,transcriber's ,note ,this e-text uses a lot of uncommon ,unicode characters1 for example 7,u#baad ,l ,b ,,bar ,,symbol71 7,u,a#gfe ,,latin ,,small ,,letter ,,thorn ,,with ,,stroke71 7,u#bfdh ,,aries74 ,if these 7and others7 don't display for you1 you may need to install additional fonts on your device4 ,text printed in ,fraktur 7#8black letter'7 type1 or otherwise different from the norm1 appears like this1 italicised or underlined text like this1 bold text like this4 ,further notes appear at the end4 ,illustration ,,the ,,american ,,printer3 ,a ,manual of ,typography1 ,,containing ,,practical ,,directions ,,for ,,managing ,,all ,,departments ,,of ,a ,,printing ,,office1 ,,as ,,well ,,as ,complete ,instructions for ,apprentices3 ,,with ,,several ,,useful ,,tables1 ,,numerous ,,schemes ,,for ,,imposing ,,forms ,,in ,,every ,,variety1 ,,hints ,,to ,,authors1 ,,etc4 ,,by ,,thomas ,,mackellar1 ,,ph4 ,d4 ,illustration3 ,,fiat ,,lux4 ,,philadelphia3 ,,mackellar1 ,,smiths ,,jordan ,,foundry4 #ahic4 ,illustration ,entered1 according to ,act of ,congress1 in the year #ahff1 by ,l4 ,,johnson ,,company1 ,in the ,clerk's ,office of the ,district ,court of the ,eastern ,district of ,pennsylvania4 ,entered1 according to ,act of ,congress1 in the year #ahgh1 by ,,mackellar1 ,,smiths ,,jordan1 ,in the ,office of the ,librarian of ,congress1 at ,washington1 ,d4 ,c4 ,illustration ,eighteenth ,edition--,revised and ,enlarged4 ,,electrotyped ,,by ,,mackellar1 ,,smiths ,,jordan ,,foundry1 ,,philadelphia4 ,illustration ,,eighteenth ,,edition4 ,this edition of the ,american ,printer1 while essentially the same as the previous one1 contains some additional matter4 ,,philadelphia1 ,march1 #ahic4 ,illustration ,illustration ,,preface ,,to ,,first ,,edition4 ,usefulness rather than originality has been aimed at in the preparation of the ,,american ,,printer1 which is offered as an improvement on the typographical work formerly published by us4 ,in addition to the results of actual personal experience embodied in the volume1 information has been gathered and extracts have been freely made from various publications1 such as ,ames and ,dibdin's ,typographical ,antiquities1 ,thomas's ,history of ,printing1 ,timperley's ,dictionary of ,printers and ,printing1 ,savage's ,dictionary of ,printing1 ,johnson's ,typographia1 ,chambers's ,encyclopdia1 ,beadnell's ,guide to ,typography1 as well as other books referred to in the notes4 ,the work has been prepared amid the manifold interruptions incident to business life2 yet we think nothing has been overlooked that is essential for the instruction of the learner or for the assistance of the workman4 ,besides the matter relating to practical typography1 the volume contains a sketch of the discovery of printing1 and notices of type-founding1 stereotyping1 electrotyping1 and lithography4 ,the implements employed in typography are described and their uses explained2 and complete schemes for imposition are laid down4 ,the valuable tables and the plans of cases for various languages1 and for music and labour-saving rule1 will be found extremely useful2 as well as the extensive lists of abbreviations and of foreign words and phrases1 and orthographical hints4 ,special attention has been given in setting forth the functions and duties of the foreman and proof-reader1 so that the operations of an office may be prosecuted with efficiency1 comfort1 and economy4 ,authors and publishers1 as well as young printers1 may consult the volume with profit2 and1 indeed1 any intelligent person will find it serviceable4 ,illustration ,illustration ,,contents4 ,,page4 ,,rise ,,and ,,progress ,,of ,,printing #ac-dh ,discovery of ,printing--,laurentius ,koster--,geinsfleisch--,gutenberg--,fus t--,bible printed--,peter ,schffer--,caxton--,ulrich ,zell--,lambert ,palmaert--,abraham ,colorito--,humphreys and ,de ,vinne on the invention of printing--,lenox's collection of rare ,bibles--,ancient typographical peculiarities--,catchwords--,invention of ,signatures--,printing introduced into ,america--,type-founding in ,europe--,decree of the ,star ,chamber--,type-founding in ,america--,prices of ,type--,stereotyping--,electrotyping--,l ithography--,engraving-- ,walk over a type-foundry4 ,,implements ,,or ,,tools ,,of ,,the ,,art #di-abj ,types--,roman letter--,italic--,black--,anglo-,saxon-- ,names and sizes of type--,gradations of type--,point ,system of ,type bodies--,a ,bill of ,pica--,a ,fount of type--,capitals--,small capitals--,points--,apostrophe--,hyphen- -,parenthesis and ,bracket--,references--,accents--,numera ls--,arabic figures--,old-style figures--,cancelled figures--,fractions--,signs--,metal rules or dashes--,braces--,spaces--,two-line letters--,quadrates--,quotations--,labou r-saving quotation furniture--,hollow quadrates--,circular quadrates--,labour-saving curvatures--,leads--,flowers and borders--,brass rule--,brass labour-saving rule--,improved labour-saving rule case--,earliest written sounds--,hieroglyphic alphabet--,runic alphabets--,anglo-,saxon alphabet and plan of cases--,german alphabet and plan of cases--,greek alphabet and plan of cases--,hebrew alphabet and plan of cases--,russian alphabet--,comparative table of bodies of ,music type--,music composition--,music cases--,modern conveniences4 ,,composition #aba-adj ,general remarks--,requisites in an apprentice--,american cases--,position of a compositor--,laying type--,distributing-- ,composing--,spacing--,justifying--,head -lines--,notes--,blanking-- ,paragraphs--,indexes--,titles--,dedicat ions--,contents--,prefaces-- ,signaturing--,errata--,ironical rules--,advice to apprentices--,ironical rules for beginners in business4 ,,imposition #ada-aii ,general remarks--,tying up pages--,laying pages--,making up furniture--,making the margin--,locking up forms--,memoranda--,nomenclature of sheets--,schemes for imposing1 from folio to #abhmo4 ,,proof-,,reading ,,and ,,correcting #bjj-bag ,qualifications of a reader--,should be a printer--,indebtedness of authors to proof-readers--,process of reading--,proof record--,errors made in correcting--,two readers desirable--,punctuation--,alterations in proof--,stower's remarks--,revise--,correcting in the metal--,capricious alterations--,proper method of correcting--,over-running--,hints to authors--,table of proof-marks1 with explanations--,table of signatures4 ,,the ,,foreman ,,or ,,overseer #bah-bcd ,general duties--,treatment of compositors--,punctuality--,morning duties--,knowledge of all materials on hand--,order--,overseeing work--,regulating takes of copy--,prompt reading and correcting--,memorandum--,press-book--,p ress duties--,warehouse--,casting off copy--,managing hurried work--,companionships--,taking copy--,making up--,dividing the letter--,making up furniture--,imposing and distributing letter--,correcting--,transposition of pages--,rules to be observed in a printing-office4 ,,the ,,press ,,and ,,its ,,working #bce-bib ,history of the printing-press--,blaeu1 its first improver--,ramage press--,stanhope press--,clymer or ,columbian press--,smith press--,washington press--,adams's bed-and-platen power-press--,invention of the ,cylinder press--,frederick ,knig--,william ,nicholson--,dr4 ,kinsley--,applegath and ,cowper--,account of the house of ,r4 ,hoe ,co4--,stop ,cylinder press--,cottrell ,babcock presses--,campbell presses--,richard ,m4 ,hoe's type-revolving printing machine--,bullock perfecting press--,the ,walter perfecting press--,the ,hoe perfecting press--,presses at the ,centennial ,exhibition1 #ahgf--,railroad-ticket printing and numbering press--,job presses--,ruggles1 ,hoe1 ,gordon1 ,degener1 ,wells1 and ,gally--,franklin press--,nonpareil press--,fire-fly press--,liberty press--,globe press--,peerless press--,universal press--,amateur presses--,folding machines--,setting up a ,washington press--,setting up the roller-stand--,composition rollers--,melting kettle--,covering tympans--,wetting paper--,blankets--,making ready a form on a hand-press--,pulling--,rules and remedies for pressmen--,ley-trough--,making ready on cylinder presses--,fine hand-presswork--,printing wood-cuts--,card printing--,gold printing--,bronze printing--,printing in colours--,ink stone and muller--,how to use dry colours--,how to multiply colours--,contrast of colours--,oiling a press--,how to treat wood type4 ,,warehouse ,,department #bic-bii ,warehouseman--,warehouse-,book--,receip t of paper and delivery of sheets--,giving out paper to wet--,over-sheets--,hanging up paper to dry--,taking down sheets when dry--,filling in and pressing sheets--,counting out and putting away sheets--,standard sizes of machine-made paper--,table for giving out paper for a thousand copies4 ,,jobbing ,,facilities #cjj-caj ,selection of type and presses--,how to make a paying business--,memorandum order--,estimate book--,ames's paper and card scale--,le ,blond's chart--,cabinets and cases--,rules for the government of a job office--,job composing-sticks--,patent quoins--,corner quadrates--,shooting sticks--,mitering machine--,lead cutter--,perforating machines--,imposing stone--,copy-holder--,paper and card cutters--,megill's patent gauge pin--,extension feed-guide--,automatic counters--,patent ink fountain--,iron furniture4 ,,useful ,,receipts #caa-cag ,how to make printers' rollers--,german preservative for rollers--,directions for recasting rollers--,printers' ley--,paste--,mucilage--,glue--,gum--,ma genta surface paper--,coloured writing inks--,fire-proof ink--,printing ink varnish--,lithographic transfer ink--,to give dark printing inks a bronze or changeable hue--,an ink for marking tin or zinc--,drying preparations--,silvering solutions--,to soften leather belting--,how to open a ball of twine--,to prevent adhesion of paper--,to detect ground wood in paper--,french gold printing--,transfer varnish--,to make paper waterproof--,to preserve books--,to restore engravings4 ,,orthographical #cah-ccb ,discrepancies--a or an before a vowel or silent h--o or oh--able and ible--im or in and em or en--in and un--ise and ize--or and our--sion and tion--,farther and further--,peas and pease--,omission of s in the possessive case--,formation of the plurals of words compounded of a noun and an adjective--,pointing of numbers1 weights1 measures1 c4--,derivation of ,english words--,rules for spelling--,plurals of nouns4 ,,how ,,to ,,secure ,,copyrights #ccc-cce ,printed title required--,application to be made to ,librarian of ,congress--,style of printed title--,fees--,two complete copies required--,penalty--,notice of copyright to be given by imprint--,form of notice--,penalty for false notice--,authors may reserve the right to translate or dramatize--,form of notice--,original works only will be entered--,duration of copyright--,renewal--,form of application for renewal--,time of publication--,copyright may be secured for a projected as well as for a completed work--,assignments--,fees--,copies or duplicate certificates--,serials or separate publications--,copyright required for each volume or part of a book--,copyrights for works of art--,copyrights cannot be granted upon trade-marks or labels--,fee for registering at ,patent ,office--,citizens or residents of the ,united ,states only entitled to copyright--,full name and residence of claimant required4 ,,the ,,metric ,,system #ccf1 #ccg ,,technical ,,terms ,,of ,,the ,,craft #cch-cdc ,,abbreviations #cdd-cef ,,foreign ,,words ,,and ,,phrases #ceg-cgb ,,index #cgc-chc ,illustration ,illustration3 ,,horn-,,book ,,of ,,the ,,seventeenth ,,century4 ,,the ,,song ,,of ,,the ,,printer4 ,pick and click ,goes the type in the stick1 ,as the printer stands at his case2 ,his eyes glance quick1 and his fingers pick ,the type at a rapid pace2 ,and one by one as the letters go1 ,words are piled up steady and slow-- ,steady and slow1 ,but still they grow1 ,and words of fire they soon will glow2 ,wonderful words1 that without a sound ,traverse the earth to its utmost bound2 ,words that shall make ,the tyrant quake1 ,and the fetters of the oppress'd shall break2 ,words that can crumble an army's might1 ,or treble its strength in a righteous fight4 ,yet the types they look but leaden and dumb1 ,as he puts them in place with finger and thumb ,but the printer smiles1 ,and his work beguiles ,by chanting a song as the letters he piles1 ,with pick and click1 ,like the world's chronometer1 tick6 tick6 tick6 ,o1 where is the man with such simple tools ,can govern the world as ,i8 ,with a printing press1 an iron stick1 ,and a little leaden die4 ,with paper of white1 and ink of black1 ,i support the ,right1 and the ,wrong attack4 ,say1 where is he1 or who may he be1 ,that can rival the printer's power8 ,to no monarchs that live the wall doth he give3 ,their sway lasts only an hour2 ,while the printer still grows1 and ,god only knows ,when his might shall cease to tower6 ,,anon4 ,illustration3 ,american ,printer ,illustration ,hereby1 tongues are known1 knowledge groweth1 judgment increaseth1 books are dispersed1 the ,scripture is read1 stories be opened1 times compared1 truth discerned1 falsehood detected and with finger pointed1 and 7all as ,i said7 through the benefit of ,printing4 ,,fox',s ,,martyrs4 ,at the very epoch when the greatness of ,burgundy was most swiftly ripening1 another weapon was secretly forging1 more potent in the great struggle for freedom than any which the wit or hand of man has ever devised or wielded4 ,when ,philip the ,good1 in the full blaze of his power1 and flushed with the triumphs of territorial aggrandizement1 was instituting at ,bruges the order of the ,golden ,fleece1 8to the glory of ,god1 of the blessed ,virgin1 and of the holy ,andrew1 patron saint of the ,burgundian family10 and enrolling the names of the kings and princes who were to be honoured with its symbols1 at that very moment1 an obscure citizen of ,haarlem1 one ,lorenz ,coster1 or ,lawrence the ,sexton1 succeeded in printing a little grammar1 by means of movable types4 ,the invention of printing was accomplished1 but it was not ushered in with such a blaze of glory as heralded the contemporaneous erection of the ,golden ,fleece4 ,the humble setter of types did not deem emperors and princes alone worthy his companionship4 ,his invention sent no thrill of admiration throughout ,christendom2 and yet1 what was the good ,philip of ,burgundy1 with his ,knights of the ,golden ,fleece1 and all their effulgent trumpery1 in the eye of humanity and civilization1 compared with the poor sexton and his wooden type8 ,,motley',s ,,rise ,,of ,,the ,,dutch ,,republic1 ,vol4 i1 #de4 ,illustration ,illustration ,the ,american ,printer4 ,,rise ,,and ,,progress ,,of ,,printing4 ,,discovery ,,of ,,printing4 ,illustration ,the credit of inventing the art which perpetuates the history and achievements of all the arts and sciences has been obstinately contested1 several cities having advanced rival claims to the honour of the discovery4 ,this1 however1 should be no matter of surprise when we consider that the inventor of a new art1 unprotected by law1 would naturally endeavour to conceal its processes for his own use and advantage4 ,after due consideration1 we agree with ,isaiah ,thomas in the opinion that the probabilities point to ,,laurentius 7sometimes called ,coster1 ,koster1 and ,kustos7 as the discoverer of the art of printing4#a ,laurentius lived at ,haarlem and was a man of property4 ,he seems to have been engaged in printing books from wood blocks or plates1 well known to antiquaries as the ,block ,books1 in which the reading matter was illustrated by rude pictures4 ,fragments of works so printed by him are still in existence4 ,among others1 the celebrated ,biblia ,pauperum1 executed between #adaj and #adbj1 has been attributed to him4 ,it was only natural that his thoughts should be led to the production of single types1 as a means of cheapening and facilitating his work4 ,these were first made of wood1 and afterward of tin4 ,the date of his invention of separate types is given as about the year #adbi4 ,other dates have been stated1 ranging from #adbb to #adcf4 ,the first of his printed books1 it is claimed1 was the ,speculum ,human ,salvationis1 of which about ten copies are now known to be in existence4 ,a small primer1 or ,abecedarium1 in our opinion1 shows all the marks of the first attempt of an experimenter in a new art4 ,koster died in #adci4 ,the necessity for employing workmen to assist in prosecuting the art led to the divulging of the secret4 ,among these men1 it is supposed1 was ,john ,geinsfleisch1 7or ,gutenberg1 ,senior17 who1 after learning the processes1 returned to ,mentz1 his native place1 and communicated the secret to his nephew1 ,john ,gutenberg1 an ingenious artist of ,strasburg4 ,it is in evidence that the latter1 in connection with two partners1 spent a considerable amount of money in some private experiments4 ,these appear to have occupied several years1 from #adcf to #adci1 when a legal contest arose as to the rights of one of the partners whose zealous activity had caused his death4 ,gutenberg continued at ,strasburg till #addd1 when1 his means being exhausted1 he rejoined his uncle at ,mentz4 ,here he renewed his experiments1 and1 needing money1 he procured an introduction to ,john ,fust1 a capitalist and money-lender1 who seems to have been struck with the importance of the work1 and who advanced a considerable amount 7all the tools and presses being pledged as security7 in furtherance of the enterprise4 ,two years were occupied in making the types and necessary machinery1 when the great work of printing the ,bible was begun4 ,there can be little doubt that1 during all his years of experiment1 ,gutenberg had executed smaller books1 one of which is surmised to have been a reproduction of the ,dutch ,speculum of ,koster4 ,the ,donatus of #adea1 the ,appeal against the ,turks of #aded1 and the ,letters of ,indulgence of #aded and #adee1 all appeared before the ,bible1#b which was not published till #adee or #adef4 ,this great book marked an era in the art4#c ,it is painful to be told that about this time ,fust foreclosed the mortgage1 and the entire work with all the materials passed into his possession4 ,it seems1 however1 that ,gutenberg succeeded in re-establishing a press1 and continued to practise the art1 but produced no work at all comparable with the ,bible4 ,he died about #adfh4 ,after securing possession of the establishment1 ,fust engaged the service of ,peter ,schffer1 who had been apprentice or assistant to ,gutenberg1 and who was distinguished for scholarship as well as mechanical skill4 ,his skill and the improvements made by him in the art soon led ,fust to take him into partnership1 and the ,bible1 the ,psalter1 and other important works were produced4 ,schffer was further rewarded by the hand of the grand-daughter of ,fust4 ,from this rapid summary1 we may conclude1 #a4 ,that the merit of the invention of printing1 however rude it may have been1 belongs to ,koster of ,haarlem2 #b4 ,that ,gutenberg placed the art on a permanent foundation2 and1 #c4 ,that its economical application was insured by ,peter ,schffer's invention of cast metal types4#d ,it was of course impossible to conceal the knowledge of an art so useful to man1 and within ten years after the publication of the great ,bible presses were established in several ,german cities1 in ,rome and other parts of ,italy1 and soon thereafter in ,france and ,england4 ,william ,caxton acquired a knowledge of the art in ,germany1 and carried it into practice at ,westminster in ,england4 ,the year #adgg is now accepted as the date of the introduction1 the first book printed with a date in ,england being the ,dictes and ,sayinges of the ,philosophers1 emprynted by me1 ,william ,caxton1 at ,westmestre1 the yere of our ,lord m4cccc4l4xxvij4 ,he had previously printed1 without a date1 ,the ,recuyell of the ,historyes of ,troye1 which was followed by ,the ,game and ,playe of the ,chesse1 fynysshid the last day of marche the yer of our lord god4 a4 thousand foure honderd and lxxiiii4 ,these were1 however1 printed at ,bruges2 so1 according to ,mr4 ,william ,blades1 8the first indisputable date we have to stand on is the printing of ,the ,dictes in #adgg40 ,though at that time over sixty years old1 ,caxton was notable for his industrious habit4 ,he was possessed of good sense and sound judgment2 steady1 persevering1 active1 zealous1 and liberal in his devices for that important art which he introduced into ,england1 labouring not only as a printer1 but as translator and author4 ,the productions of his press amount to sixty-four4 ,in the churchwardens' books of ,st4 ,margaret's ,parish1 ,westminster1 his death is thus recorded3 8#adia4 ,item1 atte bureyng of ,william ,caxton1 for iiii4 torches vjs4 viijd4 ,item1 for the belle atte same bureyng1 vjd40 ,the ,bible was printed in ,spanish at ,valencia in #adgi by ,lambert ,palmaert1 a ,german2 but so completely was it afterward suppressed by the ,inquisition that only four leaves now remain in the archives of ,valencia4 ,the first ,hebrew ,bible ever printed came from the press of ,abraham ,colorito1 at ,soncino1 in #adhh--;a very remarkable work4 ,iceland had its printing-office in #aecj1 at which a ,bible was printed in #aehd4 ,,ancient ,,peculiarities4 ,the pages were either large or small folios1 but sometimes quartos1 and1 the early books were therefore cumbrous and unhandy4 ,aldus ,manuccio1 of ,venice1 was the first to introduce the octavo form4 ,the leaves were without running titles1 direction-words1 paginal numbers1 or divisions into paragraphs4 ,the character itself was a rude old ,gothic 7similar to that now known as ,old ,english or ,black7 mixed with ,secretary1 designed to imitate the handwriting of the times2 the words were printed so close to one another that the matter was not easily read4 ,to avoid divisions1 the early printers used vowels with a mark of abbreviation over them to denote that one or more letters were omitted in the word3 e4g4 copose for compose1 copletio for completion1 c4 ,no punctuation-marks were used1 except the colon and full point2 but an oblique stroke 7_/7 was after a while introduced1 for which the comma was finally substituted4 ,logotypes were frequently employed4 ,orthography was various and arbitrary4 ,proper names and sentences were often begun with small letters1 as well as the first words in lines of poetry4 ,blanks were left for the places of titles1 initial letters1 and other ornaments1 to be supplied afterward by illuminators1 whose calling did not long survive the masterly improvements made by the printers in this branch of their art4 ,these ornaments were exquisitely fine1 and curiously variegated with the most beautiful colours1 and even with gold and silver4 ,the margins1 likewise1 were frequently charged with a variety of figures1 of saints1 birds1 beasts1 monsters1 flowers1 c41 which sometimes had relation to the contents of the page1 though frequently none at all4 ,these embellishments were often very costly4 ,the name of the printer1 place of his residence1 c4 were either omitted or put at the end of the book1 with some pious ejaculation or doxology4 ,the date was also omitted1 or involved in some cramped design1 or printed either at full length or in numerical letters1 and sometimes partly one and partly the other3 thus1 ,one ,thousand ,,cccc and lxxiiii2 but always placed at the end of the book4 ,there was no variety of character1 nor intermixture of ,roman and ,italic1 which were later inventions2 but the pages were printed in a ,gothic letter of the same size throughout4 ,catch-words at the end of the foot-line 7now generally abolished7 were first used at ,venice1 by ,vindeline de ,spire4 ,the inventor of signatures is said to have been ,antonio ,zarotti of ,milan1 about #adgj4 ,books were often encased in massive coverings1 which were ornamented with florid and arabesque designs4 ,jewels and precious metals1 the finest stuffs1 and the most gorgeous colours were sometimes employed4 ,scaliger says1 that his grandmother had a printed ,psalter1 the cover of which was two inches thick4 ,on the inner side was a receptacle1 containing a small silver crucifix1 with the name of ,berenica ,codronia de la ,scala behind it4 ,two or three hundred copies of a work were considered to be a large edition4 ,,printing ,,in ,,america4 ,printing was introduced into ,america at ,mexico by the ,viceroy ,mendoza in #aecf4 ,the first book printed was the ,escala espiritual de ,san ,juan ,climaco1 of which no copy is known to exist2 but the oldest ,american book now extant is the ,manual de ,adultos1 dated #aedj1 of which only the last four leaves are to be found in the library of the ,cathedral of ,toledo4 ,the name of the earliest printer is a matter of question4 ,cambridge1 ,massachusetts1 is entitled to the distinction of having the first printing-press in ,north ,america1 which was under the charge of ,stephen ,daye4 ,for this press the colony was mainly indebted to the ,rev4 ,jesse ,glover1 a nonconformist minister possessed of a considerable estate1 who had left ,england to settle among his friends in ,massachusetts4 ,some gentlemen of ,amsterdam also 8gave towards furnishing of a printing-press with letters1 forty-nine pounds and something more40 ,this was about #afch4 ,the first book issued was the ,bay ,psalm-,book1 in #afdj4 ,the first book issued in the ,middle ,colonies was an ,almanac1 printed by ,william ,bradford in #afhe1 near ,philadelphia4 ,bradford was brought out from ,england in #afhd by ,william ,penn4 ,as the government of ,pennsylvania became very restrictive in regard to the press1 ,bradford in #afic removed to ,new ,york1 and was appointed printer to that colony1 where he established in #agbe the ,new ,york ,gazette1 the first newspaper published there4 ,he died ,may #bc1 #ageb1 after an active and useful life of eighty-nine years4#e ,the first newspaper in ,america was the ,boston ,news ,letter1 which was first issued by ,john ,campbell on ,monday1 ,april #bd1 #agjd3 it was regularly published for nearly seventy-two years4 ,the second was the ,boston ,gazette1 begun ,december #ba1 #agai4 ,the third was the ,american ,weekly ,mercury1 issued in ,philadelphia1 by ,andrew ,bradford1 on ,december #bb1 #agai4 ,james ,franklin1 an elder brother of ,benjamin1 established the ,new ,england ,courant1 ,august #ag1 #agba4 ,the oldest living paper of the ,united ,states is the ,new ,hampshire ,gazette1 published at ,portsmouth1 now 7,oct4 #g1 #ahib7 one hundred and thirty-six years old4 ,the ,north ,american and ,united ,states ,gazette leads the existing daily press of this country in point of antiquity4 ,it is the successor of the ,pennsylvania ,packet1 7begun in #agga and becoming a daily paper in #aghd17 and is still the chief commercial journal of ,philadelphia4 ,the first paper-mill in ,america was established near ,germantown1 ,pa41 in #afij1 by ,william ,rittenhouse4#f ,,type-,,founding ,,in ,,europe4 ,for a long period after the discovery of printing1 it seems that type-founding1 printing1 and binding went under the general term of printing1 and that printers cast the types used by them1 and printed and bound the works executed in their establishments4 ,type-founding became a distinct calling early in the seventeenth century4 ,a decree of the ,star ,chamber1 made ,july #aa1 #afcg1 ordained the following regulations concerning ,english founders3-- 8,that there shall be four founders of letters for printing1 and no more4 8,that the ,archbishop of ,canterbury1 or the ,bishop of ,london1 with six other high commissioners1 shall supply the places of those four as they shall become void4 8,that no master-founder shall keep above two apprentices at one time4 8,that all journeyman-founders be employed by the masters of the trade1 and that idle journeymen be compelled to work1 upon pain of imprisonment and such other punishment as the court shall think fit4 8,that no master-founder of letters shall employ any other person in any work belonging to the casting or founding of letters than freemen or apprentices to the trade1 save only in pulling off the knots of metal hanging at the end of the letters when they are first cast2 in which work every master-founder may employ one boy only1 not bound to the trade40 ,by the same decree1 the number of master-printers in ,england was limited to twenty4 ,regulations like the above were in force till #afic4 ,the 8polyglot founders10 as they have been called1 were succeeded by ,joseph ,moxon and others4 ,but the ,english were unable to compete with the superior productions of the ,dutch founders1 until the advent of ,william ,caslon1 who1 by the beauty and excellence of his type1 surpassed his ,batavian competitors1 when the importation of foreign type ceased1 and his founts were1 in turn1 exported to the ,continent4 ,by an act subsequently passed1 no founder was to cast any letter for printing1 no joiner to make any press1 no smith to forge any iron-work for a press2 no person to bring from parts beyond the seas any letters founded or cast for printing2 nor any person to buy any letters or any other materials belonging unto printing2 without application to the master and wardens of the ,company of ,stationers4 ,,type-,,founding ,,in ,,america4 ,a foundry1 principally for ,german type1 was established at ,germantown1 ,pennsylvania1 about the year #agce1 by ,christopher ,saur1 7or ,sower17 a printer1 who executed in ,german the first quarto ,bible printed in ,america1 as well as other valuable works in the ,german language4 ,three editions of the ,bible were printed--viz41 in the years #agdc1 #agfc1 and #aggf1 the latter two by his son4 ,in #agci1 ,saur published a newspaper in ,germantown4 ,an abortive attempt was made about #agfh to set up a foundry at ,boston by a ,mr4 ,mitchelson from ,scotland1 and another in ,connecticut in #agfi by ,abel ,buel4 ,in #agge1 ,dr4 ,franklin brought from ,europe to ,philadelphia the materials for a foundry2 but little use of them was made4 ,john ,baine1 a type-founder of ,edinburgh1 sent a relative to this country with tools for a foundry at the close of the ,revolutionary ,war1 and soon after came over himself4 ,they carried on the business till #agij1 when ,mr4 ,baine died1 and his kinsman returned to ,scotland4 ,a ,dutch founder1 ,adam ,g4 ,mappa1 settled at ,new ,york about #aghg1 and cast ,dutch and ,german faces1 as well as ,roman styles and several ,oriental alphabets4 ,want of capital prevented his success1 and many of his matrices passed into the possession of ,binny ,ronaldson4#g ,in #agif1 type-founding was commenced in ,philadelphia by ,archibald ,binny and ,james ,ronaldson1 natives of the city of ,edinburgh1 where ,binny had carried on the same business4 ,their assortment was not extensive1 but it embraced the essential founts1--,brevier1 ,bourgeois1 ,long ,primer1 ,small ,pica1 ,pica1 and two-line letters4 ,they were obliging and attentive1 and in twenty years made a fortune4 ,they improved their foundry according to the increase of printing and the consequent demands of the trade1 extending their assortment from ,pearl1 of #ahj lines in a foot1 to #ab-line ,pica1 having #f lines4 ,binny made an important improvement in the type-mould1 by which a caster could cast #fjjj letters in a day with as much ease as he before could cast #djjj4h ,according to ,holmes's ,american ,annals1 about #bjj newspapers were printed in the ,united ,states in the year #ahja1 of which #ag were issued daily1 #g three times a week1 #cj twice a week1 and #adf weekly4 ,there must also have been at the same time as many as #fj offices engaged in miscellaneous printing4 ,the whole business had increased threefold in eleven years4 ,another type-foundry was put in successful operation in ,baltimore1 about #ahje1 by ,samuel ,sower ,co4 ,it had in it some moulds and matrices which had been used by ,christopher ,sower1 who had printed in ,germantown1 near ,philadelphia1 and cast his own types4 ,he printed with ,german characters2 but now the foundry was revived with excellent ,roman and ,italic letters1 and among other extraordinary things it had the size called ,diamond1 with a smaller face than had ever been cast before4 ,it was the smallest type in the world4 ,the demand for type was very brisk till the war of #ahab commenced1 and the foundries were generally three or four months in arrears in their execution of orders4 ,the names of the newspapers published in the ,united ,states in ,april1 #ahaj1 are given in ,thomas's ,history of ,printing1 and amount to #cei1 of which #bg were daily papers1 #ch were printed twice1 #ae three times1 and #bgi once in a week4 ,add those required for general printing1 and the whole number of offices could not be less than #ejj1--;being an increase of #bdj in nine years1 and some of them using several thousand pounds of type for book-printing4 ,in #ahaa1 ,elihu ,white established a type-foundry in ,new ,york4 ,he had been long engaged1 in connection with ,mr4 ,wing1 in the manufacture of printing types at ,hartford1 ,connecticut1 upon a plan of their own invention1 by which twenty or thirty letters were cast at once2 but1 abandoning that invention1 he adopted the old plan of casting1 and1 having a good assortment of faces and bodies1 his removal to ,new ,york was a great convenience to its printers1 and they gave him a very satisfactory support4 ,but the principal business in type-founding still continued1 as formerly1 to be carried on in ,philadelphia4 ,in #ahac1 another type-foundry was begun in the city of ,new ,york1 by ,d4 ,g4 ,bruce1 principally to cast types for their own use4 ,they had carried on book-printing for seven years1 and had now become acquainted with the stereotype art1--,mr4 ,david ,bruce having visited ,england in #ahab and acquired it by purchase and actual labour4 ,for ordinary printing1 it was customary to bevel off the body of the type at the face end1 or shoulder1 as it is usually called1 which unfitted it for making a strong stereotype plate in the most approved way3 hence the necessity for casting type expressly for stereotype4 ,their first fount was ,bourgeois1 with which they cast two sets of plates of the ,new ,testament1 7the ,common ,school ,testament17 and sold one of these to ,mathew ,carey1 of ,philadelphia1 retaining the other for their own business4 ,but these were not completed till #ahad4 ,in #ahae1 they cast the plates of the #abmo ,school ,bible1 on ,nonpareil type1 prepared1 like the ,bourgeois1 at their own foundry expressly for stereotyping4 ,they thus gave the first stereotype ,school ,testament and ,school ,bible to ,america2 but not the first stereotype book4 ,john ,watts1 of ,england1 also commenced stereotyping in ,new ,york in #ahac1 and completed the ,westminster ,catechism that year1 a volume of #abj pages #abmo4 ,david ,bruce invented the planing-machine for equalizing the thickness of stereotype plates1 which is now used in every stereotype foundry in the ,united ,states4 ,the process of stereotyping is1 however1 entirely different from that of ordinary type-founding1 and it is1 therefore1 generally carried on as a separate business1 or connected with the composing department of a printing-office4 ,twenty compositors and two proof-readers will furnish full employment for one moulder1 one caster1 and three finishers1 who will1 among them1 complete1 on an average1 #ej pages of octavo per day4 ,in #ahah1 or soon after1 a type and stereotype foundry was established in ,boston1 and another in ,cincinnati1 principally through the enterprise of the late ,elihu ,white1 who1 having the means of multiplying matrices with facility1 took this method for the extension of his business4 ,others followed his example1 and type-foundries were established in ,albany1 ,buffalo1 ,pittsburgh1 ,louisville1 and ,st4 ,louis1 with several additional in ,new ,york1 ,boston1 ,philadelphia1 and ,baltimore4 ,the business1 in fact1 was overdone1 and failures and suppressions took place1 as competition reduced the prices of types4 ,the mode of type-founding has within forty years undergone important changes1 which must no doubt be considered improvements4 ,first among them is the introduction of machine-casting1 in which a pump forces the fluid metal into the mould and matrix1 and gives a sharper outline to the letter than was formerly given by the most violent throw of the caster4 ,the old practice of casting a single type only at a time remains4 ,the first idea of this machine originated with ,william ,m4 ,johnson1 who obtained a patent for it in #ahbh4 ,elihu ,white put it into use in his type-foundry1 and persevered in using and trying to improve it as long as he lived2 but he did not succeed in removing the greatest fault1 which was a hollowness in the body of the types cast by it1 that inclined them to sink under the pressure of the printing-press4 ,the first successful type-casting machine was invented by ,david ,bruce1 ,jr41 of ,new ,york1 and was patented ,march #ag1 #ahch4 ,the patent was sold to ,george ,bruce1 and the machines were used by him until #ahde4 ,david ,bruce meanwhile patented another machine in #ahdc1 which1 with new improvements1 patented two years later1 gave entire satisfaction1 and is now in general use in ,american foundries4 ,by ,bruce's machine1 three times the quantity of type that was cast by ,binny ,ronaldson's improved mould is now cast in a given time1 and nearly five times the quantity that was cast by the common hand-mould eighty years ago4 ,this improvement has passed into ,europe1 and been adopted by most of the ,german type-founders2 but in ,great ,britain for some time it found little favour4 ,a so-called 8automatic machine10 for casting and finishing type1 invented by ,johnson ,atkinson1 is in operation in ,london2 but its rate of production seems to be less than that of the ,american machine1 while1 from its multiform operations1 the proportion of imperfect type turned out must of necessity be considerably more4 ,the protection now afforded by the patent laws having checked the piratical production of matrices by electrotyping1 7except in plain faces1 a practice still pursued by unprincipled type-founders17 the leading founders in this country have been encouraged to produce types of new styles which in beauty and ingenuity surpass those of foreign origin4 ,there are now three type-foundries in ,boston1 seven in ,new ,york1 one in ,buffalo1 four in ,philadelphia1 four in ,baltimore1 two in ,cincinnati1 four in ,chicago1 two in ,milwaukee1 two in ,st4 ,louis1 one in ,richmond1 one in ,st4 ,paul1 one in ,cleveland1 one in ,kansas ,city1 and three in ,california--in all1 thirty-six4 ,some of these foundries not only supply the printers of the ,united ,states1 but most of the printers in ,canada1 some in the ,british ,west ,india ,islands1 ,mexico1 ,south ,america1 ,china1 ,india and ,australasia4 ,american type1 in quality1 style1 and finish1 is equal1 if not superior1 to any made in ,europe4 ,the following are the prices at which plain types have been sold for the last seventy-five years1 given at ten different dates1 and naming only the principal and most useful sizes3-- ---------------------------------------- -------------------- #ahjf4ahaa4ahai4ahbg4ahca4ahda4ahfj4ahff 4ahgf4ahic4 ---------------------------------------- -------------------- ,pica #jddjeejddjdbjcfjchjcbjefjdfjcb ,small ,pica #dh #eh #dh #df #ch #dj #cd #eh #dh #cd ,lg4 ,primer #ef #ff #ef #ej #dj #db #cf #fb #ej #cf ,bourgeois #ff #gf #ff #eh #df #df #dj #ff #eb #ch ,brevier #gf #hf #gf #gj #ef #ed #dd #gj #ee #db ,minion #ajc #aac #ajj #hh #gj #ff #dh #gf #eh #df ,nonpareil #adj #age #adj #abj #ij #hd #eh #hd #ff #eb ,agate #add #aaj #ajh #gb #ajj #gf #fj ,pearl #age #adj #adj #ajh #adj #abj #abj ,diamond #afj #ahj #afb #afj ---------------------------------------- -------------------- ,,stereotyping4 ,stereotyping is said to have been invented by ,j4 ,van der ,mey1 in ,holland1 about #afih4 ,a quarto ,bible and some other books were printed by him from plates1 which were formed by soldering the bottoms of common type together4 ,william ,ged1 of ,edinburgh1 discovered the present mode in #agbe1 and stereotyped parts of the ,bible and ,prayer-,book4 ,he encountered malicious opposition1 and the business was abandoned1 the new method dying with the inventor4 ,about #agde1 ,benjamin ,mecom1 a nephew of ,dr4 ,franklin1 cast plates for a number of the pages of the ,new ,testament4 ,dr4 ,alexander ,tilloch1 of ,glasgow1 re-discovered the art in #agha4 ,stereotyping gradually spread1 and soon effected a considerable reduction in the cost of books4 ,the arguments that were advanced against its utility have a ridiculous look at the present day1 when almost every important work is stereotyped or electrotyped4 ,matter for stereotyping is set with high spaces and quadrates4 ,the forms must be small1 containing about two pages of common octavo4 ,a slug type-high is put above the top line and another below the foot line of each page1 to protect the ends of the plates from injury when they are passed through the shaving-machine4 ,beveled slugs1 in height equal to the shoulder of the type1 are placed on both sides and between the pages1 to form the flange by which the plate is to be clasped by the hooks of the printing-block4 ,before the form is sent into the foundry1 the type must be carefully compared with the proof1 to detect any errors which may have been left uncorrected4 ,care must be taken to lock up the form perfectly square and quite tight1 to prevent the types from being pulled out when the mould is raised from the pages4 ,it must be evenly planed down1 and no ink or dirt or incrustations from the ley be allowed to remain on the surface4 ,the face of the type being clean and dry1 and the bottoms free from particles of dirt1 the form is laid on a clean moulding-stone1 and brushed over with sweet-oil1 which must be laid on as thinly as possible1 care being taken that the entire surface of the types is covered4 ,a moulding-frame1 with a screw at each corner1 7called a flask17 and fitting neatly to the form1 is next placed around it4 ,the material for moulding is finely ground gypsum1 nine parts of which are mixed with about seven parts of water1 and well stirred up4 ,a small quantity of the liquid mixture is poured over the pages1 and gently pressed into the counter of the types with a small roller1 for the purpose of expelling confined air2 after which1 the remainder of the gypsum is poured in1 until the mould is somewhat higher than the upper edge of the flask4 ,in a few minutes the mixture sets1 and the upper side is smoothed over with a steel straight-edge4 ,in about ten minutes the mould is gently raised by means of the screws at the corners of the flask2 and1 after being nicely trimmed at the sides1 and nicked on the surface-edges to make openings for the metal to run in1 it is placed on a shelf in an oven1 and allowed to remain until the moisture has quite evaporated4 ,the casting-pans may be large enough to hold three or four moulds4 ,the dried moulds are placed in a pan face downward1 upon a movable iron plate called a floater4 ,the cover of the casting-pan1 which has a hole at each corner for the passage of the metal1 is then clamped to it1 and lifted by a movable crane and gently lowered into the metal-pot1--containing1 it may be1 a thousand pounds of liquid metal1--till the metal begins to flow slowly in at the corners4 ,when the pan is filled1 it is sunk to the bottom of the pot4 ,the metal should be hot enough to light a piece of brown paper held in it4 ,after being immersed eight or ten minutes1 the pan is steadily drawn out by means of the crane1 and swung over to the cooling-trough1 into which it is lowered and placed upon a stone so as just to touch the water1 in order that the metal at the bottom of the pan may cool first4 ,the metal contracts while cooling1 and the caster occasionally pours in a small quantity at the corners from a ladle1 till it will take no more4 ,it may be here remarked that some stereotypers do not dry the moulds1 but immerse them in a green condition into the metal4 ,the plates are carefully removed from the solid mass which comes out of the pan1 and the plaster is washed from the surface4 ,if1 after examination1 the face is good and sharply set1 the plates are passed over to a picker1 who removes any slight defects arising from an imperfection of the mould4 ,they are then trimmed and passed through the shaving-machine1 till all are brought to an equal thickness4 ,the flanges are neatly side-planed1 and the plates are then boxed1 ready for the printing-press4 ,in ,england1 the plates are merely turned on the back1 and consequently vary in thickness4 ,this must be a source of continual expense and annoyance to the pressman4 ,the flanges1 besides1 are very imperfectly made1--so imperfectly that they cannot be used on ,american printing-blocks2 and ,english plates1 when imported into this country1 are therefore sent to a foundry here1 to be brought to an equal thickness and to be properly side-planed4 ,an order given some years ago by an ,english printer for a set of ,american printing-blocks was afterward countermanded1 on account of the prejudice against the introduction of new things4 ,several methods of stereotyping are now practised4 ,many of the leading newspapers of ,england and ,america are printed from stereotype plates cast in moulds made of prepared paper3 this mode1 however1 yields very inferior plates1 quite unfit for fine books4 ,another method1 styled the 8mud-process10 is by spreading a thin coating of pulverized soapstone and gypsum over an iron plate1 and a mould is then obtained by pressing the coated face against a page of type4 ,several of these mould-plates are then set on end in an iron box1 separated from one another by a wire of the thickness of the stereotype desired1 and hot metal is poured in4 ,this is a very expeditious process1 though not so good as the old method4 ,in #ahjd1 before the introduction of stereotyping into this country1 ,mathew ,carey1 the well-known enterprising publisher in ,philadelphia1 had the ,bible in quarto set up entire1 and regularly imposed in chases1 to print from at convenience1 according to the demand for the volume4 ,the type was cast by ,binny ,ronaldson4 ,stereotyping would have saved much of the large outlay required to carry out the scheme1 which1 nevertheless1 even under these circumstances1 was doubtless highly remunerative4 ,the weight of type must have amounted to #be1jjj pounds1 to say nothing of the number of chases and column-rules required4 ,,electrotyping4 ,stereotyping has been superseded by the process of electrotyping1 as described below4 ,the pages1 after being delicately polished with plumbago1 are laid in a press2 a pan of prepared wax1 warmed1 is placed over them and pressed down into the counter of the types4 ,the wax mould is then dusted with plumbago1 and suspended in the electric bath4 ,on this1 in a few hours1 is deposited a thin shell of copper1 which1 after being coated with tin solder1 is backed up with metal to the usual thickness of a stereotype plate4 ,the same care in preparing the pages for electrotyping must be observed as for stereotyping4 ,for stereotyping1 high slugs are placed only at the top and foot of the page2 but1 for electrotyping1 they must be set around on all sides1 and the bevelled flange must be afterward made by side-planing4 ,,lithography4 ,this is the art of printing1 by a chemical process1 from designs made with a greasy material upon stone4 ,it was discovered about the beginning of the present century by ,alois ,senefelder1 an actor of ,munich1 ,bavaria1 whose patience and perseverance under the most disadvantageous circumstances were truly remarkable and praiseworthy4 ,differing from all other methods of printing1 the impressions are obtained from a level surface4 ,the stone best calculated for lithographic purposes is a sort of calcareous slate found on the banks of the ,danube1 in ,bavaria1 the finest being found near ,munich4 ,a good stone is porous1 yet brittle1 of a pale yellowish drab1 and sometimes of a gray neutral tint4 ,the stones are formed into slabs from one and a-half to three inches in thickness4 ,to prepare them for use1 two stones are placed face to face with some fine sifted sand between them1 and then are rubbed together with a circular motion1 to produce the requisite granulation1 which is made finer or coarser to suit the purpose of the artist4 ,the principal agents used for making designs on stone are called lithographic chalk and lithographic ink4 ,they are composed of tallow1 virgin wax1 hard tallow soap1 shellac1 sometimes a little mastic or copal1 and enough lampblack to impart a colour to the mass4 ,these ingredients are put into an iron sauce-pan1 and exposed to a strong fire till the mass is in a state of ignition4 ,when the quantity is reduced one-half1 the pan is carefully covered1 or put into water to extinguish the flame and cool the mixture4 ,after being well worked up1 it is formed into small cakes or sticks4 ,the ingredients are the same in the chalk and the ink1 but the proportions are varied1 and a little ,venice turpentine is often added to the latter4 ,the chalk is used in a dry state2 but the ink is dissolved by rubbing in water1 and is used in a pen or with a camel-hair pencil4 ,the presence of soap renders it soluble in water4 ,the artist completes a drawing with the chalk upon a grained stone as he would make a drawing in pencil or chalk upon paper4 ,if while in this state a wet sponge were passed over the face of the stone1 the drawing would wash off4 ,to prevent this1 and to make it capable of yielding impressions1 a weak solution of nitrous acid is poured over it1 which unites with and neutralizes the alkali or soap contained in the chalk1 and renders it insoluble in water4 ,after this1 the usual course is to float a solution of gum over the whole face of the stone2 and1 when this is taken off1 the drawing is no longer removable by the application of a wet sponge1 because the chalk is now insoluble4 ,the stone is now ready for the printer1 who obtains impressions by the following process4 ,having damped the surface of the stone equally with a sponge filled with water which has been slightly tinctured by acid1 the printer finds that the water has been imbibed by only those parts of the stone which are not occupied by the drawing1 which1 being greasy1 repels the water and remains dry4 ,a roller covered with ink is now passed over the stone1 which will not even be soiled where it is wet1 from the antipathy of oil to water4 ,but the parts occupied by the drawing1 being dry and greasy1 have an affinity for the printing-ink1 which1 therefore1 leaves the roller and attaches itself to the drawing4 ,in this state it is said to be charged or rolled in4 ,a sheet of damped paper is then put over it1 and1 the whole being passed through a press1 the printing-ink is transferred from the stone to the paper1 and the impression is obtained4 ,great nicety is requisite in the preparation of all the agents employed in this art1 and in the process of printing as well as in making the drawing on the stone4 ,the most important application of this process is in the production of copies of coloured drawings and paintings1--a process known as chromo-lithography4 ,the object here being to produce as nearly as possible fac-similes in colour1 touch1 and texture1 as well as in drawing and light and shadow1 of pictures from the pencils of painters of the highest standing1 it has been found necessary to employ a large number of stones1 in order to produce the almost infinite varieties of tints which are found united in a single picture1--every stone giving a separate impression in its own particular colour or tint4 ,the mode of procedure is somewhat as follows4 ,first1 an outline of the entire subject is made by means of transfer paper1 or otherwise1 on a stone which is called the outline or keystone of the work4 ,this stone yields impressions which are transferred as guides to all the other stones4 ,on a second and third stone which serve as the basis of the print the general effect of the drawing is washed in1 and from these are printed what may be called the chiaroscuro1 in a faint tint of sepia and of a neutral colour or gray1--corresponding1 in fact1 very nearly to the neutral or dead colouring of a water-colour drawing in the method adopted by the early water-colour painters4 ,the stones which follow are each charged with a particular colour or tint1 and each leaves its impression on only a particular portion of the print1--one stone printing only the parts which are intended to be yellow or a modification of yellow1 another red1 another blue1 and so on4 ,other stones charged in parts with grays or secondary colours serve to blend and harmonize the crude colours2 others follow which modify these2 and1 finally1 one gives the sharp dark touches1 and is usually followed by another which supplies a sort of glaze or finishing wash1 and subdues and harmonizes the whole4 ,of course1 we have merely indicated the general method4 ,it will be understood that the sequence of the colours in the printing1 the special quality and strength to be given to each particular tint1 the effect to be produced by their super-position1 and many other particulars1 have all to be taken into account in planning the arrangement of the colours on the stones2--since a sequence in some respects different1 and an entirely different modification of colours1 have to be employed for the works of most artists2 and it happens that much of the colour on each of the earlier stones is covered by that of succeeding stones1 and that thus only can the broken tints of the original be imitated4 ,it is1 in fact1 only by watching the progress of a print through all its stages that any clear idea can be obtained of the beauty and accuracy of the whole process1 of the prevision that must be exercised1 and of the skill1 care1 and taste required at every step to carry it to a successful termination4 ,for some of the more elaborate prints1 from thirty to forty stones have been required to produce a finished print4 ,and in order to produce this print1 it must be borne in mind that each sheet of paper has to be passed as many times through the press as there are stones1 since each stone imprints upon it only its own particular section of the work4 ,of course1 in proportion to the increase in the number of the stones1 does the difficulty increase of making the work upon each fall exactly upon its proper place in the general design2 for1 if any one were misplaced only the fiftieth of an inch1 the drawing and colour of the whole would be disturbed4 ,hence it is found necessary to arrange the register1 or adjustment of the stones1 with the utmost care and precision1 and to exercise the most careful supervision in the printing1 since the sheet of paper expands considerably in passing through the press1 and has to be dried and re-damped before it can be passed through again4 ,but practically this is all accomplished with seeming ease1 and a large and most complex subject will be found1 when the last stage has been reached1 to bear the most minute scrutiny2 and the result1 even when the copy is placed alongside the original1 will surprise and delight equally those who have followed the work through its several steps and those who may only examine the completed work4 ,of late1 many chromos have been beautifully printed from prepared blocks on an ordinary cylinder-press4 ,,engraving4 ,illustration ,the invention of wood engraving has been claimed for the ,chinese1 whose books have certainly been printed from engraved wood blocks for ages4 ,it is not1 however1 until the beginning of the fifteenth century that we find any evidence of the existence of wood engraving as we now understand it4 ,it is probable that ,italy was the first ,european country to make engravings1 but only for printing playing-cards4 ,holland and ,germany soon applied the art to better ends4 ,the earliest print of which any certain information can be obtained is in the collection of ,earl ,spencer4 ,it was discovered in one of the most ancient convents of ,germany1--the ,chartreuse of ,buxheim1 near ,memmingen in ,bavaria1--pasted within the cover of a ,latin ,,ms42 it represents ,saint ,christopher carrying the infant ,saviour across the sea1 and is dated #adbc4 ,we give a reduced fac-simile of this curious engraving4 ,the inscription at the bottom has been thus translated3-- ,in whichever day thou seest the likeness of ,st4 ,christopher1 ,in that same day thou wilt1 at least from death1 no evil blow incur4--#adbc4 ,illustration ,shortly afterward1 a series of books printed entirely from wood engravings1 called block-books1 were issued4 ,the most important of them were the ,apocalypsis1 seu ,historia ,sancti ,johannis2 the ,historia ,virginis ex ,cantico ,canticorum2 and the ,biblia ,pauperum1 the last containing representations of some of the principal passages of the ,old and ,new ,testaments1 with explanatory texts4 ,the illustrations seem to be drawn with a supreme contempt for perspective and proportion1 but bear evidence of the draperies and hands and faces having been carefully studied4 ,the above is a copy of one of the cuts in the ,apocalypsis4 ,it represents ,st4 ,john preaching to three men and a woman1 with the inscription3 8,conversi ab idolis1 per predicationem beati ,johannis1 ,drusiana et ceteri10 7,by the preaching of ,st4 ,john1 ,drusiana and others are withdrawn from their idols47 ,the adjoining cut1 from the ,biblia ,pauperum1 is curious as showing the general manner of representing the creation of ,eve during the fifteenth century4 ,both have the appearance of careful drawings 8spoiled in the engraving40 ,previous to the invention of movable types1 whole books of text were also engraved on wood1 and the impressions were evidently taken by rubbing on the back of the paper1 instead of a steady pressure1 as in the printing-press1 the ink used being some kind of distemper colour4 ,illustration ,the wood to be engraved on is carefully selected1 and cut up into transverse slices seven-eighths of an inch thick4 ,this is done by circular saws1 which are necessarily very rigid1 so as to insure good even cuts4 ,after being cut1 the slices are placed in racks something like plate-racks1 and thoroughly seasoned by slow degrees in gradually heated rooms4 ,when sufficiently seasoned they are reduced to parallelograms of various sizes1 the outer portion of the circular section near the bark being cut away1 and all defective wood rejected2 such1 for instance1 as knots1 irregular grain1 as that resulting from the position of branches1 which are indicated by light-coloured markings in the wood1 known in the trade as 8comets10 from their resemblance in shape to those fiery bodies4 ,they are softer than the surrounding wood1 and consequently do not cut well with the graver2 therefore much care and a practised eye are needed in selecting suitable wood4 ,a section of boxwood almost always exhibits parts of widely different values2 the more so as it deviates from the circle in form1 for then the annual rings are compressed1 and consequently closer on one side than on the other1 the side with the wide open rings being usually far inferior in value to the denser and smaller side4 ,in former times1 engravers' blocks were cut parallel with the grain1 the present system of cutting them across the grain being introduced about the middle of the last century4 ,in the preparation of a block1 say for a newspaper plate1 the parallelograms before spoken of are assorted as to size and fitted together at the back by brass bolts and nuts4 ,so accurately do the edges of the wood fit together1 that after the artist has finished his drawing on the smooth face of this compound block1 the screws and bolts are loosened1 and the pieces separated and given to several men to engrave the design2 all that is needed after they have finished their work being to fit the pieces together and screw them up again1 when they form one engraved block ready for the printing-press4 ,turkey boxwood1 from a region of country in the vicinity of the ,black ,sea1 is used for fine engravings4 ,the best is of a delicate yellow colour free from spots or 8eyes10 and cuts smoothly without crumbling or tearing4 ,the tools or gravers necessary in wood-engraving are of three kinds1--viz41 gravers proper 7a72 tint tools 7b72 and scoopers1 or cutting-out tools1 for clearing out the larger pieces 7c74 ,they are arranged in different sizes1 to suit the various portions of the work4#i ,illustration ,according to ,vasari1 the important discovery of chalcography or engraving on brass or copper was made by ,tommaso ,finiguerra1 a ,florentine goldsmith of the fifteenth century1 who lived from #adjj to #adfj4 ,the manner in which he made this discovery is thus stated by the ,rev4 ,t4 ,f4 ,dibdin3-- 8,of engraving upon copper1 the earliest known impression is that executed by one ,tommaso ,finiguerra1 a goldsmith of ,florence1 with the date of #adfj upon it4 ,one of the following circumstances is supposed to have given rise to the discovery4 ,finiguerra chanced to cast1 or let fall1 a piece of copper1 engraved and filled with ink1 into melted sulphur2 and1 observing that the exact impression of his work was left on the sulphur1 he repeated the experiment on moistened paper1 rolling it gently with a roller4 ,this origin has been admitted by ,lord ,walpole and ,mr4 ,landseer2 but another has been also mentioned by ,huber4 #8,it is reported1' says he1 #8that a washerwoman left some linen upon a plate or dish on which ,finiguerra had just been engraving1 and that an impression of the subject engraved1 however imperfect1 came off upon the linen1 occasioned by its weight and moistness4'0 ,,photo-,,engraving4 ,photo-engravings are produced by means of photography4 ,it is a fact worthy of note that experiments in photographic engraving gave rise to photography itself4 ,the aim of ,nicphore ,niepce1 when he began his researches in #ahac1 was not only to fix the image obtained by the camera obscura on a plate of metal1 but to convert this plate into an engraving which could be used on a printing-press4 ,his early death prevented his perfecting the process to which he had devoted much time and study4 ,three distinct methods of photo-engraving are employed in the ,united ,states1 viz43 swelled gelatine1 photo-etching1 and wash-out4 ,the latter is known as photo-electrotyping4 ,the first steps to produce a plate by any of these processes are exactly alike1 i4 e4 a perfectly sharp negative1 either in line or stipple1 must be produced4 ,if the copy furnished is a wood-cut1 steel or lithographic print1 in which the lines are absolutely black on white paper or card1 the negative is made direct and no drawing is necessary1 unless a very great reduction is required1 when it becomes necessary to make a drawing1 the lines of which are made open enough to stand the necessary reduction4 ,where the copy furnished is a photograph1 or wash drawing1 it is first photographed one half larger1 or1 where fine work is desired1 twice the size the plate required4 ,in cases where exceptionally fine work is required it is even made three times the size4 ,the photograph thus obtained is technically termed a silver print1 and is an untoned print on plain paper4 ,on this silver print the artist makes his drawing1 using the best ,india ink1 which must be so black that the finest hair-line1 when examined through a magnifying glass1 appears absolutely jet black4 ,after the drawing is made1 an alcoholic solution of bichloride of mercury is poured over it1 and quickly washed under the tap1 leaving the drawing on perfectly white paper4 ,the artist then does whatever retouching may be necessary1 and the drawing is ready to be photographed4 ,the advantages of this method of drawing are apparent4 ,the artist1 being able to work directly on the enlarged photograph of the object1 obtains absolutely correct outlines and detail4 ,the drawing1 when finished1 is sent to the gallery1 where it is photographed to the required size of the plate4 ,the focus of the camera is carefully adjusted with the aid of a focusing glass1 so that the negative resulting will be perfectly sharp4 ,this must be carefully done1 for unless the negative be sharp a perfect plate cannot be obtained by any process4 ,the sensitized collodion plate is exposed in the camera from one to six minutes1 after which it is taken again to the dark room1 developed1 and fixed4 ,it is then intensified until the portions representing the whites of the picture are perfectly opaque4 ,up to this point all the processes are alike1 and the differences from here will be noted4 ,if the plate is to be produced by the swelled gelatine process1 the negative is varnished and sent to the gelatine room4 ,here the gelatine is dissolved and the sensitized solution of bichromate of potash is added1 and it is flowed on plate glass1 then placed in a drying box1 where a current of air is continually passed over it4 ,when the gelatine is dry it is placed in a printing frame1 in close contact with the negative1 and exposed to the light4 ,on removing the negative the picture is plainly seen on the gelatine1 the action of the light having changed the color of the exposed portions of the gelatine1 besides rendering those parts insoluble1 while the parts protected from the action of the light1 by the opacity of the negative1 remain soluble1 and are swelled up by immersion in cold water4 ,the gelatine is then an exact opposite of the plate1 the whites being represented by the raised portions4 ,from this mould1 or relief1 a cast is made in a preparation of wax or plaster1 when it is ready for the stereotyper4 ,for the wash-out or photo-electrotype process1 the negative1 when dry1 is not varnished1 but is first coated with a rubber solution and then with plain collodion1 after which it is immersed in a dish of acetic acid for about five minutes1 when it is stripped from the glass and turned over4 ,it is then what is termed a reversed negative4 ,the method of preparing the gelatine is very much the same as for the swelled process1 with the exception that it is cooked for about forty-eight hours1 and with the addition of several preparations which are introduced at the time of sensitizing1 to make it easily washed out4 ,the negative is exposed in the same manner as described before1 but the time of exposure is generally less4 ,after being taken from the printing frame the gelatine is gently scrubbed with a line brush1 and kept in tepid water until a very slight relief is obtained4 ,it is then immersed in alcohol for a few seconds1 and dried with a cloth1 when it is covered with a preparation of lamp black and glycerine1 which is allowed to remain about five minutes1 when the surface of the plate is carefully rubbed with clean muslin1 exposing the surface of the lines1--all this being done in a dark room before an orange light1 which is non-actinic4 ,the gelatine is now placed in a frame and exposed to the light from five to twenty minutes1 the lampblack protecting the spaces between the lines from the action of the light1 so that those portions remain soluble4 ,the gelatine is again scrubbed until the proper relief is obtained1 after which it is allowed to dry for about twelve hours1 when it becomes hard and is ready to be electrotyped4 ,the negatives for photo-etching are stripped and reversed in the same manner as for the wash-out process4 ,the metal generally employed for this process is zinc1 though copper is sometimes used for very fine work4 ,the zinc is very highly polished1 and a thin sensitizing solution is flowed over it and dried1 after which it is exposed under the negative to the action of the light4 ,it is then rolled up with lithographic ink1 placed in a dish of cold water1 and gently rubbed with absorbent cotton1 the ink readily leaving the unexposed parts1 but remaining on the exposed lines or dots4 ,it is then quickly dried and dusted over with dragon's-blood powder1 which adheres only to the remaining inked portions4 ,the plate is then heated and cooled1 and is ready for the etching bath1 which consists of a small portion of nitric acid and water4 ,after the first bite the plate is again powdered1 heated and cooled1 and more acid added to the bath4 ,this is repeated several times1 after which the plate is ready for the press4 ,the sides of the lines are protected by the manner in which the powder is applied after the first bite4 ,the relief obtained in this way is greater than can be obtained by any other process4 ,in reviewing the three processes above described1 it is readily seen that the photo-etching process is the shorter method1 no moulding or casting being necessary1 and the sharpness of the finest lines is preserved in a manner impossible by the other methods4 ,the plates are much deeper1 and are equally suitable for the finest art work1 down to the roughest newspaper work4 ,this process1 of which there are several modes of operating1 has become very popular in the last few years1 owing to the many improvements introduced by the process inventors1 who have turned their attention to it4 ,it has many advantages1 among which is the fact that a plate can be put on the press within two hours from the time the copy is ready2 and the wearing capacity of the plates is greater4 ,by this process more than #cjj1jjj impressions have been taken from plates of fine work1 while swelled gelatine plates of the same character of work would not stand over #ejjj1 and electrotypes #ej1jjj impressions4 ,the main advantage of photo-etchings to the printer is1 that the plates do not require constant washing up1 as is the case with plates made by the other processes4 ,a photograph1 brush drawing1 or any copy that is not made up of line or stipple1 can be produced without the necessity of a line drawing by the aid of the half-tone process4 ,there are several of these processes in operation in this country2 and1 although originally introduced in ,germany by ,miesenbach1 it has been so improved by ,american inventors that the ,european work is far below the standard of the ,united ,states4 ,the principal methods of half-tone in this country are worked secretly by the inventors1 each having modifications and improvements of his own4 ,it is impossible to give a thorough description here1 as none of the inventors are willing to risk patenting their processes1 and a complete publication is not desirable4 ,the copy is first photographed1 giving a negative with all the details of the original4 ,this negative is then exposed to the camera1 and the result is a positive1 or1 as commonly called1 a transparency4 ,this positive is then placed in contact with a glass plate covered with ruled lines4 ,this plate is termed a grating4 ,being placed in contact1 they are then photographed together1 giving a negative of the object made up of lines and dots1 representing the lights and shades of the picture4 ,here the half-tone process ends1 the resulting plate being produced by any of the photo-engraving methods2 but the most satisfactory results are obtained by photo-etching4 ,the main objection to the half-tone plates is their lack of relief4 ,no great depth can be obtained without sacrificing the effect4 ,in printing these plates the greatest care in making ready must be exercised1 and a smooth surface paper must be used4 ,it is also necessary that a fine grade of ink be used in small quantity1 and that it should be properly distributed4 ,illustration3 ,,metal ,,house4 ,a ,,walk ,,over ,,our ,,foundry4 ,mr4 ,typograph1 how are you1 sir8 ,glad to see you4 ,how is business with you8 ,plenty to do1 and customers paying up8 ,you are so prompt in paying us1 that we have no doubt you have a noble set of customers4 ,you wish to add to your stock our new things8 ,all right1 sir4 ,you have a fine office already1 but you want to keep up with the times1 and give your patrons the best the type-founder can invent8 ,that's the way1 sir4 ,the man on the lookout sees the sun the earliest4 ,mr4 ,faithful1 show our new things to ,mr4 ,typograph1 and take his order4 ,you say1 ,mr4 ,typograph1 that you have never gone over a type-foundry8 ,we shall be happy to show you every thing4 ,this way1 sir4 ,here is the metal-house4 ,these piles of dull lead1 these casks of sparkling antimony1 this copper1 and this tin go to form the grand amalgam of which type is made4 ,the worthy and kind-hearted man who is stirring at the kettle1 unites1 in bonds stronger than matrimony1 immense masses of these metals every week4 ,it may appear to you1 ,mr4 ,typograph1 to be an exceedingly simple thing to throw into the kettle certain amounts of lead and antimony1 and copper and tin1 and produce type-metal4 ,not so1 good friend4 ,it is not an easy matter to compose a metal that shall be hard1 yet not brittle2 ductile1 yet tough2 flowing freely1 yet hardening quickly4 ,all these conditions must be met4 ,break a bar in two1 and examine the grain of our metal3 is it not beautiful8 ,illustration3 ,,punch4 ,illustration3 ,,matrix4 ,now1 sir1 let us up-stairs and see how these bars are fitted for printers' use4 ,this is a punch-cutter--a man of exquisite finger and unerring eye--sitting amid keen and delicate tools and accurate gauges4 ,there are but few of this kind of men in the world4 ,on the end of a piece of steel he is forming a letter4 ,a touch here and a touch there1 and frequent testing by gauges1--so he proceeds1 till the letter is done2 then another1 and another1 till the alphabet is complete2 all the letters harmonizing entirely in height1 breadth1 appearance1 length of stroke1 c4 ,a smoke-proof of the dies is taken1 and if approved the dies are one by one placed in a stamping-machine1 so1--and an oblong piece of copper is set under it1 so1--and then this lever is brought down1 so1--and a perfect impression of the die is left1 as you see1 deep in the copper4 ,this is the matrix4 ,the matrices are passed over to other workmen in the adjoining room4 ,observe now the carefulness and skill exercised in fitting up these bits of copper1 so that1 when placed in the mould1 the types cast in them shall range accurately and be of uniform height4 ,the slightest variation would give the zigzag appearance which you may have noticed in badly-made type4 ,this we endeavour sedulously to avoid1 and with how much success you can judge from our ,specimen ,book4 ,look at this drawer full of matrices4 ,you say they are triumphs of art8 ,true saying1 evincive of good judgment4 ,illustration3 ,,casting ,,machine4 ,you wonder what these curious-looking instruments are which lie1 in dusty repose1 on the shelves around the room8 ,those1 ,mr4 ,typograph1 are hand-moulds1 and at one time they provoked intense covetousness on the part of rival founders4 ,one of our earliest predecessors1 ,mr4 ,archibald ,binny 7our foundry dates from #agif71 added such valuable improvements to the ordinary mould1 that no other foundry in the world could rival the expedition and accuracy with which types were cast in the establishment of which he was a co-proprietor4 ,their day has passed1 however4 ,they have been superseded by the machines which you will see in operation in another apartment4 ,but they were capital things in their time1 sir1 and we regard them with somewhat of an antiquary's reverence4 ,now we enter the casting-rooms4 ,these tiny machines1 small as they are1 can throw out more type in one day than you would be likely to count in a month1 even if you could call off one hundred a minute1 and occupy ten hours a day4 ,snug little fellows1 are they not8 ,they were invented by a ,new-,yorker1 ,mr4 ,david ,bruce1 ,jr4 ,a very ingenious man1 you say8 ,that is true4 ,look at one carefully4 ,the metal is kept fluid by a little furnace underneath1 and is projected into the mould by a pump1 the spout of which1 you see1 is in front of the metal-pot4 ,the mould is movable1 and at every revolution of the crank it comes up to the spout1 receives a charge of metal1 and flies back with a fully-formed type in its bosom2 the upper half of the mould lifts1 and out jumps a type as lively as a tadpole4 ,you don't see how the letter is formed on the end of the type8 ,true1 we had forgotten3 well1 this spring in front holds in loving proximity to the mould a copper matrix1 such as you saw just now in the fitting-room4 ,the letter a1 for instance1 stamped in the matrix1 sits directly opposite the aperture in the mould which meets the spout of the pump2 and when a due proportion of a's is cast1 another matrix with b stamped in it takes its place2 and so on throughout the alphabet4 ,slow work1 you say1 one at a time8 ,well1 the world is peopled after that fashion2 and it fills up fast enough4 ,but just time this machine3 it is making small1 thin type4 ,count the type made in a minute4 ,one hundred and seventy-five1 you say4 ,one hundred per minute will probably be the average of the ordinary sizes of printing type4 ,the types are not finished yet8 ,oh1 no4 ,these nimble-fingered boys are breaking off the jets1 or waste ends of the type4 ,quick1 a'n't they8 ,now let us go up stairs into the dressing-room4 ,an immense beehive8 ,yes1 indeed1 it looks like one4 ,the lads clustered around the large circular stones1 with leather-protected fingers1 rub off the rough edges of the type4 ,but men as well as type require their rough edges taken off before they are good for much in the world4 ,these boys at the tables set up the type in long lines4 ,you think that if you could pick up dollars as fast as they pick up type1 you would retire an independent man in a year or two8 ,we wish you could1 ,mr4 ,typograph2 we wish you could4 ,the lines of type now pass into the hands of the dresser4 ,observe how deftly he slips them into a long stick1 shakes them down on their face1 screws them up1 fastens them into a planing-board1 and with one or two pushes with a planing tool accurately grooves the bottom of the type1 removing entirely the burr left when the jet is broken off1 and giving each type a pair of legs to stand upon1 till it is worn out and returned to the melting kettle4 ,what is the eye-glass used for8 ,why1 sir1 as soon as the types are grooved1 the dresser narrowly inspects the face of the type1 and if an imperfect letter is discovered by the aid of the magnifying glass1 it is incontinently turned out4 ,ah1 sir1 if we were all inspected as severely as he criticises type1 some of us1 perhaps1 would hardly pass muster4 ,the immaculate types are next put up in pages of convenient size1 and are ready for the purchaser4 ,let us drop into the large machine-room4 ,does not every thing hum here6 ,is it not a beautiful sight to see the shafts and belts and pulleys whirling around as if they were all alive8 ,here we fit up our machines1 make our moulds1 repair damages to machinery1 c4 ,the multifarious uses of these lathes you must be familiar with3 this ponderous machine is an iron planer3 how it makes the iron chips fly6 ,what is that curiously-arranged lathe8 ,that is for cutting ,labour-,saving ,rule1--the rule which you have found so convenient and economical in your job-room4 ,we make it of many different styles of faces3 some single1 some dotted or hyphen-lines1 and others parallel or double1 of varying thicknesses4 ,they are all cut to ,pica ems in length1 and are furnished with mitred corner-pieces of different angles1 so contrived1 in most of the sizes1 as to allow the rule to be used single or double1 and with the fine lines inside or outside4 ,illustration3 ,,slotted ,,brass ,,corners4 ,here are specimens of our new slotted brass corners1 so handsome and useful to the skilled printer4 ,see how accurately the slotted pieces fit in one another1 so that you cannot detect the joint4 ,are they not effective8 ,our brass is carefully rolled by the best manufacturers in the country1 and is sent to us in strips or in sheets4 ,that wicked-looking shears yonder cuts up the thinner brass with as much unction as ,commissioner ,yeh's executioner slices off heads3 the thick brass goes under a circular steam-saw4 ,illustration3 ,,stereotype ,,block4 ,now1 sir1 while we are up here1 we will peep into the printers' furnishing-room4 ,isn't this a beautiful stereotype-block8 ,doesn't it do your eyes good to look at such perfect workmanship8 ,and these brass galleys1 and mahogany galleys and composing sticks1 are they not admirable8 ,our effort in this department1 as in all others1 is to do our work well4 ,all our miscellaneous wood-work is done here1--stands1 racks1 drawers1 stereotype and packing boxes1 c4 ,some curious work has been designed and executed for the ,smithsonian ,institution1 as well as brass ciphering-frames for the blind4 ,ah1 we forgot to show you our large-type room4 ,on our way to the electrotype department1 we will glance in it4 ,the types you see here cool too slowly to be cast in a machine1 so we continue to pour them4 ,look over the drawers1 and see the multitude of patterns4 ,some men fancy one style1 and some another4 ,so we try to meet all tastes4 ,feel how solid the type is4 ,you can't squeeze the life out of that type on a power-press4 ,no1 indeed4 ,it is made for wear4 ,now1 ,mr4 ,typograph1 we enter the grimed and murky electrotype-room4 ,electrotyping1 you are aware1 is simply stereotyping in copper4 ,its advantages over stereotyping are1 sharpness of outline in plates from wood-cuts1 and great durability4 ,plates for books of large circulation are always electrotyped1 as well as cuts1 engravings1 binders' stamps1 c4 ,the thing to be electrotyped1 after being carefully and almost imperceptibly glazed with plumbago1 is laid upon a press1 and a prepared mould is placed over it1 and an exact impression taken4 ,this is well dusted with plumbago1 and then deposited in the electric bath4 ,nature immediately takes up her part of the work1 and a brilliant coating of copper is deposited upon the mould4 ,when sufficiently thick1 it is taken out of the battery1 and1 as you may notice1 presents on the wrong side the appearance of a printed sheet of copper4 ,this sheet is then filled up on the back to the requisite degree of thickness1 and fastened to a block1 ready to be used with type on a common printing-press4 ,plumbago1 you remark1 does not improve the countenances of the operatives8 ,true2 but a little soap and water1 vigorously applied1 proves the title of these intelligent workmen to rank among white folk4 ,to you1 ,mr4 ,typograph1 our composing-rooms present nothing new1 except1 perhaps1 in its vast number of job founts1 due to the fact that we now mainly confine our work in this department to all kinds of jobbing2 and yet in ten years we have set up in these rooms and stereotyped more than eight hundred considerable works1--most of them consisting of a single volume1 but some of from two to twelve volumes each1--besides a multitude of smaller books1 tracts1 c4 ,among the rest we may mention two ,quarto ,bibles1 7one of them1 now published by ,j4 ,b4 ,lippincott ,co41 the grandest ever got up in ,america17 ,lippincott's two great ,gazetteers1 ,dr4 ,kane's ,explorations1 ,the ,north ,american ,sylva1 ,thiers' ,napoleon1 and ,macaulay's ,england3 ,allibone's magnificent ,dictionary of ,authors and ,books among the number4 ,after the pages have been set and carefully read1 they are sent down to the casting-room4 ,in the electrotype-room1 every thing is as black as the brow of a coal-heaver3 in the casting-room1 all is as white as the neck of a belle4 ,take care1 sir1 or your coat will commit a larceny of our plaster4 ,the form of type is laid on this stone1 and nicely oiled3 and then a mixture of plaster and water--doesn't it look like a good wife's buckwheat batter8--is poured over it1 and gently rolled in4 ,in a short time the plaster sets1 and the mould is removed by screws as tenderly as a nurse handles a baby4 ,it is then dried in this hot-tempered oven1 and1 after the moisture is all evaporated1 it is laid in a pan and fastened tightly1 as you see1 and plunged into this terrible bath of a thousand pounds of molten type-metal4 ,phew6 you exclaim1 what warm work6 ,yes1 sir2 but from that fiery sea of lead soon emerges the pan1 and its hissing heat is gradually overcome by the water in the trough into which the pan is lowered4 ,now1 caster1 break it out4 ,there1 ,mr4 ,typograph1 is the plate1 fixed1--immovable1--stereotyped4 ,the mould is ruined2 but the plate is comparatively immortalized4 ,it is rough yet1 and1 like an uncouth boy1 needs polishing4 ,illustration3 ,,stereotype ,,casting-,,room4 ,this next room is the finishing-room4 ,here the plates are carefully examined1 picked1 shaved1 trimmed1 and boxed1 ready for the printer4 ,take a plate in your hand and examine it3 it will bear inspection4 ,you say it is far better than the untrimmed1 uneven plates of ,english founders8 ,we know that1 sir2 for we have often had to re-finish ,english plates imported by some publisher who imagined he could save a little by ordering a duplicate set of plates of a popular foreign book4 ,a mistake1 sir4 ,both in type-founding and in stereotyping the ,americans have driven the foreigner from the field1--and in the only legitimate way1 too3 simply by surpassing him4 ,in this nook below1 our engraving is done4 ,the drawing is made on the block by the designer1 as you see3 then patiently and skilfully the engraver cuts and digs out1 till the lines and shapes and lights and shades are all revealed in the beautiful picture4 ,our work in this department gives so much satisfaction that we are seldom without orders4 ,now1 ,mr4 ,typograph1 we shall admit you into our editorial parlour4 ,walk in1 sir4 ,it is not carpeted1 and its principal furnishings comprise a desk or two1 a few presses1 stands and cases1 with multitudinous type-surroundings4 ,here1 sir1 we edit and print our ,specimen ,books and our ,typographic ,advertiser4 ,don't you see poetical flies buzzing around1 and atoms of wit-dust floating in the air1 and odours of sentiment stealing out at the key-holes1 and grains of common sense sprinkled all over the floor4 ,will you have a few specimens as curiosities8 ,you say you have already a good assortment in our ,advertiser and our ,book8 ,very well1 sir3 we hope you will treasure them up4 ,you say truly when you remark1 that the printing done in this room is seldom1 if ever1 surpassed in ,america4 ,we know that2 and we intend to stand on the topmost round of the typographical ladder1 and to show our fellow-artists what can be done with type such as we manufacture4 ,we are afraid1 ,mr4 ,typograph1 that your long excursion over the house has wearied you4 ,let us go down-stairs again4 ,these1 sir1 are our warerooms4 ,on these numerous shelves are ranged founts of all the various sorts of types made by us1 carefully put up1 labelled and classified1 and all accessible at a minute's notice4 ,our customers throughout the country keep actively employed all these porters1 packers1 clerks1 salesmen1 and bookkeepers4 ,many of our customers have never visited us2 but we put up their orders with as conscientious fidelity and care as if they were standing before us and watching our every movement4 ,we are happy to see them1 and hope none will visit our city without calling in and taking us by the hand4 ,we like to see them face to face1 so that we can hang up their portraits in our mental gallery2 and1 when we afterward receive a letter from them1 we can imagine that we are hearing them talk to us rather than reading their writing4 ,the side-door on which your eye has just rested leads to one of our fire-proofs4 ,enter it4 ,here1 sir1 are safely stored many thousand matrices1 as well as moulds1 when not in use4 ,as it would require the labour of many weary years to replace them if destroyed1 we endeavour to keep them secure from the danger of ruin by fire4 ,the upbuilding of a complete type-foundry is a work of generations4 ,you will hardly care to look into the basement1--the storehouse of ink and other typographical appliances8 ,your time is exhausted8 ,then1 sir1 we bid you good-day4 ,a safe return to your pleasant family1 ,mr4 ,typograph4 ,illustration ,illustration ,,implements ,,or ,,tools ,,of ,,the ,,art4 ,,types4 ,illustration ,the types or letters generally used for printing in ,europe and ,america are termed ,roman1 ,italic1 and ,old ,english1 or ,black ,letter4 ,,roman ,,letter4 ,roman letters were employed in ,,mss4 from the fifth to about the close of the twelfth century1 when what are called ,gothic letters 7afterward ,old ,english7 came gradually into use2 these continued for several centuries1 when1 in most countries1 they were superseded by the ,roman characters4 ,all printing was in black letter down to #adfe1 when ,sweinheim ,pannartz1 in ,subiaco near ,rome1 produced a volume entitled ,lactantius1 in a character approaching to the actual forms of our modern types4 ,in #adfg1 they made an improved set of characters1 and printed about forty volumes within the five years following4 ,about #adfi ,john of ,spires1 in ,venice1 made a great advance in improving the form of the ,roman character1 and printed the ,natural ,history of ,pliny3 the execution of this work is very remarkable4 ,but ,nicholas ,jenson may fairly be considered the father of the style of ,roman letter now in vogue4 ,he printed in ,venice four works in the year #adgj1 the first of which was ,eusebii ,prparatio ,novorum1 c41 in types which were cut by him1 more perfect in form than those of any earlier printer4 ,the printers named above were all of them ,germans4 ,the ,roman letters consist of circles1 arcs of circles1 and straight lines2 and1 therefore1 on the score of simplicity1 precision1 and elegance1 they certainly deserve to be adopted as the standard for all nations4 ,a printer1 in choosing type1 should not only attend to the cut of the letter1 but should also observe that its shank is perfectly true1 and that it lines or ranges with accuracy1 and is of equal height4 ,the quality of the metal of which it is composed and the finish of the letter demand particular attention1 as the competition among some of the smaller foundries 7which have sprung into existence through the facilities afforded of multiplying matrices by the electrotype process7 has led them to use an inferior metal1 and produce types without due regard to nicety of finish and exactness of body and standing4 ,it is important that types should have a deep face1 with strong1 bevelled bases or foundations under the ceriphs or hairlines1 and that the letters should have a deep nick1 which should be different from other founts of like body in the same house4 ,,italic ,,letter4 ,aldo ,manuccio1 born at ,bassano1 succeeded ,jenson at ,venice and turned to good account the latter's admirable founts of type4 ,he also made many advances in the art of printing1 the most notable of which is the invention of the style of type now known as ,italic4 ,it was first used in an octavo edition of ,virgil issued by him in #aeja1 and ,pope ,leo ,x4 gave him a letter of privilege1 entitling him to the sole use of the type he had invented4 ,it was said to be founded on the handwriting of ,petrarch1 which it closely resembles4 ,italic was largely employed to distinguish such parts of a book as might be considered appendages1 as ,prefaces1 ,introductions1 ,annotations1 c41 all of which were formerly printed in this character2 so that perhaps two-fifths of a fount was composed of ,italic letter4 ,at present it is used more sparingly1 being superseded by the more elegant mode of enclosing extracts within inverted commas1 and by setting poetry and annotations in a smaller-sized type4 ,it is very appropriately used to distinguish the head or subject-matter of a chapter1 and is serviceable in grammars and other school-books as well as scientific works4 ,the frequent use of ,italic words among ,roman in ordinary matter impairs the beauty of the page1 and ought to be avoided2 yet authors sometimes stubbornly insist on the gratification of their whimsies1 even at the sacrifice of every principle of correct taste4 ,,black ,,letter4 ,illustration3 ,this letter1 which was used in the infancy of ,printing1 descended from the ,gothic characters3 it is called ,gothic by some1 and ,old ,english by others2 but printers term it ,black ,letter1 on account of its heavy appearance4 ,in ,germany1 the letters in common use are founded on the ,gothic character2 but even there scientific works are printed in the ,german language with ,roman letters4 ,the ,dutch adhere to the black letter in books of devotion and religious treatises2 while they make use of the ,roman in their curious and learned works4 ,,saxon ,,characters4 ,the ,saxon characters originated probably from the ,gothic1 but were altered or modified after the ,latin ones which the ,saxons found in use in ,england in the fifth century4 ,the first ,saxon types were cut by ,john ,daye1 under the patronage of ,archbishop ,parker1 about the year #aefg4 ,we give the ,lord's ,prayer in modern ,anglo-,saxon types3 ,illustration3 ,fder ure u e eart on heofenum4 ,si in nama gehalgod4 ,tobecume in rice4 ,cepure in pilla on eoran1 spa spa on heofenum4 ,urne dghpamlican hlaf gyfe us to dg4 ,and forgyf us ure gyltas1 spa ssa pe forgifa urum gyltendum4 ,and ne geldde u ur on costnunge4 ac alys us of yfele4 ,so lice4 ,,names ,,and ,,sizes ,,of ,,type4 ,the principal bodies to which printing letters are cast in ,england and ,america are the following3-- #a4 ,diamond4 #b4 ,pearl4 #c4 ,agate4 #d4 ,nonpareil4 #e4 ,minion4 #f4 ,brevier4 #g4 ,bourgeois4 #h4 ,long ,primer4 #i4 ,small ,pica4 #aj4 ,pica4 #aa4 ,english4 #ab4 ,columbian4 #ac4 ,great ,primer4 #ad4 ,paragon4 #ae4 ,double ,small ,pica4 #af4 ,double ,pica4 #ag4 ,double ,english4 #ah4 ,double ,great ,primer4 #ai4 ,double ,paragon4 #bj4 ,canon4 ,besides the foregoing1 a smaller size than ,diamond1 called ,brilliant1 is now cast in the foundry of ,mac,kellar1 ,smiths ,jordan of ,philadelphia1 the body of which is just one-half of ,minion4 ,even this is surpassed in smallness by a music type cast in the same foundry1 named ,excelsior1 which is precisely one-half the size of ,nonpareil4 ,another size omitted in the list is ,minionette1 7equivalent to six of the ,didot points17 which is next above ,nonpareil4 ,canon is conceded to have been first produced by a ,french artisan1 and was probably used in some work relating to the canons of the church2 to which the ,german title1 ,missal1 alludes4 ,two-line ,great ,primer1 ,two-line ,english1 and ,two-line ,pica1 owe their names to the respective bodies of which the depth of two em quadrates answers to one of the double sizes4 ,paragon was probably first cut in ,france4 ,it is known as ,text by the ,germans4 ,pica is universally considered as the standard type1 and by it furniture1 quotations and labour-saving rules are graduated4 ,a line #hc ,pica ems long is equivalent to #ce centimeters4 ,the twelfth part of ,pica is the unit1 called a ,point1 by which type-bodies are measured4 ,mac,kellar1 ,smiths ,jordan cast their new borders1 ornaments1 and job type on ,pica1 and its subdivisions of ,nonpareil1 7 ,pica17 and ,excelsior1 7 ,pica17 and their multiples4 ,illustration3 ,transcriber's ,note3 ,in the original1 each paragraph was printed in the size of type that it describes 7they run from largest to smallest74 ,great ,primer1 called ,tertia in ,germany1 is one of the major sizes of type which were early used for printing considerable works1 and especially the ,bible2 on which account some persons term it ,bible ,text4 ,the ,french name is ,gros ,romain4 ,english is called ,mittel by the ,germans1 and ,st4 ,augustin by the ,french and ,dutch2 the word ,mittel 7,middle7 intimating that the former sizes of letter were seven in number1 the centre of which was ,english1 with ,prima1 ,secunda1 and ,tertia on one side1 and ,pica1 ,long ,primer1 and ,brevier on the other4 ,the name ,st4 ,augustin was probably given because the writings of that ,father were the first works done in that letter4 ,pica is called ,cicero by the ,french and ,germans4 ,as the preceding size was distinguished by the name of ,st4 ,augustin1 so this has been honoured with that of ,cicero1 on account of the ,epistles of that writer having been first done in letter of this size4 ,it is doubtful whether the name was given by the ,french or the ,germans4 ,small ,pica is a grade below ,pica1 and is now generally employed in octavo volumes1 and is1 indeed1 almost the only size used for printing legal reports and other law books4 ,the ,french call this letter ,philosophie1 which1 however1 is merely a ,pica face on ,small ,pica body4 ,the ,germans call it ,kleine ,cicero4 ,long ,primer4 ,upon the supposition that some bodies of letter took their names from works in which they were first employed1 we are induced to believe that the ,germans gave the name of ,corpus to this character on account of their ,corpus ,juris being first done in this size4 ,the ,french call this letter ,petit ,romain4 ,bourgeois is a very useful and convenient size of letter4 ,it is frequently used in double-column octavo pages4 ,the name indicates that it originated in ,france2 although type of this body is now called ,gaillarde by ,french printers4 ,two lines of this letter are equivalent to one line of ,great ,primer1 or four lines of ,diamond4 ,brevier was first used for printing the ,breviaries1 or ,roman ,catholic ,church books1 and hence its name4 ,the ,germans call it ,petit1 and ,jungfer 7maiden letter74 ,it is an admirable type1 and cannot conveniently be dispensed with in any considerable printing-office4 ,minion follows ,brevier1 and is commonly used for newspapers1 and for notes and indexes in book-work4 ,its name is due probably to its being smaller than any type in use at the period of its invention4 ,it fills a useful place in a printing-office4 ,nonpareil came next in order2 and its originator1 supposing that he had reached the extreme of diminutiveness1 gave it this triumphant title4 ,it is extensively used1 though mostly on newspapers1 and for notes and indexes for duodecimo books and smaller4 ,it is certainly the smallest type that should be allowed in book-work4 ,agate probably arose from the necessities of newspaper publishers4 ,as patronage increased1 it became desirable to have a type less in size than ,nonpareil1 for the advertisements1 shipping news1 markets1 c42 and ,agate was made to meet the emergency4 ,it is now extensively used for pocket editions of the ,bible and ,prayer ,books4 ,pearl may be said to have been born of ambition4 ,as punch-cutters became more expert1 some one possessed of a keen eye and a delicate mechanical finger determined to surpass in smallness the achievements of his predecessors4 ,hence the origin of this type4 ,this type is also employed in printing miniature volumes4 ,diamond followed1 as a matter of course2 for human ingenuity1 when provoked1 seems determined to go to the utmost verge of possibility4 ,this type is so minute that a pound of it will contain more than #ccjj of the letter i2 yet1 to produce each letter of an alphabet1 a steel punch has to be cut and a matrix made1 in which the types are cast one by one1 and1 being set up in lines1 are rubbed and dressed by the founder for the use of the compositor4 ,brilliant4 ,expert penmen1 it is said1 have succeeded in writing the ,lord's ,prayer upon the edge of a sheet of paper4 ,a type-setter in ,berlin1 most surprisingly1 has formed a type so minute as to be scarcely readable without a good magnifying glass4 ,the type of this paragraph1 though not so small as the microscopic letters produced in ,prussia1 is yet so diminutive that even ,diamond is large by comparison4 ,of the letter i nearly #dfjj go to a pound4 ,,gradation ,,of ,,types4 ,the following specimen shows the proportion which one size of type bears to another in width2 but it is necessary to observe that it must be taken with certain limitations1 because each founder has letter of every size that will either drive out or get in with others of the same body1 some faces being more extended and others being more condensed than the standard width of type4 ,the scale contains thirteen sizes in order of gradation1 viz41 ,great ,primer1 ,english1 ,pica1 ,small ,pica1 ,long ,primer1 ,bourgeois1 ,brevier1 ,minion1 ,nonpareil1 ,agate1 ,pearl1 ,diamond1 and ,brilliant4 ,illustration ,,point ,,system ,,of ,,type-,,bodies4 ,in #ahhb1 ,mac,kellar1 ,smiths ,jordan began to make type on the proportional system of bodies4 ,the ,pica em1 being the eighty-third part of thirty five centimetres1 was divided into twelve parts1 or points4 ,this system of exact proportional type-bodies was approved of and adopted by the ,american type-founders generally4 ,it has been favourably received by printers in this country1 and all printing offices will in due time be fully equipped with types of this description4 ,the standard for the height of type was fixed at #b centimetres4 ,in some ,european countries printing offices had their types cast to a height to suit the proprietor's whim4 ,some of the foreign founders have sent young men to ,philadelphia to be educated in the ,american system of heights and bodies1 and at least two foundries in ,germany have adopted the ,american plan4 ,the following table shows the systematic gradation of bodies and position of nicks in the point system1 one point being equivalent to #a_/ab of a ,pica em4 ,illustration3 #c ,,point4 ,excelsior4 #c ,,point4 ,brilliant4 #d ,,point4 ,semi-,brevier4 #d ,,point4 ,diamond4 #e ,,point4 ,pearl4 #e ,,point4 ,agate4 #f ,,point4 ,nonpareil4 #g ,,point4 ,minion4 #h ,,point4 ,brevier4 #i ,,point4 ,bourgeois4 #aj ,,point4 ,long ,primer4 #aa ,,point4 ,small ,pica4 #ab ,,point4 ,pica4 #ad ,,point4 ,english4 #af ,,point4 ,two-line ,brevier4 #ah ,,point4 ,three-line ,nonpareil4 #bj ,,point4 ,two-line ,long ,primer4 #bb ,,point4 ,two-line ,small ,pica4 #bd ,,point4 ,two-line ,pica4 #bh ,,point4 ,two-line ,english4 #cj ,,point4 ,five-line ,nonpareil4 #cb ,,point4 ,four-line ,brevier4 #cf ,,point4 ,three-line ,pica4 ,a ,,bill ,,of ,,pica4 ,the following is reckoned by the founders a regular fount1 complete in all its sorts3-- ,a ,,bill ,,of #hjj ,,lbs4 ,,of ,,pica4 a #hejj b #afjj c #cjjj d #ddjj e #abjjj f #bejj g #agjj h #fdjj i #hjjj j #djj k #hjj l #djjj m #cjjj n #hjjj o #hjjj p #agjj q #ejj r #fbjj s #hjjj t #ijjj u #cdjj v #abjj w #bjjj x #djj y #bjjj z #bjj #bjj #djj #ejj #bjj #ajj #aej #ajj #fj -- #aej #ij #fj 1 #dejj 2 #hjj 3 #fjj 4 #bjjj - #ajjj 8 #bjj 6 #aej ' #gjj 7 #cjj #aej 99 #ajj #ajj #ajj #ajj #ajj #fj #a #acjj #b #abjj #c #aajj #d #ajjj #e #ajjj #f #ajjj #g #ajjj #h #ajjj #i #ajjj #j #acjj #bjj #bjj #bjj #bjj ,all other accents1 each4 #ajj ,a #fjj ,b #djj ,c #ejj ,d #ejj ,e #fjj ,f #djj ,g #djj ,h #djj ,i #hjj ,j #cjj ,k #cjj ,l #ejj ,m #djj ,n #djj ,o #djj ,p #djj ,q #ahj ,r #djj ,s #ejj ,t #fej ,u #cjj ,v #cjj ,w #djj ,x #ahj ,y #cjj ,z #hj #dj #cj 7,transcriber's ,note3 the following were printed as small capitals47 ,a #cjj ,b #bjj ,c #bej ,d #bej ,e #cjj ,f #bjj ,g #bjj ,h #bjj ,i #djj ,j #aej ,k #aej ,l #bej ,m #bjj ,n #bjj ,o #bjj ,p #bjj ,q #ij ,r #bjj ,s #bej ,t #cbf ,u #aej ,v #aej ,w #bjj ,x #ij ,y #aej ,z #dj #bj #ae ,spaces4 ,thick #ahjjj ,middle #abjjj ,thin #hjjj ,hair #cjjj ,em ,quads #bejj ,en ,quads #ejjj ,large ,quadrates1 about #hj lbs4 ,italic1 one-tenth of ,roman4 ,owing to the varying styles of authors and the diverse subjects of books1 some letters will now and then run short in a fount1 whatever the proportions may have been at first4 ,a new fount of type may run evenly on a work in general literature written in the third person1 while a novel filled with dialogues in the first person will rapidly exhaust certain letters1 and require sorts to render the fount serviceable to its full general capacity4 ,so with scientific and other books4 ,even in the case of two authors writing on the same subject1 there is no certainty that the fount will run alike4 ,the master-printer1 therefore1 to keep the entire letter in use1 is compelled to order sorts1 and his fount is thus constantly growing larger4 ,a ,,fount ,,of ,,type4 ,a complete fount of type may be comprised under the following heads3-- ,,capitals4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z ,,small ,,capitals4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z ,,lower ,,case4 a b c d e f g h i j k l m n o p q r s t u v w x y z ,,italic ,,capitals4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z ,,italic ,,lower ,,case4 a b c d e f g h i j k l m n o p q r s t u v w x y z ,,figures ,,and ,,fractions4 #a #b #c #d #e #f #g #h #i #j ,,points ,,and ,,references4 1 2 3 8 6 - ' 7 7 99 ,,braces1 ,,dashes ,,and ,,commercial ,,signs4 symb symb symb - - -- ,four kinds of spaces2 en1 em1 two and three em quadrates4 ,accents4 ,these are the ordinary sorts cast to a fount1 and are classified by founders as long1 short1 ascending1 descending1 kerned1 and double letters4 ,,long ,,letters fill the whole depth of the face of the body1 and are both ascending and descending1 such in the ,roman as ,q and j1 and in the ,italic f4 ,,short ,,letters have the face cast on the middle of the body1 7by founders called shank17 as a1 c1 e1 m1 n1 o1 r1 s1 u1 v1 w1 x1 z1 all of which will admit of being bearded above and below the face1 both in ,roman and ,italic4 ,,ascending ,,letters are all the ,roman and ,italic capitals2 in the lower case1 b1 d1 f1 h1 i1 k1 l1 t4 ,,descending ,,letters are g1 p1 q1 y1 in ,roman and ,italic4 ,,kerned ,,letters are types that have part of the face hanging over either one or both sides of the body4 ,in ,roman1 f and j are the only kerned letters2 but1 in ,italic1 d1 g1 j1 l1 y are kerned on one side1 and f on both sides of its face4 ,most ,italic capitals are kerned on one side of the face4 ,the ,,double ,,letters in modern use are 1 1 1 1 2 and these are so cast to prevent the breaking of the beak of the f when used before a tall letter4 ,the diphthongs and may be classed among double letters4 ,printers divide a fount of letter into two classes4 #a4 ,the upper case sorts4 #b4 ,the lower case ,the upper case sorts are capitals1 small capital letters1 references1 dashes1 braces1 commercial signs and fractions4 ,the lower case consists of small letters1 double letters1 figures1 points1 spaces and quadrates4 ,,capitals4 ,lindley ,murray gives the following judicious directions in regard to the use of capital letters3-- ,it was formerly the custom to begin every noun with a capital2 but as this practice was troublesome1 and gave the writing or printing a crowded and confused appearance1 it has been discontinued4 ,it is1 however1 very proper to begin with a capital1-- #a4 ,the first word of every book1 chapter1 letter1 note1 or any other piece of writing2 and1 #b4 ,the first word after a period2 and1 if the two sentences are totally independent1 after a note of interrogation or exclamation4 ,but if a number of interrogative or exclamatory sentences are thrown into one general group1 or if the construction of the latter sentences depends on the former1 all of them1 except the first1 may begin with a small letter3 as1 ,how long1 ye simple ones1 will ye love simplicity8 and the scorners delight in their scorning8 and fools hate knowledge8--,alas6 how different6 yet how like the same6 #c4 ,the appellations of the ,deity3 as1 ,god1 ,jehovah1 the ,almighty1 the ,supreme ,being1 the ,lord1 ,providence1 the ,messiah1 the ,holy ,spirit4 #d4 ,proper names of persons1 places1 streets1 mountains1 rivers1 ships3 as1 ,george1 ,london1 the ,strand1 the ,alps1 the ,thames1 the ,seahorse4 #e4 ,adjectives derived from the proper names of places3 as1 ,grecian1 ,roman1 ,english1 ,french1 ,italian4 #f4 ,the first word of a quotation1 introduced after a colon1 or when it is in a direct form3 as1 ,always remember this ancient maxim3 8,know thyself40--,our great ,lawgiver says1 8,take up thy cross daily1 and follow me40 ,but when a quotation is brought in obliquely after a comma1 a capital letter is unnecessary3 as1 ,solomon observes1 8that pride goes before destruction40 ,the first word of an example may also very properly begin with a capital3 as1 ,temptation proves our virtue4 #g4 ,every substantive and principal word in the titles of books3 as1 ,johnson's ,dictionary of the ,english ,language2 ,thomson's ,seasons2 ,rollin's ,ancient ,history4 #h4 ,the first word of every line in poetry4 #i4 ,the pronoun ,i and the interjection ,o are written in capitals3 as1 ,i write3 ,hear1 ,o earth6 ,other words1 besides the preceding1 may begin with capitals when they are remarkably emphatical1 or the principal subject of the composition4 ,the method of denoting capital letters in manuscript is by underscoring them with three distinct lines4 ,,small ,,capitals4 ,small ,capitals are in general cast to ,roman founts only1 and are used for the purpose of giving a stronger emphasis to a word than that conveyed by ,italic4 ,they are likewise used for running heads1 heads of chapters1 c4 ,the first word of every section or chapter is commonly put in small capitals2 but when a two-line initial letter is used1 the remainder of the word should be in capitals4 ,the small capitals ,c1 ,o1 ,s1 ,v1 ,w1 ,x1 ,z so closely resemble the same letters in the lower case1 that care is required to prevent intermixing4 ,in manuscript1 small capitals are denoted by two lines drawn under the words4 ,italic words are designated by a single stroke underneath4 ,,points4 ,points consist of a comma1 semicolon1 colon1 period or full-point1 mark of interrogation1 and mark of admiration4 ,shortly after the invention of printing1 the necessity of stops or pauses in sentences for the guidance of the reader produced the colon and full-point4 ,in process of time1 the comma was added1 which was then merely a perpendicular line1 proportioned to the body of the letter4 ,these three points were the only ones used till the close of the fifteenth century1 when ,aldo ,manuccio gave a better shape to the comma1 and added the semicolon2 the comma denoting the shortest pause1 the semicolon next1 then the colon1 and the full-point terminating the sentence4 ,the marks of interrogation and admiration were introduced many years after4 ,perhaps there never existed on any subject a greater difference of opinion among men of learning than on the true mode of punctuation4 ,some sprinkle the page with commas almost as promiscuously as if from a pepper-box1 and make the pause of a semicolon where the sense will bear only a comma2 while others are extremely careless1 and omit points even when they are needed to give the true sense of a passage at the first reading4 ,the lack of an established practice is much to be regretted4 ,the loss of time to a compositor occasioned by altering points arbitrarily is a great hardship4 ,manuscripts are often placed in the printer's hands without being properly prepared3 either the writing is illegible1 the spelling incorrect1 or the punctuation defective4 ,unless the author will take entirely on himself the responsibility of the pointing1 it will be better to omit every point in the copy1 except at the end of a sentence1 rather than confuse the mind of the compositor by commas and semicolons placed indiscriminately1 in the hurry of writing1 without any regard to propriety4#aj ,the ,,comma 1 divides the clauses of a long or involved sentence1 and commonly marks the shortest pause in reading4 ,commas are used to denote extracts or quotations from other works1 dialogue matter1 or passages or expressions not original1 by placing two of them inverted before the first word of the passage quoted1 the ending being denoted by two apostrophes4 ,a thin space is used to keep the inverted commas free from the matter4 ,the method of running them down the sides to the end of the quotation has been found inconvenient1 especially where a quotation occurs within a quotation1 or a speech within a speech3 the proper method of distinguishing these is by placing a single inverted comma before the extra quotation1 and concluding with a single apostrophe4 ,where both quotations end together1 put three apostrophes1 observing after the first to place a thin space4 ,inverted commas were first used by ,guillemet1 a ,frenchman1 to supersede the use of ,italic letter in emphasized words4 ,as an acknowledgment1 his countrymen call them after his name4 ,french founders cast them double1 thus 4 ,mac,kellar1 ,smiths ,jordan1 ,philadelphia1 furnish them in this way when desired4 ,a single comma inverted is improperly used as an abbreviation of the word ,mac1 as in ,m',gowen3 c is preferable1 as ,mc,gowen4 ,the ,,semicolon 2 denotes a pause greater than that of a comma1 and is used between dependent clauses of compound sentences4 ,the ,,colon 3 is employed in a sentence between clauses less connected than those which are divided by a semicolon1 but not so independent as separate1 distinct sentences4 ,the ,,period or ,,full-,,point 4 serves to indicate the end of a complete sentence4 ,when used in abbreviations1 it has no effect as a full stop in the punctuation1 unless at the end of a sentence4 ,in some works this point is discarded as a mark of abbreviation1 as in ,mr ,dr c4 ,full-points are sometimes used as leaders in tables of contents1 figure-work1 c42 but dotted rules or leaders are more economical for this purpose1 as they save considerable time in the composition4 ,the sign of ,,interrogation 8 is used to denote a question4 ,every interrogation or question should begin with a capital letter1 7unless several questions follow one another in connected succession17 according to the method observed in the ,bible1 where questions and responses1 and the beginning of sayings1 c4 are denoted by a capital letter4 ,the sign of ,,admiration or ,,exclamation 6 denotes surprise1 astonishment1 rapture1 and other sudden emotions of the mind1 whether of joy or sorrow4 ,this sign is put after the interjections ,ah6 ,alas6 ,oh6 c42 but there are exceptional cases1 as1 ,ah me6 ,alas the day6 c4 ,all the points1 except the comma and the period1 should be preceded by a hair-space2 the comma and full-point do not require any space to bear them off4 ,the em dash --1 though not ranked as a point1 is often used by careless writers as a substitute for a comma or semicolon4 ,it may be properly employed in parenthetical sentences1 and in rhapsodical writing abounding in disconnected sentences4 ,a dash stands for a sign of repetition in catalogues of goods1 where it implies ditto2 and in catalogues of books1 where a dash signifies ejusdem1 instead of repeating the author's name with the title of every separate treatise of his writing4 ,a sign of repetition should never appear at the top of a page1 but the name of the author1 or of the merchandise1 should be set out again at length4 ,a dash likewise stands for to2 as1 chap4 xvi4 #c-ag2 that is1 from the third to the seventeenth verse inclusive4 ,at other times it serves for an index1 to give notice that what follows it is a corollary of what has preceded2 thus3-- ,,apostrophe4 ,the apostrophe ' is a comma cast on the upper edge of a type1 and is used as a sign of contraction or abbreviation of words in poetry or familiar conversation1 as ,we're1 o'er1 don't1 c4 ,in poetry1 it should not be employed where the verb ends with e1 as love1 change1 c41 but only in cases where the verb concludes with a consonant1 as1 reign1 obtain1 c4 ,it also marks the elision of a vowel at the beginning of words1 as1 'scape1 or of a syllable1 as1 'prentice4 ,the monosyllables though and through are sometimes shortened to tho' and thro'1 but very improperly1 as they retain the same sound1 and the abbreviation cannot in the slightest degree assist the versification4 ,words in the possessive case are generally known by having 's for their termination4 ,all quotations which are denoted at the beginning by inverted commas are closed with apostrophes4 ,there is no space required between the apostrophe and the matter4 ,,hyphen4 ,a hyphen is a sign of connection1 and denotes that the part of a word at the end of a line belongs to the portion at the beginning of the next line4 ,a compositor who studies propriety and neatness in his work will not allow an unnecessary division1 even in a narrow measure1 if he can avoid it by overrunning two or three lines of matter4 ,in large type and narrow measures1 the division of words cannot be avoided2 but care should be taken that hyphens do not occur at the end of successive lines4 ,in small type and wide measures1 the hyphen may frequently be dispensed with1 either by driving out or getting in the word1 without interfering with the regularity of the spacing4 ,the compositor who is careful on this point will find his advantage in the preference given to his work1 and in the respect attached to his character as a master of his business4 ,numerous divisions down the side of a page and irregular spacing are the two greatest defects in composition4 ,it is proper1 if possible1 to keep the derivative or radical word undivided3 as1 occur-rence1 gentle-man1 respect-ful1 c4 ,in other cases1 printers generally divide on the vowel1 which is an excellent method4 ,the hyphen is also used to connect compound words1 which are formed of two substantives1 as1 bird-cage1 love-letter1 c42 also what are termed compound adjectives1 as1 well-built house1 handsome-faced child1 c4 ,the prepositions after1 before1 over1 c4 are often connected with other words1 but do not always make a proper compound3 thus1 before-mentioned is a compound when it precedes a substantive1 as1 in the before-mentioned place2 but when it comes after a noun1 as1 in the place before mentioned1 it should be two distinct words4#aa ,,parenthesis ,,and ,,bracket4 ,the use of the ,,parenthesis 7 7 is to enclose interpolated words or sentences which serve to strengthen the argument1 although the main sentence would be complete without the interpolated matter4 ,parentheses are not as much used as formerly3 authors place their intercalations between commas1--frequently with a dash at the beginning and ending1--which make them quite as intelligible as though they were enclosed between parentheses4 ,brackets are seldom made use of1 except to indicate that the word enclosed within them had been carelessly omitted in the old ,,ms4 or copy1 and was now inserted by the editor4 ,,references4 ,references are marks and signs employed to direct the attention of the reader to notes in the margin or at the bottom of a page4 ,the characters technically known by printers as references are the following1 which are used in the order here given3-- ,asterisk 99 ,dagger ,double ,dagger ,section ,parallel ,paragraph ,in ,roman church-books1 the ,asterisk divides each verse of a psalm into two parts1 and marks the place where the responses begin3 this in the ,book of ,common ,prayer is denoted by a colon placed between the two parts of each verse4 ,asterisks also denote an omission1 or an hiatus in the original copy2 the number of asterisks being multiplied according to the extent of the omission4 ,the ,dagger1 originally termed the ,obelisk1 or ,long ,cross1 is frequently used in ,roman ,catholic church-books1 prayers of exorcism1 at the benediction of bread1 water1 and fruit1 and upon other occasions1 where the priest is to make the sign of the cross2 but the square cross 77 is the proper symbol for the purpose4 ,the square cross is used1 besides1 in the pope's briefs1 and in mandates of archbishops and bishops1 immediately before the signature of their names4 ,it is not placed among references4 ,besides its use as a reference mark1 the ,paragraph is now employed chiefly in ,bibles1 to show the parts into which a chapter is divided4 ,in ,common ,prayer ,books1 paragraphs are put before the lines that direct the order of the service1 and which are called the ,rubrics because they were formerly printed in red4 ,the neatest references1 when many are required in books1 are either superior letters or superior figures1--thus1 1 1 1 or thus1 1 1 4 ,superior letters are used chiefly in ,bibles and other books which have more than one sort of notes1 and therefore require different references4 ,when thus used1 the letter should be omitted1 as1 from its similarity to the 1 the reader might at times be led into error4 ,,accented ,,letters4 ,letters called accented by printers are the five vowels1 marked thus3-- ,acute ,grave ,circumflex ,diresis ,long ,short ,we may include the ,french 1 the ,spanish 1 the ,portuguese and 1 the ,swedish and ,norwegian and 1 and the ,welsh and 4 ,,numeral ,,letters4 ,the ,greeks at first employed the letters of the entire alphabet to express the first twenty-four numbers2 but the system was cumbrous1 and they adopted the happy expedient of dividing their alphabet into three portions1 using the first to symbolize the #i digits1 the second the #i tens1 and the third the #i hundreds2 and1 as their alphabet contained only twenty-four letters1 they invented three additional symbols4 ,their list of symbols then stood as follows3-- ---------------------------------------- -------------------- ,units4 ,tens4 ,hundreds4 ---------------------------------------- -------------------- represents #a represents #aj represents #ajj #b #bj #bjj #c #cj #cjj #d #dj #djj #e #ej #ejj 7introduced7 #f #fj #fjj #g #gj #gjj #h #hj #hjj or #i or 7introduced7 #ij1 symb1 symb 7introd'd7 #ijj ---------------------------------------- -------------------- ,by these symbols1 only numbers under #ajjj could be expressed2 but1 by putting a mark called iota under any symbol1 its value was increased a thousand-fold3 thus1 #ajjj1 #bj1jjj2 or1 by subscribing the letter 1 the value of a symbol was raised ten thousand-fold4 ,for these two marks1 single and double dots were afterward substituted4 ,this improvement enabled them to express with facility all numbers as high as #i1iij1jjj1--;a range sufficient for all ordinary purposes4 ,it has been supposed that the ,romans used ,m to denote #ajjj because it is the first letter of ,mille1 which is ,latin for #ajjj2 and ,c to denote #ajj1 it being the first letter of ,centum1 the ,latin term for #ajj4 ,some also suppose that ,d1 being formed by dividing the old ,m in the middle1 was therefore appointed to stand for #ejj1--that is1 half as much as the ,m stood for when it was whole2 and that ,l being half a ,c1 was1 for the same reason1 used to denominate #ej4 ,but the most natural account of the matter appears to be this3-- ,the ,romans probably put down a single stroke1 1 for one1 as is still the practice of those who score on a slate1 or with chalk2 this stroke they doubled1 trebled1 and quadrupled1 to express two1 three1 and four3 thus1 1 1 4 ,so far they could easily number the strokes with a glance of the eye2 but they found that if more were added it would be necessary to count the strokes one by one3 for this reason1 when they came to five1 it was expressed by joining two strokes together in an acute angle1 thus1 4 ,after they had made this acute angle1 1 for five1 they then added single strokes to the number of four1 thus1 1 1 1 1 and then1 as the strokes could not be further multiplied without confusion1 they doubled their acute angle by prolonging the two lines beyond their intersection1 thus1 1 to denote two fives1 or ten4 ,after they had doubled1 trebled1 and quadrupled this double acute angle1 thus1 1 1 1 they then1 for the same reason which induced them to make a single angle first1 and then to double it1 joined two single strokes in another form1 and1 instead of an acute angle1 made a right angle1 1 to denote fifty4 ,when this was doubled1 they then doubled the right angle1 thus1 1 to denote one hundred1 and1 having numbered this double right angle four times1 thus1 1 1 1 when they came to the fifth number1 as before1 they reverted it1 and put a single stroke before it1 thus1 1 to denote five hundred2 and1 when this five hundred was doubled1 then they also doubled their double right angle1 setting two double right angles opposite to each other1 with a single stroke between them1 thus1 1 to denote one thousand3 when this note for one thousand had been repeated four times1 they then put down for five thousand1 for ten thousand1 and for fifty thousand4 ,the corners of the angles being cut off by transcribers for despatch1 these figures were gradually brought into what are now called numerical letters4 ,when the corners of were made round1 it stood thus1 1 which is so near the ,gothic that it soon deviated into that character2 so that having the corners made round stood thus1 1 and then easily deviated into ,d4 also became a plain ,c by the same means3 the single rectangle1 which denoted fifty1 was1 without any alteration1 a capital ,l2 the double acute angle was an ,x2 the single acute angle1 a ,v2 and a plain single stroke1 the letter ,i4 ,and thus these seven letters1 ,m1 ,d1 ,c1 ,l1 ,x1 ,v1 ,i1 became numerals4 ,as a further proof of this assertion1 let it be considered that is still used for one thousand1 and for five hundred1 instead of ,m and ,d2 and this mark1 1 is sometimes used to denote one thousand1 which may easily be derived from this figure1 1 but cannot be deviations from1 or corruptions of1 the ,roman letter ,m4 ,the ,romans also expressed any number of thousands by a line drawn over any numeral less than one thousand3 thus1 ,v denotes five thousand1 ,l,x sixty thousand2 so1 likewise1 ,m is one million1 ,m,m two millions1 c4 ,upon the discovery of printing1 and before capitals were invented1 small letters served for numerals2 not only when ,gothic characters were in vogue1 but when ,roman had become the prevailing character4 ,thus1 in early times1 i b x l c d m were1 and in ,roman type are still1 of the same signification as capitals when used as numerals4 ,though the capital ,j is not a numeral letter1 yet the lower-case j is as often and as significantly used as the vowel i1 especially where the former is employed as a closing letter1 in ij iij bj bij biij dcij1 c4 ,in ,roman lower-case numerals1 the j is not regarded1 but the i stands for figure #a wherever it is used numerically4 ,during the existence of the ,french ,republic1 books were dated in ,france from the first year of the ,republic3 thus ,an4 ,,xii4 7#ahjc17 or twelve years from #agib4 ,,arithmetical ,,figures4 ,the arithmetical or ,arabic numerals are #j1 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i4 ,properly they should be styled ,hindu or ,indian numerals2 for the ,arabs borrowed them1 along with the decimal system of notation1 from the ,hindus4 ,they were probably first introduced from the ,east into ,italy about #abjb2 yet they did not come into general use before the invention of printing4 ,accounts were kept in ,roman numerals up to the sixteenth century4 ,figures are usually made one en thick2 but of late a broader figure is cast for newspaper use1 which is two-thirds or six-sevenths of an em in width4 ,,old ,,style ,,figures4 ,though uniform in height and appearance1 we do not deem the modern figures an improvement on the variously-lining figures formerly in vogue1 and now happily coming again into use4 ,the latter can be caught by the eye with greater ease and certainty1 just as lower-case letter can be read with more facility than continuous lines of capitals4 ,in the new style the #c and #h may easily be mistaken for each other1 and so with the #f1 #i1 and #j2 but in the old style figures such errors are quite unlikely to happen1 as some of them occupy the centre of the body only1 and others are ascending or descending characters4 ,the example here given will show the justice of our remarks3 #a #b #c #d #e #f #g #h #i #j #a #b #c #d #e #f #g #h #i #j ,,scratched ,,or ,,cancelled ,,figures #a #b #c #d #e #f #g #h #i #j ,are used in arithmetical matter when certain figures require to be crossed over in an operation4 ,,fractions4 ,common ,fractions1 or broken numbers in arithmetic1 are cast solid to all sizes of type4 ,a great improvement has been introduced by casting the numerator and denominator separately1 on bodies of half size1 with the line on the under figure1 so that odd fractions of any amount may be readily formed1 thus3 4 ,,signs4 ,,commercial ,,signs4 ,per1 each4 ,at or to4 ,percentum4 ,account4 ,cent4 ,dollar or dollars4 ,libra1 libr1 pound or pounds sterling4 _/ ,solidus1 solidi1 shilling or shillings4 ,,mathematical1 ,,algebraical1 ,,and ,,geometrical4 plus1 or more1 is the sign of real existence of the quantity it stands before1 and is called an affirmative or positive sign4 ,it is also the mark of addition3 thus1 ab1 or #fi1 implies that a is to be added to b1 or #f added to #i4 minus1 or less1 before a single quantity1 is the sign of negation1 or negative existence1 showing the quantity to which it is prefixed to be less than nothing4 ,but between quantities it is the sign of subtraction3 thus1 ab1 or #hd1 implies b subtracted from a1 or #h after #d has been subtracted4 equal4 ,the sign of equality1 though ,des ,cartes and some others use this mark1 3 thus1 ab signifies that a is equal to b4 ,others use the mark to denote identity of ratios4 into or with4 ,the sign of multiplication1 showing that the quantities on each side the same are to be multiplied by one another3 as1 ab is to be read1 a multiplied into b2 #dh1 the product of #d multiplied into #h4 ,wolfius and others use a dot between the two factors3 thus1 #gd signifies the product of #g and #d4 ,in algebra the sign is commonly omitted1 and the two quantities put together3 thus1 bd expresses the product of b and d4 ,when one or both of the factors are compounded of several letters1 they are distinguished by a line drawn over them3 thus1 the factum of ab-c into d is written1 d ab-c4 ,others distinguish the compound factors by including them in parentheses3 thus1 7ab-c7d4 by4 ,the sign of division3 thus1 ab denotes the quantity a to be divided by b4 ,wolfius makes the sign of division two dots2 #ab3d denotes the quotient of #ab divided by #d #c4 or are signs of majority3 thus1 ab expresses that a is greater than b4 or are signs of minority1--when we would denote that a is less than b4 is the character of similitude used by ,wolfius1 ,leibnitz1 and others4 ,it is used in other authors for the difference between two quantities when it is unknown which is the greater of the two4 so is4 ,the mark of geometrical proportion disjunct1 and is usually placed between two pair of equal ratios3 as1 #cfdh shows that #c is to #f as #d is to #h4 or is an arithmetical equal proportion3 as1 #g4cac4i2 i4 e4 #g is more than #c1 as #ac is more than #i4 quadrate1 or regular quadrangle1--viz4 ,,ab,,bc2 i4 e4 the quadrangle upon the line ,,ab is equal to the quadrangle upon the line ,,bc4 triangle3 as1 ,,abc,,adc4 an angle3 as1 ,,abc,,adc4 perpendicular3 as1 ,,ab,,bc4 rectangled parallelogram1 or the product of two lines4 the character of parallelism4 want of parallelism4 equiangular1 or similar4 equilateral4 rhomboid4 concentrix4 circle4 right angle4 integration1 7summa or sum74 denotes a degree3 thus1 #de implies #de degrees4 a minute3 thus1 #ej is #ej minutes2 1 1 1 denote seconds1 thirds1 and fourths2 and the same characters are used where the progressions are by tens1 as it is here by sixties4 the mark of geometrical proportion continued1 implies the ratio to be still carried on without interruption3 as1 #b1 #d1 #h1 #af1 #cb1 #fd are in the same uninterrupted proportion4 ,when used without a figure above it1 indicates the square root1 and is called the radical sign4 ,any other root is expressed by the index figure placed above the sign4 #af is the square root of #af1 #bg the cube root of #bg1 c4 difference equal4 the difference1 or excess4 ,q or q1 a square4 ,c or c1 a cube4 ,,qq1 the ratio of a square number to a square number4 ,in algebraical work1 authors should be very exact in their copy1 and compositors as careful in following it1 so that no alterations may be necessary after it is composed1 the over-running of this kind of matter being troublesome and costly4 ,,celestial ,,and ,,astronomical ,,signs4 ,the ,twelve ,signs of the ,zodiac4 ,aries4 ,taurus4 ,gemini4 ,cancer4 ,leo4 ,virgo4 ,libra4 ,scorpio4 ,sagittarius4 ,capricornus4 ,aquarius4 ,pisces4 ,the ,sun and ,major ,planets4 ,sun4 ,mercury4 ,venus4 ,earth4 ,mars4 ,jupiter4 ,saturn4 ,uranus4 ,neptune4 ,ceres1 ,pallas1 ,juno1 ,vesta1 symb ,astra1 symb ,hebe1 symb ,iris1 and the other asteroids1 or minor planets1 are now commonly designated by a circle enclosing a number which indicates the order of their discovery3 thus1 1 1 1 c4 ,lunar ,signs4 ,new ,moon4 ,first ,quarter4 ,full ,moon4 ,last ,quarter4 ,aspects and ,nodes4 ,conjunction2 happens when two planets stand under each other in the same sign and degree4 ,opposition2 happens when two planets stand diametrically opposite each other4 ,trine2 happens when one planet stands from another four signs1 or #abj degrees1 which make one-third of the ecliptic4 ,quartile2 happens when two planets stand three signs from each other1 which make #ij degrees1 or the fourth part of the ecliptic4 ,sextile2 is the sixth part of the ecliptic1 which is two signs1 and make #fj degrees4 ,the ,dragon's ,head1 or ascending node1 and ,the ,dragon's ,tail1 or descending node1 are the two points in which the eclipses happen4 ,planets that denote the ,seven ,days of the ,week4 ,dies ,solis--,sunday4 ,dies ,lun--,monday4 ,dies ,martis--,tuesday4 ,dies ,mercurii--,wednesday4 ,dies ,jovis--,thursday4 ,dies ,veneris--,friday4 ,dies ,saturni--,saturday4 ,many signs and symbols have been invented by pseudo-astronomers to impose upon the credulity of the ignorant2 among which are signs to give notice on what day it is proper to let blood1 to bathe and to cup1 to sow and to plant1 to take physic1 to have one's hair cut1 to cut one's nails1 to wean children1 and many other absurdities2 as well as symbols that serve to indicate hail1 thunder1 lightning1 or any occult phenomena4 ,,ecclesiastical ,,signs4 ,response1 used in prayer-books4 ,versicle1 used in prayer-books to denote the part recited by the priest4 or ,a sign of the cross employed by ,roman ,catholic ecclesiastical dignitaries before their signatures4 ,in ,roman ,catholic prayer-books1 it also denotes the place where the priest is to make the sign of the cross4 99 ,used in ,roman ,catholic prayer-books to denote the place in a single verse where the response begins4 ,,medical ,,signs ,,and ,,abbreviations4 stands for ,recipe1 or ,take4 1 aa1 of each a like quantity4 a pound4 an ounce4 a drachm4 a scruple4 j stands for #a2 ij for #b2 iij for #c2 and so on4 ss4 signifies semi1 or half4 gr4 denotes a grain4 ,p4 stands for particula1 a little part1 and means so much as can be taken between the ends of two fingers4 ,p4 q4 stands for partes quales1 or equal parts4 q4 s4 quantum sufficit1 or as much as is sufficient4 q4 p4 quantum placit1 or as much as you please4 s4 a4 secundem artem1 or according to art4 ,,metal ,,rules ,,or ,,dashes4 ,metal ,rules or dashes1 like quadrates1 are commonly cast from one em to three ems in length4 ,when cast to line and join accurately1 they may be used instead of brass rule4 ,,braces4 ,braces are used chiefly in tables of accounts1 botanical and geological tables1 and similar matter4 ,they are placed before or after a series of items of similar import2 and are sometimes used horizontally in the margin1 to cut off a chronological or other series from the proper notes or marginal references of the work4 ,braces1 two1 three1 and four ems in length1 are now cast for all sizes of common type4 ,middles and ends are also cast1 symb which can be filled out with dashes to any length required for the brace4 ,middles and ends are convenient in genealogical tables1 in which they are used the flat way1 and in which the directing point is not always in the middle4 ,brass braces of any length1 for music and jobbing purposes1 are furnished by type-founders4 ,,spaces4 ,spaces are short blank types1 and are used to separate one word from another4 ,to enable the compositor to space even and to justify with nicety1 they are cast to various thicknesses1--viz4 five to an em1 symb or five thin spaces2 four to an em1 symb or four middle spaces2 three to an em1 symb or three thick spaces2 and two to an em1 symb or two en quadrates1 which may with propriety be reckoned among the number of spaces4 ,besides these1 there is what is called the hair-space1 which is cast extremely thin1 and is found useful in justifying lines and assisting uniformity in spacing4 ,,two-,,line ,,letters ,are equal in depth to two lines of the type in which they are to be used1 and of proportionate width4 ,they form the almost only proper type for principal lines in title-pages1 and are used at the beginning of chapters and newspaper advertisements4 ,,quadrates4 ,an em quadrate is a short blank type1 in thickness equal to the square of the letter of the fount to which it belongs2 an en quadrate is half that size4 ,the first line of a paragraph is usually indented an em quadrate2 but when the matter is leaded or the measure is wide1 an em and en1 or two or even three ems may be used4 ,an em quadrate is the proper space after a full-point when it terminates a sentence in a paragraph4 ,en quadrates are generally used after the semicolon1 colon1 c41 and sometimes after an overhanging letter4 ,they are useful in spacing4 ,em and en quadrates1 and figures as well1 should be entirely exact and uniform in body1 as even a trifling variation will be apparent when they are arranged in table or figure-work2 and no ingenuity on the part of a compositor can rectify the zigzag appearance caused by irregular types4 ,the inconvenience arising from founts of the same body not agreeing in depth is great1 where the quadrates1 through necessity1 are sometimes mixed4 ,the founts cast by ,mac,kellar1 ,smiths ,jordan are not liable to this charge1 as their moulds for all regular type of a specific size harmonize perfectly1 and the quadrates and spaces work together4 ,,quotations4 ,quotations are large blank type used for filling up considerable spaces at the beginning or end of a chapter1 and also for job-work4 ,they are cast to two sizes1 and are called broad and narrow4 ,they vary in size according to the standard of the foundry where they are cast4 ,they are being superseded1 however1 by ,illustration3 ,,labour-,,saving ,,quotation ,,furniture4 ,this is cast with great accuracy to ,pica1 of assorted widths and lengths2 and1 as its name imports1 it serves not only for quotations in general job-work1 but also for furniture4 ,illustration3 ,,standard ,,metal ,,furniture4 ,owing to the large assortment of sizes contained in this furniture1 it is useful for blanking out all varieties of work1 from the card or circular to the large hand-bill or poster4 ,as the above metal furnitures are not liable to warp or shrink1 they form a highly economical substitute for wooden reglet4 ,illustration3 ,,hollow ,,quadrates ,answer many of the purposes of quotations1 but are principally useful as frames or miniature chases for circular or oval jobs4 ,the sizes are graduated from #e #h to #ab #ah ,pica ems4 ,illustration3 ,,circular ,,quadrates4 ,these are made of various sizes1 so as to form circles or parts of circles from one to twenty-four inches in diameter4 ,each piece is exactly one-eighth of a full circle1 and1 when combined with similar pieces1 will form quarter1 half1 three-quarter1 and full circles4 ,by reversing the combination of some of the pieces1 serpentine and eccentric curves may be made of any length or depth4 ,there are two kinds3 inner quadrates1 with convex surface1 and outer quadrates1 with concave surface4 ,the curved line is produced by placing the convex and concave surfaces parallel to each other1 so that when locked up firmly they hold the type inserted between them4 ,the other sides of the quadrates are flat and right-angled1 to allow a close introduction of type1 and an easy justification with common quadrates4 ,as these quadrates are perfect segments of a large circle1 they cannot be increased or diminished without destroying the truth of the curve4 ,if the thin ends are pieced out with common quadrates1 good justification will be rendered impossible2 if they are shortened by cutting off1 they are ruined4 ,bits of lead or short pieces of card between the curved surfaces are also wrong3 they destroy that exact parallelism which is necessary for the security of the type4 ,very accurate justification of the outer extremities of the quadrates is also indispensable4 ,if the curved surfaces are kept parallel1 and the flat surfaces kept square1 no difficulty will be found in using them1 and they will prove a valuable aid in ornamental printing4 ,,labour-,,saving ,,curvatures1 c4 ,illustration ,morris's ,adjustable ,line ,formers1 or ,labour-,saving ,curvatures1 do away with bent leads1 plaster1 wax1 and other methods of making curved lines4 ,their economical advantages1 and the neatness and exactitude of curve secured by their use1 will be appreciated at a glance by all practical job printers4 ,,leads4 ,leads form an essential part of a printer's outfit1 since it is scarcely possible to set up a single page or job in which they may not be usefully employed2 but their chief purpose is for spreading the lines apart so as to reduce the amount of matter in a page4 ,fine works are always thus leaded4 ,they are usually cast by letter-founders in a long mould1 and then cut to the required lengths4 ,the bodies are regulated by ,pica standard1 and they are usually cast four1 six1 or eight to ,pica1 but are occasionally varied from one down to fourteen to ,pica4 ,leads for jobbing purposes are now cut to graduated lengths1 like labour-saving rule4 ,,flowers ,,and ,,borders4 ,the flowers and borders designed and cast at the present time far surpass any made by founders of earlier days4 ,their richness and variety enable printers to execute delicate and elaborate work1 rivalling plate engraving1 and afford a wide scope for the display of taste and artistic skill4 ,the combination borders are especially valuable from being cast on uniform bodies1 thus rendering them susceptible of a vast number of changes4 ,the ancient practice of ornamenting pages with head and tail pieces of flowers and odd designs seems to be coming in vogue again1 particularly in works printed in the old-style type4 ,,brass ,,rules4 ,rules are required mainly for table-work1 and for pages which contain two or more columns4 ,they are also useful in titles and jobs4 ,brass rules should never be more than type height1 unless for perforating purposes1 to divide railroad checks1 c4 ,a shade lower would be often better1 as the pressman would be enabled to bring off their impression more clearly4 ,in table-work1 the rule and figures should be separated by a lead1 and all the rules should fit closely and accurately4 ,the lately-invented ,,brass ,,labour-,,saving ,,rule is of immense economical advantage to the printer4 ,being cut to a graduated scale1 from one em to fifty ems ,pica in length1 advancing in the shorter pieces by ens and in the longer by ems1 all waste in cutting is avoided by the printer1 as rules of any length can be formed by employing two or more pieces4 ,this rule is put up in regular founts1 of various styles1 with sufficient mitred pieces for outside bordering4 ,illustration ,metal space-rules1 cast by type-founders1 are commonly used for cross-rules in table-work2 but the shorter pieces of labour-saving rule will answer as well4 ,on the next page we insert a plan of a case for labour-saving rules1 with boxes suited for the various sizes1 in which the rule should be kept when not in use4 ,illustration3 ,,improved ,,labour-,,saving ,,rule ,,case4 ,,earliest ,,written ,,sounds4 ,the hieroglyphic is the most ancient form of written sounds4 ,the earliest known monuments containing phonetic hieroglyphics date about forty centuries ago1 or six hundred years before the time of ,moses1 who is supposed to have been versed in the knowledge of the hieroglyphs4 ,yet nothing worthy of the name of an alphabet existed till a later period1 when the ,phnicians invented a purely alphabetic system1 but suppressing the vowels1 and from this has originated all the modes of alphabetic writing now used4#ab ,the ,greeks introduced the vowels into their graphic system1 and so brought to perfection the invaluable invention of alphabetic writing4 ,the discovery of the ,rosetta stone furnished a clue to the method of deciphering the ,egyptian hieroglyphics2 and ,dr4 ,young and ,champollion were the first to make use of the suggestive opportunity4 ,the words ,ptolemy and ,cleopatra were made out2 and these served as a key or incentive to further investigations2 and extensive and curious volumes have been devoted to the interpretation of ,egypt's mysterious inscriptions on monuments and writings on papyrus4 ,among those who have investigated the ,egyptian hieroglyphs1 ,mr4 ,r4 ,lepsius is one of the most practical1 for he has reduced the ancient characters to typographical uses for the behoof of the delvers into the earth's earliest lore4 ,he began the work soon after his return from a scientific expedition to ,egypt during the years #ahdb-df1 and his hieroglyphic types now completed number more than thirteen hundred4 ,the ,prussian government furnishing the needful pecuniary means1 his first task was to ascertain the forms of hieroglyphic signs which would be most suitable for typographical purposes1 and here the labour was immense4 ,after laborious research1 he reached the conclusion1 that as ,european print had been formed1 not from the monumental characters of the ,greeks and ,romans1 but essentially from the current handwriting of documents on parchment and paper1 so the hieroglyphic type should follow1 not the chiseled or painted characters on the monuments1 but the style of those written on papyrus4 ,the style and proportions having been established1 the punch-cutting was mostly executed by ,mr4 ,ferdinand ,theinhardt1 the excellent ,prussian type-founder1 who for a series of years has been skilfully engaged in producing the matrices4 ,we are indebted to ,mr4 ,theinhardt for the specimens here given2 the first of which is the hieroglyphic alphabet1 and the second is the beginning of an ancient text found in a leather roll of the ,royal ,museum of ,berlin1 referring to the foundation of the temple of the ,sun at ,on or ,heliopolis in ,egypt4 ,,hieroglyphic ,,alphabet4 ,illustration ,illustration3 #a ,renpt ,,iii be ,,iii at 4 4 4 xer en n suten xet xeper-qu-r sa-r usertesen ma-xeru nx ttta r ne3 #b suten xt m sexti1 xeper emes m tet1 netu re n mu-xetef1 semer nu #c 4 4 4 nx ut senb1 seru r st senentu1 utu tet xeft setem set netu re m #d seun er-sen4 ,m-ten en-a er au qat1 sexa m sep m xut2 #e n-mxet r- mennu1 semen- utu reu n er xuti4 ,,translation4 ,done in the month of ,hatoor of the third year of the ,king of ,upper and ,lower ,egypt ,kheperkara ,usertesen ,i4--the blessed and eternally living4 ,the ,king1 wearing the double crown1 sat in the royal hall4 ,there was held a council of his attendants1 the counsellors of the apartments of the ,pharao 7may he live67 and the great 7chiefs7 for the site of the foundation4 ,speeches were made1 while they listened2 and they deliberated1 stepping forward4 8,well60 said the ,king1 8let me order the work and fittingly commemorate deeds of glory4 ,henceforth ,i will erect buildings and lasting steles to the double ,horus10 that is to the god of the rising and setting ,sun1 etc4 ,,runic ,,alphabets4 ,runes were the earliest alphabets in use among the ,teutonic and ,gothic nations of ,northern ,europe4 ,the exact period of their origin is not known4 ,the name is derived from the ,teutonic rn1 a mystery2 whence runa1 a whisper1 and helrn1 divination2 and the original use of these characters seems to have been for purposes of secrecy and divination4 ,scandinavian and ,anglo-,saxon tradition agree in ascribing the invention of runic writing to ,odin or ,wodin4 ,the countries in which traces of the use of runes exist include ,denmark1 ,norway1 ,sweden1 ,iceland1 ,germany1 ,britain1 ,france1 and ,spain2 and they are found engraved on rocks1 crosses1 monumental stones1 coins1 medals1 rings1 brooches1 and the hilts and blades of swords4 ,runic letters were also often cut on smooth sticks called rn-stafas1 or mysterious staves1 and used for purposes of divination4 ,but there is no reason to believe that they were at any time in the familiar use in which we find the characters of a written language in modern times1 nor have we any traces of their being used in books or on parchment4 ,we have an explanation of the runic alphabet in various ,,mss4 of the early middle ages1 prior to the time when runes had altogether ceased to be understood4 ,the systems of runes in use among the different branches of the ,teutonic stock were not identical1 though they have a strong general family likeness1 showing their community of origin4 ,the letters are arranged in an order altogether distinct from that of any other alphabetical system1 and have a purely ,teutonic nomenclature4 ,each letter is1 as in the ,hebrew-,phnician1 derived from the name of some well-known familiar object1 with whose initial letter it corresponds4 ,runes1 being associated in the popular belief with augury and divination1 were to a considerable extent discouraged by the early ,christian priests and missionaries1 whose efforts were directed to the supplanting of them by ,greek and ,roman characters4 ,but it was not easy suddenly to put a stop to their use1 and we find runes continuing to be employed in early ,christian inscriptions4 ,this was to a remarkable extent the case in the ,anglo-,saxon kingdoms of ,northumbria1 ,mercia1 and ,east ,anglia1 where we have traces of runic writing of dates varying from the middle of the seventh to the middle of the tenth century4 ,runes are said to have been laid aside in ,sweden by the year #ajja1 and in ,spain they were officially condemned by the ,council of ,toledo in #aaae4 ,the different systems of runes1 all accordant up to a certain point1 have been classed as the ,anglo-,saxon1 the ,german1 and the ,norse1 each containing different subordinate varieties4 ,the ,norse alphabet is generally considered the oldest1 and the parent of the rest4 ,it has sixteen letters corresponding to our f1 u1 th1 o1 r1 k1 h1 n1 i1 