl">
+<i>wieght</i>
+</td>
+<td class="tdl">
+<i>weight</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+17
+</td>
+<td class="tdr">
+23
+</td>
+<td class="tdl">
+<i>so</i>
+</td>
+<td class="tdl">
+<i>to</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+19
+</td>
+<td class="tdr">
+15
+</td>
+<td class="tdl">
+<i>witout</i>
+</td>
+<td class="tdl">
+<i>without</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+20
+</td>
+<td class="tdr">
+23
+</td>
+<td class="tdl">
+<i>thanthe</i>
+</td>
+<td class="tdl">
+<i>than the</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+22
+</td>
+<td class="tdr">
+15
+</td>
+<td class="tdl">
+<i>batttens</i>
+</td>
+<td class="tdl">
+<i>battens</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+36
+</td>
+<td class="tdr">
+21
+</td>
+<td class="tdl">
+<i>containiug</i>
+</td>
+<td class="tdl">
+<i>containing</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+42
+</td>
+<td class="tdr">
+31
+</td>
+<td class="tdl">
+<i>hyphen</i> inserted after
+</td>
+<td class="tdl">
+<i>Ten</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+47
+</td>
+<td class="tdr">
+25
+</td>
+<td class="tdl">
+<i>clapse</i>
+</td>
+<td class="tdl">
+<i>claspe</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+51
+</td>
+<td class="tdr">
+15
+</td>
+<td class="tdl">
+<i>an</i>
+</td>
+<td class="tdl">
+<i>and</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+56
+</td>
+<td class="tdr">
+3
+</td>
+<td class="tdl">
+<i>betwen</i>
+</td>
+<td class="tdl">
+<i>between</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+63
+</td>
+<td class="tdr">
+7
+</td>
+<td class="tdl">
+<i>Whether</i>
+</td>
+<td class="tdl">
+<i>Whither</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+64
+</td>
+<td class="tdr">
+4
+</td>
+<td class="tdl">
+doublet of <i>it</i> corrected.
+</td>
+<td class="tdl">
+
+</td>
+</tr>
+<tr>
+<td class="tdr">
+65
+</td>
+<td class="tdr">
+5
+</td>
+<td class="tdl">
+doublet of <i>it</i> corrected.
+</td>
+<td class="tdl">
+
+</td>
+</tr>
+<tr>
+<td class="tdr">
+65
+</td>
+<td class="tdr">
+18
+</td>
+<td class="tdl">
+<i>to</i>
+</td>
+<td class="tdl">
+<i>too</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+70
+</td>
+<td class="tdr">
+19
+</td>
+<td class="tdl">
+<i>Serews</i>
+</td>
+<td class="tdl">
+<i>Screws</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+77
+</td>
+<td class="tdr">
+15
+</td>
+<td class="tdl">
+doublet of <i>much</i> corrected.
+</td>
+<td class="tdl">
+</td>
+</tr>
+<tr>
+<td class="tdr">
+87
+</td>
+<td class="tdr">
+17
+</td>
+<td class="tdl">
+doublet of <i>the</i> corrected.
+</td>
+<td class="tdl">
+</td>
+</tr>
+<tr>
+<td class="tdr">
+89
+</td>
+<td class="tdr">
+1
+</td>
+<td class="tdl">
+<i>parenthesis</i> inserted.
+</td>
+<td class="tdl">
+</td>
+</tr>
+<tr>
+<td class="tdr">
+90
+</td>
+<td class="tdr">
+3
+</td>
+<td class="tdl">
+<i>in</i>
+</td>
+<td class="tdl">
+<i>into</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+92
+</td>
+<td class="tdr">
+9
+</td>
+<td class="tdl">
+<i>parenthesis</i> inserted.
