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diff --git a/78991-h/78991-h.htm b/78991-h/78991-h.htm new file mode 100644 index 0000000..e695a6c --- /dev/null +++ b/78991-h/78991-h.htm @@ -0,0 +1,10040 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <meta name="viewport" content="width=device-width, initial-scale=1"> + <meta name="format-detection" content="telephone=no,date=no,address=no,email=no,url=no"> + <title> + Moxon's mechanick exercises | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .5em; + text-align: justify; + margin-bottom: .5em; +} + +.p2 {margin-top: 2em;} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: 33.5%; + margin-right: 33.5%; + clear: both; +} + +hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} +hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} +@media print { hr.chap {display: none; visibility: hidden;} } + +div.chapter {page-break-before: always;} +h2.nobreak {page-break-before: avoid;} + +.tablecenter { + margin-left: auto; + margin-right: auto; +} + + +.tdl {text-align: left;} +.tdr {text-align: right;} +.tdc {text-align: center;} + +.pagenum { + position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-style: normal; + font-weight: normal; + font-variant: normal; + text-indent: 0; +} + + +blockquote { + margin-top: 0; + margin-bottom: 0; + margin-left: 5%; + margin-right: 10%; +} + +.center {text-align: center; text-indent: 0;} + +.smcap {font-variant: small-caps;} + +.bb1 {border-bottom: 1px solid black;} +.bb2 {border-bottom: 1px solid black;padding-bottom:3px} +.bdotted {border-bottom: 3px dotted black;} +p.higher{line-height:1.2} + +.u {text-decoration: underline;} + +.norm {font-weight:400;font-size:1rem} + +.brace {height:5em; width:auto} + +.brwidth {min-width:10px} + +.glyph { + height: 1em; + width: auto; + vertical-align: middle; +} + +.glyph15 { + height: 1.5em; + width: auto; + vertical-align: middle; +} + +.glyphsmall { + height: 0.75em; + width: auto; + vertical-align: middle; +} + +img { + max-width: 100%; + height: auto; +} +img.w100 {width: 100%;} + + +.figcenter { + margin: auto; + text-align: center; + page-break-inside: avoid; + max-width: 100%; +} + +.poetry-container {display: flex; justify-content: center;} +.poetry-container {text-align: center;} +.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} +.poetry .stanza {margin: 1em auto;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + + +.transnote {background-color: #E6E6FA; + color: black; + font-size:small; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; +} + +.big {font-size:1.2em} +.huge {font-size:1.4em} + +.nw { + white-space: nowrap; +} + +a {text-decoration: none} + +.pagenum { + color: gray; +} + + + +table.autotable3 {border-collapse: collapse;} +table.autotable3 td, +table.autotable3 th {padding: 0.25em;} + +.poetry .indent0 {text-indent: -3.0em;} + + +.illowe30 {width: 30em;} + </style> +</head> + +<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>&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>&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>&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>, &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 &-<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>&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>&c.</i> according to +the number of <i>Sheets Quired</i> together. The second +<i>Quire</i> begins B, B 2, B 3, <i>&c.</i> The Third <i>Sheet</i> +C, <i>&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>&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>&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>&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>&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>&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>&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> +&s, <i>Abbreviations</i> or <i>Titled Letters</i>, <i>Abbreviate +Words</i>, &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>&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>&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>&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>&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>&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>&c.</i> and say Eight, Nine, Ten, +<i>&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>&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>&c.</i> I say Eight, Nine, +Ten, <i>&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>&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>&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>&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>&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>&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, &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, &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>&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>&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>&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>&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>&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>, &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>&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>, &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>&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>, &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>, &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, &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>&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>&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>, &c. or otherwise <i>Making Ready</i> +the <i>Form</i>, &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>, &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>, +&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>, &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>, &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>, &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>, &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>&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>, &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>, &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>&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, &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, &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>, &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>&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>&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>, &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>&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>&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. & 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, &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>, &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. & § 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. & § 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>, &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. &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>, &c.</p> + + +<p class="center">E</p> + +<p><i>Empty Case.</i> See § 22. ¶ 3. & <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>, &c. The <i>Hollow Gage</i>, or +<i>Hollow Screw</i> that receives its <i>Match Gage</i> or <i>Screw</i>, +&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. & § 24. ¶ 7. Considerations +8. & § 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. & § 24. ¶ 7. & 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>, &c. <i>viz.</i> <i>Half a Body</i>, a <i>whole Body</i>, a quarter, +<i>&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>. & § 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> +&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>&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>, &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. & § 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. & § 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. & § 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>, +&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>, &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. & +§ 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>&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. & 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. & § 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, &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> diff --git a/78991-h/images/braceup.png b/78991-h/images/braceup.png Binary files differnew file mode 100644 index 0000000..24b46ef --- /dev/null +++ b/78991-h/images/braceup.png diff --git a/78991-h/images/cover.jpg b/78991-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..31a6e88 --- /dev/null +++ b/78991-h/images/cover.jpg diff --git a/78991-h/images/i_f001.jpg b/78991-h/images/i_f001.jpg Binary files differnew file mode 100644 index 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