a1 s1 t1 b1 l1 m1 y1 but has no equivalent for various sounds which exist in the language1 in consequence of which the sound of k was used for g1 d for t1 b for p1 and u and y for v3 o was expressed by au1 and e1 by ai1 i1 or ia2 and the same letter otherwise was made to serve for more than one sound4 ,other expedients came1 in the course of time1 to be employed to obviate the deficiency of the system1--as the addition of dots1 and the adoption of new characters4 ,but the runic system received a fuller development among the ,germans and ,anglo-,saxons1 particularly the latter1 whose alphabet was extended to no fewer than forty characters1 in which seem to have been embraced1 more nearly than in any modern alphabets1 the actual sounds of a language4 ,the table on the following page exhibits the best known forms of the ,anglo-,saxon1 ,german1 and ,norse runic alphabets1 with the names and the power of the several letters4 ,illustration ,the ,anglo-,saxon runes1 as here given1 are derived from a variety of ,,ms4 authorities1 the most complete containing forty characters1 while some only extend as far as the twenty-fifth or twenty-eighth letter4 ,neither the name nor the power of some of the later letters is thoroughly known1 and they are without any equivalents in the ,norse runic system4 ,the ,german runes are given from a ,,ms4 in the conventual library of ,st4 ,gall1 in ,switzerland4 ,though the various runic alphabets are not alike copious1 the same order of succession among the letters is preserved1 excepting that1 in the ,norse alphabet1 laugr precedes madr1 although we have placed them otherwise1 with the view of exhibiting the correspondence of the three systems4 ,the number of characters in the ,anglo-,saxon alphabet is a multiple of the sacred number eight2 and we have the evidence both of a ,swedish bracteate containing twenty-four characters1 and of the above mentioned ,st4 ,gall ,,ms41 that there was a recognized division of the alphabet into classes of eight letters1--a classification which forms the basis of a system of secret runes1 mentioned in that ,,ms4 ,of these secret runes1 there are several varieties specified3 in particular1 #a4 ,iis-runa and ,lago-runa 7of which specimens exist in ,scandinavia71 consisting of groups of repetitions of the character iis or lago1 some shorter and some longer1 the number of shorter characters in each group denoting the class to which the letter intended to be indicated belonged2 the number of longer ones1 its position in the class4 #b4 ,hahal-runa1 where the letters are indicated by characters with branching stems1 the branches to the left denoting the class1 and those to the right the position in that class4 ,there is an inscription in secret runes of this description at ,hackness1 in ,yorkshire4 #c4 ,stof-runa1 in which the class is indicated by points placed above1 and the position in the class by points below1 or the reverse4 ,the best-known inscriptions in the ,anglo-,saxon character are those on two grave-stones at ,hartlepool1 in ,northumberland1 on a cross at ,bewcastle1 in ,cumberland1 and on another cross at ,ruthwell1 in ,dumfriesshire4 ,the inscription on the west side of ,bewcastle cross1 which we give as a specimen of ,anglo-,saxon runes1 is a memorial of ,alcfrid1 son of ,oswiu1 who was associated with his father in the government of the kingdom of ,northumbria1 in the seventh century4 ,illustration3 ,,runes4 ,it has been thus deciphered into the ,anglo-,saxon dialect of the period3-- ,,this ,,sigbecun ,,sett ,,hw,,tred ,,em ,g,,rf ,,boldu ,,ft,r ,,bar ,,ymb ,,cyning ,,alcfrid ,,giceg,d ,,heosum ,,sawlum4 ,or1 in ,modern ,english3-- ,this memorial ,hwtred set and carved this monument after the prince after the king ,alcfrid pray for their souls4 ,the inscription on the ,ruthwell cross1 after being long a puzzle to antiquaries1 was first deciphered in #ahch by ,mr4 ,john ,m4 ,kemble1 an eminent ,anglo-,saxon scholar4 ,it is written alternately down one side of the stone and up another1 and contains a portion of a poem on the subject of the ,crucifixion4 ,mr4 ,kemble's interpretation received a very satisfactory confirmation by the discovery of a more complete copy of the same poem in a ,,ms4 volume of ,anglo-,saxon homilies at ,vercelli4 ,mr4 ,d4 ,m4 ,haigh1 whose researches have added much to our knowledge of ,anglo-,saxon runes1 has endeavoured to set up for them a claim of priority over the ,norse characters4 ,instead of considering the additional ,anglo-,saxon letters as a development of the ,norse system1 he looks on the ,norse alphabet of sixteen letters as an abridgment of an earlier system1 and finds occasional traces of the existence of the discarded characters in the earliest ,norse inscriptions1 and in the ,scandinavian ,iis-runa and ,hahal-runa1 where the letters are classified in accordance with the ,anglo-,saxon groups of eight4 ,the ,scandinavian kingdoms contain numerous runic monuments1 some of them written boustrophedon1 or with the lines beginning alternately from the right and left2 and there are many interesting inscriptions on ,swedish gold bracteates4 ,the ,celtic races1 from their connection with the ,scandinavians1 became acquainted with their alphabet1 and made use of it in writing their own language2 and hence we have1 in the ,western ,islands of ,scotland and in the ,isle of ,man1 runic inscriptions1 not in the ,anglo-,saxon1 but in the ,norse character1 with1 however1 a few peculiarities of their own4 ,some of the most perfect runic inscriptions are in ,man2 others of similar description exist at ,holy ,island1 in ,lamlash ,bay1 ,arran2 and there is an inscription in the same character on a remarkable brooch dug up at ,hunterston1 in ,ayrshire4 ,dr4 ,d4 ,wilson considers that the ,celtic population of ,scotland were as familiar with ,norse as the ,northumbrians with ,saxon runes4 ,we sometimes find the ,norse runes used to denote numerals1 in which case the sixteen characters stand for the numbers from #a to #af2 ar combined with laugr stands for #ag1 double madr for #ah1 and double tyr for #ai4 ,two more letters are used to express higher numbers1 as ur ur1 #bj2 thurs thurs os1 #cd4ac ,,anglo-,,saxon ,,alphabet4 ,the ,anglo-,saxon alphabet1 and the forms and sounds of the letters1 are shown in the following table3-- ,illustration ,two useful ,anglo-,saxon letters have disappeared from modern ,english1--namely1 or th 7thin71 and or th 7thine74 ,the ,anglo-,saxon letters which vary from those now used were doubtless mere corruptions of the ,roman forms1--viz4 the capitals ,a1 ,c1 ,e1 ,g1 ,h1 ,m1 ,s1 and ,w1 and the small letters d1 f1 g1 i1 r1 s1 t1 and w4 ,several marks of abbreviation were used by the ,saxons1 as that1 and1 c4 ,these were not original members of the alphabet1 but were introduced probably for despatch4 ,about the year #aefg1 ,john ,daye1 who was patronized by ,archbishop ,parker1 cut the first ,saxon types which were used in ,england4 ,in this year1 ,asserius ,menevensis was published by the direction of the archbishop in these characters2 in the same year1 ,archbishop lfric's ,paschal ,homily2 and in #aega1 the ,saxon ,gospels4 ,on the two following pages will be found a plan of cases for ,saxon types4 ,illustration3 ,,saxon ,,upper ,,case4 ,illustration3 ,,saxon ,,lower ,,case4 ,,german ,,alphabet4 ,outside of ,germany1 there is perhaps no country in which ,german printing is so extensively carried on as in the ,united ,states4 ,we present a table of ,german characters1 with their names1 and their corresponding forms in ,english4 ---------------------------------------- ----------- ,german ,form4 ,english ,form4 ,german ,name4 ---------------------------------------- ----------- ,a a ,a a ah ,b b ,b b bay ,c c ,c c tsay ,d d ,d d day ,e e ,e e a ,f f ff ,f f ff ef1 ef-ef ,g g ,g g gay ,h h ch ,h h ch hah1 tsay-hah ,i i ,i i e ,j j ,j j yot ,k k ck ,k k ck kah1 tsay-kah ,l l ,l l el ,m m ,m m em ,n n ,n n en ,o o ,o o o ,p p ,p p pay ,q q ,q q koo ,r r ,r r er ,s s ,s s s es1 ss es-es z t sz es-tset1 es-tay ,t t ,t t tay ,u u ,u u oo ,v v ,v v fw ,w w ,w w vay ,x x ,x x iks ,y y ,y y ipsilon ,z z tz ,z z tz tset1 tay-tset or ue ---------------------------------------- ----------- ,several of the ,german letters1 being somewhat similar in appearance1 are liable to be mistaken one for another4 ,to aid the learner1 we give such letters together1 and point out the difference4 ,b 7,b7 and ,v 7,v74 ,the latter is open in the middle1 the former joined across4 ,c 7,c7 and ,e 7,e74 ,e 7,e7 has a little stroke in the middle1 projecting to the right1 which ,c 7,c7 has not4 ,g 7,g7 and ,s 7,s74 ,s 7,s7 has an opening above1 ,g 7,g7 is closed1 and has besides a perpendicular stroke within4 ,k 7,k71 ,n 7,n71 ,r 7,r74 ,k 7,k7 is rounded at the top1 ,n 7,n7 is open in the middle1 ,r 7,r7 is united about the middle4 ,m 7,m7 and ,w 7,w74 ,m 7,m7 is opened at the bottom1 ,w 7,w7 is closed4 b 7b7 and h 7h74 b 7b7 is entirely closed below1 h 7h7 is somewhat open1 and ends at the bottom1 on one side1 with a projecting hair-stroke4 f 7f7 and 7s74 f 7f7 has a horizontal line through it1 7s7 on the left side only4 m 7m7 and w 7w74 m 7m7 is entirely open at the bottom1 w 7w7 is partly closed4 r 7r7 and x 7x74 x 7x7 has a little hair-stroke below1 on the left4 v 7v7 and y 7y74 v 7v7 is closed1 y 7y7 is somewhat open below1 and ends with a hair-stroke4 ,illustration3 ,,german ,,upper ,,case4 ,illustration3 ,,german ,,lower ,,case4 ,,greek4 ,a small amount of ,greek types is indispensable in every considerable book printing-office4 ,the ,greek alphabet contains twenty-four letters1 which we give in the following table1 with the name of each character expressed in ,greek and ,english1 and its sound and numerical value4 ,,the ,,greek ,,alphabet4 ---------------------------------------- -------- ,,forms4 ,,names ,,in ,,greek ,,sounds4 ,,numerical ,,and ,,english4 ,,value4 ---------------------------------------- -------- ,alpha a #a ,beta b #b ,gamma g #c ,delta d #d ,epslon short #e ,zeta z #g ,eta long #h ,theta th #i ,ita i #aj ,kappa k c #bj ,lambda l #cj ,mu m #dj ,nu n #ej ,xi x #fj ,omcron short #gj ,pi p #hj ,rho r #ajj ,sigma s #bjj ,tau t #cjj ,upslon u #djj ,phi ph #ejj ,chi ch #fjj ,psi ps #gjj ,omga long #hjj ---------------------------------------- -------- ,from a desire1 probably1 to imitate ,greek manuscript1 a multitude of ligatures1 abbreviations1 and contractions of letters1 as well as duplicates1 were cast by the early type-founders4 ,these1 however1 with two or three exceptions1 have been quite discarded2 and a fount of modern ,greek is readily accommodated in a single pair of cases4 ,the only duplicated characters in the preceding table are and 1 and 1 and and 4 looks best when used as an initial letter1 and as a medial4 and are used indiscriminately2 but is employed as a final letter only4 ,there are twelve diphthongs or compound vowels in ,greek1 viz43-- ,six proper1--1 1 1 1 1 2 and ,six improper1--1 1 1 1 1 4 ,the point under the first three letters denotes the iota1 and is therefore called the subscript iota4 ,,accents ,,and ,,aspirates4 ,lenis4 ,asper4 ,acute4 ,grave4 ,circumflex4 ,lenis acute4 ,lenis grave4 ,asper acute4 ,asper grave4 ,circumflex lenis4 ,circumflex asper4 ,diresis4 ,diresis acute4 ,diresis grave4 ,accents are nothing more than small marks which have been introduced into the language to denote the pronunciation of words1 and aid its acquisition by learners4 ,the ancient ,greeks never used them1 as is demonstrated from ,aristotle1 old inscriptions1 and ancient medals4 ,it is not easy to tell the date when the practice of writing with accents first obtained1 though it is probable not till after the ,romans began to learn the ,greek tongue and to send their children to study at ,athens1--that is1 about or a little before the time of ,cicero4 ,accents--by the ,greeks called 1 tones--show the rising or falling of the voice in pronouncing2 either separately in distinct syllables1 or conjunctively in the same syllable4 ,wherefore there are two sorts of accents3 two simple1 viz4 the acute1 1 figured thus 1 which denotes the elevation of the voice2 and the grave1 1 shaped thus 1 to signify the falling or depression of the voice3 and the circumflex1 which was formed first of these two lines or points joined together thus and afterward was changed into a round sort of a figure like an inverted upsilon1 thus symb1 but at length came to be figured like an s drawn crosswise 4#ad 99 99 99 99 99 ,the acute accent raises the voice1 and affects one or more of the last three syllables of a word1 if it has so many4 99 99 99 99 99 ,the grave depresses the voice1 and affects the last syllable only4 99 99 99 99 99 ,the circumflex lengthens the sound1 and affects either the last syllable of a word or the last but one4 99 99 99 99 99 ,there are two spirits1 or breathings3 the asper 1 which is equivalent to the modern letter h2 and the lenis 1 which has no perceptible power1 and indicates the bare opening of the mouth and simple emission of the voice4 ,all the words that begin with a vowel have one of these breathings over them2 but the vowel upsilon admits of no other than the spiritus asper at the beginning of a word4 ,in diphthongs the spiritus is put over the second vowel3 as 1 not 4 ,the letter 1 at the beginning of a word1 has an asper over it1 as1 2 and where two s meet in a word1 the first has a lenis1 and the other an asper4 99 99 99 99 99 ,the apostrophe ' is used for cutting off the vowels 1 1 1 1 and the diphthongs and 1 when they stand at the end of a word and the next word begins with a vowel3 as1 ' for 2 ' for 4 ,sometimes the apostrophe contracts two words into one3 as1 ' for 2 ' for 2 ' for 4 ,sometimes an apostrophe supplies the place of the first vowel beginning a word3 as ' for 2 ' for 4 ,this is chiefly used in poetry4 ,but the prepositions and suffer no apostrophe though the next word begin with a vowel2 for we write 1 2 1 1 c4 99 99 99 99 99 ,the diresis is put over the last one of two vowels that come together1 to show that they must be pronounced separately1 and not as a diphthong3 thus1 with a diresis makes three syllables2 but without a diresis is a diphthong1 and makes two syllables4 99 99 99 99 99 ,diastole 1 is put between two particles that would bear a different sense without it3 thus1 1 1 signify whatever2 whereas stands for as1 and for that4 1 with a diastole implies and this2 but when without1 it answers to the adverb then4 99 99 99 99 99 ,the sign of interrogation1 in ,greek1 is made by a semicolon 24 ,the colon is made by an inverted full-point 4 ,all other points are the same as in ,english4 99 99 99 99 99 ,the compositor will find it advantageous to bear in mind the following rules3-- #a4 ,no accent can be placed over any other than one of the last three syllables of a word4 #b4 ,the grave accent never occurs but on the last syllable2 and1 this being the case1 the asper grave and lenis grave can be wanted only for a few monosyllables4 #c4 ,no vowel can have a spirit1 or breathing1 except at the beginning of a word4 #d4 ,the letter is the only consonant marked by a breathing4 #e4 ,almost every word has an accent1 but very seldom has more than one2 and1 when this happens1 it is an acute thrown back upon the last syllable from one of those words called enclitics 7leaning back71 which in that case has none1 unless it be followed by another enclitic4 ,in no other case than this can a last syllable have an acute accent1 except before a full-point1 colon1 or note of interrogation1 when the grave accent of the last syllable is changed to an acute1--a circumstance which has often led printers1 who were ignorant of the reasons for accenting the same word differently in different situations1 to think that there was an error in their copy1 and thus to make one in their proof4 ,most errors1 however1 proceed from those who do not think at all about the matter4 ,,plan ,,of ,,greek ,,cases4 ,the following plan of cases for ,greek type is probably more convenient than any other4 ,a ,roman case may readily be altered to accommodate the lower-case sorts4 ,compositors who aspire to a full knowledge of their art should by all means make themselves familiar with ,greek and ,hebrew letters and cases4 ,illustration3 ,,greek ,,upper ,,case4 ,illustration3 ,,greek ,,lower ,,case4 ,,hebrew4 ,the ,hebrew alphabet has twenty-two letters4 ,column ,no4 #a of the following table indicates the force of ,hebrew letters when read without points4 ,column ,no4 #b gives their force when the language is printed with the ,masoretic points or vowels1 which are of later date than the letters4 ,the names and numerical value of the characters are also shown4 ,,the ,,hebrew ,,alphabet4 ---------------------------------------- -------------------------- ,,names4 ,,no4 #a4 ,,no4 #b4 ,,numer4 ,,value4 ---------------------------------------- -------------------------- ,aleph ,sounded a in ,a gentle aspirate #a war 7vowel7 ,beth 444 ,bh #b ,gimel g hard ,gh #c ,daleth 444 ,dh #d ,he a in hate ,a rough aspirate #e 7vow47 ,vau u vowel1 or 444 #f before a vowel1 w ,zain 444 ,ds #g ,cheth 444 ,hh #h ,teth ,th 444 #i ,jod ,like ee in j consonant1 or #aj ,english 7vowel7 the softer y final ,caph k or c hard 444 #bj ,lamed 444 444 #cj final ,mem 444 444 #dj final ,nun 444 444 #ej ,samech 444 ,soft s #fj ,ain o long 7vowel7 hg1 or hgh1 #gj the roughest aspirate final ,phe 444 444 #hj final ,tzaddi j soft 444 #ij ,koph k or qu 444 #ajj ,resch 444 444 #bjj ,shin 444 s hard #cjj or ,sin ,thau 444 444 #djj ---------------------------------------- -------------------------- ,,letters ,,that ,,have ,a ,,likeness ,,to ,,others4 ,beth ,caph ,daleth ,caph ,resch ,vau ,zain ,jod ,nun ,mem ,samech ,gimel ,nun ,he ,cheth ,thau ,teth ,mem ,ain ,tzaddi ,the dividing of ,hebrew words not being permitted1 the five following letters are cast broad to enable the compositor to justify the lines without irregular spacing3-- ,aleph ,he ,lamed ,mem ,thau ,hebrew has no capitals1 and therefore letters of the same shape1 but of a larger body1 are used at the beginning of chapters and other parts of ,hebrew works4 ,hebrew reads from the right to the left1 which is the case with all other ,oriental languages1 except ,ethiopic and ,armenian4 ,in composing it1 the general method is to place the nick of the letter downward1 and after putting the points to the top1 to turn the line and set the points that come under the letters4 ,if the letter has but one leg1 the point is placed immediately under it2 but where the letter has two legs1 it is put under the centre4 ,the ,masoretic points or vowels are subjoined under the consonant 7beth74 #a4 ,the ,long ,vowels4 ,kametz aa baa ,tzeri ee bee ,long ,chirek ii bii ,cholem oo boo ,shurek uu buu #b4 ,the ,short ,vowels4 ,patach a ba ,sgol e be ,little ,chirek i bi ,kametz-chataph o bo ,kibbutz u bu #c4 ,shevas1 which imply a ,vowel to be wanting4 ,simple ,sheva ,patach furtive ,chataph ,patach a ,chataph ,sgol e ,chataph ,kametz o ,the last three are called compound shevas2 and1 in fact1 they are only the short vowels1 to which the simple sheva is joined4 ,,accents4 ,hebrew accents are either mere points1 or lines1 or circles4 ,those which are mere points or dots consist of one or two or three such points1 and are always placed above the middle of the accented letter1 thus1 ,one1 called rebia1 1 i4e4 sitting over4 ,that ,two1 called royal zakeph katon1 1 or1 the little consisting elevator1 from its figure1 which is composed of upright of points4 ,three1 called royal segolta1 1 an inverted 4 ,the lines are either upright1 inclined1 or transverse4 ,the upright is either solitary or with points or dots4 ,the between two words1 1 termed pesick1 or musical solitary pause1 and terminating a song4 is either or ,metheg1 or bridle1 an euphonic accent under a at the beginning of a word4 word1 ,royal silluk1 1 end1 which is placed before 1 sophpasuk1 i4e4 toward the end4 ,with two1 above the letter1 royal zakeph gadhol1 1 points1 the great elevator1 strains the sound4 namely1 one1 below the letter1 royal tebhir1 1 broken sound1 from its figure and tone4 ,inclined lines hang either above or below4 ,above1 the right ,leader pashta1 1 extension1 extends the toward voice or sound1 and is placed above the last letter of the word4 ,subservient kadma1 1 antecedent1 to the leader geresh2 and is placed above the penult or antepenult letter4 the left ,leader geresh1 1 expulsion1 is sung with an impelled voice4 ,gereshajim1 1 two expellers1 from the figure being doubled4 ,below1 the right ,leader tiphcha1 1 fatigue1 from the song toward or note4 the left ,of subservient merca1 1 lengthening out1 from its lengthening out the song or note4 ,merca kephula1 1 a double lengthening out1 from its music and figure4 ,the transverse line is either right or curved3 thus1 4 ,the right line is placed between two words1 connecting them together1 thus1 1 and is called maccaph1 i4e4 connection4 ,the curved or waved line1 1 is called leader1 zarka1 or the disperser1 from its modulation and figure4 ,circles are either entire or semi4 ,the entire circle is placed always above1 and has a small inclined line attached to it4 ,either on the left1 when it is placed at the head of the word1 1 and is called leader telisha the greater1 or the great evulsion4 ,or on the right1 when it is placed at the end1 1 and is called subservient telisha the less4 ,on both together1 1 called leader karne para1 the horns of the heifer1 from its modulation and figure4 ,the semicircle is either solitary or pointed4 ,the solitary is either angular or reflected4 ,the on the ,subservient hillui1 1 elevated1 from the angular right elevation of the voice4 is ,munach1 1 placed below1 from its position4 on the ,leader jethith1 1 drawing back1 from its left figure4 ,subservient mahpach1 1 inverted1 also from its figure4 ,the either single subservient darga1 1 a degree4 reflected is or double1 leader1 shalsheleth1 1 a chain1 from its figure and modulation4 ,when joined with other points1 it is either above or below the letter4 ,when above the letter1 it has a small line attached to it on the left1 1 leader paser1 the disperser from the diffusion of the note4 ,when below the letter1 it is pointed either downward1 1 called royal athnach1 respiration1 as the voice must rest upon it1 and respire2 or upward1 1 subservient1 jerah-ben-jomo1 the moon of its own day1 from its figure4 ,,plans ,,of ,,hebrew ,,cases4 ,the first plan shows a common case for ,hebrew without points2 the second exhibits a pair of cases with points4 ,illustration3 ,,hebrew ,,lower ,,case4 ,illustration3 ,,hebrew ,,upper ,,case4 ,illustration3 ,,hebrew ,,lower ,,case4 ,,russian ,,alphabet4 -------------------------- ,,form4 ,,sound4 -------------------------- ah1 a4 b4 v4 g1 gh4 d4 yai or ai4 zsh4 z4 ee4 ee4 k4 l 7guttural74 m4 n4 o or ah4 p4 r4 hard s or ss4 t4 oo4 f1 ph4 kh1 ch4 ts4 ch1 tch4 ch4 sh-tch4 mute e4 we1 ee4 half-mute e4 yai or ai4 ai4 you1 ew4 yah4 f1 ph4 e4 short e4 -------------------------- 1 1 1 1 1 1 1 1 1 1 1 1 are the only letters whose pronunciation offers any difficulty4 has a sound nearly like g in the ,english word goose1 as in 1 a pear2 read groshah4 ,but it has a guttural sound not found in ,english1 and which nearly resembles that of the ,german ch4 ,this sound is especially perceivable in the middle of a word when the is followed by a consonant1 also at the end of a word1 as in 1 the nails2 read nchtee4 ,in inflections 1 1 1 1 of adjectives and pronouns1 the letter is pronounced as v2 as in 1 of beautiful2 read krsnavah4 has three different sounds3 #a4 ,in ,russian words1 and in all syllables in which it is preceded by a vowel1 has a sound like that of yai1 when the y is nearly sunk in the pronunciation1 as in 1 to him2 read yaimo4 #b4 ,at the beginning of words from foreign languages1 and at the middle and end of a word when preceded by a consonant1 it has the sound of e in met1 as in 1 ,i guard2 read bayrego4 #c4 ,in the termination of diminutives1 in all the characteristic inflections of cases in the nouns1 and of persons in the verbs1 in fact1 in almost all words1 this letter when accented has a sound nearly like that of short yo or o2 as in 1 a little sack2 1 thou leadest2 1 the honey2 read koolyk1 vaidysh1 myod4 ,this sound yo or o of the letter is commonly distinguished by a diresis over the vowel1 as 1 1 4 has a guttural sound nearly analogous to the ,english w4 1 he wrote1 read pisaw or pisou4 has a soft sound1 as in the ,french word bouillon4 corresponds to the ,german ch4 ,it is a strong aspiration that nearly resembles the sound k when pronounced hastily from the throat2 as in 1 the praise2 read khvahlh4 unites the sound of and 1 as in 1 the shield2 read shtcheet4 4 ,this letter has no sound2 the preceding consonant1 the last letter of the word1 ought to be pronounced a little hollow1 as in 1 a bean2 read bop4 has a sound nearly like we when the w is pronounced rapidly2 as in 1 the letters1 read bokwe4 ,it has this sound after the consonants 1 1 1 1 2 but after another consonant it is a thick e1 as in 1 the son2 read seen4 4 ,this letter at the end of a word has a sound nearly like that of the very short e4 ,when followed by a consonant in the middle of a word it is mute1 but is pronounced when followed by a vowel2 as in 1 to know2 read znaht4 at the beginning of a word has the sound of yai2 as in 1 to eat2 read yaist4 ,in the middle of a word it is pronounced yai1 the sound of y being almost sunk2 as in 1 no2 read nyaitt4 ,at the end of a word it is sounded ay4 when accented has the sound of the diphthong yah2 as in 1 a pit2 read yhmah4 ,but if not accented it is pronounced yai1 as in 1 a ball2 read yaidr4 ,the pronoun 1 of her1 is pronounced yaiy1 and the syllable of pronominal verbs is pronounced sah1 as in 1 to exert one's self2 read stahrhtsah4 is pronounced as ,english o2 but if unaccented it takes the sound of ah1 as in 1 a bell2 1 bells2 read klahkall1 kahlakahl4 is a short e1 pronounced very rapidly1 as in 1 give2 read d or die1 giving utterance to a short e after the vowel4 ,in general the pronunciation of ,russian words depends especially upon the tonic accent1 which is no longer printed in ,russian books1 except to distinguish some homonymous words1 or some grammatical inflections of similar forms2 as 1 a castle1 and 1 a lock2 read zhmok and zahmk4 ,,music ,,type4 ,in no department of letter-founding has the progress of improvement been more decided and satisfactory than in the production of music type4 ,the finest work of the music-stamper cannot surpass the ingenious combinations of the type-founder and printer4 ,the music of which specimens are here given is cast on the centre of the body1 and any intelligent workman may learn to compose it with facility4 ,brass lines are now furnished with founts when desired4 ,illustration ,illustration3 ,,comparative ,,table ,,of ,,bodies4 ,,music ,,composition4 ,a knowledge of the rudiments of the art of music is essential to the correct composition of music type2 for1 unless the compositor is acquainted with the relative time-values of the notes and rests1 he cannot space them properly4 ,the manuscript copy is given to the compositor1 with directions regarding the dimensions of the page required and the size of type to be employed4 ,he counts the number of measures in the piece1 and allots to each measure the amount of ems in length which the page will permit1 so that there shall be a general equality of space throughout the piece4 ,in instrumental music1 and in pieces which are not interlined with poetry1 the compositor will set two or more staves simultaneously1 ranging the leading notes in the lower staves precisely under the corresponding ones in the upper staff2 that is1 a certain amount of space in each staff1 in a brace1 must contain the same amount of time-value4 ,where lines of poetry are interspersed1 as in ballads and in church music1 the staves are necessarily set singly2 and in composing the second1 third1 and fourth staves the workman must therefore constantly refer to the first1 in order to make the staves correspond4 ,a good compositor will be careful to make the lines overlap each other1 brick-wise1 and not allow a joint to fall directly under another4 ,masters who aim to do cheap rather than good work have the music lines cast double or triple1 to expedite composition4 ,such work has a very slovenly look1 as the joints of the lines1 coming under one another1 are apparent in the entire depth of the staff4 ,we have seen books set in this manner1 in which all the lines seem to be composed of dotted rule1 instead of a continuous stroke4 ,the compositor should be careful to make the stems of all the notes in a page of the same length1 except those of grace-notes1 which should be about half as long4 ,,plan ,,of ,,cases4 ,the following plan of cases was arranged by the music typographer1 ,j4 ,m4 ,armstrong of ,philadelphia1 expressly for the founts of music cast by ,the ,mac,kellar1 ,smiths ,jordan ,co41 specimens of which are shown on page #aad4 ,a table of comparative bodies is given on page #aae4 ,illustration3 ,,music ,,upper ,,case4 ,illustration3 ,,music ,,lower ,,case4 ,illustration3 ,,music ,,side ,,case4 ,,modern ,,conveniences4 ,at no time since the invention of their art have printers been so fully supplied as at present with typographic implements for producing exact and beautiful work4 ,in height of body1 harmony and style of face1 and excellence of material1 modern type is doubtless superior to any heretofore made2 but the most striking progression of type-founding is in the beauty and variety of ornamental letters and borders1 and in these the ,american founders have taken the lead4 ,a glance at their late ,specimen ,books proves the truth of this assertion4 ,among late novelties produced by ,,the ,,mackellar1 ,,smiths ,,jordan ,,co4 are several beautiful series of ingenious adjustable characters for the ornamentation of display lines1 both straight and elliptical4 ,a specimen is given below4 ,other appliances for job-printing are noted on pages #cjj-caj4 ,illustration ,illustration ,,the ,,art ,,of ,,composition4 ,,general ,,remarks4 ,illustration ,experience proves that the apprentice foreshadows the workman1 just as surely as the bend of the twig foretells the inclination of the tree4 ,the upright1 obedient1 industrious lad will become a steady1 skilful1 and capable man1 as unmistakably as the perverse1 idling1 careless boy will ripen into a lazy1 dissolute1 and worthless fellow4 ,the fact is1 a boy is measurably the maker of his own destiny2 and if he fails to acquire a master-knowledge of the trade to which he is put1 it will mainly be because he did not at his outset determine to be a master-workman4 ,good morals and steady industry are indispensable4 ,when a lad who possesses these qualities proposes to learn the art and mystery of printing1 it should be inquired of him1 ,has he had a fair common-school education8 ,is he a perfect speller8 ,has he a turn for reading8 ,is his eyesight good8 ,is he under fifteen years of age8 ,a true affirmative answer to all these queries will entitle him to the position of reading and errand-boy4 ,he is told the hours at which he is to come and go1 and a strict punctuality is enjoined upon him4 ,he sweeps the room1--he sorts out the pi1--he learns the position of the various letters in the case4 ,a year spent in this way is an excellent preparative for 8going to case10 or learning the art of composing type4 ,when he is put to composition1 he is told to set up one line and show it to the foreman or to the journeyman under whose care he may be placed4 ,the errors in the line are pointed out to him1 and he is required to correct them himself4 ,when the words are perfectly correct1 he justifies the line tight enough to prevent it from falling down when the composing-stick is slightly inclined1 and yet sufficiently loose to enable him to lift it out with ease4 ,in thus spacing out the line1 the blanks between the words must be so graduated that1 when the matter is printed1 all the words will appear at equal distances apart4 ,no matter how impatient he may be to get on1 he must be drilled at this exercise till he becomes a thorough master of it4 ,the grand doctrine to be instilled into him at first is1 to do his work well and correctly2 swiftness will follow as a natural consequence4 ,he sets a second line2 and after it has been made faultless he proceeds with the third1 and so on till the stick is full4 ,the utmost care must be taken to keep every letter and every line in an exact vertical position2 and when he essays to empty the stick he must be taught to lift the entire mass in one square solid body1 and to place it squarely and vertically on the galley4 ,if the lines are allowed to slant either backward or sidewise1 it is difficult afterward to make them stand accurately4 ,after the apprentice has become thoroughly conversant with the shape of every type1 and can distinguish 8u0 from 8n10 8b0 from 8q10 and 8d0 from 8p10 he is allowed to distribute type for his own use4 ,he is taught to take up at one time no more matter than he can conveniently grasp in his left hand1 which he holds so that the light falls on the face of the type1 and his eye can readily read it4 ,in distributing the various letters1 he takes a word or two between the thumb and forefinger of his right hand1 and the types are lightly dropped into their respective boxes4 ,at the outset1 and as he proceeds1 the novitiate must be cautioned against the acquisition of bad habits2 such as swinging the body as the types are picked up1 nicking the type against the stick several times before placing it in line1 standing on one leg1 c4 ,while avoiding these ridiculous practices1 a learner must acquire 7if he does not possess them already7 certain habitudes or principles which lie at the foundation of successful effort4 ,the first is ,punctuality4 ,he must conscientiously observe the time-rules of the office in coming and leaving4 ,the early hours are the best for work2 and the mind being cheered by the consciousness of doing right1 the body feels the influence1 and is strengthened2 and when the quitting hour arrives1 the amount of work accomplished will satisfy himself and his master too4 ,the most successful masters have been distinguished for punctuality4 ,the apprentice's time is not his own1 but his master's property2 and wasting it by want of punctuality1 or idling during his master's absence1 is simply equivalent to stealing4 ,the second point is ,obedience4 ,the apprentice has no right to question orders given by the master or his deputy4 ,his duty is promptly to do as he is told1 without grumbling or dissatisfaction4 ,let him remember that he is under orders1 and that1 if he ever expects to learn how to command1 he must learn in his youth how to obey4 ,he will promote his own interests by seeking to anticipate his master's wishes1 and by endeavouring to make himself so useful that his services cannot well be dispensed with4 ,akin to this is ,courtesy4 ,good manners in a youth are wonderfully pleasing1 and effectively aid in his advancement4 ,courtesy toward his master is a matter of course1 and deserving of little commendation2 but he must be courteous to customers when sent out on an errand1 and courteous to the workmen in the office4 ,by this means he will secure good-will1 and many a friendly hint will be given to him in acquiring a knowledge of the art4 ,the habit when fixed will bless him and others as long as he lives4 ,,plan ,,of ,,cases4 ,the following schemes show the order in which the letters are kept in cases in this country4 ,in some offices1 however1 slight deviations will be found1--such as the transposition of the comma and w1 y1 p1 c4 ,illustration3 ,,american ,,upper ,,case4 ,illustration3 ,,american ,,lower ,,case4 ,illustration3 ,,proposed ,,new ,,plan ,,for ,,the ,,lower ,,case4 ,,position4 ,the standing position of a compositor should be perfectly upright1 without stiffness or restraint2 the shoulders thrown back1 the feet firm on the floor1 heels nearly closed1 and toes turned out to form an angle of about forty-five degrees4 ,the head and body should be kept perfectly steady1 except when moving from the ,roman to the ,italic case1 the operations of distributing and composing being performed by the various motions of the arm1 from the shoulder-joint alone2 and if1 to reach a box placed in the further part of the cases1 to put in or take out a letter1 he should incline the body by a slight motion1 he should immediately resume his erect position4 ,the height of a compositor and his frame should be so adjusted that his right elbow may just clear the front of the lower case by the a and r boxes1 without the smallest elevation of the shoulder-joint2 his breast will then be opposite the space1 h1 and e boxes4 ,sitting at work should be rarely permitted1 except for lameness1 weakness1 old age1 or other infirmity2 and then the stool should be a small piece of board fastened to a single leg4 ,habit will render a standing position familiar and easy2 perseverance in conquering a little fatigue will be amply repaid by the prevention of knock knees1 round shoulders1 and obstructed circulation of the blood and respiration of the lungs4 ,,laying ,,type4 ,unwrap carefully the page received from the type-founder1 and1 laying it on a galley1 soak it thoroughly with thin soap-water1 to prevent the types from adhering to one another after they have been used a short time4 ,then1 with a stout rule or reglet1 lift as many lines as will make about an inch in thickness1 and1 placing the rule close up on one side of the bottom of the proper box1 slide off the lines gently1 taking care not to rub the face of the letter against the side of the box4 ,proceed thus with successive lines till the box is filled4 ,careless compositors are prone to huddle new types together1 and1 grasping them up by handfuls1 plunge them pell-mell into the box1 rudely jostling them about to crowd more in4 ,this is an intolerable practice4 ,the type left over should be kept standing on galleys1 in regular order1 till the cases need replenishment4 ,a fount of five hundred pounds of ,pica may have1 say1 four cases allotted to it2 the same amount of ,nonpareil1 from eight to ten cases4 ,,distributing4 ,when a learner can infallibly distinguish from each other the letters b and q1 d and p1 n and u1 and l and ,i1 he may be allowed to distribute type for himself4 ,the head of the page being turned toward him1 the learner sets a composing-rule behind the portion to be lifted1 and then1 placing his thumbs against the rule and his forefingers against the top line1 while his remaining fingers press together both sides1 he raises the matter quickly4 ,then1 inclining sidewise his right hand1 he removes the left1 and allows the matter to balance momentarily in his right1 while he doubles in the third finger and stretches out the thumb of the left for the reception of the matter1 which he at once places in it1 the rule lying as a support on the third finger1 while the thumb and other fingers embrace the sides4 ,he should take up but a few lines at a time1 until he acquires facility in lifting4 ,large handfuls should always be avoided1 as the weight is fatiguing and weakening to the wrist4 ,keeping the handful in an inclined position1 so that he may readily read the lines1 he takes up as many letters as he can conveniently hold between his fingers1--an entire word1 if practicable1--and drops the types slantingly1 but with face upward1 into the several boxes4 ,the first aim of the learner must be accuracy1 even though his progress be slow4 ,correct distribution aids in clean composition4 ,in time he will be able to drop his types rapidly1 with hardly a glance at the boxes2 and1 while his fingers are flying about correctly and expeditiously1 his eyes will take in the next word to be distributed2 thus proceeding till the case is filled4 ,in distributing1 the utmost care should be taken in placing the various spaces in their appropriate boxes4 ,a mixing of spaces characterizes the botch4 ,the letter-board should always be kept clean1 and the bottom as well as the face of the form well washed before it is laid on the board and unlocked2 for1 if any dirt remain in the type after the form is unlocked1 it will sink into the matter4 ,this precaution taken1 the pages should be well opened1 and the whole form washed till the water appears to run from it in a clean state4 ,if the form is very dirty1 it is best to lock it up again and rinse the bottom of it1 and proceed as before4 ,it is sometimes necessary to dry the letter at the fire after distributing4 ,in this case1 the type should not be used until it is perfectly cold1 as very pernicious effects arise from the antimony in the composition of which the type is made4 ,the noxious vapour which arises is sufficient warning of the effects4 ,the compositor ought always to avoid it as a pestilence which will affect his respiration and his sinews1 inducing lung-complaints1 and causing paralysis of the hand or contraction of the fingers4 ,where it can be conveniently managed1 it is better to distribute at night1 or before meals1 so that the letter may dry without artificial heat4 ,,composing4 ,when copy is put into the hands of the compositor1 he should receive directions respecting the width and length of the page2 whether it is to be leaded1 and with white lines between the breaks2 and whether any particular method is to be followed in the punctuation and in the adoption of capitals4 ,these instructions being given1 the compositor will make his measure to the number of ems directed1 which is done by laying them flatwise in the composing-stick1 and then screwing it up sufficiently tight to prevent the slide from moving4 ,he then fits a composing-rule to the measure1 and1 his case being supplied with letter1 he commences his work4 ,the left hand1 which contains the composing-stick1 should always follow the right1 which takes up the letters4 ,if the left be kept stationary1 considerable time is lost in bringing each letter to the stick1 because the right hand has1 consequently1 to traverse a much greater space than is necessary4 ,the eye should always precede the hand1 constantly seeking for the next letter while the fingers are picking up one just selected4 ,each letter should be taken up by the upper end4 ,this method will effectually prevent any false motion1 and preclude the necessity of turning the letter when in the hand4 ,if possible1 a sentence of the copy should be taken at one time1 and1 while putting in the point and quadrate at the end of the sentence1 the eye may revert to the copy for the next4 ,it is to dexterity in these particulars that compositors are indebted for swiftness4 ,the time thus gained is very considerable1 while all appearance of bustle or fatigue is avoided4 ,by taking a sentence into the memory at one time1 the connection of the subject is preserved1 and the punctuation rendered less difficult4 ,those who are careful in distribution find the advantage of it in composition4 ,foul or slovenly workmanship is disgraceful4 ,to avoid this1 a compositor should accustom himself to glance over each line as he justifies it1 and correct any error as he proceeds1 which he may do with little impediment to his progress4 ,,spacing4 ,uniformity in spacing is1 unquestionably1 a most important part of a compositor's occupation2 this requires both care and judgment1 and1 therefore1 cannot be too strongly impressed upon the mind of the beginner4 ,close spacing is as unworkmanlike as wide spacing1 and neither ought to be permitted except in very narrow measures2 and1 frequently1 even then with care it might partly be prevented4 ,what is commonly called the thick space is the proper separator between words2 though this rule cannot always be adhered to in narrow measures when large type is used4 ,it is not sufficient merely to have a line here and there uniformly spaced3 a careful compositor will give every page that uniformity of appearance which is a chief excellency4 ,the beginner should remember that it is better to do little1 and do that little well1 than to put together a great number of letters without any regard to accuracy and uniformity4 ,where a line is evenly spaced1 and yet requires justification1 the additional space should be put between those words in the line where it will be least observable3 viz4 a d and an h1 being tall1 perpendicular letters1 will admit an increase of space between them1 but not more than a middle and thin space to a thick-spaced line2 and an additional space may be placed after a kerned letter1 the beak of which may bear upon the top of an ascending letter1--as the f followed by h1 c4 ,the same rule should be observed where it is necessary to reduce the spacing of a line1 less space being required after a sloping letter than after a perpendicular one4 ,the comma requires only a thick space1 but the other points should have a hair space before and an en quadrate after them1 except the full-point1 which should have an em quadrate1 as terminating a sentence4 ,should it be necessary to reduce the spacing generally1 the spaces after the points must be altered in the same proportion4 ,spaces are cast to such regular gradations that the compositor can urge no reasonable excuse either for bad justification or improper spacing4 ,in matter to be stereotyped1 a hair space should be placed after the letter f and other kerned letters when they stand at the end of the line4 ,,justifying4 ,accurate justification is absolutely essential1 as the letters will be warped sidewise in a loose line1 making it impossible to get a fair impression from the type4 ,besides1 the letters are liable to be drawn out by the suction of the rollers1 to the detriment of the form and the press4 ,the instructor of an apprentice should occasionally pass his finger along the side of matter set by him2 and if the lines should not prove evenly justified1 they should be put into the composing-stick again and properly corrected4 ,,head-,,lines4 ,head-lines are generally set in small capitals of the same fount1 or in ,italic1 and sometimes in capitals4 ,italic capitals of letter somewhat smaller than the body of the work1 with folios of a proportionate size1 have a neat appearance4 ,,notes4 ,the usual rule for note-type is two sizes less than the text of the work3 thus1 to ,pica work1 ,long ,primer2 ,small ,pica1 ,bourgeois2 ,long ,primer1 ,brevier4 ,side-notes are usually smaller in proportion4 ,when side-notes or references drive down below the lines of the text to which they refer1 the expedient of cut-in notes must be resorted to4 ,this is a difficult part of a compositor's business1 and requires skill and patience to adjust all parts1 so that every line of note and text may have proper and equal bearing4 ,the reglet or lead between the lines of matter and the side-note must be cut with as much nicety as possible to the length of the text1 as far as where the note is to run under2 and1 having accurately adjusted1 by means of the quotations and justifiers1 the situation of the first line of the note1 such lead or reglet is added to the text as will make it precisely correspond in depth with the lines of note that stand on the side before turning3 the remainder of the note is then set in a long measure1 to correspond in width with the text1 reglet1 and side-note2 and the page is made up with note1 or the text begun again after the note is finished4 ,in ,bibles with notes and annotations1 in law-books1 and other works1 it frequently happens that a page exhibits several of these alternate frameworks of note and text1 which1 if done well1 display a workman's skill to great advantage4 ,,blanking4 ,if the work is very open1 consisting of heads1 whites1 c41 the compositor must be particularly attentive to their depth2 so that though the white may be composed of different-sized quadrates1 yet their ultimate depth must be equal to the regular body of the type the work is done in2 otherwise the register of the work will be incomplete4 ,the pressman cannot make the lines back if the compositor is not careful in making up his matter4 ,,paragraphs4 ,the first line of a new paragraph is indented an em quadrate1 of whatever type the work may be2 though1 when the measure is very wide1 two or even three ems are preferable4 ,by this means the paragraph is more strongly marked1 the indention of an em only being scarcely perceptible in a long line4 ,authors vary materially in the mode of making paragraphs4 ,some carry the argument of a position to a great length before they relieve the attention of the reader2 while others break off at almost every place that will admit only of a full-point4 ,but the author's plan is to be followed1 unless he direct otherwise4 ,authors should always make the beginning of a new paragraph conspicuous to the compositor1 by indenting the first line of it far enough to distinguish it from the preceding line in case it should be quite full4 ,it is a practice too prevalent among compositors to drive out a word at the close of a paragraph1 or even to divide it1 in order to reap the advantage of a break-line4 ,part of a word1 or a complete word1 in a break-line1 if it contain no more than three or four letters1 is improper4 ,it should be the business of the proof-reader to notice and check this irregularity4 ,the last line of a paragraph should not on any account begin a page1 neither should the first line of a paragraph come at the bottom of a page if the work has white lines between the breaks3 to prevent this1 the compositor may make his page either long or short1 as most convenient1 always taking care that the odd and even pages back1 so that the extra length or shortness of the page may escape observation4 ,,indexes4 ,the index is generally placed at the end of the volume1 and set in letter two sizes less than that of the work4 ,it is always begun upon an uneven page4 ,in setting an index1 the subject-line should not be indented2 but1 if the article make more than one line1 all but the first should be indented an em4 ,in preparing the