+</td>
+<td class="tdl">
+</td>
+</tr>
+<tr>
+<td class="tdr">
+103
+</td>
+<td class="tdr">
+12
+</td>
+<td class="tdl">
+<i>Pnnch</i>
+</td>
+<td class="tdl">
+<i>Punch</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+120
+</td>
+<td class="tdr">
+5
+</td>
+<td class="tdl">
+doublet of <i>the</i> corrected.
+</td>
+<td class="tdl">
+</td>
+</tr>
+<tr>
+<td class="tdr">
+120
+</td>
+<td class="tdr">
+10
+</td>
+<td class="tdl">
+<i>a</i>
+</td>
+<td class="tdl">
+<i>at</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+136
+</td>
+<td class="tdr">
+30
+</td>
+<td class="tdl">
+<i>peice</i>
+</td>
+<td class="tdl">
+<i>piece</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+141
+</td>
+<td class="tdr">
+16
+</td>
+<td class="tdl">
+<i>Bottome</i>
+</td>
+<td class="tdl">
+<i>Bottom</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+145
+</td>
+<td class="tdr">
+9
+</td>
+<td class="tdl">
+<i>he</i>
+</td>
+<td class="tdl">
+<i>the</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+150
+</td>
+<td class="tdr">
+24
+</td>
+<td class="tdl">
+<i>puuch</i>
+</td>
+<td class="tdl">
+<i>punch</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+200
+</td>
+<td class="tdr">
+26
+</td>
+<td class="tdl">
+<i>in</i>
+</td>
+<td class="tdl">
+<i>is</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+211
+</td>
+<td class="tdr">
+17
+</td>
+<td class="tdl">
+<i>nor</i>
+</td>
+<td class="tdl">
+<i>not</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+213
+</td>
+<td class="tdr">
+24
+</td>
+<td class="tdl">
+<i>Lettets</i>
+</td>
+<td class="tdl">
+<i>Letters</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+221
+</td>
+<td class="tdr">
+26
+</td>
+<td class="tdl">
+<i>n</i>
+</td>
+<td class="tdl">
+<i>in</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+222
+</td>
+<td class="tdr">
+11
+</td>
+<td class="tdl">
+<i>Rnn</i>
+</td>
+<td class="tdl">
+<i>Run</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+237
+</td>
+<td class="tdr">
+16
+</td>
+<td class="tdl">
+<i>a bout</i>
+</td>
+<td class="tdl">
+<i>about</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+239
+</td>
+<td class="tdr">
+16
+</td>
+<td class="tdl">
+<i>thrust</i>
+</td>
+<td class="tdl">
+<i>thrusts</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+247
+</td>
+<td class="tdr">
+3
+</td>
+<td class="tdl">
+<i>Chapher</i>
+</td>
+<td class="tdl">
+<i>Chapter</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+247
+</td>
+<td class="tdr">
+11
+</td>
+<td class="tdl">
+<i>Over-rnn</i>
+</td>
+<td class="tdl">
+<i>Over-run</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+248
+</td>
+<td class="tdr">
+30
+</td>
+<td class="tdl">
+<i>Fnrniture</i>
+</td>
+<td class="tdl">
+<i>Furniture</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+253
+</td>
+<td class="tdr">
+7
+</td>
+<td class="tdl">
+<i>proeeed</i>
+</td>
+<td class="tdl">
+<i>proceed</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+267
+</td>
+<td class="tdr">
+16
+</td>
+<td class="tdl">
+<i>performanee</i>
+</td>
+<td class="tdl">
+<i>performance</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+276
+</td>
+<td class="tdr">
+2
+</td>
+<td class="tdl">
+<i>hatdens</i>
+</td>
+<td class="tdl">
+<i>hardens</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+294
+</td>
+<td class="tdr">
+24
+</td>
+<td class="tdl">
+<i>Rnns</i>
+</td>
+<td class="tdl">
+<i>Runs</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+297
+</td>
+<td class="tdr">
+6
+</td>
+<td class="tdl">
+<i>wiIl</i>
+</td>
+<td class="tdl">
+<i>will</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+303
+</td>
+<td class="tdr">
+15
+</td>
+<td class="tdl">
+<i>Wot</i>
+</td>
+<td class="tdl">
+<i>Wet</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+304
+</td>
+<td class="tdr">
+26
+</td>
+<td class="tdl">
+<i>Srrong</i>
+</td>
+<td class="tdl">
+<i>Strong</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+307
+</td>
+<td class="tdr">
+11
+</td>
+<td class="tdl">
+<i>is</i>
+</td>
+<td class="tdl">
+<i>it</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+307
+</td>
+<td class="tdr">
+27
+</td>
+<td class="tdl">
+<i>Bnll</i>
+</td>
+<td class="tdl">
+<i>Ball</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+308
+</td>
+<td class="tdr">
+6
+</td>
+<td class="tdl">
+<i>Seeeps</i>
+</td>
+<td class="tdl">
+<i>Sheeps</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+322
+</td>
+<td class="tdr">
+22
+</td>
+<td class="tdl">
+<i>parenthesis</i> inserted.