copy of an index1 care should be taken that the subject-words are arranged alphabetically1 as the compositor will not transpose his matter afterward without remuneration4 ,where several index-figures are used in succession1 a comma is put after each folio2 but1 to save figures and commas1 the succession of the former is noted by putting a dash between the first and last figures3 thus1 #d-h4 ,again1 if an article has been collected from two pages1 the folio of the second is supplied by sq41 or sequente1 and by sqq41 or sequientibus1 when an article is touched upon in succeeding pages4 ,a full-point is not put after the last figures1 because it is thought that their standing at the end of the line is a sufficient stop4 ,neither is a comma or a full-point placed to the last word of an article in a wide measure and open matter with leaders2 but it is proper to use a comma at the end of every article where the figures are put close to the matter1 instead of running them to the end of the line4 ,,titles4 ,ornamental type may be used to good purpose in fancy jobs1 and without violating any of the canons of a correct taste4 ,the universal eye is pleased with ornament2 and it is well to foster this fancy1 just as we cultivate a poetical feeling1 or a passion for music1 or flowers1 or any beautiful thing that ,god has made4 ,but1 as life should not be all music1 or flowers1 or poetry1 so printing should not be all ornament4 ,and as men whom nature puts in the fore-front of all other men are noted for a becoming simplicity of life and style1 so the title-page that heralds all the inner pages of a book should be printed in a style of elegance severe and unadorned3 no fancy type1 except a line of ,scribe ,text1 or ,old ,english1--no italics1 unless perchance a single-line motto in ,pearl caps1--no bold-face type1 nor ,antique1 nor ,gothic1--but plain1 clear1 light-faced letters that seem the embodiment of the soul of thought4 ,all experienced printers incline to this simple style2 but publishers sometimes interfere with this province of art legitimate only to a typographer1 and insist on the indulgence of a taste which certainly owes no allegiance to any of the laws of beauty2 and the printer or stereotyper who executes the book receives credit for a title-page which he would fain utterly repudiate4 ,we add a few hints which may assist the learner4 #ast4 ,having divided the title into lines1 and decided upon the size of type suitable for the principal one1 begin by composing those of the second and third class1 both in ascending and descending order4 #b;d4 ,avoid having two lines of equal length to follow or come in contact with each other4 #c;d4 ,catch-words should be set on quite a reduced scale1 and proportioned according to the strength of the preceding and succeeding lines2 for bold catch-words detract from the general effect of the title4 #dth4 ,close attention should be given to those title-pages which are acknowledged to be displayed with true taste and judgment4 ,authors should endeavour to make their title-pages as concise as possible2 for a crowded title can never be displayed with elegance or taste4 ,,dedications4 ,the dedication generally follows the title1 and seldom exceeds one page4 ,it should be set in capitals and small capitals1 neatly displayed4 ,the name of the person to whom the work is dedicated should always be in capitals1 and the terms1 ,your very humble and very obedient1 c41 should be in a smaller type1 and the signature or name of the author in capitals of a smaller size than that in which the name of the personage is printed to whom the book is dedicated4 ,,contents4 ,the contents follow the preface or introduction1 and may be set either in ,roman or ,italic1 generally two sizes smaller than the body of the work2 the first line of each summary full1 and the rest indented an em quadrate1 with the referring figures justified at the ends of the respective lines4 ,,prefaces4 ,formerly1 the preface was uniformly set in ,italic2 at present ,roman is used1 one size larger or smaller than the body of the work4 ,the running title to the preface is commonly set in the same manner as that of the body of the work4 ,if the work has been printed without a running title1 and paged in the centre of the line only1 then the preface should be treated in like manner4 ,,signaturing4 ,the title1 preface1 c4 of a volume are commonly left till the body of the work is finished1 as circumstances may arise in the course of its progress through the press which will induce the author to alter his original preface1 date1 c41 or the work may conclude in such a manner as to admit of their being brought in at the end1 in order to fill out a sheet1 and thus save both paper and press-work4 ,for this reason1 it is well to begin the first sheet of every work with signature ,b 7or #b71 leaving ,a 7or #a7 for the title-sheet4 ,it was formerly the custom to omit the letters ,j1 ,v1 and ,w in the list of signatures4 ,but the greater convenience attending the use of twenty-five letters has recently induced several of our largest establishments to omit the letter ,j only4 ,,errata4 ,the errata are put immediately before the body of the work1 or at the end of it4 ,they should consist only of such corrections as are indispensably necessary1 without noticing any defects in the punctuation1 unless where the sense is perverted4 ,it is strongly to be wished that works could be produced perfectly free from errors2 but this is almost a vain hope while imperfection clings to humanity1 and while every form is exposed to accident and every additional proof may be productive of fresh error4 ,,hints ,,honoured ,,in ,,the ,,breach4 ,when you lay a fount of new type1 don't open the papers carefully1 and place the lines evenly with a brass rule in the cases1 nick up2 but show your skill by tumbling over each package rapidly1 and bringing it down with a rush on the imposing-stone2 then1 roughly throwing the a's into a chaotic pile1 grab them up by handfuls and work them well down in the appropriate box4 ,the harder you jostle them down1 the more you will get in4 ,proceed thus with each letter2 and1 if the operation has been vigorously performed1 the value of the fount will have been reduced1 say ten per cent4 #b4 ,while you set out one case1 let your galley lie on the overheaped type of another case4 #c4 ,if a line is rather too tight to permit the last letter to get in easily1 push it down hard with your rule or a quadrate4 ,the type may be injured2 but why didn't it fit in just right at first8 #d4 ,empty your matter at a gentle inclination on the galley1 and make it up at the same angle4 ,you can bring it right afterward--perhaps--by the energetic application of mallet1 shooting-stick1 and planer4 #e4 ,when the case is half set out1 shake up the type energetically1 and do so very often4 ,the exercise will strengthen your muscles4 #f4 ,don't brush off the stone before you lay the matter down4 ,if any sand happens to get under1 the type will show its impression beautifully deep and clear on the face of the planer1--perhaps a whole word or two4 #g4 ,don't plane till the form is locked up1 as thus you save the trouble of the first planing4 ,but1 now that you do plane1 hammer away1 and show your musical ability in playing a tattoo on the form4 ,don't lay the planer tenderly and lovingly on the types1 as if you were afraid to hurt their feelings1 and gently tap it2 but hold it off about a quarter or three-eighths of an inch1 and then bring down the mallet with a will4 ,phew6 how the planer will descend obedient to the stroke1 and rebound again1 and perhaps again4 ,if the form is not smooth on the surface now1 it is not your fault4 ,repeat this each time when the form is locked up1 till it goes to press2 and you may depend on it the impression will gain in boldness1 if not in looks4 #h4 ,when correcting your numerous errors1 don't trouble yourself to lift the lines carefully at the ends1 but dig right into the head of the erring letter1 and1 resting your bodkin on the type below it1 pry up the sinner3 it does not matter if you demolish two or three types in the under line4 #i4 ,wash your form energetically1 and apply the ley bountifully with a good stiff wiry brush4 ,never mind rinsing3 clean type is an old-fogy notion4 #aj4 ,when the type is out of use1 let it lie around promiscuously1--on a table1 or board1 or any place where it will be occasionally convenient to lay on it a mallet or tin basin4 ,if one strip of matter is placed on another1 room will be economized4 ,moreover1 the under layers will be safe from dust4 #aa 7comprehensively74 ,do every thing in a loose way generally1 letting matters go as they list1 throwing your pi into spare boxes or secretly placing it on the letter-table or some out-of-the-way place1 stealing sorts from your neighbour1 overcharging time-work and extras1 fishing for fat takes1 c4 #ab4 ,if you observe these things faithfully and constantly1 and your employer does not kick you out of his office1 why--you do not get your deserts4 ,,to ,,the ,,apprentice4 ,aspiring apprentice1 a word or two in your ear4 ,if you desire success in any matter pertaining to this life or the coming1 you must have a purpose1--a determination that1 ,god helping you1 you will achieve success4 ,you may be poor1 friendless1 unknown1--your clothing scant1 your stomach half filled1--your place may be at the foot of the ladder3 no matter4 ,whatever your position may be1 do your duty in it1 stoutly and perseveringly1 with your eye fixed far ahead and upward4 ,keeping the purpose before you that you will rise1 be obedient to your employer1 attentive to your business1 obliging to your shopmates1 and courteous to strangers2 and seize every opportunity to improve your heart1 your mind1 and your workmanship4 ,do every thing well1--no slighting1 no hiding defects1 aiming always at perfection4 ,watch those who are skilful1 and strive to equal and excel them4 ,secure the friendship of all by deserving it4 ,allow no opportunity of rendering a service to pass without improving it1 even if it cost you some labour and self-denial4 ,be of use to others1 even if in a small way2 for a time may come when they may be of service to you4 ,a selfish man may get ahead faster than you2 but selfishness is contemptible1--and you need not envy his success3 when you achieve your object nobly1 you will enjoy it1 and be respected4 ,always bear in mind that character is capital4 ,to gain this1 you must be so scrupulously honest that you would be as willing to put live coals in your pocket as a penny that is not yours4 ,never run in debt3 do without what you cannot at once pay for1 even though you should suffer somewhat4 ,no matter what the amount of your earnings may be1 save a portion every week1 and invest it in a savings-bank of good standing3 it will grow1 and will stand you in good stead some day4 ,better temporary abstinence and constant plenty afterward1 than unearned present comfort and future perpetual want4 ,never lie1 openly or covertly1 by word or action4 ,a liar may deceive his fellows1--,god and himself never4 ,conscious of falsity1 a liar can have no self-respect2 without self-respect1 reputation cannot be achieved4 ,with a noble purpose as the end of all your actions1 and with actions becoming your purpose1 your success is merely a question of time1--always provided you have some brain and abundant common sense4 ,,to ,,beginners4 ,sanguine beginners sometimes fail in their attempts to establish themselves in business2 and in many cases are disposed to lay the blame on every thing and on everybody except themselves4 ,so we here give some rules--7in an ironical way1 to make them stick in the memory7-- ,,how ,,not ,,to ,,succeed4 #a4 ,get from your father1 uncle1 aunt1 grandmother1 or somebody1 four or five thousand dollars4 ,you need not give notes or any written obligations1 as they may prove troublesome some day4 #b4 ,rent a comfortable room somewhere1 no matter whether in a business centre or not1 but let it be showy and pleasant4 #c4 ,spend one-fourth of your capital in furnishing the room with matters of personal comfort4 ,provide an elegant desk1 a luxurious lounge1 and a pivot-chair3 why shouldn't the master of a printing office 8take it easy08 ,have a closet in your desk1 it is so handy for your whisky-bottle and cigar-boxes4 #d4 ,get all you can from the type-founder1 press-maker1 and paper-manufacturers4 ,if they will give you credit for one-half of what you buy1 well and good3 if they trust you for the whole amount1 all the better for you1 and the more money you will have on hand for jollifications4 #e4 ,put up your sign--a handsome one-- ,b4 ,sipwell ,lovepunch1 ,printer4 and signalize its erection by keeping 8open house0 for all comers between #aa ,a4,m4 and midnight4 ,the mothers and wives of all who become tight and go home loose will long remember your public spirit4 #f4 ,be at your office by nine in summer and ten in winter2 and1 following ,charles ,lamb's witticism1 that he who goes to work late should quit early1 you need not return after dinner4 ,let your foreman attend to the business3 isn't he paid for it8 #g4 ,when you do go into your office1 curse and grumble promiscuously1 and be sure to swear at the apprentices1 to show your spirit1 and to let them know that you are master4 ,be careful never to praise them or any of the hands1 or they may think they are worth higher wages4 #h4 ,take work at any price that will keep it from a competitor1 no matter whether it pays or not4 ,perhaps you can save something by giving short numbers1 counting in imperfect copies1 using very common ink1 c4 ,the style is of no consequence3 you want to make money if you can1 let others improve the typographical art if they choose4 #i4 ,cultivate the acquaintance of fancy folk1 politicians1 and wit-livers4 ,a fast horse or two wouldn't be a bad thing to bind their friendship2 and1 besides1 you will never be at a loss for a companion in your rides4 #aj4 ,if you want new type1 and the founder who made your outfit won't sell to you unless you pay off the old score1 transfer your patronage to another foundry4 ,how can you expect to get along if you pay your debts8 ,such a course would compel you to sell your horse and to taboo rum-shops and gay saloons1 and to live economically2 and this1 you know1 wouldn't do at all4 #aa4 ,get out a newspaper1 and advocate the principles of the strongest party1 swearing thick and thin through every thing4 ,you need not bother yourself about writing original matter2 crib wherever you can4 ,there are plenty of fellows who want office1--lawyers particularly1--and they will write slang enough to fill your columns4 ,you might quietly levy a little black-mail or hush-money from neighbours guilty of indiscretions3 dirty money will buy as much as clean4 #ab4 ,you needn't marry1 unless some fond rich girl should happen to fancy a fool4 ,you know1 you need not trouble yourself much about her after you have secured her money3 let her father look after her welfare4 ,if she dies broken-hearted1 why--she ought not to have been so sensitive4 #ac4 ,you may be troubled occasionally by a qualm of conscience2 but this can be settled by a dram or two4 ,after a few doses1 conscience will go to sleep1 and trouble you no more1 unless you should happen to see a ,bible or hear a sermon1 which as a matter of course you will try to avoid4 ,it is true1 wreck and ruin will be sure to overtake you1 and the devil will catch you at last2 but why worry yourself before the time8 ,illustration ,,imposing1 ,,or ,,preparing ,,for ,,press4 ,,imposition ,illustration ,comprehends a knowledge of placing the pages so that they may regularly follow each other when printed and the sheet is folded up2 and also the mode of dressing chases and the manner of making the proper margin4 ,as many pages as are required for a whole or half sheet being made up1 the compositor lays them upon the imposing-stone1 placing the first page with the signature to the left hand facing him1 and then proceeds according to one of the schemes on pp4 #aej-aii4 ,these will be found to contain every necessary imposition1--viz4 folios1 quartos1 octavos1 twelves1 sixteens1 eighteens1 twenties1 twenty-fours1 thirty-twos1 thirty-sixes1 forties1 forty-eights1 sixty-fours1 seventy-twos1 ninety-sixes1 and one hundred and twenty-eights4 ,we also introduce schemes for imposing from the centre1 by which means the blank or open pages may be thrown in the centre of the form1 leaving the solid pages on the outside to act as bearers for the rollers1 as well as for the better regulation of the impression4 ,all odd matter1 for any form1 should be divided into fours1 eights1 twelves1 and sixteens1 which is the groundwork of all the impositions except the eighteens1 which differ from all the others2 for instance1 sixteens1 twenty-fours1 and thirty-twos are only octavos and twelves doubled1 or twice doubled1 and imposed in half sheets3 for example1 the sixteens are two octavos imposed on one side of the short cross2 the twenty-fours are two twelves imposed on each side of the long cross2 and a thirty-two is four octavos imposed in each quarter of the chase4 ,thus1 a sheet may be repeatedly doubled4 ,by this division1 any form or sheet may be imposed1 always bearing in mind that the first page of each class must stand to the left hand1 with the foot of the page toward you4 ,having set down the first page1 then trace the remainder according to the scheme which applies to its number2 in proof of which1 the standard rule for all other impositions may be adopted1--namely1 the folios of two pages1 if placed properly beside each other1 will when added together make one more than the number of pages in the sheet2 that is1 in a sheet of sixteens1 pages #a and #af coming together will add up #ag1 and so #i and #h will make #ag1 c4 ,in half sheets1 all the pages belonging to the white paper1 and reiteration1 are imposed in one chase4 ,so that when a sheet of paper is printed on both sides with the same form1 that sheet is cut in two in the short cross if quarto or octavo1 and in the short and long cross of twelves1 and folded as octavo or twelves4 ,,tying ,,up ,,pages4 ,in tying up a page1 use fine twine1 winding it four or five times round it1 and fastening at the right-hand corner1 by thrusting a noose of it between the several turnings and the matter with the rule1 and drawing it perfectly tight1 taking care always to keep the end of the cord on the face of the page4 ,while tying it1 keep the forefinger of the left hand tight on the corner1 to prevent the page from being drawn aside4 ,the twine being fastened1 the compositor removes the page from the ledges of the galley1 to see if the turns of cord lie about the middle of the shank of the letter2 if they lie too high1--as most commonly they do1--he thrusts them lower2 and if the page be not too broad1 he places the fore and middle finger of his right hand on the off side of the head of the page1 and his thumb on the near2 then1 bending his other fingers under1 he presses them firmly against the head of the page2 he next places the fingers of his left hand in the same position at the foot of the page1 and1 raising it upright1 lays it on a page-paper2 then1 with his right hand he grasps the sides of the page and the paper1 which turns up against the sides of the page1 and sets it in a convenient spot under his frame1 placing it on the left hand1 with the foot toward him1 that the other pages that are in like manner set down afterward may stand by it in an orderly succession until he comes to impose them4 ,if the page be a quarto1 folio1 or broadside1 it is1 of course1 too wide for his grasp2 and he therefore carries the galley and page to the imposing-stone1 and turns the handle of the galley toward him1 and1 taking hold of the handle with his right hand1 he places the ball of the thumb of his left hand against the inside of the head ledge of the galley1 to hold it and keep it steady1 and by the handle draws the slice with the page upon it out of the galley1 letting the slice rest upon the imposing-stone2 he then thrusts the head end of the slice so far upon it1 that the foot of the page may stand an inch or two within the outer edge of the stone1 and1 placing his left hand against the foot of the page1 he quickly draws the slice from under the bottom of the page4 ,,laying ,,pages4 ,in taking up his pages for imposition1 the compositor tightly grasps the paper on both sides of the page1 in order that it may be kept firm to the bottom of the page2 for if it be left slack1 the letters will be liable to slip out1 unless it be particularly well tied up4 ,having conveyed it to the stone1 he next places the last two fingers of his right hand under the head of the page1 but not under the page-paper at the head of it1 still grasping the sides with his forefingers and thumb2 he then slips his left hand so that the palm of it may turn toward the bottom1 and1 lifting the page upright on his right hand1 with the left he removes the paper2 he next grasps again the foot-end of the page with his left hand1 in the same manner as the right holds the head of it1 and1 turning the face of the type toward him1 lays it squarely and quickly down1 so that the whole page may come in contact with the face of the stone at the same time4 ,as this method1 in inexperienced or careless hands1 would frequently endanger a page containing intricate matter1 it will be safer to place the pages at first on good1 strong1 but not coarse and rough papers1 and1 when they are brought to the stone1 instead of lifting them up as just noticed1 slide them off the papers in the same manner as before directed respecting a folio page on the slice galley1 being careful that no particles of dirt remain under the page4 ,,making ,,up ,,furniture4 ,having ascertained that his pages are laid down right1 the compositor proceeds to dress the chases1 which we will suppose to be for a sheet of octavo4 ,accordingly he selects a good pair of chases that are fellows in all respects2 and1 having laid them over the pages for the two different forms1 he puts such gutter-sticks between page and page1 and such reglets along the sides of the two crosses1 as will give the book proper margins after it is bound4 ,to ascertain the proper distance1 and to prevent wastage of furniture1 he takes short pieces of furniture1 or quotations1 and quadrates or reglets1 to fit the space between two pages2 then1 pushing the pages close to them1 he finds the exact width of the furniture necessary1 by trying the ends of various pieces1 always measuring from the edge of the lines of type above the page-cords4 ,by observing a proper method in cutting up new furniture1 the same will be serviceable for other works as well as the one for which it is intended1 even though the size of the page may differ1 provided it agrees with the margin of the paper4 ,the gutters should be cut two or three lines longer than the page2 the head-sticks wider2 the back furniture may run nearly down to the rim of the chase1 but must be level with the top of the page1 which will admit of the inner head-stick running in2 the difference of the outer head-stick may go over the side-stick1 and the gutter will then run up between them4 ,the side-stick only need to be cut exact1 and the furniture will completely justify4 ,wood and metal furniture1 cut or cast to specific lengths and widths1 may now be had from the type-founders1 the use of which will save time1 waste1 and labour4 ,,making ,,the ,,margin4 ,the next business is to arrange the margin1 so that each page may occupy one side of a leaf1 and have the proper proportion of white paper left at the sides as well as at the head and foot4 ,the page when printed should be a little higher than the middle of the leaf1 and have a little more margin on the outside than in the back4 ,this rule is often neglected by careless or ignorant printers1 and the appearance of the book when bound is repulsive to the eye of taste4 ,one mode of making margin is the following3--,for octavos1 measure and mark the width of four pages by compasses1 on a sheet of paper designed for the work1 beginning to measure at one extremity of the breadth of the sheet4 ,the rest of the paper divide into four equal parts1 allowing two-fourths for the width of two separate gutter-sticks2 the remaining two-fourths divide again into four equal parts1 and allow one-fourth for the margin along each side of the short cross1 and one-fourth for the margin to each outside page4 ,but as the thickness of the short cross adds considerably to the margin1 reduce the furniture in the back accordingly1 and thereby enlarge the outside margin1 which requires the greatest share to allow for the unevenness of the paper itself1 as well as for pressmen laying sheets unevenly when the fault is not in the paper4 ,having thus made the margin between the pages to the breadth of the paper1 in the same manner proportion the margin at the head to the length1 and accordingly measure and mark the length of two pages1 dividing the rest into four parts1 one-fourth of which is allowed for each side of the long cross1 and one-fourth for the margin that runs along the foot of the two ranges of pages4 ,the furniture on both sides of the long one must be lessened to enlarge the bottom margin1 for the reason assigned for extending the side margin4 ,go the same way to work in twelves1 where1 for the outer margin along the foot of the pages1 allow the amount of two-thirds of the breadth of the head-sticks1 and the same for the inner margin1 that reaches from the foot of the fifth page to the centre of the groove for the points2 and from the centre of that groove to the pages of the quire1 or the cut off1 allow half of the breadth of the head-stick4 ,the margin along the long cross is governed by the gutter-sticks2 and it is common to put as much on each side of the long cross as amounts to half the breadth of the gutter-stick1 without deducting almost any thing for the long cross1 since that makes allowance for the inequality of the outer margin4 ,another plan1 more simple1 is the following3--,having laid the pages as nearly as possible in their proper places on the stone1 with a suitable chase around them1 fold a sheet of paper which has been wetted for the work1 or one of the same size1 into as many portions as there are pages in the form1 and1 holding the sheet thus folded on the first or left-hand page of the form1 one edge even with the left-hand side of the type1 place the adjoining page so that its left side may be even with the right-hand edge of the folded paper1 which will leave a sufficient space between the two pages to admit the gutter-stick1 which should then be selected of a proper width to suit the form in hand1 as follows3--,in octavos1 about a ,great ,primer less in width than the space between the pages1 as determined by the above rule2 in duodecimos1 about a ,pica less2 in sixteens1 about a ,long ,primer2 and proportionably less as the number of pages are increased4 ,having thus secured the proper width for the gutter-sticks1 cut them somewhat longer than the page1 and holding one of them between the two pages1 above the page-cord1 close the pages up to it2 then open the folded sheet so as to cover the two pages1 and1 bringing the fold in the paper exactly in the middle of the gutter-stick1 secure it there with the point of a pen-knife or bodkin2 the right-hand edge of the paper thus opened must be brought to the centre of the cross-bar1 which determines the furniture required between it and the pages4 ,having thus arranged the margins for the back and fore edge of the book1 proceed in like manner to regulate the head and foot margins1 by bringing the near edge of the folded paper even with the bottom of the first page1 and so placing the adjoining off page that its head may be barely covered by the off edge of the folded paper1 which will give the required head margin4 ,all other sections of the form must be regulated by the foregoing measurements1 when the margins for the whole sheet will be found correct4 ,the greater the number of pages in a sheet1 the smaller in proportion should the margin be3 the folded paper1 therefore1 should lie proportionally less over the edge of the adjoining page1 both for gutter and back1 in a form of small pages than in one of larger dimensions4 ,a folio may require the page to be half an inch nearer the back than the fore-edge2 while a duodecimo may not require more than a ,pica em4 ,in imposing jobs where two or more of the same size1 requiring equal margins1 are to be worked together1 fold the paper to the size appropriate for each1 and so arrange the type that the distance from the left side of one page to the left side of the adjoining one shall be exactly equal to the width of the folded paper1 as before described4 ,having dressed the inside of the pages1 next place side- and foot-sticks to their outsides2 being thus secured by the furniture1 untie the pages1 quarter after quarter1 the inner page first1 and then the outer1 at the same time forcing the letter toward the crosses1 and using every precaution to prevent the pages from hanging or leaning2 and1 in order to guard against accidents1 when the quarter is untied1 secure it with a couple of quoins4 ,,locking ,,up ,,forms4 ,first1 carefully examine whether the pages of each quarter are of the same length2 for even the difference of a lead will cause them to hang4 ,test their exactness3 place the ball of each thumb against the centre of the foot-stick1 raising it a little with the pressure1 and1 if the ends of both pages rise equally with the stick1 it is a proof they will not bind2 then fit quoins between the side and foot-stick of each quarter and the chase4 ,after pushing the quoins as far as possible with the fingers1 make use of the mallet and shooting-stick1 and gently drive the quoins along the foot-sticks first1 and then those along the side-sticks1 taking care to use an equal force in the strokes1 and to drive the quoins far enough up the shoulders of the side- and foot-sticks1 that the letter may neither belly out nor hang1 and the lines be kept straight and even4 ,quoins should be slanted on one side only1 but the edges should not be bevelled4 ,the several quarters of a form should be partially tightened before either quarter is finally locked up2 otherwise the cross-bar may be sprung4 ,before locking up the form1 plane the pages gently over all the face4 ,if this be properly done1 a second planing is hardly necessary1 provided the justification is perfect and the pages are all of the same length4 ,but1 as this is seldom the case1 the second planing can hardly be dispensed with4 ,it often occurs that the quoins1 when locked up wet1 stick so tight to the furniture as to render it troublesome to unlock them3 in such cases1 drive the quoin up a little1 and it afterward unlocks with ease4 ,before lifting a form after it is locked up1 raise it gently a short distance1 and look under it1 to ascertain whether any types are disposed to drop out4 ,if all is right1 carry it to the proof-press1 and pull a good proof4 ,then rub it over gently with a ley-brush1 rinse it well1 and place it in a rack1 and deliver the proof1 with the copy1 to the proof-reader4 ,,memoranda4 ,each part of the furniture should be in one piece where it is practicable1--as1 for instance1 the gutters1 the backs1 and the heads2 but sometimes pieces will be wanted of a width that is not equal to any regular size1 and then two must be used4 ,all the gutters of one sheet should be cut of a precise length2 so also with the backs and the heads2 but each sort should be of a different length from that of the others3 thus they can be easily distinguished from each other1 and mistakes be prevented4 ,the sheet being imposed1 the stone should be cleared2 the saw and saw-block put in their places1 the shears1 the mallet1 planer1 and shooting-stick1 the surplus furniture1 the leads1 the quoins1 and every other article4 ,the compositor will tie up his page-cords1 and1 if he has any companions1 will return to them their proportion4 ,the chase and furniture of one form should always be used for a similar form2 that is1 the chase and furniture of the outer form should be again used for an outer form1 and the chase and furniture of the inner form should be again used for an inner form2 they should also be put round the pages in the same order in which they were put about those of the preceding forms4 ,for want of care or thought in these apparently trifling circumstances1 trouble1 inconvenience1 and loss of time frequently occur2 for the register will be almost sure to be wrong when this is neglected1 and then the forms must be unlocked and the leads changed1 to correct the fault4 ,before the form is printed1 a proof should be taken and the sheet folded1 to make sure of the correctness of the imposition4 ,the preceding rules and directions were intended for type-forms1 and were formerly of universal necessity4 ,now most books are printed from stereotyped or electrotyped plates4 ,the same instructions1 however1 are generally as applicable to plate as to type pages4 ,,nomenclature ,,of ,,sheets4 ,when a sheet of paper of ,medium or larger size is folded in two leaves1 like most newspapers1 it is called a folio2 when folded in four leaves1 it is named a quarto or #dto2 when folded in eight leaves1 an octavo or #hvo2 in twelve leaves1 a duodecimo or #abmo2 in sixteen leaves1 sextodecimo or #afmo2 in eighteen leaves1 octodecimo or #ahmo2 in twenty-four leaves1 vigesimo-quarto1 or #bdmo1 and so on4 ,the ,latin names beyond duodecimo are seldom used4 ,illustration ,illustration3 ,abstract ,title-,deeds of ,estates4 ,abstract ,title-,deeds of ,estates are printed with blanks at the back1 with all the margin on the left side1 and on single leaves1 which are stitched together at the corner4 ,this method of imposing the form is to save presswork and the compositor's charge4 ,illustration3 ,a ,single ,sheet of ,folio4 ,illustration3 ,two ,sheets of ,folio1 ,quired1 or lying one in another4 ,outer ,form of the ,outer ,sheet4 ,outer ,form of the ,inner ,sheet4 ,imposing in quires may be carried to any extent1 by observing the following rule3--first ascertain the number of pages1 then divide them into so many sheets of folio1 and commence laying down the first two and last two1 which form the first sheet1 and so on to the centre one1 always remembering that the odd pages stand on the left and the even on the right2 the folios of each two forming one more than the number of pages in the work3 for example1 let us suppose the work to consist of thirty-six pages1 which is nine sheets of folio1 then they should be laid down according to the scheme at the foot of the opposite page4 ,illustration3 ,two ,sheets of ,folio1 ,quired1 or lying one in another4 ,inner ,form of the ,outer ,sheet4 ,inner ,form of the ,inner ,sheet4 ,outer4 ,inner4 ,sheet4 #a #cf #ce #b1 #ast #c #cd #cc #d1 #b;d #e #cb #ca #f1 #c;d #g #cj #bi #h1 #dth #i #bh #bg #aj1 #eth #aa #bf #be #ab1 #fth #ac #bd #bc #ad1 #gth #ae #bb #ba #af1 #hth #ag #bj #ai #ah1 #ith ,the furniture must be reduced in the backs of the inner sheets1 to allow for stitching4 ,illustration3 ,a ,sheet of ,common ,quarto4 ,outer ,form4 ,illustration3 ,a ,sheet of ,quarto1 the ,broad ,way1 commonly used in ,works of ,music4 ,outer ,form4 ,illustration3 ,a ,sheet of ,common ,quarto4 ,inner ,form4 ,illustration3 ,a ,sheet of ,quarto1 the ,broad ,way1 commonly used in ,works of ,music4 ,inner ,form4 ,illustration3 ,two ,half-,sheets of ,quarto1 worked together4 ,outer ,form4 ,illustration3 ,half a ,sheet of ,common ,quarto4 ,illustration3 ,two ,half-,sheets of ,quarto1 worked together4 ,inner ,form4 ,illustration3 ,half a ,sheet of ,quarto1 the ,broad ,way4 ,illustration3 ,outer ,form of a ,sheet of ,common ,octavo4 ,illustration3 ,outer ,form of a ,sheet of ,octavo1 the ,broad ,way4 ,illustration3 ,inner ,form of a ,sheet of ,common ,octavo4 ,illustration3 ,inner ,form of a ,sheet of ,octavo1 the ,broad ,way4 ,illustration3 ,outer ,form of ,two ,half-,sheets of ,common ,octavo1 worked together4 ,illustration3 ,half a ,sheet of ,common ,octavo4 ,illustration3 ,inner ,form of ,two ,half-,sheets of ,common ,octavo1 worked together4 ,illustration3 ,two ,quarters of a ,sheet of ,octavo1 worked together4 ,illustration3 ,outer ,form of a ,sheet of ,octavo1 #ab of the ,work1 and #d of other ,matter4 ,illustration3 ,outer ,form of a ,sheet of ,octavo1 of ,hebrew ,work4 ,illustration3 ,inner ,form of a ,sheet of ,octavo1 #ab of the ,work1 and #d of other ,matter4 ,illustration3 ,inner ,form of a ,sheet of ,octavo1 of ,hebrew ,work4 ,illustration3 ,outer ,form of a ,sheet of ,octavo1 ,imposed from the ,centre4 ,illustration3 ,a ,half-,sheet of ,octavo1 ,imposed from the ,centre4 ,illustration3 ,inner ,form of a ,sheet of ,octavo1 ,imposed from the ,centre4 ,illustration3 ,two ,quarters of a ,sheet of ,octavo1 ,imposed from the ,centre4 ,illustration3 ,outer ,form of a ,sheet of ,twelves4 ,illustration3 ,inner ,form of a ,sheet of ,twelves4 ,illustration3 ,a ,sheet of ,twelves1 without cutting4 ,outer ,form4 ,inner ,form4 ,illustration3 ,a ,sheet of ,twelves1 with ,two ,signatures4 ,outer ,form4 ,inner ,form4 ,illustration3 ,a ,common ,half-,sheet of ,twelves4 ,illustration3 ,half-,sheet of ,twelves1 without cutting4 ,illustration3 ,different ,methods of ,imposing ,half-,sheets of ,twelves1 from the ,centre4 ,illustration3 ,a ,sheet of ,twelves1 ,imposed from the ,centre4 ,illustration3 ,outer ,form of a ,sheet of ,long ,twelves4 ,illustration3 ,one-third1 or #h pages1 of a ,sheet of ,twelves4 ,to be imposed as a slip1 or in the off-cross4 ,outer ,form4 ,illustration3 ,inner ,form of a ,sheet of ,long ,twelves4 ,illustration3 ,one-third1 or #h pages1 of a ,sheet of ,twelves4 ,to be imposed as a slip1 or in the off-cross4 ,inner ,form4 ,illustration3 ,two ,half-,sheets of ,twelves1 worked together4 ,outer ,form4 ,inner ,form4 ,illustration3 ,half-,sheet of ,twelves1 with #b ,signatures4 #d pages of other matter4 ,illustration3 ,a ,half-,sheet of ,sixteens4 ,illustration3 ,a ,sheet of ,sixteens1 with ,one ,signature4 ,outer ,form4 ,inner ,form4 ,illustration3 ,a ,half-,sheet of ,eighteens4 ,containing #af pages4 ,the white paper of this half-sheet being worked off1 the centre pages must be transposed1--viz4 pages #g and #aj in the room of #i and #h1 and pages #i and #h in the place of #g and #aj3 when this is done1 your imposition will be true4 ,illustration3 ,a ,half-,sheet of ,eighteens4 ,when the white paper is worked off1 transpose the form1--viz4 pages #aa and #h in the room of #g and #ab1 and pages #g and #ab in the place of #aa and #h3 this being done1 the sheet will then fold up right4 ,illustration3 ,outer ,form of a ,sheet of ,eighteens1 to be folded together4 ,illustration3 ,outer ,form of a ,sheet of ,eighteens1 with ,one ,signature4 ,illustration3 ,inner ,form of a ,sheet of ,eighteens1 to be folded together4 ,illustration3 ,inner ,form of a ,sheet of ,eighteens1 with ,one ,signature4 ,illustration3 ,outer ,form of a ,sheet of ,eighteens1 with ,two ,signatures4 ,illustration3 ,outer ,form of a ,sheet of ,eighteens1 with ,three ,signatures4 ,illustration3 ,inner ,form of a ,sheet of ,eighteens1 with ,two ,signatures4 ,illustration3 ,inner ,form of a ,sheet of ,eighteens1 with ,three ,signatures4 ,illustration3 ,a ,half-,sheet of ,eighteens1 without ,transposition4 ,this mode of imposition is very objectionable1 as there will be1 when the paper is cut up1 three single leaves4 ,illustration3 ,a ,half-,sheet of ,twenties1 with ,two ,signatures4 ,illustration3 ,inner ,form of a ,sheet of ,twenties4 ,illustration3 ,outer ,form of a ,sheet of ,twenties4 ,illustration3 ,a ,half-,sheet of ,twenty-,fours4 ,illustration3 ,outer ,form of a ,sheet of ,twenty-,fours1 with ,two ,signatures4 ,illustration3 ,a ,half-,sheet of ,twenty-,fours1 the ,sixteen-way4 ,illustration3 ,inner ,form of a ,sheet of ,twenty-,fours1 with ,two ,signatures4 ,illustration3 ,a ,half-,sheet of ,twenty-,fours1 without ,inset4 ,illustration3 ,a ,half-,sheet of ,twenty-,fours1 without ,inset4 ,illustration3 ,a ,half-,sheet of ,twenty-,fours1 without ,cutting4 ,illustration3 ,a ,half-,sheet of ,thirty-,twos4 ,illustration3 ,outer ,form of a ,sheet of ,thirty-,twos4 ,illustration3 ,outer ,form of a ,sheet of ,thirty-,twos1 with ,four ,signatures4 ,illustration3 ,inner ,form of a ,sheet of ,thirty-,twos4 ,illustration3 ,inner ,form of a ,sheet of ,thirty-,twos1 with ,four ,signatures4 ,illustration3 ,a ,half-,sheet of ,thirty-,twos1 with ,two ,signatures4 ,illustration3 ,a ,half-,sheet of ,thirty-,twos1 #bj pages of the ,work1 #d pages of ,title1 c41 and #h of other ,matter4 ,illustration3 ,a ,half-,sheet of ,thirty-,sixes4 ,illustration3 ,a ,half-,sheet of ,thirty-,sixes1 without ,cutting4 ,illustration3 ,a ,half-,sheet of ,thirty-,sixes1 with ,two ,signatures4 ,illustration3 ,a ,half-,sheet of ,forties4 ,illustration3 ,a ,quarter-,sheet of ,forty-,eights1 with ,two ,signatures4 ,illustration3 ,a ,half-,sheet of ,forty-,eights1 with ,two ,signatures4 ,illustration3 ,a ,quarter-,sheet of ,forty-,eights1 without ,cutting4 ,illustration3 ,a ,half-,sheet of ,forty-,eights1 with ,three ,signatures4 ,illustration3 ,a ,common ,quarter-,sheet of ,forty-,eights4 ,illustration3 ,a ,quarter-,sheet of ,sixty-,fours1 with ,two ,signatures4 ,illustration3 ,a ,common ,quarter-,sheet of ,sixty-,fours4 ,illustration3 ,a ,quarter-,sheet of ,sixty-,fours1 #bj pages of the ,work1 #h of ,title1 and #d of other ,matter4 ,illustration3 ,a ,half-,sheet of ,sixty-,fours4 ,illustration3 ,a ,half-,sheet of ,seventy-,twos1 with ,three ,signatures4 ,illustration3 ,a ,half-,sheet of ,ninety-,sixes1 with ,six ,signatures4 ,illustration3 ,a ,half-,sheet of ,one ,hundred and ,twenty-,eights1 with ,eight ,signatures4 ,illustration ,,proof-,,reading ,,and ,,correcting4 ,,proof-,,reading4 ,illustration ,undeniable as is the fact that a book marred by typographical errors and grammatical blemishes is a scandal to the profession1 it must be admitted that a careful1 steady1 and competent reader is indispensable in every printing-office4 ,it is eminently desirable that a reader should have been previously brought up a compositor4 ,by a practical acquaintance with the mechanical departments of the business1 he will be better able to detect those manifold errata which1 unperceived by the man of mere learning and science1 lie lurking1 as it were1 in a thousand different forms1 in every sheet2 and which1 if overlooked1 justly offend the taste and discernment of all appreciators of correct and beautiful typography4 ,some of the principal imperfections which are more easily observed by the man of practical knowledge in the art of printing are the following3 viz4 imperfect1 wrong-founted1 and inverted letters1 particularly the lower-case n1 o1 s1 and u1 as well as p1 d1 b1 and q2 awkward and irregular spacing2 uneven pages or columns2 a false disposition of the reference marks2 crookedness in words and lines2 bad making-up of matter2 erroneous indention1 c4 ,these minuti1 which are rather imperfections of workmanship than literal errors1 are apt to be overlooked and neglected by mere literary readers4 ,a person of a thoroughly cultivated typographical taste1 a quick eye1 and a ready mind1 though not a compositor1 may doubtless be competent to detect those minor deviations from exact workmanship in a proof which the inexperienced and the careless are apt to overlook4 ,but1 without these qualifications1 no person can be safely intrusted to read a sheet for press1 and the labours of the printer are liable to go forth into the world in a manner that will reflect discredit on the employed and give offence to the employer4 ,no form1 therefore1 ought to be put to press until it has been read and revised by an experienced reader4 ,a thorough proof-reader1 in addition to a general and practical acquaintance with typography1 should understand clearly the grammar and idiomatic structure of his mother-tongue1 and have1 as it were1 an encyclopedic knowledge of the names1 times1 and productions of its writers1 as well as an entire familiarity with the ,bible especially1 and with ,shakspeare4 ,he should be1 in fact1 a living orthographical1 biographical1 bibliographical1 geographical1 historical1 and scientific dictionary1 with some smattering of ,hebrew1 ,greek1 ,latin1 ,french1 ,spanish1 ,italian1 and ,german4 ,yet all these accomplishments are valueless unless he also possess a keen and quick eye1 that1 like a hound1 can detect an error almost by scent4 ,there are eyes of this sort1 that with a cursory glance will catch a solitary error in a page4 ,the world is little aware how greatly many authors are indebted to a competent proof-reader for not only reforming their spelling and punctuation1 but for valuable suggestions in regard to style1 language1 and grammar1--thus rectifying faults which would have rendered their works fair game for the critic4 ,although no corrector of the press can strictly be required to do otherwise than to follow his copy1--that is1 faithfully to adhere to the original1 with all its defects1--yet every one must perceive that he performs a friendly and perhaps a charitable service1 by pointing out1 in proper time1 imperfections and mistakes which have escaped the observation of a quick or voluminous writer4 ,with the spirit1 the opinions1 the whims of an author1 no corrector of the press has any business to interfere4 ,in reprints of old and standard works1 no license of alteration ought to be granted to either correctors or editors4 ,strict uniformity should always be preserved in the use of capitals1 in orthography1 and punctuation4 ,nothing can be more vexatious to an author than to see the words honour1 favour1 c4 spelt with and without the u4 ,this is a discrepancy which correctors ought sedulously to prevent4 ,the above observations equally apply to the use of capitals to noun-substantives1 c4 in one place1 and the omission of them in another4 ,however the opinions of authors may differ in these respects1 still the system of spelling1 c4 must not be varied in the same work4 ,when an author gives him the option1 a proof-reader ought to spell ambiguous words and arrange compounds in a methodical and uniform way2 and1 to enable the compositors to become acquainted with and to observe his method1 he should furnish for their guidance a list of such ambiguous words and compounds4#ae ,such being the qualifications of a reader1 we exhibit the process which proof-sheets ought to undergo before the pages are put to press4 ,when a first proof is pulled1 the compositor who imposed the sheet ought to collect and arrange the copy1 and deliver both to the reader1 who1 after folding the sheet to prove the accuracy of its imposition1 carefully examines the signatures1 head-lines1 and paging4 ,he then calls his reading-boy1 to read the copy aloud to him4 ,this boy should be able to read with ease and distinctness any copy put into his hands4 ,the eye of the reader should not follow1 but rather precede1 the voice of the boy3 accustomed to this mode1 he will be able to anticipate every single word in the copy2 and1 should a word or sentence happen to be missing in the proof1 his attention will the more sensibly be arrested by it when he hears it pronounced by his reading-boy4 ,he ought to be careful lest his eyes advance too far before the words of the boy2 because1 in his attention to the author's meaning1 he will be apt to read words in the proof which do not actually appear there1 and the accuracy of the reading-boy will but tend to confirm him in the mistake4 ,when the reading of the sheet is concluded1 the number 7if more than one7 of the volume1 signature1 and prima1 or first word of the ensuing sheet1 should be accurately marked on the margin of the copy1 and a bracket made before the first word of the next sheet1 in order that the compositor1 should he not have composed beyond the sheet1 may know where to begin1 without having the trouble of referring either to the proof or the form1 and the reader will be certain that the commencement is right when he gets the succeeding sheet4 ,this prevents unnecessary trouble both to the reader and compositor4 ,before the proof is sent to the compositor to be corrected in the metal1 an entry should be made in a book1 according to the following plan3-- ---------------------------------------- ------------------------------ ,,date ,,of ,,reading4 ---------------------------------------- --------------------- ,,signatures4 ---------------------------------------- ---------------- ,,names ,,of ,,works4 -------------------------- ,,sent ,,out4,,returned4,,read ,,for ,,press4 ---------------------------------------- ------------------------- #ahgh4 #ahgh4 #ahgh4 #ahgh4 ,may #b #aa ,decorative ,printing ,may #b ,may #d ,may #e 0 #d #bc ,american ,printer1 7,revised 0 #d 0 #e 0 #f ,edition7 0 #f #bj ,specific ,heat ,tables 0 #h 0 #i 0 #i 0 #aj #b ,the ,great ,exhibition 0 #aj 0 #ab 0 #ac 0 #bg #ac ,masterpieces of ,european 0 #bi 0 #cj 0 #cj ,art ---------------------------------------- ------------------------- ,this account being punctually kept1 the reader can furnish the employer or overseer with an exact account of the state of each work without delay or inconvenience4 ,after the compositors have corrected the errors in the form1 a clean proof is pulled1 which1 with the first proof1 is handed to the reader1 who then collates the corrected sheet with the one before read1 in order to ascertain whether the corrections have been properly made1 and whether new errors have not been caused by negligence in the process2 and1 if the work be a reprint1 or if the author is not to examine the proof1 he then proceeds to read it very carefully for press4 ,some proofs are so foul1 that it is almost impossible for the compositor to correct all the marks at one time1 and it is therefore necessary to have the neglected errors corrected and another sheet pulled before the proof is read finally4 ,it not unfrequently happens that compositors1 in the course of correcting1 transpose a letter or word1 or alter a letter in a word that is not marked1 thus not only leaving one error uncorrected1 but also making another2 sometimes also1 in respacing a line1 a space is transposed or a hyphen is left in4 ,consequently it is absolutely necessary1 in revising a proof1 that the reader should not only look at the word marked1 but he ought also to glance his eye over every line in which an alteration has been made4 ,in offices where two readers are employed1 it is advisable that a proof-sheet should be read over by both2 because the eye1 in traversing the same ground1 is liable to be drawn into mistake and oversight4 ,the interest excited by the first reading having abated1 a degree of listlessness imperceptibly steals upon the mind1 which greatly endangers the correctness of a proof4 ,should outs or doubles occur in a proof1 it ought to be again read by copy1 to detect any improper correction in the overrunning or transposition of lines4 ,figure work should always be read twice by copy4 ,the duty of amending the punctuation should be generally confined to one reader4 ,where a compositor is liable1 in this particular1 to the whim or caprice of several readers1 he certainly suffers injustice1 because his time is unnecessarily frittered away2 and not only is the work retarded1 but the types are needlessly exposed to injury1 to say nothing of the liability of creating fresh errors1 c4 ,before a manuscript is brought to the printer1 it ought to be as perfect as the author can make it4 ,the compositor is bound to 8follow the copy10 in word and sentiment1 unless1 indeed1 he meets with instances of wrong punctuation or false grammar1 7and such instances are not rare17 which his intelligence enables him to amend4 ,after the matter has been read and corrected in the office1 a proof is sent to the author2 and1 if it corresponds with the copy1 the compositor's responsibility is at an end4 ,he has done all he is paid for2 and1 should the author desire any changes made in his matter1 of course he must pay for them4 ,sentiments in print look marvellously different from the same ideas in manuscript2 and we are not surprised that writers should wish to polish a little2 nor do we object to their natural desire of amending or beautifying their mental products4 ,but let them not forget that pay-time will come1--when the item for alterations will loom out with a startling distinctness in the bill4 ,they found it easy in the proof to erase a word or two here and insert a word or two there2 without dreaming1 perhaps1 that in consequence of these little erasures and insertions the compositor would be compelled to alter and reconstruct much of his work4 ,we know of a volume on which the alterations alone have consumed time equal to one man's work for nearly two and a half years4 ,how unreasonable--nay1 how transparently unjust--the expectation that the printer should give gratuitously the time and trouble requisite for the radical changes in the type which an author's whim or taste may demand6 ,stower says1 8,it may not be improper1 in this place1 just to take notice of the great danger to the correctness of a work which arises from the practice1 too common with some authors1 of keeping their proof-sheets too long in their hands before they are returned to the printer4 ,as the pages in the metal get dry1 the adhesion of the types to each other is weakened1 and the swell or extension of the quoins and furniture1 which the moisture had occasioned1 is removed2 so that there is great danger of letters falling out when a form is long kept from the press4 ,nor is the danger which is hereby occasioned to correctness the only inconvenience3 the impatience of authors to see their works in a fit state for publication is almost proverbial4 ,the pleasure arising from beholding1 as it were1 the #8form and texture' of one's thoughts1 is a sensation much easier felt than described4 ,that authors1 therefore1 may partake of this pleasure in a speedy and regular succession1 they should make a point of forwarding their proof-sheets to the printer as quick as possible1 not only that they may the sooner be got ready for the press1 but that the work may proceed in a regular manner1 without being interrupted by the forwarding of other works in lieu of that the proof-sheets of which are detained beyond the proper time in the hands of the author4 8,authors are very apt to make alterations1 and to correct and amend the style or arguments of their works1 when they first see them in print4 ,this is certainly the worst time for this labour1 as it is necessarily attended with an expense which1 in large works1 will imperceptibly swell to a serious sum2 when1 however1 this method of alteration is adopted by an author1 the reader must always be careful to read the whole sheet over once more with very great attention before it is finally put to press4 8,a proof-sheet1 having duly undergone this routine of purgation1 may be supposed to be as free from errata as the nature of the thing will admit1 and the word #8,press' may be written at the top of the first page of it4 ,this is an important word to every reader3 if he have suffered his attention to be drawn aside from the nature of his proper business1 and errors should be discovered when it is too late to have them corrected1 this word #8,press' is as the signature of the death-warrant of his reputation4 ,a reader1 therefore1 should be a man of one business1--always upon the alert1--all eye1--all attention4 ,possessing a becoming reliance on his own powers1 he should never be too confident of success4 ,imperfection clings to him on every side4 ,errors and mistakes assail him from every quarter4 ,his business is of a nature that may render him obnoxious to blame1 but can hardly be said to bring him in any very large stock of praise4 ,if errors escape him1 he is justly to be censured2 for perfection is his duty4 ,if his labours are wholly free from mistake1--which is1 alas6 a very rare case1--he has done no more than he ought1 and1 consequently1 can merit only a comparative degree of commendation1 in that he had the good fortune to be more successful in his labours after perfection than some of his brethren in the same employment40 ,the form being finally laid on the press1 and a revise pulled by the pressman1 he sends it to the overseer1 who carefully examines whether all the marks have been attended to1 and looks along the sides and heads of the respective pages1 to observe whether any letter has fallen out1 or there is any crookedness in the locking up of the form1 any battered letters1 or any bite from the frisket4 ,should the revise prove faultless1 he returns it to the pressman1 with the word 8,revise0 written on the margin2 if otherwise1 to the compositor to whom the form belongs1 for immediate correction4 ,,correcting ,,in ,,the ,,metal4 ,correcting is the most disagreeable part of a compositor's business1 diminishing as it does his earnings1 and causing great fatigue1 and1 by leaning over the stone1 endangering his health4 ,a foul proof1 however1 is a fault without extenuation1 and seems to deserve some punishment4 ,the noise and confusion which prevail in badly governed printing-offices1 from light and frivolous conversation1 not only retard business1 but distract the attention of the compositor from the subject he has in hand1 and cause him to make many mistakes4 ,some men1 no doubt1 can support a conversation and at the same time compose correctly2 but their noise confuses those who are unable to preserve accuracy except by close attention to their copy in silence4 ,the first proof should contain merely the errors of the compositor2 but it frequently happens that the corrector heightens them by his peculiarities4 ,when this is unnecessarily done1 it is an act of injustice to the compositor3 it is sufficient for him to rectify such mistakes as arise either from inattention to his copy or want of judgment4 ,the compositor ought not to suffer from the humour of a reader in capriciously altering commas and semicolons in the first proof1 which he not unfrequently re-alters in the second1 from a doubt as to the propriety of the points to be adopted4 ,when a proof is handed to the compositor1 he should immediately correct it2 and the reader1 correlatively1 should be equally prompt in his department4 ,can it reasonably be expected that the compositor will feel inclined to forward his proof1 when he knows that the reader will delay it for hours8 ,should a compositor have transposed two or more pages1 either from an error in the folios or any other cause1 he must unlock the quarter containing them1 and1 loosening the cross or crosses from the furniture1 lift the chase and the remaining quarters off the stone4 ,should he have furniture sufficient round each page1 he may move them into their proper stations by pressing the balls of his thumbs and fingers against the furniture at the head1 foot1 and sides of each page4 ,if the letter be small1 it will be advisable to wet the pages1 because few imposing-stones are horizontal1 or so steady that they will not shake when touched1 or by the motion of the floor occasioned by persons walking or dragging forms along4 ,should a compositor find that his pages hang1 he must unlock the quarter1 and pat the face of the type with the balls of his fingers until he gets it into a square position4 ,when a compositor unlocks a form1 he should be careful not to leave the unlocked quoins too slack1 as the force necessary to loosen the others may squabble the matter1 or occasion it to hang4 ,it has been aptly said1 8,what is required of a compositor when he goes about correcting a foul proof1 is a sharp bodkin and patience2 because1 without them1 the letter cannot escape suffering by the steel1 and hurrying will not permit him to justify the lines true4 ,no wonder1 therefore1 to see pigeon-holes in one place1 and pi in another40#af ,when the compositor has as many corrections between the thumb and forefinger of his left hand as he can conveniently hold1 or1 what is better1 in his composing-stick1 7beginning at the bottom of the page1 in order that they may follow regularly17 and an assortment of spaces on a piece of paper1 or1 what is more convenient1 in a small square box with partitions in it1--let him take the bodkin in his right hand1 and1 instead of raising each letter he may have to alter1 place the point of the bodkin at one end of the line1 and1 with the forefinger of his left hand against the other1 raise the whole line sufficiently high to afford him a clear view of the spacing2 he may then change the faulty letter and alter his spacing before he drops the line4 ,by this method he will not injure the type1 which he must do if he force the bodkin into their sides or heads2 a greater degree of regularity is insured where there may be occasion to alter the spacing1 and no more time is taken up than by the other method4 ,in tables1 and other matter1 where rules prevent the lines from being raised1 the letters must be drawn up by the bodkin4 ,this is done by the compositor holding the instrument fast in his right hand1 with the blade between his forefinger and thumb1 within about three-quarters of an inch from the point3 thus guiding it steadily to the faulty letter1 he sticks the point of the bodkin into the neck of the letter between the beard and the face1 and draws it up above the other types1 so that he can take it out with the forefinger and thumb of his left hand4 ,in performing this operation1 the blade of the bodkin should be kept as flat as possible on the face of the type1 but it should not touch any of the surrounding types1 as the slightest graze imaginable will injure their face1 and they will consequently appear imperfect in the next proof1 when he will have the trouble of altering them1 his employer suffering the loss of the type4 ,the bodkin blade being held almost flat to the form1 a small horizontal entrance of its point into the neck of the letter will raise it above the face of the form2 but1 if the bodkin be held nearly upright1 it will not have sufficient purchase to draw the letter up1 because the weight of the letter and the pressure of the surrounding types will have greater power than the sharp point of the steel4 ,by pressing sidewise1 the bodkin blade acts as a lever1 even though it has no other purchase than the slight motion of the hand4 ,illustration3 ,,common ,,bodkin4 ,illustration3 ,,pocket ,,spring ,,bodkin4 ,in the olden times the printer made his own bodkin by inserting the blunt end of a large steel needle in a piece of wood or cork4 ,at the present day1 when every thing is prepared to the workman's hand1 bodkins are manufactured by printers' furnishers1 and he may take his choice of styles4 ,the above cut shows a common form2 but in some cases 7as in table work7 tweezers or a spring bodkin may be preferred4 ,knives may also be had with bodkin attached1 which serve a double purpose4 ,the objection to the knife-bodkin is that the handle is too heavy and cumbersome1 and it is sure to injure type should it happen to slip from the fingers and fall on the page4 ,illustration3 ,,tweezers4 ,illustration3 ,,spring ,,bodkin4 ,the most careful compositor cannot at all times avoid leaving a word out1 or composing the same word twice4 ,when this happens1 he should consider the best mode of rectifying the accident1 by driving out or getting in1 either above the error or below it4 ,this ascertained1 let the matter be taken upon a galley1 and overrun in the composing-stick4 ,overrunning on the stone is an unsafe1 unworkmanlike1 and dilatory method1 destroying the justification and rendering the spacing uneven4 ,illustration3 ,,knife ,,and ,,bodkin4 ,in correcting1 care should be taken to avoid hair-spacing a line1 by overrunning either back or forward4 ,in overrunning the matter1 the division should be used as little as possible2 for1 though the compositor may carefully follow the instructions laid down in this work on the subject of spacing and dividing1 yet the effect of his attention will be completely destroyed if not followed up at the stone4 ,we here emphatically remark that1 if authors were careful to spell properly the names of persons and places1 technical and scientific terms1 c41 and to write legibly1 marking the end of sentences clearly1 the work of the compositor would be facilitated1 many errors would be prevented1 and time1 temper1 and expense greatly economized4 ,further4 ,let us remind authors that every correction made on their proof that is a variation from the copy as furnished to the printer is charged for according to the time required to make it4 ,the justice of the charge is obvious2 yet1 strange to say1 there is probably no item so frequently disputed by publishers4 ,a man employs a mechanic to build a house according to fixed specifications2 but1 in the course of its erection1 he improves or changes the plan1 and orders certain portions to be torn down and rebuilt3 is the mechanic to bear the loss8 ,certainly not4 ,so1 when a compositor builds up his page of type according to the copy furnished1 he is right in requiring compensation for alterations made in it4 ,he is not to suffer for the author's desire to improve his intellectual edifice4 ,illustration3 ,,printer',s ,,knife4 ,,typographical ,,marks ,,exemplified4 ,the following table will be appreciated by authors and by all who desire to become acquainted with the technical marks used by practical readers4 ,due attention to the explanations will insure an apt proficiency in the manual department of proof-reading4 ,illustration3 7,transcriber's ,note3 showing text marked up by the proof-reader47 ,illustration3 7,transcriber's ,note3 showing the corrected text1 given below47 ,,though several differing opinions exist as to the individual by whom the art of printing was first discovered2 yet all authorities concur in admitting ,,peter ,,schoeffer to be the person who invented cast metal types1 having learned the art of cutting the letters from the ,gutenbergs3 he is also supposed to have been the first who engraved on copper-plates4 ,the following testimony is preserved in the family1 by ,jo4 ,fred4 ,faustus1 of ,ascheffenburg3 #8,,peter ,,schoeffer1 of ,gernsheim1 perceiving his master ,faust's design1 and being himself ardently desirous to improve the art1 found out 7by the good providence of ,god7 the method of cutting 7incidendi7 the characters in a matrix1 that the letters might easily be singly cast1 instead of being cut4 ,he privately cut matrices for the whole alphabet3 and when he showed his master the letters cast from these matrices1 ,faust was so pleased with the contrivance1 that he promised ,peter to give him his only daughter ,christina in marriage1 a promise which he soon after performed4 ,but there were as many difficulties at first with these letters1 as there had been before with wooden ones1 the metal being too soft to support the force of the impression3 but this defect was soon remedied1 by mixing the metal with a substance which sufficiently hardened it4' ,,explanation ,,of ,,the ,,corrections4 ,a wrong letter in a word is noted by drawing a short perpendicular line through it1 and making another short line in the margin1 behind which the right letter is placed4 7,see ,no4 #a47 ,so with whole words also1 a line being drawn across the wrong word and the right one written in the margin opposite4 ,a turned letter is noted by drawing a line through it1 and writing the mark ,no4 #b in the margin4 ,if letters or words require to be altered to make them more conspicuous1 a parallel line or lines must be made underneath the word or letter1--viz4 for capitals1 three lines2 small capitals1 two lines2 and ,italic1 one line2 and1 in the margin opposite the line where the alteration occurs1 ,caps1 ,small ,caps1 or ,ital4 must be written4 7,see ,no4 #c47 ,when letters or words are set double1 or are required to be taken out1 a line is drawn through the superfluous word or letter1 and the mark ,no4 #d placed opposite in the margin4 ,where the punctuation requires alteration1 the correct point should be written in the margin4 7,see ,no4 #e47 ,when a space has been omitted between two words1 a caret must be made where the separation ought to be1 and the sign ,no4 #f placed opposite in the margin4 ,when a word should form a compound with another1 it is denoted as in ,no4 #g4 ,when a letter has been omitted1 a caret is put at the place of omission1 and the letter marked as ,no4 #h4 ,where a line is too widely spaced1 the mark ,no4 #i must be placed between the words and also in the margin4 ,where a new paragraph is required1 a quadrangle is drawn in the margin1 and a caret placed at the beginning of the sentence4 7,see ,no4 #aj47 ,no4 #aa shows the way in which the apostrophe1 inverted commas1 the star and other references1 and superior letters and figures1 are marked4 ,where two words are transposed1 a line is drawn over one word and below the other1 and the mark ,no4 #ab placed in the margin2 but where several words require to be transposed1 their right order is signified by a figure placed over each word1 and the mark ,no4 #ab in the margin4 ,where words have been struck out that have afterward been approved of1 dots should be marked under them1 and stet written in the margin4 7,see ,no4 #ac47 ,where a space sticks up between two words1 a horizontal line is drawn under it1 and the mark ,no4 #ad placed opposite1 in the margin4 ,where several words have been left out1 they are transcribed at the bottom of the page1 and a line drawn from the place of omission to the written words1 7see ,no4 #ae27 but if the omitted matter is too extensive to be copied at the foot of the page1 ,out1 see copy1 is written in the margin1 and the missing lines are enclosed between brackets1 and the word ,out is inserted in the margin of the copy4 ,where letters stand crooked1 they are noted by a line1 7see ,no4 #af27 but1 where a page hangs1 lines are drawn across the entire part affected4 ,when a smaller or larger letter1 of a different fount1 is improperly introduced into the page1 it is noted by the mark ,no4 #ag1 which signifies wrong fount4 ,if a paragraph is improperly made1 a line is drawn from the broken-off matter to the next paragraph1 and ,no written in the margin4 7,see ,no4 #ah47 ,where a word has been left out or is to be added1 a caret must be made in the place where it should come in1 and the word written in the margin4 7,see ,no4 #ai47 ,where a faulty letter appears1 it is denoted by making a cross under it1 and placing a similar mark in the margin1 7see ,no4 #bj27 though some prefer to draw a perpendicular line through it1 as in the case of a wrong letter4 ,where a word has been accidentally separated by a space1 it is marked as in ,no4 #ba4 ,,table ,,of ,,signatures4 ,on the two following pages will be found a complete list of signatures for books in octavo1 twelves and eighteens1 sixteens1 and twenty-fours4 ,the #bdmo signatures in this table are arranged to bring the second signature on either the #ith or #agth page of the form4 ,if the sheet is to be folded as an #hvo and #afmo1 the figure signatures may be used2 but if as two #abmos1 the letter signatures will be used4 ---------------------------------------- ----------------------------- #hvo4 #abmo and ---------------------------------------- ---------------------- #a #a ,a #dha #fa #c ,l #a #a ,a #cac #bg #b ,b #i #b ,b #dhi #fb #c ,m #e #a99 ,a #b #cag #bg99 #b ,b #b #ag #c ,c #dig #fc #c ,n #ac #b ,b #cbe #bh #b ,c #be #d ,d #eje #fd #c ,o #ag #b99 ,b #b #cbi #bh99 #b ,c #b #cc #e ,e #eac #fe #c ,p #da #f ,f #eba #ff #c ,q #be #c ,c #ccg #bi #b ,d #di #g ,g #ebi #fg #c ,r #bi #c99 ,c #b #cda #bi99 #b ,d #b #eg #h ,h #ecg #fh #c ,s #cg #d ,d #cdi #cj #b ,e #fe #i ,i #ede #fi #c ,t #da #d99 ,d #b #cec #cj99 #b ,e #b #gc #aj ,k #eec #gj #c ,u #ha #aa ,l #efa #ga #c ,v #di #e ,e #cfa #ca #b ,f #hi #ab ,m #efi #gb #c ,w #ec #e99 ,e #b #cfe #ca99 #b ,f #b #ig #ac ,n #egg #gc #c ,x #fa #f ,f #cgc #cb #b ,g #aje #ad ,o #ehe #gd #c ,y #fe #f99 ,f #b #cgg #cb99 #b ,g #b #aac #ae ,p #eic #ge #c ,z #gc #g ,g #che #cc #b ,h #aba #af ,q #fja #gf #d ,a #gg #g99 ,g #b #chi #cc99 #b ,h #b #abi #ag ,r #fji #gg #d ,b #acg #ah ,s #fag #gh #d ,c #he #h ,h #cig #cd #b ,i #ade #ai ,t #fbe #gi #d ,d #hi #h99 ,h #b #dja #cd99 #b ,i #b #aec #bj ,u #fcc #hj #d ,e #ig #i ,i #dji #ce #b ,k #afa #ba ,v #fda #ha #d ,f #aja #i99 ,i #b #dac #ce99 #b ,k #b #afi #bb ,w #fdi #hb #d ,g #aji #aj ,k #dba #cf #b ,l #agg #bc ,x #feg #hc #d ,h #aac #aj99 ,k #b #dbe #cf99 #b ,l #b #ahe #bd ,y #ffe #hd #d ,i #aba #aa ,l #dcc #cg #b ,m #aic #be ,z #fgc #he #d ,k #abe #aa99 ,l #b #dcg #cg99 #b ,m #b #bja #bf #b ,a #fha #hf #d ,l #bji #bg #b ,b #fhi #hg #d ,m #acc #ab ,m #dde #ch #b ,n #bag #bh #b ,c #fig #hh #d ,n #acg #ab99 ,m #b #ddi #ch99 #b ,n #b #bbe #bi #b ,d #gje #hi #d ,o #ade #ac ,n #deg #ci #b ,o #bcc #cj #b ,e #gac #ij #d ,p #adi #ac99 ,n #b #dfa #ci99 #b ,o #b #bda #ca #b ,f #gba #ia #d ,q #aeg #ad ,o #dfi #dj #b ,p #bdi #cb #b ,g #gbi #ib #d ,r #afa #ad99 ,o #b #dgc #dj99 #b ,p #b #beg #cc #b ,h #gcg #ic #d ,s #bfe #cd #b ,i #gde #id #d ,t #afi #ae ,p #dha #da #b ,q #bgc #ce #b ,k #gec #ie #d ,u #agc #ae99 ,p #b #dhe #da99 #b ,q #b #bha #cf #b ,l #gfa #if #d ,v #aha #af ,q #dic #db #b ,r #bhi #cg #b ,m #gfi #ig #d ,w #ahe #af99 ,q #b #dig #db99 #b ,r #b #big #ch #b ,n #ggg #ih #d ,x #aic #ag ,r #eje #dc #b ,s #cje #ci #b ,o #ghe #ii #d ,y #aig #ag99 ,r #b #eji #dc99 #b ,s #b #cac #dj #b ,p #gic #ajj #d ,z #cba #da #b ,q #hja #aja #e ,a #bje #ah ,s #eag #dd #b ,t #cbi #db #b ,r #hji #ajb #e ,b #bji #ah99 ,s #b #eba #dd99 #b ,t #b #ccg #dc #b ,s #hag #ajc #e ,c #bag #ai ,t #ebi #de #b ,u #cde #dd #b ,t #hbe #ajd #e ,d #bba #ai99 ,t #b #ecc #de99 #b ,u #b #cec #de #b ,u #hcc #aje #e ,e #bbi #bj ,u #eda #df #b ,v #cfa #df #b ,v #hda #ajf #e ,f #cfi #dg #b ,w #hdi #ajg #e ,g #bcc #bj99 ,u #b #ede #df99 #b ,v #b #cgg #dh #b ,x #heg #ajh #e ,h #bda #ba ,v #eec #dg #b ,w #che #di #b ,y #hfe #aji #e ,i #bde #ba99 ,v #b #eeg #dg99 #b ,w #b #cic #ej #b ,z #hgc #aaj #e ,k #bec #bb ,w #efe #dh #b ,x #dja #ea #c ,a #hha #aaa #e ,l #beg #bb99 ,w #b #efi #dh99 #b ,x #b #dji #eb #c ,b #hhi #aab #e ,m #bfe #bc ,x #egg #di #b ,y #dag #ec #c ,c #hig #aac #e ,n #bfi #bc99 ,x #b #eha #di99 #b ,y #b #dbe #ed #c ,d #ije #aad #e ,o #bgg #bd ,y #ehi #ej #b ,z #dcc #ee #c ,e #iac #aae #e ,p #dda #ef #c ,f #iba #aaf #e ,q #bha #bd99 ,y #b #eic #ej99 #b ,z #b #ddi #eg #c ,g #ibi #aag #e ,r #bhi #be ,z #fja #ea #c ,a #deg #eh #c ,h #icg #aah #e ,s #bic #be99 ,z #b #fje #ea99 #c ,a #b #dfe #ei #c ,i #ide #aai #e ,t #cja #bf #b ,a #fac #eb #c ,b #dgc #fj #c ,k #iec #abj #e ,u #cje #bf99 #b ,a #b #fag #eb99 #c ,b #b ---------------------------------------- ---------------------- ---------------------------------------- ---------------------- #ahmo4 #afmo4 #bdmo4 ---------------------------------------- ---------------- #fbe #ec #c ,c #a #a ,a #a #a ,a #dcc #ai ,t #fbi #ec99 #c ,c #b #ag #b ,b #i #a99 #dda #ai99 #fcg #ed #c ,d #cc #c ,c #ag 4 4 ,a #b #ddi 4 4 ,t #b #fda #ed99 #c ,d #b #di #d ,d #be #b ,b #deg #bj ,u #fdi #ee #c ,e #fe #e ,e #cc #b99 #dfe #bj99 #fec #ee99 #c ,e #b #ha #f ,f #da 4 4 ,b #b #dgc 4 4 ,u #b #ig #g ,g #ffa #ef #c ,f #aac #h ,h #di #c ,c #dha #ba ,v #ffe #ef99 #c ,f #b #abi #i ,i #eg #c99 #dhi #ba99 #fgc #eg #c ,g #ade #aj ,k #fe 4 4 ,c #b #dig 4 4 ,v #b #fgg #eg99 #c ,g #b #afa #aa ,l #gc #d ,d #eje #bb ,w #agg #ab ,m #ha #d99 #eac #bb99 #fhe #eh #c ,h #aic #ac ,n #hi 4 4 ,d #b #eba 4 4 ,w #b #fhi #eh99 #c ,h #b #bji #ad ,o #ig #e ,e #ebi #bc ,x #fig #ei #c ,i #bbe #ae ,p #aje #e99 #ecg #bc99 #gja #ei99 #c ,i #b #bda #af ,q #aac 4 4 ,e #b #ede 4 4 ,x #b #gji #fj #c ,k #beg #ag ,r #aba #f ,f #eec #bd ,y #gac #fj99 #c ,k #b #bgc #ah ,s #abi #f99 #efa #bd99 #bhi #ai ,t #gba #fa #c ,l #cje #bj ,u #acg 4 4 ,f #b #efi 4 4 ,y #b #gbe #fa99 #c ,l #b #cba #ba ,v #ade #g ,g #egg #be ,z #gcc #fb #c ,m #ccg #bb ,w #aec #g99 #ehe #be99 #gcg #fb99 #c ,m #b #cec #bc ,x #afa 4 4 ,g #b #eic 4 4 ,z #b #gde #fc #c ,n #cfi #bd ,y #afi #h ,h #fja #bf #b ,a #gdi #fc99 #c ,n #b #che #be ,z #agg #h99 #fji #bf99 #geg #fd #c ,o #dja #bf #b ,a #ahe 4 4 ,h #b #fag 4 4 #b ,a #b #gfa #fd99 #c ,o #b #dag #bg #b ,b #aic #i ,i #fbe #bg #b ,b #dcc #bh #b ,c #gfi #fe #c ,p #ddi #bi #b ,d #bja #i99 #fcc #bg99 #ggc #fe99 #c ,p #b #dfe #cj #b ,e #bji 4 4 ,i #b #fda 4 4 #b ,b #b #gha #ff #c ,q #dha #ca #b ,f #bag #aj ,k #fdi #bh #b ,c #ghe #ff99 #c ,q #b #dig #cb #b ,g #bbe #aj99 #feg #bh99 #gic #fg #c ,r #eac #cc #b ,h #bcc 4 4 ,k #b #ffe 4 4 #b ,c #b #gig #fg99 #c ,r #b #ebi #cd #b ,i #bda #aa ,l #fgc #bi #b ,d #ede #ce #b ,k #hje #fh #c ,s #efa #cf #b ,l #bdi #aa99 #fha #bi99 #hji #fh99 #c ,s #b #egg #cg #b ,m #beg 4 4 ,l #b #fhi 4 4 #b ,d #b #hag #fi #c ,t #eic #ch #b ,n #bfe #ab ,m #fig #cj #b ,e #hba #fi99 #c ,t #b #fji #ci #b ,o #bgc #ab99 #gje #cj99 #hbi #gj #c ,u #fbe #dj #b ,p #bha 4 4 ,m #b #gac 4 4 #b ,e #b #hcc #gj99 #c ,u #b #fda #da #b ,q #bhi #ac ,n #gba #ca #b ,f #feg #db #b ,r #big #ac99 #gbi #ca99 #hda #ga #c ,v #fgc #dc #b ,s #cje 4 4 ,n #b #gcg 4 4 #b ,f #b #hde #ga99 #c ,v #b #fhi #dd #b ,t #cac #ad ,o #gde #cb #b ,g #hec #gb #c ,w #gje #de #b ,u #cba #ad99 #gec #cb99 #heg #gb99 #c ,w #b #gba #df #b ,v #cbi 4 4 ,o #b #gfa 4 4 #b ,g #b #hfe #gc #c ,x #gcg #dg #b ,w #ccg #ae ,p #gfi #cc #b ,h #gec #dh #b ,x #hfi #gc99 #c ,x #b #gfi #di #b ,y #cde #ae99 #ggg #cc99 #hgg #gd #c ,y #ghe #ej #b ,z #cec 4 4 ,p #b #ghe 4 4 #b ,h #b #hha #gd99 #c ,y #b #hja #ea #c ,a #cfa #af ,q #gic #cd #b ,i #hhi #ge #c ,z #hag #eb #c ,b #cfi #af99 #hja #cd99 #hic #ge99 #c ,z #b #hcc #ec #c ,c #cgg 4 4 ,q #b #hji 4 4 #b ,i #b #hdi #ed #c ,d #ija #gf #d ,a #hfe #ee #c ,e #che #ag ,r #hag #ce #b ,k #ije #gf99 #d ,a #b #hha #ef #c ,f #cic #ag99 #hbe #ce99 #iac #gg #d ,b #hig #eg #c ,g #dja 4 4 ,r #b #hcc 4 4 #b ,k #b #iag #gg99 #d ,b #b #iac #eh #c ,h #dji #ah ,s #hda #cf #b ,l #ibe #gh #d ,c #ibi #ei #c ,i #dag #ah99 #hdi #cf99 #ibi #gh99 #d ,c #b #ide #fj #c ,k #dbe 4 4 ,s #b #heg 4 4 #b ,l #b ---------------------------------------- ---------------- ,illustration ,,the ,,foreman ,,or ,,overseer4 ,,general ,,duties4 ,illustration ,vigilant and conscientious oversight is the price of profit and success4 ,an overseer or foreman of a printing-office should be of more than ordinary capacity1 and able to keep his temper in firm control4 ,his conduct should be guided by justice and equity in regard to the interests of the employer and the employed4 ,a strict impartiality should be observed in his treatment of the workmen1 and no favouritism should be displayed4 ,he should make himself acquainted with the capacity of the men1 and apportion work among them accordingly4 ,some men are valueless except for plain1 straightforward composition2 others1 distinguished for taste and skill1 delight in intricate work or matter requiring ingenuity and delicacy1 such as tables1 music1 and algebra4 ,put one of the first kind on this sort of composition1 and he will botch it1 and earn small wages2 while a workman of the latter class will become restive and dissatisfied with plain1 solid matter4 ,while dealing justly with the men under his charge1 the foreman should see to it that the employer suffers no detriment from negligent or dishonest practices of unconscientious workmen1 whether from careless correcting1 allowing dropped types to lie upon the floor1 or overcharging1 or other methods well known in a printing-office4 ,he should be the first and the last in attendance1 in order to satisfy himself that every person does his duty in coming and leaving at the proper time4 ,illustration3 ,,large ,,sort-,,case ,,cabinet1 ,,for ,,sorts1 ,,quads1 ,,etc4 ,the office having been thoroughly swept at an early hour1 and the type found in any alley having been placed in the stick of the compositor occupying it1 the foreman should pass around the room and see that it is immediately distributed1 instead of being thrown on the window-frame or table4 ,the type found in the body of the rooms should be sorted out and distributed at once1 and not be allowed to accumulate4 ,no pi should be permitted to remain over till the next day4 ,this is an essential point to secure a tidy and well-regulated office4 ,he should see to it that the proof-roller and press are in good condition1 and that a sufficient supply of wetted proof-paper is on hand4 ,a badly-printed proof should never be allowed to go to the proof-reader or to the author1 as neither can properly read a blurred or imperfect proof4 ,an author will feel kindly toward an office that furnishes him with handsome impressions of his matter4 ,illustration3 ,,sort-,,case ,,cabinet4 ,the foreman should keep himself fully informed as to the amount and the condition of the materials in the office1 not only in gross1 but in detail1 including every style of type1 every variety of accents and peculiar sorts1 leads1 chases1 furniture1 rules1 borders1 corner-pieces1 c4 ,in this he will be greatly aided by insisting on the observance of the good old rule1 ,a place for every thing1 and every thing in its place when not in use1 as well as by keeping a memorandum-book in which every thing should be entered under its proper head for facility of reference4 ,illustration3 ,,cabinet ,,for ,,spaces1 ,,quads1 ,,etc4 ,if the office be well provided1 it will contain one or more of the cabinets for sorts1 such as are shown in these pages4 ,strict attention should be given to keeping them in perfect order1 and in preventing them from becoming receptacles for pi4 ,illustration3 ,,combination ,,cabinet1 ,,for ,,sorts ,,and ,,quads4 ,illustration3 ,,quad ,,cabinet4 ,as a matter of course1 he should watch the progress of every job and book1 and make sure that they shall be completed within the time contracted for4 ,he should never allow a compositor to have a large take of copy3 small takes facilitate expedition1 and really tend to the profit of the workmen by bringing an earlier return of letter4 ,he should see to it that every man has his copy closed in proper time1 so as not to detain the make-up1 and that he passes the make-up without unnecessary delay4 ,as soon as a form or sheet is made up1 he should order it to be imposed and a proof pulled1 which1 with the copy properly arranged1 is to be at once handed to the proof-reader4 ,nor should he allow of any unnecessary delay on the part of the reader1 nor on the part of the compositors in correcting the proof when read4 ,when proofs are required by an author1 the foreman must forward them promptly to him1 and request him to return them at the earliest possible moment4 ,if the proof is not to be sent out1 he should have the second reading quickly performed1 and the forms prepared for the foundry or the press4 ,systematic attention to the above points will tend to the comfort of the overseer1 to the advantage of the workmen1 and to the profit and satisfaction of the proprietor of the establishment4 ,the foreman will find a memorandum ,press-,book very useful1 in which to make entries of the amount of the paper given out by the warehouseman for the various works1 the number printed1 c41 as well as the names of the pressmen when the work is done on hand-presses4 ---------------------------------------- ------------------------------ ,,when ,,given ,,out ,,to ,,wet4 ---------------------------------------- --------------------- ,,names ,,of ,,works4 ------------------------------- ,,no4 ------------------------ ,,signatures4 ------------------- ,,date ,,when ,,laid ,,on4 ---------- ,,names ,,of ,,pressmen4 ---------------------------------------- ------------------------- #ahgh4 #ahgh4 ,may #h ,specific ,heat ,tables #ajjj #aa ,may #aj ,graham4 0 #aj ,the ,great ,exhibition #ejjj #ah 0 #ab ,landsdown4 0 #ab ,the ,american ,printer #ajjj #bj 0 #ac ,windisch4 0 #ae ,masterpieces of ,european ,art #cjjj #b 0 #ag ,smith4 ---------------------------------------- ------------------------- ,if not done by the proof-reader1 the foreman should examine the press revise2 in doing which1 he will be careful not only to ascertain whether all the corrections marked in the proof are made1 but also to look carefully over the sides1 head1 and bottom of each page4 ,it frequently happens that the folios drop out of the form in lifting it off the imposing-stone2 and in leaded matter1 letters at the beginning and ends of lines sometimes fall out of place4 ,before the revise is given to the compositor1 the name of the pressman who is to work off the form should be entered in the ,press-,book4 ,with foul compositors1 he should require a second revise1 in order to ascertain if all the corrections have been made which were marked in the first4 ,he should 7where there is not a pressman engaged expressly for the purpose1 as is the case in houses employing numerous machine-presses7 go frequently to the different presses1 and examine the work1 point out defects1 if any1 and glance again over the heads1 sides1 and bottoms of the pages1 to see if any thing has been drawn out by the rollers1 which may occur from bad justification of the lines1 and careless and improper locking up of the form4 ,an active and conscientious foreman will not be content with merely managing the concerns of the composing room3 he will also see that the business of the warehouse is attended to with regularity and accuracy1 and that the warehouseman1 errand-boys1 and apprentices do their duty4 ,,casting ,,off ,,copy4 ,to cast off manuscript with accuracy and precision is a task which requires great attention and mature deliberation4 ,the trouble and difficulty are much increased when the copy is not only irregularly written1 7which is generally the case17 but also abounds with interlineations1 erasures1 and variations in the size of paper4 ,at times1 so numerous are the alterations and additions as to baffle the skill and judgment of the most experienced calculators of copy4 ,such an imperfect and slovenly mode of sending works to the press cannot be too strongly censured4 ,the first step necessary is to take a comprehensive view of the copy1 noticing whether it has been written even or has many interlineations1 c41 and observing also the number of break-lines1 and whether the work be divided into chapters and sub-heads1 in order that allowance may be made for them in the calculation4 ,these observations may be noted on a separate piece of paper1 to assist the memory and save the trouble of re-examining the manuscript4 ,this preparation being made1 we ascertain the number of words contained in the line by counting several separate lines in various parts of the copy1 so that the one we adopt may be a fair average4 ,we then take the number of lines in a page1 and multiply by the number of words found in the average line3 the result we then multiply by the quantity of folios the manuscript copy may contain1 and thus we get the amount of words contained in the work with a tolerable degree of accuracy4 ,the necessary allowances should be made for break-lines1 chapters1 insertions1 c41 according to the observations previously made on the memorandum4 ,if information has been furnished as to the size of letter the work is to be done in and the width of the page1 we make our measure accordingly1 and1 by composing a few lines of the manuscript copy1 we ascertain what number of words will come into each printed line3 we then take the length of our page in lines1 and multiply the one by the other1 thus getting the number of words in the printed page4 ,we divide the whole number of words in the manuscript by the number contained in the printed page3 the quotient gives the number of pages the manuscript will make4 ,if too many1 the page must be enlarged2 if too few1 the page must be diminished in width and length4 ,for example3--,we take the number of words in a line of manuscript at #bj1 the lines in a page at #ej2 we multiply #ej by #bj1 which will produce #ajjj words in a page2 we then multiply #ajjj by #dbb1 the number of folios in the manuscript1 and we find that it contains #dbb1jjj words4 ,the work being printed in ,pica octavo1 #bj ems measure1 and each line containing #aj words1 each page #dj lines1 the case will stand thus3-- ,,manuscript4 #ej #bj ---- #ajjj #dbb ------ #bjjj #bjjj #djjj ------ #dbbjjj words in ,,ms4 ,,printed4 #dj #aj --- #djj7dbbjjj words in ,,ms4 ------ #ajee pages4 ,divide #af7ajee7fe sheets1 #ae pages4 ,another method for casting off copy is the following1 as laid down by a predecessor3-- 8,after having made the measure for the work1 we set a line of the letter that is designed for it1 and take notice how much copy will come into the line in the stick1--whether less or more than a line of manuscript2 and1 as it is seldom that neither one nor the other happens1 we make a mark in the copy where the line in the stick ends1 and number the words that it contains4 ,but1 as this is not the safest way for casting off close1 we count not only the syllables1 but even the letters1 that are in a line in the stick1 of which we make a memorandum1 and proceed to set off a second1 third1 or fourth line1 till a line of copy falls even with a line in the stick2 and1 as we did to the first line in the stick1 so we do to the other1 marking on the manuscript the end of each line in the stick1 and telling the letters in each1 to see how they balance against each other4 ,this being carefully done1 we begin counting off1 each time1 as many lines of copy as we know will make even lines in the stick4 ,for example1 if #b lines of copy make #c lines in print1 then #d make #f1 #f make #i1 #h make #ab1 and so on1 calling every two lines of copy three in print4 ,in like manner we say1 if #d lines make #e1 then #h make #aj1 and so on1 comparing every four lines of copy to five lines in print4 ,and in this manner we carry our calculation on as far as we have occasion1 either for pages1 forms1 or sheets4 ,the foregoing calculations are intended to serve where a line of print takes in less than a line of copy2 and1 therefore1 where a line of print takes in more than a line of copy1 the problem is reversed1 and1 instead of saying1 if #b lines make #c1 we say1 in this case1 if #c lines of copy make #b lines in print1 then #f lines make #d1 #i make #f1 #ab make #h1 and so on1 counting three lines of copy to make two lines in print4 ,in this manner we may carry our calculation to what number of pages1 forms1 or sheets we will1 remembering always to count off as many lines of copy at once as we have found they will make even lines in the stick4 ,thus1 for example1 if #e lines make #g1 the progression of #e is #aj1 #ae1 #bj1 c41 and the progression of #g will be #ad1 #ba1 #bh1 c4 ,in counting off copy1 we take notice of the breaks2 and where we judge that one will drive out1 we intimate it by a mark of this shape 2 and again1 where we find that a break will get in1 we invert it1 thus1 4 ,and to render these marks conspicuous to the compositor1 we write them in the margin1 that he may take timely notice1 and keep his matter accordingly4 ,we also take care to make proper allowance for heads to chapters1 sections1 paragraphs1 c4 ,in examining the state of the copy1 we must observe whether it has abbreviations1 that we may guard against them in casting off1 and allow for them according to the extent of the respective words when written out at length40 ,the foregoing will convey a sufficient idea as to the best mode of casting off copy2 still1 these remarks more properly apply to regularly written and thoroughly revised copy4 ,upon this subject1 ,smith justly observes1-- 8,but how often one or more of these requisites are wanting1 compositors can best tell2 though very few will imagine that among men of learning there should be some who write after such a manner that even those who live by transcribing rather shun than crave to be employed by them3 no wonder1 therefore1 if compositors express not the best wishes to such promoters of printing4 ,but it is not always the capacious genius that ought to be excused for writing in too great a hurry2 for sometimes those of no exuberant brains affect uncouth writing1 on purpose to strengthen the common notion that the more learned the man1 the worse is his 7hand7 writing2 which shows that writing well or bad is but a habit with those that can write40 ,,hurried ,,work4 ,it is sometimes necessary to print pamphlets and other works of a temporary nature in the course of a few hours4 ,when a work of this kind is put in hand1 the foreman selects the requisite number of swift and skilful compositors1 whose first concern must be to appoint one from among them to make up the matter1 and to do every thing which would interfere with the regular business of distributing1 composing1 and correcting4 ,while they are distributing letter1 the clicker1 or person appointed to manage the work1 procures the copy1 with all necessary information respecting it1 and provides leads1 rules1 and every other necessary sort4 ,he then draws out the following table3-- ---------------------------------------- ------------------------- ,,compositors' ,,names4 ,,folios ,,of ,,copy4 ,,lines ,,composed4 ,,memorandums4 ---------------------------------------- ------------------------- ,farroe #a- #e #ahd ,wilson #f-aj #afh ,stratz #aa-af #aba ---------------------------------------- ------------------------- ,in the first column he writes the name of each compositor when he takes copy2 and1 in the second1 the folio of the copy1 that he may be able to ascertain instantly in whose hands it lies4 ,in the third column he sets down1 opposite to the workman's name1 the number of lines composed1 as fast as the galleys are brought to him4 ,in the fourth1 he inserts such remarks respecting the copy1 c4 as may be necessary1 and also any circumstances that may occur in the companionship4 ,when the work is finished1 each man's share of lines is readily ascertained1 and all disputes are avoided4 ,the publisher may expedite the progress of the work by offering a copy of the book1 or some other token1 as a premium to the compositor who sets the largest number of ems4 ,the maker-up or clicker usually receives for his compensation the head and foot lines1 and two or three cents per thousand1 which is deducted from the wages paid to the compositor4 ,sometimes the compositors work 8in pocket10 as it is called1 or share evenly in the proceeds4 ,this1 however1 is not a satisfactory mode1 and its tendency is to retard the work1 as no man will be anxious to do more than his share4 ,when the compositors are ready for their first taking of copy1 it should be given to them in pieces as short as possible1 the first two beginning with shorter takes than the others1 to prevent delay in the making up4 ,during the time the first take is in hand1 the clicker sets the half-head1 head-lines1 white-lines1 and signature-lines1 together with notes and other extraneous matter4 ,when the first person brings his matter1 the clicker counts or measures off with a type-measure the number of lines1 and inserts them in the table2 he then gives him another take of copy1 and proceeds with the making up4 ,the same plan is observed with the rest of the compositors4 ,when the first sheet is made up1 the clicker lays the pages on the stone1 and informs the foreman of it1 who has previously had chases and furniture prepared and the clicker immediately imposes the form4 ,illustration3 ,,type ,,measure4 ,the proofs should be read at once and given to the clicker to have them corrected4 ,as soon as this is done1 he lays up the forms1 and gives the proof to the compositor whose matter stands first1 who should immediately correct it1 then forward it to the next1 and so on1 till the sheet be corrected2 the clicker then locks it up and pulls the second proof1 which must be duly forwarded1 and the type be locked up finally for press4 ,the work will now proceed rapidly1 provided the compositors stick close to their work and there be no hinderance with respect to letter1 c43 this depends on the good management of the foreman4 ,if the clicker find that he cannot make up the matter as fast as it is composed1 he should call one of the compositors to his assistance1 who must be the person last in copy4 ,,companionships4 ,disputes sometimes arise in a printing-office upon trifling as well as important points1 which should be settled by a reference to the general custom and usage of the trade4 ,these annoying misunderstandings take place in companionships consisting of several compositors2 it is therefore highly desirable that the generally received rules and regulations in this regard should be explicitly laid down for the comfort and government of the compositor4 ,,taking ,,copy4 ,illustration3 ,,steel ,,composing ,,rule4 ,when the work to be taken in hand is a reprint which is to be followed page for page1 a fixed number of pages should be given to each compositor as he comes in turn for copy2 or1 if the work be in manuscript1 an equal average amount should be allowed as a take for each compositor4 ,none of the hands should have access to the copy1 but the foreman should deal it out as wanted with perfect impartiality1 fat or lean as it may happen to run4 ,otherwise1 a compositor who has an acquaintance with the copy may be tempted to loiter if the next take to be given out be lean1 or1 if it be fat1 to apply for copy before his work in hand is finished4 ,by this course1 the foreman will prevent all such sorts of sharp practice1 and secure harmony in the companionship4 ,when the foreman gives out copy1 he should plainly mark the name of the compositor at the head of the first page of the take if the work be a page-for-page reprint2 if it be manuscript1 or a reprint in a different measure from that of the copy1 he should write the name at the beginning of the first paragraph of the take4 ,most compositors desire to have a large portion of copy1 under the erroneous idea that it will be to their advantage to make up many pages at once4 ,small takes insure a more rapid execution of the work and bring a quicker return of letter1 and so tend to the profit of the hands4 ,if one of the companionship absent himself1 the man next in order should close his copy1 whether it be good or bad1 unless the larger portion of it be not set1 in which case the person who has the last take must go on with it4 ,,making ,,up4 ,the compositor who has the first take on the work proceeds without delay to make it up as soon as he has completed it4 ,having completed as many pages as his matter will make1 he passes the overplus1 if less than half a page1 with the correct head and folio1 to the compositor whose matter follows his1 at the same time taking an account of the number of lines loaned2 if1 on the contrary1 the overplus makes more than half a page1 he borrows a sufficient number of lines to complete his page2 each compositor keeping an account of the number of lines borrowed and loaned4 ,the second compositor1 following the same course1 passes the make-up to the next in succession2 each man passing the make-up in like manner without unnecessary delay4 ,illustration3 ,,steel ,,make-,,up ,,rule4 ,,making ,,up ,,of ,,letter4 ,the number of the companionship1 if possible1 should be determined on at the commencement of the work1 to enable all to proceed upon an equal footing4 ,the letter appropriated for the work should be adequate to keep the persons on it fully employed4 ,if any part of the matter for distribution1 whether in chase or in paper1 be desirable on account of the sorts it may contain1 it should be divided equally1 or the choice of it thrown for4 ,when a new companion is put on the work after the respective shares of letter are made up1 and if there be not a sufficiency to carry on all the companionship without making up more1 he must bring on an additional quantity before he can be allowed to partake of any part of that which comes from the press4 ,,making ,,up ,,furniture4 ,the companions in rotation should make up the furniture in turn1 the one who has the last matter in the first sheet leading off4 ,should an odd sheet be wanted1 it will be better to throw for the chance of making it up4 ,,imposing ,,and ,,distributing ,,letter4 ,the person to whose