+</td>
+<td class="tdl">
+</td>
+</tr>
+<tr>
+<td class="tdr">
+332
+</td>
+<td class="tdr">
+22
+</td>
+<td class="tdl">
+<i>thc</i>
+</td>
+<td class="tdl">
+<i>the</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+378
+</td>
+<td class="tdr">
+19
+</td>
+<td class="tdl">
+<i>to</i>
+</td>
+<td class="tdl">
+<i>too</i>.
+</td>
+</tr>
+<tr>
+<td class="tdr">
+391
+</td>
+<td class="tdr">
+8
+</td>
+<td class="tdl">
+<i>o</i>
+</td>
+<td class="tdl">
+§
+</td>
+</tr>
+<tr>
+<td class="tdr">
+392
+</td>
+<td class="tdr">
+9
+</td>
+<td class="tdl">
+<i>a</i>
+</td>
+<td class="tdl">
+§
+</td>
+</tr>
+<tr>
+<td class="tdr">
+393
+</td>
+<td class="tdr">
+6
+</td>
+<td class="tdl">
+<i>ot</i>
+</td>
+<td class="tdl">
+<i>or</i>.
+</td>
+</tr>
+</table>
+
+
+
+<hr class="chap x-ebookmaker-drop" aria-hidden="true">
+<div class="chapter">
+
+<p><span class="pagenum"><a id="Page_398"></a><a id="Page_399"></a>399</span></p>
+
+
+  <h2 class="nobreak" id="NOTES">
+    NOTES
+  </h2>
+</div>
+
+
+<p><span class="smcap">Title.</span> 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.</p>
+
+
+<p><span class="smcap">The Portraits.</span> 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.”</p>
+
+
+<p><span class="smcap">The Dedication.</span> “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
+<span class="pagenum" id="Page_400">400</span>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.</p>
+
+<p>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:</p>
+
+<div class="poetry-container">
+  <div class="poetry">
+    <div class="stanza">
+      <div class="verse indent0">I do not love thee, Doctor Fell,</div>
+      <div class="verse indent0">The reason why I cannot tell;</div>
+      <div class="verse indent0">But this alone I know full well,</div>
+      <div class="verse indent0">I do not love thee, Doctor Fell.</div>
+    </div>
+  </div>
+</div>
+
+
+<p>2, 3. <span class="smcap">The Origin of the Invention.</span> 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.
+<span class="pagenum" id="Page_401">401</span>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.”</p>
+
+
+<p>6, 7. <span class="smcap">The Branches of Typography.</span> 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.</p>
+
+
+<p><span class="smcap">Advertisement</span> 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.</p>
+
+<p>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<i>d.</i> for
+each Printed Sheet. And 2<i>d.</i> for every Print taken off of Copper
+Cuts.” At these rates the complete book on printing, unbound,
+<span class="pagenum" id="Page_402">402</span>then cost 14<i>s.</i> 4<i>d.</i> 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.</p>
+
+<p>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.</p>
+
+
+<p>9. <span class="smcap">Printing-house.</span> 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.”</p>
+
+
+<p>10. <span class="smcap">The Cases and Press.</span> 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.</p>
+
+
+<p>11. <span class="smcap">Windows</span> 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.</p>
+
+<p><span class="pagenum" id="Page_403">403</span></p>
+
+
+<p>13. <span class="smcap">Font.</span> Moxon’s etymology is not approved by recent
+dictionary-makers, who tell us that font is derived from the
+French <i>fonte</i>, a casting, through <i>fondre</i>, 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.</p>
+
+
+<p>14. <span class="smcap">Sizes and Proportions of Type.</span> 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.</p>
+
+<p>Pick is the name given to any bit of dirt that falls in the
+counter of a type, and fouls the print.</p>
+
+<p>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.</p>
+
+<p>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
+<span class="pagenum" id="Page_404">404</span>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.</p>
+
+<p>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.</p>
+
+
+<p>15. <span class="smcap">The Face or Style of Van Dijk Types.</span> “... 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.</p>
+
+<p>“... 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
+<span class="pagenum" id="Page_405">405</span>of the Dickinson foundry, are practical protests (possibly too
+emphatic) against the effeminacies of the modern school of weak
+and delicate letter.</p>
+
+<p>“... 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.</p>
+
+<p>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.</p>
+
+
+<p>16. <span class="smcap">The Counters of Types.</span> 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.</p>
+
+
+<p>17. <span class="smcap">Types made for Books.</span> 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.</p>
+
+<p><span class="pagenum" id="Page_406">406</span></p>
+
+<p><span class="smcap">The Beard</span> 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.</p>
+
+
+<p>18. <span class="smcap">Decay of Engraving on Wood.</span> “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.</p>
+
+<p><span class="smcap">The “Planishing” of Brass Rule</span> was the rolling of the
+metal in sheets before it was cut in strips type-high.</p>
+
+
+<p>19. <span class="smcap">The Lay of the Type-cases.</span> 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.</p>
+
+<p>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
+<span class="pagenum" id="Page_407">407</span>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.</p>
+
+
+<p>25. <span class="smcap">The Galley</span> 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.</p>
+
+
+<p>28. <span class="smcap">A Correcting-stone</span> “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.</p>
+
+
+<p>28. <span class="smcap">Scabbord</span> 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.</p>
+
+<p><span class="smcap">Gutter-sticks</span> 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.</p>
+
+<p><span class="smcap">Quoins</span> “about three inches square” are not to be found in
+any modern printing-office.</p>
+
+<p><span class="pagenum" id="Page_408">408</span></p>
+
+
+<p>31. <span class="smcap">The “Dressing-block”</span> 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.</p>
+
+<p>“<span class="smcap">Sheers</span>, 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.</p>
+
+
+<p>32. <span class="smcap">The Earliest Composing-sticks</span> 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.</p>
+
+
+<p>34. <span class="smcap">A Chase</span> “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.</p>
+
+
+<p>37. <span class="smcap">The Press</span> 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
+<span class="pagenum" id="Page_409">409</span>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.</p>
+
+<p>The form of type to be printed was placed on the bed, or, as it
+was then called, the stone (marked <i>l</i> 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 <i>y</i> in plate), he drew the form of type
+half way under the platen (marked <i>c</i> 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 <i>q</i> in plate) he pulled this bar toward him. This pull
+moved downward the screw and its attached spindle (marked <i>i l m</i>
+in the plate). The pressure so made, resisted above by the head
+<i>e</i>, and below by the winter <i>d</i>, 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
+<span class="pagenum" id="Page_410">410</span>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.</p>
+
+
+<p>38. <span class="smcap">Willem Jansen Blaew</span>, 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.</p>
+
+<p><span class="smcap">Press-building</span> 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.</p>
+
+
+<p>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
+<span class="pagenum" id="Page_411">411</span>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.</p>
+
+
+<p>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.</p>
+
+
+<p>69. <span class="smcap">A Platen of Beech-wood</span> 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.</p>
+
+
+<p>70. <span class="smcap">The Points and Point-screws</span> 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.</p>
+
+
+<p>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
+<span class="pagenum" id="Page_412">412</span>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.</p>
+
+
+<p>73. <span class="smcap">The Lye-trough</span>, 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.</p>
+
+
+<p>74. <span class="smcap">The Paper-bench</span> 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.</p>
+
+<p><span class="smcap">The Rack</span> to hang paper on, and the <span class="smcap">Peel</span>, 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.</p>
+
+
+<p>75. <span class="smcap">Concerning Ink.</span> 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
+<span class="pagenum" id="Page_413">413</span>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.</p>
+
+<p>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.</p>
+
+
+<p>85. <span class="smcap">Letter-cutting</span> 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
+<span class="pagenum" id="Page_414">414</span>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.</p>
+
+
+<p>118. <span class="smcap">The Swash-letters</span> 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.</p>
+
+
+<p>
+  119. <span class="smcap">Emerick</span>, emery.