turn it falls to impose must lay up the form for distribution4 ,to prevent disputes1 it will be well to prepare a blank form1 as follows1 which may be filled up as the work proceeds3-- ---------------------------------------- --------------------------- ,,the ,,great ,,international ,,exhibition4 ---------------------------------------- --- ,,beatty4 ------------------------------------- ,,goudy4 ------------------------------- ,,farroe4 ,,by ,,whom ,,signatures4 ------------------------- ,,imposed4 ,,wilson4 ------------------- ,,clark4 ------------- ,,mcguigan4 ------- ,,mayhew4 ---------------------------------------- --------------------- ,b #c #b #b #b #b #c #b ,clark4 ,c #b #b #c #b #c #b #b ,mc,guigan4 ,d #c #b #b #c #b #b #b ,farroe4 ,e #b #b #c #b #b #b #c ,wilson4 ,f ---------------------------------------- --------------------- ,when the form is laid up1 the letter should be divided equally1 and1 if possible1 each person should distribute the matter originally composed by him2 by this means1 the sorts which may have made his case uneven will return to him4 ,if any man absent himself beyond a reasonable time1 his undistributed matter should be divided equally among his companions1 and when he returns he may have his share of the next division4 ,,correcting1 ,,etc4 ,the compositor whose matter is first in the proof should lay up the forms on the imposing-stone and correct it2 he then hands the proof to the person who follows next4 ,the compositor who corrects the last part of the sheet locks up the forms4 ,the compositor who has matter in the first and last part1 but not the middle of the sheet1 only lays up the forms and corrects his matter2 the locking up is left to the person who corrects last in the sheet4 ,a compositor having the first page only of the sheet is required to lay up one form2 also to lock up one form if he has but the last page4 ,if1 from carelessness in locking up the form1--viz4 the furniture binding1 the quoins badly fitted1 c4--any letters1 or even a page1 should fall out1 the person who locked up the form should repair the damage4 ,but1 if the accident occur from bad justification1 or from letters riding upon the ends of the leads1 the loss should fall upon the person to whom the matter belongs4 ,illustration3 ,,chase ,,cabinet4 ,it is the business of the locker-up to ascertain whether all the pages are of equal length2 and1 though a defect in this respect is highly reprehensible in the maker-up1 7whose duty it is to rectify it17 yet1 if not previously discovered by the locker-up1 and an accident happen1 he must make good the defect4 ,the compositor who imposes a sheet must correct the alterations in that sheet4 ,he must also rectify any defect in the register arising from want of accuracy in the furniture4 ,forms sometimes remain a considerable length of time before they are put to press4 ,in this case1 particularly in summer1 the furniture is likely to shrink1 and the pages may fall out4 ,it is therefore the business of the locker-up to attend to it in this respect1 or he will be subject to make good any accident which his neglect may occasion4 ,when forms which have been worked off are ordered to be kept standing1 they are considered under the care of the foreman4 ,when they are cleared away1 it is to be done in equal proportions by the companionship4 ,during the time any forms may have remained under the care of the foreman1 should there have been any alteration as to form or substance which were not made by the original compositors1 they are not subject to clear away those parts of the form thus altered4 ,to prevent dust from settling in the face of the type1 it is well to keep the forms in a chase cabinet4 ,if the pressman unlock a form on the press1 and any part of it fall out from carelessness in the locking up1 he is subject to the loss that may happen in consequence4 ,the compositor who locks up a sheet takes it to the proof-press1 and1 after he has pulled a proof1 hands it1 together with the foul proof1 to the reader1 and deposits the form in a place appointed for that purpose4 ,,transposition ,,of ,,pages4 ,each person in the companionship must lay down his pages properly on the stone for imposition4 ,the compositor whose turn it is to impose looks them over to see if they are rightly placed4 ,should they1 after this examination1 lie improperly1 and be thus imposed1 it will be his business to transpose them2 but1 should the folios be wrong1 and the mistake arise from this cause1 it must be rectified by the person to whom the matter belongs4 ,pages without folios or head-lines1 laid down wrongly for imposition1 must be rectified by the person who has been slovenly enough to adopt this plan4 ,,rules ,,and ,,regulations ,,to ,,be ,,observed ,,in ,a ,,printing-,,office4 ,compositors are to receive their cases from the foreman or his assistant1 free from all pi or improper sorts1 with clean quadrate and space boxes1 both ,roman and ,italic1 which they are to return to him in equally good condition4 #b4 ,when a compositor receives letter1 furniture1 c4 from the foreman1 he is to return any portion not used1 in as good state as he received it1 the same day4 #c4 ,when a case is taken out of the rack1 the compositor is to return it into the proper place immediately after he has done with it4 #d4 ,no cases to be placed over others1 or under the frames1 or on the floor4 #e4 ,compositors are to impose their matter and pull a proof as soon as made up1 unless directed otherwise1 and to correct the proof without unnecessary delay4 #f4 ,the proof1 when pulled1 to be given to the reader1 the copy in regular order to accompany the first proof1 and the foul proof the second4 #g4 ,compositors are not to leave either type or furniture on the stone4 #h4 ,a compositor is not to detain an imposing-stone longer than the nature of the business may require4 #i4 ,head-lines1 or other useful materials1 on galleys1 used during the course of a work1 to be cleared away as soon as the work is finished4 #aj4 ,when a work is done1 the compositor1 before beginning another work1 unless otherwise directed1 is to clear away the forms1 taking from them the head-lines1 white-lines1 and odd sorts1 as well as the leads and reglets2 which1 with the furniture of each sheet1 and the matter properly tied up for papering1 are to be given to the foreman4 #aa4 ,types dropped on the floor to be picked up at once4 ,matter broken by accident to be cleared away on the same day4 #ab4 ,the saw1 saw-block1 bowl1 sponge1 letter-brush1 shears1 bellows1 c41 to be returned to their respective places as soon as done with4 #ac4 ,letter-boards1 windows1 frames1 c41 to be kept free from pi4 #ad4 ,no person to take sorts from the cases of another without leave1 nor hoard useful sorts1 not wanting or likely to want them4 #ae4 ,compositors employed by the week to work not less than ten hours per day4 #af4 ,unnecessary conversation to be avoided4 ,illustration3 ,,galley ,,cabinet4 ,illustration ,,the ,,press ,,and ,,its ,,working4 ,,history ,,of ,,the ,,press4 ,illustration3 ,,old ,,common ,,press4 ,while poets and orators have expatiated on the glory and power of the press1 rulers have exhausted their cunning in attempts to curb and regulate the art of which it is the symbol4 ,hedged in by arbitrary restrictions1 it is not wonderful that printing was long carried on with clumsy implements4 ,the earliest press resembled a screw-press1 with a contrivance for running the form of types under the point of pressure4 ,after the impression was taken1 the screw was relaxed1 and the form withdrawn and the sheet removed4 ,this rude press continued in general use till #afbj1 when ,,willem ,,jansen ,,blaeu1 at first a joiner and afterward a mathematical instrument maker of ,amsterdam1 contrived a press in which the bed or carriage was brought under the point of pressure by moving a handle attached to a screw hanging in a beam with a spring1 the spring causing the screw to fly back as soon as the impression was given4 ,this movement was afterward effected by means of a double strap or belt1 two ends of which were attached to an axle1 and the others to opposite ends of the bed4 ,the platen was so small that two pulls were necessary to print one side of a sheet1 and each sheet1 therefore1 required four pulls to produce a complete impression4 ,,adam ,,ramage1 who came from ,scotland to ,philadelphia about #agij1 and who for a long time was the chief press-builder in the ,united ,states1 made some improvements in the old press1 one of which was the substitution of an iron bed for the stone one before in use4 ,about the year #ahjj1 ,,earl ,,stanhope contrived a press which obtained much notoriety4 ,it was constructed of iron1 and of a size sufficient to print the whole surface of a sheet1 and such a combined action of levers was applied to the screw as to make the pull a great deal less laborious to the pressman4 ,illustration3 ,,columbian ,,press4 ,the ,stanhope press1 however1 was soon surpassed by the ,columbian press1 invented by ,,george ,,clymer1 of ,philadelphia4 ,mr4 ,clymer1 as early as #agig1 endeavoured to improve the common wooden press4 ,his next efforts were directed to the production of an iron press1 till finally eminent success was the result of his labours4 ,in beauty1 durability1 and power1 as well as facility of pull1 the ,columbian press stands perhaps unsurpassed4 ,the power in this press is procured by a long bar or handle acting upon a combination of exceedingly powerful levers above the platen2 the return of the handle or levers being effected by means of counterpoises or weights4 ,the powerful command which the leverage enables the workman to exercise is favourable to delicacy and exactness of printing1--his arm feeling1 as it were1 through the series of levers to the very face of the types4 ,the inventor removed to ,england in #ahag1 and introduced the press there1 where it has long been held in high estimation4 ,illustration3 ,,washington ,,press4 ,in the ,united ,states1 presses of simpler construction have displaced the imposing ,columbian press1--the first of which was invented by ,,peter ,,smith1 of ,new ,york1 and the latest is ,,samuel ,,rust',s ,washington press1 which has secured general approbation and adoption1 as being more simple and cheaper1 if not more effective1 than the ,columbian press4 ,hand-presses are now restricted to country papers of small circulation1 and to book-offices devoted to extra fine printing4 ,the bed-and-platen power-press invented by ,,isaac ,,adams1 of ,boston1 was for a considerable time the only machine-press capable of producing fine work and exact register4 ,it will give from six to eight thousand impressions per day4 ,as the platen rolls off and leaves the bed entirely exposed1 forms can be made ready with great facility4 ,the sheets are taken from the feed-board by fingers1 and1 after being printed1 are laid in a pile by a self-acting sheet-flyer4 ,the ,cylinder press1 which may be run at a much higher rate of speed than the bed-and-platen machine1 was of earlier invention4 ,,frederick ,k,,nig1 a ,saxon1 early in the present century turned his attention to cylinder printing1 and was so successful that on ,november #bh1 #ahad1 the ,london ,times announced the fact that the number issued on that day had been printed by machinery propelled by steam4 ,the earliest suggestion of a cylinder press is due1 however1 to ,william ,nicholson1 of ,england1 who1 in #agij took out a patent for such a machine1 but it was never perfected4 ,according to ,mr4 ,isaiah ,thomas1 a ,dr4 ,kinsley1 of ,connecticut1 afterward produced a press varying somewhat from ,nicholson's4 ,illustration3 ,,stop ,,cylinder ,,press4 ,in #ahah1 ,applegath and ,cowper made important improvements in ,knig's press1 which greatly enlarged its field of usefulness4 ,this machine1 with various modifications and improvements1 is in general use in ,europe and ,america1 for newspapers of moderate circulation1 and even for fine job and book work1 as entirely accurate register can now be secured on the new cylinder presses of the best makers1 such as ,hoe ,co41#ag ,cottrell ,babcock1 ,campbell1 and others4 ,the stop cylinder press 7the latest improvement7 is particularly well adapted for fine printing4 ,illustration3 ,,hoe',s ,,type-,,revolving ,,machine--,,side ,,view4 ,the invention of steam printing presses rendered books and periodicals so cheap that the progress of knowledge was amazingly accelerated2 and soon the capacity of the cylinder press proved unequal to the work of printing the enormous editions of some of the leading newspapers of the world2 and the first successful invention to meet the exigency was made by ,col4 ,,richard ,m4 ,,hoe1 of ,new ,york1 in the ,type-,revolving ,printing ,machine1 of which we give an engraving4 ,it is1 as its name indicates1 on the rotary principle2 that is1 the form of type is placed on the surface of a horizontal revolving cylinder of about four and a half feet in diameter4 ,the form occupies a segment of only about one-fourth of the surface of the cylinder1 and the remainder is used as an ink-distributing surface4 ,around this main cylinder1 and parallel with it1 are placed smaller impression cylinders1 varying in number from four to ten1 according to the size of the machine4 ,the large cylinder being put in motion1 the form of types is carried successively to all the impression cylinders1 at each of which a sheet receives the impression of the types as the form passes4 ,thus1 as many sheets are printed at each revolution of the main cylinder as there are impression cylinders around it4 ,one person is required at each impression cylinder to supply the sheets of paper1 which are taken at the proper moment by fingers or grippers1 and after being printed are carried out by tapes and laid in heaps by means of self-acting flyers1 thereby dispensing with the hands required in ordinary machines to receive and pile the sheets4 ,the grippers hold the sheet securely1 so that the thinnest newspaper may be printed without waste4 ,the ink is contained in a fountain placed beneath the main cylinder1 and is conveyed by means of distributing rollers to the distributing surface on the main cylinder4 ,this surface being lower1 or less in diameter1 than the form of types1 passes by the impression cylinder without touching4 ,for each impression there are two inking rollers1 which receive their supply of ink from the distributing surface of the main cylinder3 they rise and ink the form as it passes under them1 after which they again fall to the distributing surface4 ,this press is capable of printing either from type or from stereotype plates bent to fit the curve of the cylinder4 ,when type is used1 each page of the paper is locked up on a detached segment of the large cylinder1 which constitutes its bed and chase4 ,the column-rules run parallel with the shaft of the cylinder1 and are consequently straight2 while the head1 advertising1 and dash rules are in the form of segments of a circle4 ,the column-rules are in the form of a wedge1 with the thin part directed toward the axis of the cylinder1 so as to bind the type securely4 ,these wedge-shaped column-rules are held down to the bed by tongues projecting at intervals along their length1 which slide in rebated grooves cut crosswise in the face of the bed4 ,the spaces in the grooves between the column-rules are accurately fitted with sliding blocks of metal even with the surface of the bed1 the ends of which blocks are cut away underneath to receive a projection on the sides of the tongues of the column-rules4 ,the form of type is locked up in the bed by means of screws at the foot and sides1 by which the type is held as securely as in the ordinary manner upon a flat bed1--if not even more so4 ,the speed of these machines is limited only by the ability of the feeders to supply the sheet4 ,this machine was first used by the ,public ,ledger of ,philadelphia1 and was afterward adopted by the leading newspapers of that city and ,new ,york1 as well as of the chief cities of ,great ,britain and other countries4 ,to obtain the best results from the largest size of this press it was necessary to employ a dozen or more hands to feed and run it4 ,this expensive feature was largely avoided in a new machine projected by ,mr4 ,,william ,,bullock1 whose press was the forerunner of several machines that may be classed under the general name of ,self-feeding or ,web ,perfecting ,presses4 ,,the ,,bullock ,,web ,,perfecting ,,press4 ,this machine is intended for printing on a continuous roll of dampened paper1 which passes between a pair of cylinders 7one of which is an impression cylinder1 and the other a cylinder around which stereotyped plates are bent7 and receives an impression on one side1 and the sheet then goes forward and is printed on the other side while passing between a second pair of cylinders similar to the first1 except that the impression cylinder is four times the diameter of the plate cylinder to prevent more effectually the ink from 8setting off40 ,after being printed1 and before delivery1 the sheet is cut off by a fixed serrated cutting blade1 the ingenious invention of ,victor ,beaumont of ,new ,york4 ,a ,french device for making flexible papier-mach moulds rendered it possible to cast the type-plates to fit the printing cylinders4 ,without this auxiliary1 web perfecting presses would have been useless and impracticable4 ,illustration3 ,,the ,,bullock ,,self-,,feeding ,,perfecting ,,press1 ,,with ,,folder1 ,,will ,,fly ,,the ,,sheet ,,flat1 ,,fold ,,it ,,three ,,or ,,four ,,times ,,at ,,will1 ,,or ,,cut1 ,,fold1 ,,and ,,paste ,,it ,,as ,,fast ,,as ,,printed ,mr4 ,bullock1 born in ,greene ,county1 ,new ,york1 was a mechanical genius1 and was the author of many inventions in various departments of machinery4#ah ,about the year #ahfj1 he began to work out the idea of a rotary self-feeding1 or web perfecting press4 ,after making a large working model1 which is still in existence1 he adopted a simpler plan1 and in #ahfa constructed a machine for the ,cincinnati ,times1 which was successfully operated1 but it was far from perfect4 ,three of these machines were used for a considerable time in the office of the ,philadelphia ,inquirer4 ,he continued his efforts1 and in #ahfe he produced a press which met his original anticipation1 and a company was formed to manufacture it4 ,in #ahfg1 while setting up a machine for the ,public ,ledger in ,philadelphia1 he suffered a serious injury which terminated his life4 ,more than fifty of the presses are now in use in the ,united ,states4 ,the ,new ,york ,herald press1 printing and cutting two copies at each delivery1 is said to produce1 with but three men to attend to it1 #cj1jjj copies per hour4 ,the ,new ,york ,sun states3 8,when our seven ,bullock ,presses are working1 we can turn off1 without extravagant assertion1 #baj1jjj copies an hour40 ,this assertion must be taken with some grains of allowance4 ,the press is twelve feet long by five and a half feet wide4 ,,the ,,walter ,,perfecting ,,press4 ,the ,bullock press was not long allowed to be the only press for rapid printing from cylindrical stereotype plates fed by a so-called endless roll of paper4 ,the principle was applied to a machine constructed in the ,london ,times office1 called1 after the name of its celebrated proprietor1 the ,walter press4 ,this appears to be an effective press1 but it seems more complicated than either the ,bullock or ,hoe machine1 and from its mode of delivering the sheets1 it is excessively noisy4 ,the ,new ,york ,times was printed on it at the ,centennial ,exhibition in ,philadelphia4 ,,the ,,hoe ,,perfecting ,,press4 ,the enterprise of ,r4 ,hoe ,co41 of ,new ,york1 soon gave birth to a web perfecting press combined with a folding machine that answers every requirement4 ,illustration3 ,,the ,,hoe ,,web ,,perfecting ,,press4 ,the groundwork principle is the same as in other presses of this kind4 ,the first pair of cylinders over which hangs the roll of paper consists of one type and one impression cylinder1 and by it the first side of the paper is printed4 ,the second pair1 printing the second side1 consists likewise of one type and one impression cylinder1 but the latter is below the former and is of much greater size1 so that the 8set off0 from the fresh ink shall not fall continuously on the same surface of blanket4 ,there is a third pair of cylinders which cuts off the sheet1 and a fourth 7in which1 however1 one cylinder is replaced by a brace of rollers7 gives the first fold and shoots the doubled sheet in the circular cutter1 which slits it into two papers1 sending them on to be folded again separately and delivered in their respective places in piles at the side of the press2 or the papers are rolled up exactly on the top of each other1 six in number1 and flown perfectly on the fly-board4 ,this machine printed and folded at the rate of more than #bh1jjj sheets an hour at the ,centennial ,exhibition1 printing and folding at one time two copies of the ,philadelphia ,times4 ,it is already in use in a dozen newspaper establishments in various parts of the world4 ,all these machines were in operation at the great ,centennial ,exhibition in ,philadelphia4 ,a fourth press exhibited1--claimed by its inventor1 ,mr4 ,a4 ,campbell of ,new ,york1 to be capable of printing much faster than any other1--was set up too late to prove its capacity by actual test4 ,no press however1 can be made more simple and with fewer parts than this4 ,,railroad-,,ticket ,,printing ,,and ,,numbering ,,press4 ,these presses not only print1 but at the same operation number consecutively1 tickets and coupons of every size and pattern1 which are also indented or cut apart by the machines as fast as printed4 ,ten local tickets twenty-six inches in length can be printed at one operation4 ,the average rate of speed is about fourteen hundred impressions an hour1--equivalent to fourteen thousand tickets4 ,,job ,,presses4 ,illustration3 ,,gordon',s ,,franklin ,,press4 ,the invention of machines for printing small work elegantly as well as swiftly is of vast advantage to the printer1 and has greatly increased the jobbing department of typography4 ,here1 as in other matters1 ,american ingenuity has taken the lead of all nations2 and the presses invented by ,ruggles1 ,hoe1 ,gordon1 ,degener1 ,wells1 and ,gally1--not to mention numerous other inventors1--defy competition4 ,the ,ruggles presses formerly commanded the trade2 but the beautiful machines of ,geo4 ,p4 ,gordon1 a man of decided genius1 and the presses of other makers above named1 have entirely displaced them4 ,hoe's half medium cylinder job press will run #bejj impressions an hour4 ,illustration3 ,,nonpareil ,,press4 ,gordon's ,firefly press is unique1 and requires a so-called endless card-board1 which it prints and cuts of the required shape as it goes1 at the rate of about ten thousand per hour4 ,this is not in general use2 but his eighth medium1 quarto medium1 and half medium ,franklin presses1 have achieved a high reputation for expedition and excellent performance4 ,gordon's ,franklin press has been reproduced in ,europe under a different name4 ,illustration3 ,,liberty ,,press4 ,we here present an engraving of another press which has achieved not a little reputation4 ,it is called the ,liberty press1 and is manufactured by ,degener ,weiler1 of ,new ,york4 ,in sizes as well as in prices1 it corresponds with the ,franklin4 ,this press also is manufactured in ,europe4 ,the ,nonpareil1 the ,globe1 the ,peerless1 and the ,universal job presses all have special points which commend them to favour4 ,indeed1 with so many good machines at the command of the printer1 he is without excuse who does not produce handsome work4 ,illustration3 ,,universal ,,press4 ,what are called amateur presses may do well enough to amuse the boys of a family and keep them out of mischief2 but when they are employed by fledgelings in competition with properly trained printers1 they become mere paper-smearers1 the work produced on them being simply detestable to an educated eye4 ,illustration3 ,,peerless ,,press4 ,,folding ,,machines4 ,illustration3 ,,book-,,folding ,,machine4 ,book and ,newspaper ,folders are entitled to a high rank among modern labour-saving machines4 ,for newspapers of large circulation and in book establishments they have become indispensable4 ,the finest books may be folded by them with accuracy1 speed1 and economy2 and periodicals can be folded1 pasted1 and covered at about one-fourth the cost of hand-folding alone2 while the daily folio newspaper can be folded in two1 three1 or four folds as fast as the machine press can print2 or an eight-page daily or weekly can be folded three or four times1 and all the pages pasted together at the back fold1 and the head margin trimmed4 ,all these processes are successfully accomplished by the various machines made by ,chambers1 ,brother ,co4 of ,philadelphia4 ,the engraving given above represents a book-folding machine4 ,,setting ,,up ,a ,,washington ,,press4 ,all the connecting parts being marked1 or indented by points1 if these be observed carefully1 the press may be put together without difficulty4 ,after setting the frame upon its legs1 and putting on the ribs and bed1 lay the platen on the bed1 placing under it two bearers about type high4 ,then put the springs in their places1 and the nuts over them1 and pass the suspending-rods through them1 observing to place the rods so that the number of indentations on them correspond with those on the platen4 ,give the nuts two or three turns1 then run in the bed so as to bring the platen under the rods1 and screw them fast to the platen2 after which1 put in the bar-handle1 standard1 and lever1 7or wedge and knees1 if a ,smith press47 ,turn the nuts on the suspending-rods1 so as to compress the springs just enough to give the platen a quick retrograde motion1 observing at the same time to get the surface of the platen parallel with the surface of the bed4 ,after having put the press together and levelled it by means of a spirit-level1 be particular not to raise the end of the ribs by the gallows1 but let it go under rather loose1 which will have a tendency to make the bed slide with more ease on the ribs4 ,,setting ,,up ,,the ,,roller-,,stand4 ,the roller-stand containing the distributing cylinder should be regulated to the height of the press1 bringing the shelf or bridge even with the corner irons1 and at sufficient distance from the bed to allow it to run clear2 the stand should then be firmly braced1 as the constant turning of the rounce is very apt to loosen it2 meanwhile being cautious to observe that the rounce1 in its revolutions1 does not come in contact with the frame of the tympan when up4 ,the position of the distributing cylinder should be sufficiently high to allow the two composition rollers1 at least one inch apart1 to rest on its top without danger of touching the shelf or bridge in front4 ,it is advantageous to nail two narrow strips of sole leather on the face of the shelf1 about eight or ten inches from each end1 which1 acting as bearers1 cause the rollers to pass very smoothly over them4 ,illustration3 ,,roller ,,stand4 ,the roller-handle while in use should lie in a horizontal position1 the back end being supported by a bar of wood or iron running parallel with the distributing cylinder4 ,there should be a notch1 or hook1 about two inches from the end of the handle1 to catch on the wooden supporter1 to prevent the rollers from jumping forward while distributing or changing4 ,it is also necessary to have a back-board for the end of the roller to strike against in coming off the form1 to prevent the rollers from falling backward4 ,the ink-block is placed about five or six inches to the right of the roller-handle1 and about on a level with it4 ,it is furnished with the ink-slice1 and a brayer1 or a small roller about four or five inches long1 and of the same circumference with the larger rollers1 being cast in the same mould4 ,,composition ,,rollers4 ,put the glue in a bucket or pan1 and cover it with water2 let it stand until more than half penetrated with water1 taking care that it shall not soak too long1 and then pour it off and let it remain until it becomes soft1 when it will be ready for the melting kettle4 ,this is a double vessel1 like a glue kettle4 ,put the soaked glue into the inner vessel1 and as much water in the outer boiler as it will contain when the inner vessel is placed in it4 ,when the glue is all melted1 7if too thick1 add a little water17 the molasses may be slowly poured into it1 and well mixed with the glue by frequent stirring4 ,when properly prepared1 the composition does not require boiling more than an hour4 ,too much boiling candies the molasses1 and the roller1 consequently1 will be found to lose its suction much sooner4 ,in proportioning the material1 much depends upon the weather and temperature of the place in which the rollers are to be used4 ,eight pounds of glue to one gallon of sugar-house molasses1 or syrup1 is a very good proportion for summer-time1 and four pounds of glue to one gallon of molasses for winter use4 ,glue for rollers should be clear and bright in body1 and even in texture1 when held up to the light3 it should break short1 and with a clear1 sharp edge like glass4 ,illustration3 ,,melting ,,kettle4 ,for hand-press rollers more molasses should be used1 as they are not subject to so much hard usage as cylinder-press rollers1 and do not require to be as strong2 for the more molasses that can be used the better will be the roller4 ,before pouring a roller1 the mould should be perfectly clean1 and well oiled with a swab1 but not to excess1 as too much oil makes the face of the roller seamy and ragged4 ,the end pieces should then be oiled1 and1 together with the cylinder1 placed in the mould1 the upper-end piece being very open1 to allow the composition to pass down between the interior of the mould and the cylinder4 ,the cylinder must be well secured from rising1 before the composition is poured in1 by placing a stick upon the end of it1 sufficiently long to reach above the end of the mould1 and be tied down with twine4 ,the composition should be poured very slowly1 and in such a manner as to cause it to run down only one side of the cylinder1 allowing the air to escape freely up the other4 ,if the mould is filled at night1 the roller may be drawn the next morning2 but it should not be used for at least twenty-four hours after1 except in very cold weather4 ,to determine when a roller is in order for working1 press the hand gently on it3 if the fingers pass smoothly over its surface1 it may be said to be in order2 but should it be so adhesive that the fingers cling to it1 it is not sufficiently dry1 and should be exposed to the air4 ,rollers should not be washed immediately after use1 but should be put away with the ink on them1 as it protects the surface from the action of the air4 ,when washed and exposed to the atmosphere for any length of time1 they become dry and skinny4 ,they should be washed about half an hour before using them4 ,in cleaning a new roller1 a little oil rubbed over it will loosen the ink3 and it should be scraped clean with the back of a case-knife4 ,it should be cleaned in this way for about one week1 when ley may be used4 ,new rollers are often spoiled by washing them too soon with ley4 ,benzine may be substituted for oil2 but1 owing to its combustible nature1 it is objectionable1 as disastrous accidents have ensued from its use4 ,mr4 ,hansard1 an eminent ,english printer1 says1 8,take glue1 made from the cuttings of parchment or vellum1 fine green molasses1 pure as from the sugar-refiners1 and a small quantity of the substance called ,paris-white1 and you will have every ingredient requisite for good composition4 ,the proportion as follows3-- ,glue1 #b lbs4 ,molasses1 #f lbs4 ,paris-white1 lb4 ,put the glue in a little water for a few hours to soak2 pour off the liquid2 put the glue over the fire1 and when it is dissolved add the molasses1 and let them be well incorporated together for at least an hour2 then1 with a very fine sieve1 mix the ,paris-white1 frequently stirring the composition4 ,in another hour1 or less1 it will be fit to pour into the mould40 ,various patented compositions for rollers may now be had from type-founders4 ,,covering ,,tympans4 ,tympans are generally covered with parchment1 which should be of an even thickness1 and about two inches and a half wider and three inches longer than the tympans4 ,tympans have been sometimes covered with linen1 which1 on account of its evenness1 would answer the purpose2 but it is so apt to stretch1 that the tympans become slack in a short time1 and bag 7as it is termed71 and thus slur the impression4 ,silk is excellent for fine work4 ,the pressman spreads as much good paste on the edges of the skin as will cover the frame of the tympan1 which is also well pasted4 ,he then lays the skin on the inner side of the frame1 with the flesh side to face the type1 and draws it regularly1 as tight as possible1 on all sides4 ,the part of the skin that comes on the grooves of the tympan which receive the point-screws1 is cut and wrapped round the inside edge of the grooves1 which admits a free passage for the screws4 ,after having fastened the skin on the sides of the tympan1 he draws it toward the joints which receive the frisket1 and with a knife cuts across these joints to let them through the skin2 he then puts the frisket-pins through the parchment1 and makes that end of the tympan fast4 ,he next proceeds to the lower joints1 and brings the skin as tight as he can round that part of the tympan4 ,the point-screws and duck-bill are then put on1 which prevent the skin from starting4 ,the inner tympan1 or drawer1 is covered in the same manner4 ,to prevent their warping when the skin begins to draw1 pieces of furniture or wood of any kind should be placed across the centre till they are perfectly dry4 ,the skins are put on either wet or dry3 if dry1 they should be afterward well wet1 which will make them give somewhat2 but when they dry they will contract1 and by this means will be rendered much tighter than they would be if put on wet4 ,,wetting ,,paper4 ,the size of the wetting-trough should be about two inches longer and wider than the largest-sized paper1 folded1 that is to be wet in it1 and about six inches deep4 ,it should have a cover with hinges on the left side1 that the cover may fall over on that side1 and1 resting horizontally1 serve for a shelf to lay the paper upon previous to wetting it4 ,having received a certain amount of paper from the warehouseman1 the pressman lays one heap on the shelf attached to the wetting-trough1 laying the first token across the heap with the back of the quires toward his right hand1 that he may know when to turn the token-sheet1 and that he may more readily catch at the back of each quire with that hand1 for the purpose of dipping it4 ,he then places the paper-board with its breadth before him on his right1 on a table1 laying a wrapper or a waste sheet of paper on the board1 to prevent soiling the first sheet of the heap4 ,he then takes a quire by the centre of the back with his right hand1 and the edge of it in his left1 and1 closing his hands a little1 that the quire may bend downward between his hands1 he dips the back of the quire into the left-hand side of the trough1 and1 relinquishing his hold with the left hand1 draws the quire briskly through the water with his right4 ,as the quire comes out1 he quickly catches the edge of it again in his left hand1 and brings it to the heap1 and1 by lifting his left hand1 bears the under side of the quire off the paper previously laid down1 till he has placed the quire in an even position2 if the paper be weak and spongy1 he draws the quire through the water quickly2 if strong and stubborn1 slowly4 ,to place the quire in an even position1 he lays the back of it exactly upon the open crease of the former1 and then lets the side of the quire in his left hand fall flat down upon the heap1 and1 discharging his right hand1 brings it to the edge of the quire1 and1 with the assistance of his left thumb1 still in its first position1 opens or divides either a third or a half of the quire1 according to the quality of the paper2 then1 spreading the fingers of his right hand as much as he can through the length of the quire1 turns over his opened division of it upon his right-hand side of the heap4 ,a different process must be used in the wetting of drawing and plate papers4 ,these papers are usually sent in quite flat2 that is1 not folded into quires or half-quires4 ,the best method of wetting these papers is to use a brush1 such as is called a banister brush2 and1 instead of dipping the paper into the trough1 he lays it on the paper-board by the side of the trough1 and1 dipping the brush into the water1 he shakes it gently over the whole surface1 to give an equal degree of moisture to all parts2 and then proceeds as before described4 ,the drawing-paper1 being very hard-sized in the making1 will require the brush1 and much water1 three1 four1 or even five times a quire2 while the plate-paper should have as little water as it is possible to give it1 so as to cover it all over2 and twice a quire will often be too much4 ,this same mode must also be adopted in wetting paper of extraordinary dimensions4 ,having wet his first token1 he doubles down a corner of the upper sheet of it on his right hand1 so that the farther corner may be a little toward the left of the crease in the middle of the heap1 and the other corner may hang out on the near side of the heap about an inch and a half4 ,this sheet is called the token-sheet1 being a mark for the pressman1 when he is at work1 to show how many tokens of that heap are worked off4 ,having wet the whole heap1 he lays a wrapper1 or waste sheet of paper1 upon it2 then1 three or four times1 takes up as much water as he can in the hollow of his hand1 and throws it over the waste sheet1 to moisten and soak downward into the wet part of the last division of the quire2 after which1 he places in the heap the label which the warehouseman must always furnish for each heap1 and upon which are written the title of the work and the date of wetting1 one-half hanging out so as to be easily read4 ,the paper should be pressed for twelve hours1 and then carefully turned by each three or four sheets1 so that no lift be relaid in the same position with respect to the adjoining lift2 at the same time1 every fold and wrinkle must be carefully rubbed out by the action of the hand1 so that nothing but a flat and even surface shall remain2 the heap should then be pressed for about twenty-four hours in a screw-press1 and it will be in good order for working4 ,the wetting of paper must1 in all cases1 depend entirely upon its fabric2 and1 since the printer has seldom the choice of the paper1 it will require all his skill and patience to adapt his labours to the materials upon which he is to work4 ,the texture of the paper must be suited to the fineness and tenacity of the ink4 ,to attempt doing fine work upon common paper is lost labour4 ,a paper to take the best ink must be made entirely of linen rags1 and not bleached by chemicals4 ,a fine hand-made paper1 fabricated a sufficient time to get properly hardened1 and well and equally saturated with size1 so as not to imbibe more water in one part of the dip than in another1 nor resisting the water like a duck's back1 is most suitable for fine printing4 ,machines for wetting paper are now used in most large printing-offices4 ,,blankets4 ,woollen blankets are unnecessary when a book is printed from new type4 ,nothing more should be used than a sheet or two of paper1 as in fine work only the face of the type should show in the impression4 ,but when the types or plates are worn and rounded1 fine cassimere or broadcloth should be used in the tympan4 ,in this1 as in all matters connected with artistic typography1 the pressman must display good judgment and discretion4 ,,making ,,ready ,a ,,form ,,on ,a ,,hand-,,press4 ,before a form is laid on the press1 the pressman should carefully wipe the bottom of the type and the bed perfectly clean2 for1 if a particle of sand remain on it1 it will cause a type or two to rise1 and not only make a stronger impression1 but probably injure the letters4 ,an octavo form should be laid on the press with the signature-page to the left hand1 or nearest the platen2 a duodecimo1 or its combinations1 with the signature at the right hand1 or nearest the tympan4 ,the form should be laid under the centre of the platen1 and properly quoined up4 ,the tympan is then laid down1 and wet if necessary1 and paper or blanket put in4 ,it was formerly customary to wet the tympans for all works1 and even jobs of almost every description2 but1 since the introduction of fine printing1 and particularly iron presses1 the custom is well-nigh banished1 excepting for very heavy forms1 composed with old letter1 which1 of course1 require more softness to bring them off4 ,after the inner tympan or drawer is put in1 it is fastened with the hooks for that purpose1 which serve to keep it from springing out4 ,the tympan being lifted up1 a sheet of the paper to be worked is folded in quarto1 and the short crease is placed over the middle of the grooves of the short cross1 if it lie in the centre of the form1 as in octavo4 ,in a form of twelves1 the paper is folded in thirds1 and the long crease placed in the middle of the long cross1 and the short cross over the grooves4 ,the sheet lying evenly on the form1 the tympan is brought down1 and a gentle pull will cause the paper to adhere1 when it should be pasted to the tympan and fully stretched4 ,the points are next screwed to the tympan1 for large paper short-shanked points being used1 and long-shanked for small paper4 ,in twelves1 the points must be placed at precisely equal distances from the edge of the paper4 ,in octavo1 the off-point may be a little larger than the near one1 as it enables the pressman to detect a turned heap when working the reiteration or second side4 ,when a press is continued upon the same work1 the quoins on the off-side of the bed may remain and serve as gauges for the succeeding forms2 for1 if the chases are equal in size1 the register will be almost1 if not quite1 perfect4 ,the following operations are comprised in the term of making ready the form3-- #a4 ,the frisket should be covered with stout even paper1 in the manner described for putting on parchment1 the paper being carefully placed on the inside of the frame so as to lie close to the tympan1 and to confine the sheet in its place when laid on for printing4 ,when the paste is dry1 the frisket is put on the tympan1 and1 after inking the form1 an impression pulled upon it4 ,the frisket is then taken off and laid on a board1 or on the bank1 and the impression of the pages cut out with a sharp knife about a ,pica em larger than the page4 ,after being replaced on the tympan1 it is advisable to put a few cords across1 to strengthen the bars of paper1 and to keep the sheets close to the tympan4 ,when the margin is too small to admit bars of paper1 it is necessary to work with cords only4 #b4 ,the form should be examined1 to see that it is properly locked up and planed down2 that no letters or spaces lie in the white lines of the form1 nor between the lines in leaded matter4 #c4 ,white pages which occur in a form must not be cut out2 but1 if the page be already cut out1 a piece of paper must be pasted on the frisket1 to cover the white page in the form1 and a bearer put on to keep the adjoining pages from having too hard an impression4 ,some pressmen use reglets1 others furniture cut to a proper height1 and a third class adopt cork1 which1 from its elasticity1 is very useful4 ,spring bearers1 made of hard paper rolled up1 are also employed to guard the sides and bottoms of light and open pages1 when there is an inclination to slur4 #d4 ,the pressman must examine whether the frisket bites2 that is1 whether it keeps off the impression from any part of the pages4 #e4 ,he must consider whether the catch of the frisket stands either too far forward or backward3 if forward1 he may be much delayed by its falling down1 and1 if backward1 it will come down too slowly1 and thus retard the progress of the work and not unfrequently cause the sheet to slip out of its proper place4 ,he must1 therefore1 place the catch so that the frisket may stand a little more than perpendicularly backward1 that1 when lightly tossed up1 it may just stand1 and not come back4 #f4 ,he must fit the gallows so that the tympan may stand as much toward an upright as he can2 because it is the sooner let down upon the form and lifted up again4 ,but yet he must not place it so upright as to prevent the white sheets of the paper from lying secure on the tympan4 #g4 ,the range of the paper-bank should not stand at right angles with the bed of the press2 but the farther end of the bank should be placed so that the near side may make an angle of about seventy-five degrees with the near side of the bed4 #h4 ,the heap of paper should be set on the horse on the near end of the paper-bank1 near the tympan1 yet not touching it4 ,the uppermost or outside sheet should be laid on the bank2 and the pressman then takes four or five quires off his heap1 and shakes them at each end1 to loosen the sheets1 till he finds he has sufficiently loosened or hollowed the heap4 ,then1 with the nail of his right-hand thumb1 he draws or slides forward the upper sheet1 and two or three more commonly follow gradually with it1 over the hither edge of the heap1 to prepare those sheets ready for laying on the tympan4 #i4 ,he must next pull a revise sheet1 which must be sent up to the overseer for a final revision1 and for examining whether any letters have dropped out of the form in putting it on the press1 c4 #aj4 ,while the sheet is undergoing a revision1 the pressman should proceed to make register1 if half-sheet-wise1 which is done by pulling a waste sheet1 and turning it1 7without inking1 as the sheets may afterward be used for slip sheets17 being particular not to stretch the point-holes in the least1 or to draw the hand along the sheet in leaving it4 ,in making register1 the points must be knocked up or down in such a direction as will bring the first impression under the last1 knocking the point only half the distance apparent on the sheet4 ,if register cannot be made with the points1 the difficulty must then be either in the furniture1 the length of the pages1 or in the springing of the cross-bars1 from the forms being locked up by careless compositors1 who commence at one quarter of the form1 and lock it up tightly1 and so go around1 instead of gently tapping it at opposite sides till the whole is equally tightened4 ,in locking up a form1 the quoins at the feet should be gently struck first1 to force up the pages and prevent their hanging2 but1 in unlocking1 the side quoins must be first slackened4 ,altering the quoins will not make good register1 when the compositor has not made the white exactly equal between all the sides of the crosses4 ,the pressman1 therefore1 will ascertain which side has too much or too little white1 and1 unlocking the form1 will take out or put in as many leads or reglets as will make good register4 ,,pulling4 ,in taking a sheet off the heap1 the pressman places himself almost straight before the near side of the tympan1 but nimbly twists the upper part of his body a little backward toward the heap1 the better to see that he takes but one sheet off4 ,this he loosens from the rest of the heap by drawing the back of the nail of his right thumb quickly over the bottom part of the heap1 and1 receiving the near end of the sheet with his left-hand fingers and thumb1 catches it by the farther edge with his right hand1 about four inches from the upper corner of the sheet1 and brings it swiftly to the tympan3 having the sheet thus in both his hands1 he lays the farther side and two extreme corners of the sheet down even upon the farther side and extreme farther corners of the tympan-sheet4 ,in the reiteration1 care should be taken to draw the thumb on the margin1 or between the gutters1 to avoid smearing the sheet4 ,the sheet being properly laid on1 he supports it in the centre by the fingers of the left hand1 while his right hand1 being disengaged1 is removed to the back of the ear of the frisket1 to bring it down upon the tympan1 laying at the same moment the tympan on the form4 ,he then1 with his left hand1 grasps the rounce1 and quickly runs the form under the platen2 and1 after pulling1 he gives a quick and strong pressure upon the rounce1 to run the carriage out again4 ,letting go the rounce1 he places the fingers of his left hand toward the bottom of the tympan1 to assist the right hand in lifting it up1 and also to be ready to catch the bottom of the sheet when the frisket rises1 which he conveys quickly and gently to the catch3 while it is going up1 he slips the thumb of his left hand under the near lower corner of the sheet1 which1 with the aid of his two forefingers1 he raises1 the right hand at the same time grasping it at the top in the same manner4 ,lifting the sheet carefully and expeditiously off the points1 and nimbly twisting about his body toward the paper-bank1 he carries the sheet over the heap of white paper to the bank1 and lays it down upon a waste sheet or wrapper2 but1 while it is coming over the white paper heap1 though he has the sheet between both his forefingers and thumbs1 yet he holds it so loosely that it may move between them as on two centres1 as his body twists about from the side of the tympan toward the side of the paper-bank4 ,when the pressman comes to a token sheet1 he undoubles it1 and smooths out the crease with the back of the nails of his right hand1 that the face of the letter may print upon smooth paper2 and1 being printed off1 he folds it again1 as before1 for a token-sheet1 when he works the reiteration4 ,having worked off the white paper of a form of twelves1 he places his right hand under