+</p>
+
+
+<p>120. <span class="smcap">Mr. Walberger of Oxford</span> 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.</p>
+
+
+<p>124. <span class="smcap">Stem</span> is the thick-stroke of a letter, sometimes called
+by type-founders the body-mark.</p>
+
+
+<p>125. <span class="smcap">English Letter</span>, as mentioned on this page, means
+Old English, or black-letter.</p>
+
+<p>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.</p>
+
+<p>These proportions are no longer maintained. The stem is
+<span class="pagenum" id="Page_415">415</span>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.</p>
+
+<p>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.</p>
+
+
+<p>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.</p>
+
+<p>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
+<span class="pagenum" id="Page_416">416</span>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.</p>
+
+<p>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.</p>
+
+
+<p>135. <span class="smcap">Geat</span> 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.”</p>
+
+
+<p>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.</p>
+
+<p><span class="smcap">The Justifying of the Mould</span> 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
+<span class="pagenum" id="Page_417">417</span>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.</p>
+
+
+<p>145. <span class="smcap">The Dawk</span> 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.</p>
+
+
+<p>149. <span class="smcap">Matrices.</span> 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.</p>
+
+<p><span class="smcap">Counters.</span> 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
+<span class="pagenum" id="Page_418">418</span>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.</p>
+
+
+<p>153. <span class="smcap">The Justifying of the Matrices</span> 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.</p>
+
+<p>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.</p>
+
+
+<p>164. <span class="smcap">Making Metal.</span> 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,
+<span class="pagenum" id="Page_419">419</span>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.</p>
+
+
+<p>169. <span class="smcap">The Casting of Letters</span> 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.</p>
+
+
+<p>175. <span class="smcap">Tin.</span> 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.</p>
+
+<p><span class="smcap">The Rag</span>, 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.</p>
+
+
+<p>192. <span class="smcap">The Plowing of a Groove</span> 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.</p>
+
+<p><span class="pagenum" id="Page_420">420</span></p>
+
+
+<p>197, 198. <span class="smcap">Copy.</span> 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.</p>
+
+
+<p>199. <span class="smcap">Cases.</span> 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.</p>
+
+
+<p>201. <span class="smcap">Washing of Forms.</span> 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.</p>
+
+
+<p>207. <span class="smcap">Distribution.</span> 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.</p>
+
+
+<p>212. <span class="smcap">The Galley</span> 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.</p>
+
+
+<p>212. <span class="smcap">The Visorum</span>, or projecting copy-holder, is now out
+of use. This is to be regretted, for it brought the copy nearer to
+<span class="pagenum" id="Page_421">421</span>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.</p>
+
+
+<p>214. <span class="smcap">Reglets.</span> 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.</p>
+
+
+<p>218. <span class="smcap">Signatures.</span> 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.</p>
+
+<p>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.</p>
+
+<p>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
+<span class="pagenum" id="Page_422">422</span>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.</p>
+
+
+<p>220. <span class="smcap">Emphasis.</span> 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.</p>
+
+<p>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.</p>
+
+<p>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
+<span class="pagenum" id="Page_423">423</span>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.</p>
+
+<p>The mechanical directions concerning petty details of composition
+seem needlessly minute, but most of them are good, and
+are obeyed to this day.</p>
+
+
+<p>232. <span class="smcap">Of Imposing.</span> 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.</p>
+
+
+<p>238. <span class="smcap">Planing Down.</span> 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
+<span class="pagenum" id="Page_424">424</span>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.</p>
+
+
+<p>239. <span class="smcap">Locking-up.</span> 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.</p>
+
+
+<p>242. <span class="smcap">Correcting.</span> 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.</p>
+
+
+<p>260. <span class="smcap">Of the Corrector and his Office.</span> Moxon requires
+the corrector to be well skilled in “Latin, Greek, Hebrew,
+Syriack, Caldæ, French, Spanish, Italian, High Dutch,
+Saxon, Low Dutch, Welch, &amp;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
+<span class="pagenum" id="Page_425">425</span>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.”</p>
+
+<p>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.</p>
+
+
+<p>266. <span class="smcap">Alterations.</span> 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.</p>
+
+
+<p>270. <span class="smcap">The Fitting of the old Hand-press.</span> 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.”</p>
+
+
+<p>275. <span class="smcap">The Bedding of the Stone</span> as here described was in
+bran, but plaster of Paris was sometimes used.</p>
+
+<p>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.</p>
+
+
+<p>278. <span class="smcap">Of Hanging the Platen.</span> 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.</p>
+
+<p><span class="pagenum" id="Page_426">426</span></p>
+
+
+<p>281. <span class="smcap">Justifying the Head</span>, 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.</p>
+
+
+<p>287. Additional elasticity was given by the use of a blanket
+in two folds, or a doubled blanket.</p>
+
+
+<p>288. <span class="smcap">Making Register.</span> 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.</p>
+
+
+<p>291. <span class="smcap">The Underlaying</span> 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
+<span class="pagenum" id="Page_427">427</span>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.</p>
+
+
+<p>319. <span class="smcap">Working at Press.</span> 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.</p>
+
+<p><span class="smcap">Composition Inking-rollers</span> 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.</p>
+
+<p>The first printer in the United States to use composition rollers
+was Jonas Booth of New York, who made them in 1827.</p>
+
+
+<p>328. <span class="smcap">Printing in Red.</span> 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
+<span class="pagenum" id="Page_428">428</span>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.</p>
+
+
+<p>331. <span class="smcap">Printing in Gold.</span> 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!</p>
+
+
+<p>356. <span class="smcap">The Chapel.</span> 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
+<span class="pagenum" id="Page_429">429</span>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.</p>
+
+<p>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.”</p>
+
+<p>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
+<span class="pagenum" id="Page_430">430</span>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.</p>
+
+<p>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.</p>
+
+
+<p>361. <span class="smcap">Way-goose.</span> 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.</p>
+
+
+<p>363. <span class="smcap">The Company of Stationers</span> 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.</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+<div class="chapter transnote">
+<p class="center"> Transcriber’s Notes.</p>
+
+<p> Cover art created for this eBook is granted to the public domain.
+</p>
+
+</div>
+
+</main>
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78991 ***</div>
+</body>
+</html>
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author	www-data <www-data@mail.pglaf.org>	2026-07-01 11:23:16 -0700
committer	www-data <www-data@mail.pglaf.org>	2026-07-01 11:23:16 -0700
commit	1d2ace65f55206ec31ce366746fb501aeb64b1b1 (patch)
tree	c5c6503bac89ed6037d4ea4867097a106b283e50 /78991-h