the heap1 and1 his left hand supporting the end near him1 turns it over on the horse1 with the printed side downward4 ,if the form be octavo1 he places his left hand under the heap1 supporting the outside near end with his right hand1 and turns it one end over the other4 ,all turning of the paper for reiteration is treated in one of these modes4 ,in performing this operation1 he takes from the heap only as much at once as he can well handle without disordering the evenness of the sides of the paper4 ,having turned the heap1 he proceeds to work it off1 as before described1 except that with the left hand he guides the point-holes over the points1 moving the sheet with the right hand1 more or less1 to assist him in so doing4 ,the token-sheets1 as he meets with them1 he does not fold down again4 ,,rules ,,and ,,remedies ,,for ,,pressmen4 ,about every five or six sheets a small quantity of ink should be taken2 yet this rule is subject to some variation from the nature of the work and quality of the ink4 ,a form of large type or solid matter will require ink to be taken more frequently1 and a light form of small type less frequently4 ,during the intervals in which the roller-boy is not employed in brayering out or taking ink1 he should be almost constantly engaged in distributing or changing his rollers4 ,he should invariably take ink on the back roller1 as it will the sooner be conveyed to the other roller1 and1 consequently1 save time in distributing4 ,when1 through carelessness1 too much ink has been taken1 it should be removed by laying a piece of clean waste paper on one of the rollers1 and working it off till the ink is reduced to the proper quantity4 ,if letters1 quadrates1 or furniture rise up and black the paper1 they should be put down1 and the quarter locked up tighter4 ,if any letters are battered1 the quarter they are in must be unlocked1 and perfect ones put in by the compositor4 ,when bearers become too thin by long working1 they should be replaced by thicker ones4 ,when the form gets out of register1--which will often happen by the starting of the quoins which secure the chase1--it must be immediately put in again1 as there can scarcely be a greater defect in a book than the want of uniformity in this particular4 ,if picks1 produced by bits of paper1 composition1 or film of ink and grease or filth1 get into the form1 they must be removed with the point of a pin or needle2 but if the form is much clogged with them1 it should be well rubbed over with clean ley1 or taken off and washed3 in either case1 before the pressman goes on again1 it should be made perfectly dry by pulling several waste sheets upon it1 in order to suck up the water deposited in the cavities of the letter4 ,the pressman should accustom himself to look over every sheet as he takes it off the tympan3 he will thus be enabled not only to observe any want of uniformity in the colour1 but also to detect imperfections which might otherwise escape notice4 ,in order to make perfect uniformity in the colour1 the roller-boy should keep his ink well brayered out with the small roller1 in proper quantities for the work in hand1 and also should change his rollers well after taking ink1 and at other times4 ,the rollers are changed by moving the roller-handle slowly to the right and left1 while the crank is being turned briskly with the left hand4 ,torn or stained sheets met with in the course of work are thrown out and placed under the bank4 ,creases and wrinkles will frequently appear in the sheets when the paper has been carelessly wet3 these should be carefully removed by smoothing them out with the back of the nails of the right hand4 ,if the frame of the tympan rub against the platen1 it will inevitably cause a slur or mackle3 this can easily be remedied by moving the tympan so as to clear the platen4 ,the joints or hinges of the tympan should be kept well screwed up1 or slurring will be the consequence4 ,when the thumb-piece of the frisket is too long1 it always produces a slur3 this can be prevented by filing off a part of it4 ,loose tympans will at all times slur the work1 and great care must therefore be observed in drawing them perfectly tight4 ,the paper drying at the edges will also cause a slur3 this may be remedied by wetting the edges frequently with a sponge4 ,slurring and mackling will sometimes happen from other causes3 it will be well in such cases to paste corks on the frisket1 or to tie as many cords as possible across it1 to keep the sheet close to the tympan4 ,the pressman should make the boy roll slowly1 or the rollers will be apt to jump1 and cause a friar4 ,to prevent the rollers from jumping or bounding1 bridges or springs made of thin steel1 to reach across the gutters1 may be used3 these springs should taper off at the ends1 and having an oblong hole in each end1 through which they may be tacked to the gutter-sticks4 ,in very open forms1 it may be necessary to put bearers or pieces of reglet where the blank pages occur at the end of the form1 to prevent one end of the roller from falling down and leaving a friar at the opposite end4 ,this difficulty may be obviated in a great measure by imposing the form in such a manner as to bring the blank pages in the centre4 ,this mode should always be adopted for title-pages and other light matter4 ,before the pressman leaves his work1 he covers the heap of paper by first turning down a sheet like a token-sheet1 to show where he left off1 and then putting a quantity of the worked-off sheets on it1 and a paper-board if convenient4 ,laying the blanket on the heap after leaving off work is a bad custom4 ,if the paper be rather dry1 it will be well to put wet wrappers on it1 after damping the edges well4 ,if the form be clean1 he puts a sheet of waste paper between the tympan and frisket1 and lays them down on the form2 if it be dirty1 it must be rubbed over with clean ley1 and several waste sheets pulled on it1 as before directed1 to suck the dirty ley out of the cavities of the letter4 ,on his return to work in the morning1 he takes care to wet the tympan1 provided the type be worn4 ,if there should be any pages in the form particularly open1 the parts of the tympan where they fall must not be wetted4 ,,the ,,ley-,,trough4 ,the form being worked off1 it is the pressman's duty to wash it clean from every particle of ink1 not only for the cleanly working and well standing of the letter in the subsequent composing1 but to save his own time in making ready when the same letter gets to press again4 ,many an hour is lost from not bestowing a minute or two in thoroughly cleansing and rinsing the form4 ,for this purpose1 printing-offices are provided with a ley-trough1 suspended on a cross-frame1 and swinging by iron ears fixed somewhat out of the precise centre1 so that the gravity of the trough will cause it to fall in a slanting position forward4 ,this trough is lined with lead1 the top front edge being guarded from the pitching of the forms by a plate of iron4 ,the form having been placed in the trough1 on its side1 the pressman takes hold of the rim of the chase by the hook1 or instrument for that purpose1 and1 laying it gently down1 pours the ley upon it1 and sluices it by swinging the trough on its pivots two or three times to and fro2 then1 taking the ley-brush1 he applies it to the whole form1 type1 furniture1 and chase2 the ley is then let out into a receptacle1 and the form well rinsed with clean water1 by swinging the trough as before2 the form is then lifted out1 and consigned to the care of the compositor4 ,the ley is made of pot or pearl ash1 or1 what is better1 of concentrated ley4 ,a large earthen jar is usually chosen for the purpose2 a sufficient quantity of ash or concentrated ley is added to the water to make it bite the tongue sharply in tasting4 ,the ley-brush is made large1 the hairs close1 fine1 and long1 in order not to injure the type1 while sufficient force is applied to search every interstice in the letter where the ink can have insinuated itself4 ,,making ,,ready ,,on ,,cylinder ,,presses4 ,make clean the bed of the press and the impression segment of the cylinder4 ,adjust the bearers a trifle above ordinary type height4 ,see that the impression screws have an even bearing on the journals1 and that the cylinder fairly meets the bearers4 ,select a suitable tympan or impression surface4 ,the tympan may be the ,india-rubber cloth which is furnished with the press1 a thick woollen lapping cloth or blanket1 several sheets of thick calendered printing paper1 or one or more smooth and hard pasteboards4 ,each of these materials has merits not to be found in any other4 ,upon the proper selection of the tympan the presswork in great measure depends1 and the pressman should be thus guided in making choice4 ,a pasteboard tympan is most suitable for wood-cuts1 for perfectly new type1 and for the best kinds of presswork4 ,it is not suitable for miscellaneous work1 nor for heavy forms1 nor mixed old and new type4 ,if the overlaying is properly executed1 a pasteboard tympan will enable the pressman to show a sharper edge and a more delicate impression of the type than can be possible with any other1 and it will wear the type less than any other4 ,but it will require a very tedious and careful making ready1 or it will prove very destructive to type4 ,a woollen blanket is best adapted for old stereotype plates1 for very old type which has been rounded on the edges1 for posters with large wood type1 and for all common work which requires a clear but dull impression4 ,for such work a woollen blanket will enable the pressman to make ready a form more quickly than with any other material2 but it is injurious to new type1 and incapable of producing a fine and sharp impression4 ,thick paper is much used for book-work4 ,it also answers well for script circulars and leaded forms4 ,it will not answer so well for mixed old and new type1 nor for table-work with unequal heights of brass rule1 nor for mixed large and small type4 ,it will prove most serviceable for the average of light and fine presswork4 ,the ,india-rubber cloth combines many good qualities not found in other tympans3 it has something of the density of the pasteboard1 the hardness and evenness of paper1 and the flexibility of the blanket1 combined with an elasticity peculiarly its own4 ,it will compass a greater variety of work than any other3 posters1 script circulars1 news and book forms1 stereotype plates1 and old or new type1 can all be well printed with an ,india-rubber blanket4 ,when it is intended to make one tympan answer for all kinds of work1 the ,india-rubber blanket will be found decidedly superior to all others2 but when very extra presswork is wanted1 the tympan must be specially adapted to the form of type4 ,there are forms for which none of these tympans are specially suitable4 ,for such cases careful pressmen combine two or more together1--as ,welsh flannel over rubber1 or thin rubber over pasteboard or under paper4 ,these1 however1 are exceptional cases1 and are only thus combined when very good presswork is wanted from imperfect materials4 ,careful observation of the quality of the impression given by each style of tympan will teach a pressman how to combine to the best advantage4 ,as it requires experience and discrimination1 an arbitrary rule cannot be given4 ,whatever may be the material selected1 the tympan must be stretched very tightly over the cylinder4 ,all labour in overlaying is but thrown away if this is not carefully attended to4 ,a rubber or woollen blanket can be secured at one end of the cylinder by small hooks projecting inward1 while it may be laced tightly with saddler's thread at the other end2 or1 by sewing on that end of the blanket a piece of canvas1 it may be wound tightly around the reel1 and kept secure by the pawl and ratchet4 ,but paper and pasteboard require a different process1-viz43 ,take a piece of ,nonpareil cherry reglet of the full length of the cylinder4 ,trim down the paper or pasteboard to the width of the bed between the bearers1 but leave it a little longer than the impression segment of the cylinder4 ,then crease the pasteboard at a uniform distance of half an inch from the narrower end1 and lay this creased part on the flat edge of the impression segment of the cylinder1 under the grippers4 ,put the reglet over this1 and bring down the clamps hard on the reglet1 so as to bind all securely4 ,when this is done1 a thin web of muslin may be stretched over the whole1 in the same way in which a blanket is laid on1 and rolled up tightly1 which will prevent any slipping of the board or of the overlays pasted on it4 ,a large poster1 or newspaper form1 or any large form with old type1 will require a soft roller with much suction4 ,book-work1 wood-cuts1 or fine job-work1 will require a harder roller1 with very smooth1 elastic1 and clinging surface4 ,coloured inks are best printed with a still harder roller and with much less suction4 ,all rollers should be perfectly clean1 and free from cracks or holes4 ,the suitableness of these rollers cannot well be explained by words3 such a knowledge will be best acquired by observation and experience4 ,it may1 however1 be necessary to state that one roller will not answer for all styles of presswork3 the quality of the work1 the size and wear of the type1 and the speed of the press1 must control the pressman in his choice4 ,posters1 with large wood type1 require a semi-fluid ink1 but not surcharged with oil4 ,ordinary news-work requires a better grade1 more tachy1 and finely ground4 ,good book-work should have a stiffer-bodied ink1 soft1 smooth1 and with little oil4 ,job ink1 which is made expressly for presswork on dry paper1 should be used only for such work4 ,book and job inks are not convertible3 an ink for wet paper will not work well on dry paper1 and vice vers4 ,very fine presswork--such as wood-cuts1 or letter-press upon enamelled paper--calls for an ink impalpably fine1 very stiff1 of brilliant colour1 and nearly or absolutely free from oil4 ,every job-office should keep four grades of ink1--news1 book1 job1 and wood-cut4 ,they can be compounded 7if no ink-manufacturer is near7 with each other1 or reduced with varnish to suit any form4 ,good presswork is impossible without good inks4 ,charge the ink-fountain with the ink selected1 and keep it well covered1 to protect it from paper dust4 ,turn down the screws1 and cut off all the ink evenly4 ,when the form is ready1 turn on the ink cautiously1 and wait for ten or twelve impressions before again altering the screws4 ,for small forms and short numbers of any piece of presswork in coloured ink or extra ink1 a fountain is not necessary4 ,the ink may be applied with a brayer or palette-knife4 ,the adjustment of the margin is the next process4 ,although type can be printed from any quarter of the bed1 it will be found most judicious to lay all forms close to the back part of the bed1 and equidistant between the bearers4 ,this will secure a good impression1 give a fair average margin to every form1 and allow the full use of the bed for a large form1 without resetting the cylinder4 ,the bed and cylinder travel together1 and the grippers1 which bring down the sheet to the form1 should barely lap over the back part of the bed4 ,so long as the toothed cylinder wheel1 and the short toothed rack on the side of the bed1 remain undisturbed1 the grippers will always pass over the bed in exactly the same place4 ,when the grippers are in this position1 7slightly lapping over the back of the bed17 take measurement of the distance between the back edge of the bed and the point of one of the nearest grippers4 ,with a piece of reglet cut a gauge exactly corresponding to this measurement4 ,let no form be laid upon the press until the distance between the type and the edge of the chase tallies with the gauge4 ,this will prevent the grippers from closing on the form and crushing the type4 ,if the chase will not admit of so wide a margin1 or if an extra margin is wanted on the sheet1 put a piece of furniture of the extra width behind the chase3 the margin can thus be increased or diminished at pleasure4 ,a book form may be locked up in a chase so large1 with the type so far from the edge of the chase1 that the grippers will bring down the sheet in such a position that it will be printed with the margin all on one side4 ,to remedy this1 the cylinder must be reset4 ,proceed thus4 ,remove the screw and washer1 and draw the intermediate wheel out of gear1 loosen screws in the gauge rack1 then turn the cylinder to the point required1 connect the intermediate wheel1 adjust the gauge rack1 and screw up tight4 ,the press having been adjusted1 next examine the form to be printed4 ,not only see that it is gauged correctly1 but also see that it is not locked up too tightly1--that chase1 quoins1 letter1 and furniture are all level1 and lie flat upon the bed4 ,if the form springs1 the quoins must be slackened2 if this loosens the type too much1 the justification should be amended4 ,make clean the type by rubbing it over with a dry brush4 ,the rollers are often made foul and the colour of the ink changed by dust and particles of dirt clinging to the type4 ,fasten the form so securely on the bed that it will not be moved by the action of the cylinder or the rollers4 ,take a proof on its own paper1 using very little ink4 ,proceed to adjust the drop guides so as to bring the sheet exactly in the right position4 ,push out the iron tongues at the edge of the feed-board1 and at equal distances from each other1 so that they will equally sustain the paper4 ,slide the drop guides along the rod until they fall squarely over the tongues4 ,set the side guide so that it will give a true margin in length to the sheet to be printed4 ,adjust the grippers so that they will seize the sheet at proper intervals1 making the margin exactly even by lengthening or shortening the drop guides4 ,then take a clean proof on its own paper1 exactly in the right position1 before making ready1 when it may be shown to the reader4 ,it frequently happens that an error in the margin1 or an imperfection in the register1 is thus noticed2 and its timely discovery and correction before overlaying will save much time and trouble4 ,a readable proof may be taken before overlaying1 by running through a sheet or two of proof paper4 ,make register1 if it is a book form1 before underlaying4 ,when every thing has been found correct1 then proceed to regulate the impression4 ,if the type is fair1 the proof should show a decently uniform impression2 but if the form is large1 or if it contains old and new or large and small type1 then the proof will show an uneven impression4 ,to rectify this inequality1 pressmen use many expedients4 #a4 ,by lowering the bearers and putting on more impression4 ,this1 of itself1 is a very poor way2 for it wears down new type in order to show the face of the old1 and invariably produces thick and coarse presswork4 #b4 ,by raising the low type to a proper height with thicknesses of paper under them1 which is called underlaying4 #c4 ,by giving additional thickness to the tympan over every part of the form which shows a weak impression1 which is called overlaying4 ,it is very rare that any one of these modes will prove sufficient3 all should be used in conjunction4 ,when the larger part of the proof-sheet shows a weak impression1 almost approaching illegibility1 then more impression should be added4 ,when one side of the proof-sheet shows a weak impression1 while that on the other side is full and clear1 then more impression should be given to the paler side4 ,the impression should be made decently uniform before any attempt at overlaying or underlaying4 ,but the bearers should follow the impression screws1 both being raised and lowered together1 in order to secure the type from the unimpeded force of the impression cylinder4 ,not only should the bearers be of even height1 but the cylinder shaft should always revolve on a true level4 ,if the impression screws are carelessly used1 and the bearers are rashly raised and lowered1 this even bearing will soon be lost2 the difficulty of obtaining a good impression will be much increased1 and the press will receive a serious injury4 ,for the same reason1 the bearers should never be packed1 7by the addition of cards1 as is usual on a hand-press17 for it strains the cylinder and all its bearings with an irregular resistance4 ,the bearers should be tampered with even less than the impression screws4 ,when the impression screws are so set that the cylinder gives a fair uniform impression1 they have done all that can be expected1 and nothing more should be attempted by them4 ,sometimes the proof may show that a cut1 or a line of type1 or a set of brass rules1 are higher than any other material in the form4 ,but the impression should be set regardless of this3 it will be found quicker and neater to reduce the impression on one or two such high lines1 by cutting out the tympan-sheet over them1 than it would be to underlay and bring up all other types to such an irregular height4 ,pitch the impression so that it will face the larger portion of the type1 and make the less conform to the greater4 ,those parts which are high must be cut out of the tympan1 and those which are low should be raised by underlays1 and all inequalities regulated by overlays4 ,when any part of the form is very low1 it will not answer to attempt facing it with overlays3 it must be brought up to meet the inking rollers as well as the impression cylinder4 ,when the proof shows low type1 cut out the impression of it1 raise the form1 and paste it over the feet of the letter4 ,if some types are high and some are low1 make proper distinction1 and carefully avoid increasing the height of any type or rule which seems to have a full impression4 ,pursue the same course when a marked depression appears in the centre1 or a dwindling impression at the edges4 ,cut out that section which is light1 and affix it to the defective part4 ,if the impression dwindles in any part1 the underlays must be cut of irregular thickness to suit the tapering off of the impression4 ,cut out an underlay from the edge where the impression begins to fade2 then cut another of smaller size where it is utterly illegible2 paste one over the other1 laying them carefully in their proper positions1 and then paste them all on the bottom of the form1 where it is needed1 taking care to lay the smallest underlay nearest the bed4 ,this will restore the type to a proper level1 and the next proof should show a uniform impression4 ,the same plan will answer for a low corner4 ,use as little paste as possible1 thin and free from lumps4 ,be careful that the underlays are laid on smoothly1 without fold or wrinkle4 ,cut all underlays from a proof2 for the proof serves as a guide both in cutting and in affixing to the form4 ,underlaying should not be done to any great extent upon a cylinder press4 ,it is a valuable means of bringing up an old line of type1 a hollow1 or a low corner4 ,the underlays of any type form should not constitute more than one-fourth of the surface2 if more than this is attempted1 they will rarely ever fail to work up the quadrates and furniture4 ,the action of the quickly moving cylinder upon a form of type underlaid with yielding paper1 must create a spring and a rocking of all the materials in the chase4 ,of all materials1 old stereotype plates need underlays most1 as they are usually very irregular in height4 ,thin card or pasteboard will be found preferable to paper for the underlaying of plates secured on wood bodies4 ,when the plates are on patent blocks1 always underlay between the plate and the block4 ,always cut the underlay for a plate less in size than the faint impression would seem to require4 ,this will allow for the spring of the plate4 ,if it is cut of full size1 the next impression will disappoint the pressman1 by being much harder at the edges than he intended4 ,never attempt to build up a type form to a proper impression entirely or chiefly by underlaying4 ,underlays should be put under all large and bold-faced types when used with much smaller types1 so as to raise them above the level of the others4 ,this is needed to give it closer rolling1 extra supply of ink1 and that extra force of impression to transfer the ink to paper which all large types require4 ,when the type has been so levelled by underlays that all parts receive proper bearing from the inking rollers1 and when the cylinder has a corresponding even impression1 then overlaying may be commenced4 ,for ordinary news1 posters1 or job-work1 overlaying may be entirely unnecessary2 the tapes and fly may be set1 and the printing of the form may proceed without further delay4 ,but fine press-work cannot be done without overlays4 ,underlays are chiefly valuable for securing an even impression2 while overlays are indispensable for giving delicacy and finish to that impression4 ,to overlay a form properly1 the tympan should be covered with a sheet of thin1 smooth1 and hard paper1 stretched tightly4 ,then take a pale impression on the tympan-sheet1 and also run through the press two or three proofs on thin and hard paper4 ,examine the proofs carefully on both face and back4 ,if any brass rules or letters appear too high1 cut them out of the tympan-sheet in one or two thicknesses1 as their varying height may require4 ,go over the whole proof1 examining every line carefully1 and1 by cutting out1 reduce the impression of all projecting letters to a uniform standard4 ,for this1 as for all other work on overlays1 use a very sharp knife with a thin point1 and cut on a smooth surface1 so that there will be no dragged or torn edge to the cut4 ,the next step should be to raise the impression of those parts of the form when the type appears dull or weak4 ,cut out carefully1 and paste the overlays over the tympan smoothly4 ,overlays are worse than useless if they are not laid on firmly and smoothly1 as the slightest bagginess will cause slur or mackle4 ,if1 by accident1 the tympan-sheets or overlays should bag or wrinkle1 tear them off1 and commence anew4 ,cut out and overlay the more prominent parts first2 then try another impression1 and from that cut new overlays for minor defects4 ,thus proceed until a perfectly smooth and even impression is obtained4 ,with common work it will be sufficient to cut overlays in masses1 as pages or parts of pages2 but with fine work every line and letter needs examination1 and letters and parts of single letters are often overlaid by careful pressmen4 ,when the pressman is expert at making ready1 it is not necessary that he should take a new impression with every successive set of overlays4 ,many pressmen take a dozen proofs of a form on different styles of paper1 and proceed to cut out and overlay on one of the proofs1 and finally paste this proof on the tympan4 ,but this boldness and precision can be acquired only by long practice4 ,it is better for the young pressman to feel his way step by step4 ,the ,impression4--,a diversity of opinion exists among good printers as to the proper force of the impression3 by some a heavy and solid indentation of the paper is considered necessary2 while others insist that an impression which does not indent the paper is preferable4 ,but the indentation of the paper is no test of the force of the impression4 ,a light impression against a woollen blanket will show more forcibly than a strong impression against a paper or a pasteboard tympan4 ,type is worn out not so much by the direct impression of the platen or cylinder on the flat face of a form1 as by a grinding or rounding impression on the edges of the type1 caused by the forcing of the tympan between the lines and around the corners of every letter4 ,every fount of worn-out type1 whether from cylinder or platen press1 has suffered less from a reduction in height than from a rounding of the edges4 ,when the type is new and the tympan hard and smooth1 the impression can be made so flat that the type will not round at the edges1 and the impression will not show on the paper4 ,but this cannot be done with old type or with a soft tympan3 the impression must be regulated to suit the tympan4 ,on fine work1 a rounding impression should be avoided1 as it not only destroys type1 but also thickens the hair-line and wears off the ceriphs4 ,it is not sufficient that the paper should barely meet the type3 there must be sufficient force in the impression to transfer the ink from type to paper4 ,if there is not sufficient impression1 it will be necessary to carry much ink on the rollers2 and this produces two evils3 the type is clogged with ink1 and the form becomes foul2 too much ink is transferred to the paper1 which smears and sets off for want of force sufficient to impress it in the paper4 ,distinction must be made between a light and weak impression and a firm and even impression4 ,the latter should be secured even if the paper is indented2 though that is not always necessary4 ,but a form of old type1 a poster1 or other solid form1 must have a heavy impression1 or else a very tedious and careful making-ready4 ,to set ,new ,tapes4--,pass the tape around and close to the cylinder4 ,lap it over one of the tape pulleys1 and then pass it around the small guide pulley on the shaft above4 ,to increase its tightness1 throw up the guide pulley from the shaft1 and set the binding screw more tightly4 ,all these pulleys are movable on their shafts1 and distance between them may be altered at pleasure4 ,let the tapes rest upon the outer margin of the sheet1 and see that the overlays on the tympan over which the tapes pass are of equal thickness2 if not of equal thickness1 the sheet will wrinkle4 ,to set the ,fly4--,run through a sheet of the paper to be printed1 and let it run down the fly so far that it is barely held by the fly pulleys4 ,then set the cam which works the fly1 so that its point just clears the small friction roller on the shaft1 and it will throw down the sheet correctly4 ,tighten the spring according to the size of the sheet1 and set the spring crank so that it will prevent the fly from striking too hard on the table4 ,it will be seen that good presswork does not depend entirely upon the press1 nor yet upon the workman or the materials4 ,nor will a superiority in any one point compensate for a deficiency in another3 the newest type will suffer from a poor roller1 and the most careful making-ready will be of no avail if poor ink is used4 ,it is necessary that all the materials should be of the best kind1--that they should be well adapted to each other1 and fitly used4 ,although a good workman can do much with insufficient materials1 there are cases where a neglect to comply with one condition is equal to a neglect of all4#ai ,,fine ,,hand-,,presswork4 ,fine presswork is the art of printing perfect impressions from the surface of type or engravings in relief3 that is1 the subject transferred to paper should be an impression from the surface1 and the surface only1 of the types or engraved lines1 of such a tone as to produce all the effect of which the subject is capable1 without either superfluity or deficiency of colour4 ,the press ought to be in the best condition2 otherwise it will be impossible to get an equal impression without much trouble and loss of time4 ,the joints of the tympan should not have any play1 or the correctness of the register will be affected1 and slurs and doubles be caused4 ,the parchments on the tympans should be thin1 and of a uniform thickness1 and stretched on the tympans so as not to be flaccid4 ,on account of its thinness1 smoothness1 and uniformity1 silk is probably preferable4 ,the face of the platen ought to be a true plane1 and parallel to the press-stone1 or table4 ,the advantage of having a good press is unavailing for the production of fine work if the types are much worn2 for it is impossible to produce a sharp1 clear impression when the type is worn and the fine lines are rounded by much use4 ,in consequence of this roundness of the letter1 it is necessary to use a thick blanket in the tympan to bring up the type2 thus producing a gross and irregular impression of more than the surface4 ,ink for fine work should be characterized by the following peculiarities3-- ,intenseness of colour4 ,impalpability4 ,covering the surface perfectly of the type or engraving4 ,quitting the surface of the type or engraving when the paper is pressed on it1 and adhering to the paper4 ,not smearing after it is printed4 ,complete retention of colour4 ,ink ought to be reduced to an impalpable smoothness1 either in a mill or on a stone with a muller4 ,this is essential1 as the process gives it the next quality1--that of completely yet very thinly covering the surface of the type or the lines of the engraving1 and insuring an even and perfect appearance to the impression on the paper4 ,another important requisite is1 that the ink shall not only cover the surface of the lines on the paper printed1 but that it shall also quit the face of the type or engraving and leave it quite clean when the paper is impressed on it1 and attach itself to the paper1 so as to give a perfect impression of the subject represented1 without the colour of the paper appearing through the ink2 and that this peculiarity of quitting the type or engraving and becoming attached to the paper shall continue the same through any number of impressions1 without any accumulation of ink on the surface printed from4 ,after having obtained these results1 and when the printing is as perfect as it can be made by workmanship1 something more is requisite1--viz43 that the ink shall not smear on being slightly rubbed1 and that it shall retain its colour and appearance without spreading at the edges or tinging the paper4 ,the rollers should be in good condition2 otherwise the pressman may exert his skill in vain1 with a great loss of time and waste of paper4 ,the quality of the paper is of great consequence in fine printing2 but it is frequently overlooked by the printer's employers1 who are apt to pay more attention to a showy appearance and a low price than to quality4 ,the best paper for printing on is that which is made of fine linen rags and moderately sized1 without the use of acids in bleaching1 and without being adulterated with cotton rags3 this paper takes water kindly1 is easily got into good condition1 receives a good impression1 is durable1 preserves its colour1 and does not act upon the ink4 ,the use of cotton rags1 the introduction of gypsum into the manufacture of fine and other papers1 the application of acids and bleaching powders to improve the colour and produce apparently good paper from an inferior staple1--these form the grand hinderances to the ,american printer in his efforts to equal or excel foreign productions4 ,hence it is that works printed in this country are less valued than those from the ,english press1 which are printed on paper of fine fabric1 made mostly of linen rags1 and sufficiently strong to bear a fine ink4 ,a pressman should1 as a matter of course1 be well acquainted with the entire routine of presswork2 in addition to which1 to form his judgment1 he should examine the most splendid productions of the press1 and study them as patterns of workmanship4 ,in making ready1 it must be evident that1 when a clear1 sharp impression is wanted1 the pressure should be on the surface only4 ,of course the tympan ought not to be very soft1 neither should a woollen blanket be used3 the most perfect impression will be obtained when fine thick paper alone is placed in the tympans2 and even of this article but few thicknesses should be employed4 ,after an impression is printed1 the pressman examines if it be uniform throughout2 if it be1--which is very rarely the case1--he goes on with the work2 if not1 he proceeds to overlay1 in order to produce regularity of pressure and of colour over the whole form4 ,wherever the impression is weak he pastes a bit of thin1 smooth paper1 of the size and shape of the imperfect part1 on the tympan-sheet2 he then pulls another impression1 to examine the effect of his overlays1 and continues to add to them where wanted1 till the pressure of the platen is the same in every part and the impression is of a uniform shade of colour4 ,if the impression come off too strong in parts1 or at the edges or corners of the pages or on the head-lines1 it will be necessary to cut away the tympan-sheet in those parts1 and1 if that does not ease the pressure sufficiently1 to cut away the same parts from one or more of the sheets that are within the tympans4 ,it is generally preferable to overlay on a sheet of stout smooth paper inside the tympan1 particularly where the same press does the whole or great part of the work3 this sheet is cut to fit the interior of the tympan1 so as not to slip about1 and has overlays pasted on it where wanted1 to bring up the impression till it is very nearly equal4 ,in all succeeding sheets it saves the pressman a great deal of time1 as he will be certain that when he pulls a sheet of another form of the same work it will be nearly right1 and he will only have to place thin overlays on occasional parts to make the impression perfect4 ,it is necessary1 where short pages occur in a form1 to have bearers to protect their bottom lines and the edges of the adjoining pages4 ,these may be of double pica reglet1 pasted on the frisket1 so as to bear on some part of the furniture or chase2 but bearers made to the height of the types are better1 when they can be used4 ,it happens occasionally that the tympan causes the paper to touch the form partially on being turned down1 and occasions slurs4 ,this may occur from the parchment being slack or the paper being thin and soft4 ,to prevent this inconvenience1 it is customary to roll up a piece of thick paper and paste it on the frisket adjoining the part4 ,many pressmen prefer pieces of cork cut to about the thickness of double pica1 and pasted on the frisket4 ,in working the white paper1 instead of pins stuck into the tympan1 to prevent the paper slipping1 a duck's bill 7a tongue cut in a piece of stout paper7 is frequently used3 it is pasted to the tympan at the bottom of the tympan-sheet1 and the tongue projects in front of it2 indeed1 the tympan-sheet appears to rest in it4 ,the bottom of each sheet is placed behind this tongue1 which supports it while the tympan is turned down4 ,the rollers should be kept clean1 but should not be too moist1 as this will prevent the ink from distributing equally over them1 and from covering evenly the surface of the types or engraving2 nor should they be too dry1 as in that case they will not dispose of the ink smoothly enough to produce a fine impression1 neither will they retain particles of dirt on their surface1 but it will part with them to the form1 thus causing picks4 ,the ink ought to be rubbed out thinly and equally on the ink-block1 so that when it is taken it may be diffused smoothly over the surface of the rollers4 ,it is advisable to keep rubbing the ink out on the block with the brayer1 and to distribute the roller almost constantly2 the continual friction produces a small degree of warmth1 which is of advantage1 particularly in cold weather4 ,as uniformity of colour is requisite for beauty in printing1 where the form is large the pressman should take ink for every impression3 this may be thought troublesome1 but it is advantageous in producing regularity of colour4 ,it is unpleasant to see in a fine book two pages that face each other differing in colour1--the one a full black1 surcharged with ink1 the other deficient in quantity and of a gray colour2 yet this must happen when1 as is frequently the case1 three or four sheets are printed with one taking of ink4 ,in fine books1 particularly where the paper is large and heavy and the type large1 set-off sheets are used to interleave the whole impression while working3 these remain till the printed paper is taken down from the poles by the warehouseman4 ,these set-off sheets are put in when the white paper is working1 and moved from one heap to the other during the working of the reiteration4 ,they prevent the ink from setting off from one sheet to another while they are newly printed1 from the weight of the paper4 ,to secure uniformity of impression1 the pull should be so adjusted in the first instance as to give a proper degree of pressure on the form when the bar is pulled home2 then1 checking the bar1 it should be allowed to rest in that position during a short pause4 ,it will be perceived that1 to produce presswork of a highly superior character1 great expense and much time are required2 and that it is requisite to have a good press in good condition2 to have new types1 or types whose faces are not rounded by wear2 to have good rollers in good condition2 that the ink should be strong1 of a full black colour1 that it will not fade nor stain the paper1 and ground so fine as to be impalpable2 the paper should be of the best quality1 made of linen rags1 and not bleached by means of acids or bleaching powders1 which have a tendency to decompose the ink2 the rolling should be carefully and well done2 the face of the type should be completely covered with ink1 without any superfluity1 so as to produce a full colour2 and the pull should be so regulated as to have a slow and great pressure1 and to pause at its maximum in order to fix the ink firmly upon the paper4 ,these particulars observed1 with nothing but paper in the tympans1 perfect impressions of the face alone of the type will be obtained1 and a splendid book will be produced in the best style of printing4#bj ,,printing ,,wood-,,cuts4 ,a single block1 when imposed in a large chase1 may spring out of the chase while being inked1 from the quantity of furniture about it4 ,a good plan is to impose it in a job-chase1 and to impose this chase in a larger one3 this will cause it to lie flatter on the press and firmer in the rolling1 the large chase being secured firmly on the press by quoins and the corner irons4 ,before pulling the first impression1 the workman should see that the surface of the cut is perfectly clear from particles of dirt1 and that no pin or lump of paste is on the tympan4 ,he ought then to pull very gently1 or he may injure some of the fine lines of the engraving4 ,neither the pressure nor the impression of an engraving on wood should be uniformly equal3 if it be1 the effect intended to be produced by the artist will fail2 and1 instead of light1 middle tint1 and shade1 an impression will be produced that possesses none of them in perfection3 some parts will be too hard and black1 while other parts will have neither pressure nor colour enough1 nor any of the mildness of the middle tint1 which ought to pervade a large portion of an engraving1 and on which the eye reposes after viewing the strong lights and the deep shades4 ,to produce the desired effect1 great nicety and patience are required in the pressman3 a single thickness of thin ,india paper1 7the best for overlaying17 with the edges scraped down1 is frequently required over very small parts4 ,the overlay should never be cut at the edges2 but1 even where great delicacy of shape is not required1 it should be torn into the form wanted3 this reduces the thickness of the edges1 and causes the additional pressure to blend with the surrounding parts ,as particular parts of the impression will frequently come up too strong1 and other parts too weak1 it will be necessary to take out from between the tympans a thickness of paper and add an additional tympan-sheet1 cutting away the parts that come off too hard1 and scraping down the edges4 ,scraping away half the thickness of a tympan-sheet in small parts that require to be a little lightened will improve the impression4 ,the light parts require little pressure2 but the depths should be brought up so as to produce a full and firm impression4 ,if a block be hollow on the surface1 underlaying the hollow part will bring up the impression better than overlaying it1 at least so nearly that only a thickness or two of paper will be needed as overlays4 ,if a block be too low1 it is better to raise it to the proper height by underlays than to use overlays2 as the latter act in some measure as blankets1 and are pressed into the interstices1 rendering the lines thicker than in the engraving4 ,it will be necessary sometimes1 when the surface of the block is very uneven1 to tear away parts of the paper in the tympan1 to equalize the impression where it is too hard4 ,the pressman will find it convenient to pull a few impressions1 while he is making ready1 on soiled or damaged ,india paper4 ,out of these he can cut overlays to the precise shape and size wanted1 which are always necessary when great accuracy is required in overlaying particular portions4 ,he should be provided with a sharp penknife and a pair of good small scissors4 ,a fine sharp bodkin and a needle or two1 to take out picks1 are also needful2 but he should be particularly careful so to use them that he do no injury4 ,the best way is1 to draw the bodkin or needle point cautiously in the direction of the lines4 ,engravings in vignette form require great attention to keep the edges light and clear1 and in general it is necessary to scrape away one or two thicknesses of paper in order to lighten the impression and keep it clean3 the edges being irregular and straggling1 they are likely to come off too hard4 ,bearers type-high placed beside the block will be found advantageous2 if they cannot be used1 pieces of reglet1 pasted on the frisket in the usual way1 and taking a bearing on the furniture1 must be substituted2 but the high bearer is to be preferred where it can be adopted4 ,the bearers equalize the pressure on the surface of the engraving1 and protect the edges from the severity of the pull1 which is always injurious to the delicacy of the external lines4 ,they also render the subject more manageable1 by enabling the pressman to add to or diminish the pressure on particular parts1 so as to produce the desired effect4 ,when great delicacy of impression is required in a vignette1 it will be found beneficial1 after the engraving is inked1 to roll the extremities with a small roller without ink3 this will not only take away any superfluity of ink1 but will prevent picks1 and give lightness and softness to the edges1 particularly where the effect of distance is required4 ,if the extremities are engraved much lighter than the central parts1 underlays should be pasted on the middle of the block1 which will give a firmer impression to the central parts of the subject4 ,it would save trouble and aid in getting a good impression if the block were engraved a little rounded on the face4 ,when highly finished engravings on wood are worked separately1 woollen cloth1 however fine1 should never be used for blankets1 as it causes too much impression2 a sheet or two of hard smooth paper between the tympans is better2 sometimes even a piece of glazed pasteboard is used inside the outer tympan4 ,the parchments ought to be in good condition1 stretched tight1 of a smooth surface1 thin1 and of regular thickness1 so as to enable the pressman to obtain an impression as nearly as possible from the surface only of the engraved lines4 ,the rollers must be kept in perfect order2 and the pressman should be very particular in taking ink and inking the block4 ,he ought to use the best ink that can be procured4 ,when a wood-cut left on the press all night has become warped1 lay it on its face upon the imposing-stone1 with a few thicknesses of damp paper underneath it1 and place over it the flat side of a planer1 with sufficient weight upon it3 in the course of a few hours the block will be restored to its original flatness4 ,this method is preferable to steeping the block in water2 as the steeping swells the lines of the engraving1 and1 consequently1 affects the impression4 ,to preserve the original effect of the cut as it came from the hands of the artist1 the block should never be wet with water2 and1 when it has been worked in a form with types1 it should be taken out before the form is washed4 ,to prevent warping during the dinner-hour or the night1 turn the tympan down upon the form1 run the carriage in1 and1 pulling the bar-handle home1 fasten it so that it will remain in this position during the interim4 ,however long boxwood may be kept in the log1 it will always twist and warp when cut into slices for engraving1 on account of fresh surfaces being exposed to the air4 ,large blocks may be restored to their flatness in the course of a night by laying them on a plane surface1 with the hollow side downward1 without any weight on them4 ,a fine engraving on wood should never be brushed over with ley3 the best method is to wipe the ink off with a fine sponge damped with spirits of turpentine1 and1 if it get foul in working1 clean it with a soft brush and spirits of turpentine2 then wipe the surface dry and pull two or three impressions on dry waste paper4 ,spirits of turpentine take off the ink quicker1 and affect the wood less1 than any other article4 ,the facility with which the block is again brought into a working state more than compensates for the trifling additional expense incurred4 ,when a few proofs only are wanted from a small engraving1 good impressions may be obtained with little trouble on dry ,india paper1 with about six thicknesses of the same sort of paper laid over it1 and pulled without the tympan4 ,if proofs are wanted from large ones1 it will be found advantageous to put the ,india paper for a few minutes into a heap of damp paper4 ,to do full justice to an engraving1 the pressman should get a good impression from the engraver and place it before him as a pattern1 and then arrange the overlays1 c4 till he produce a fac-simile in effect4 ,better still is it for an unpractised hand to obtain the assistance of the artist at the press-side1 to direct him in making ready the cut4#ba ,,card ,,printing ,has1 since the introduction of enamelled or polished cards1 made rapid strides toward perfection2 the fine absorbing quality of the enamel1 under proper management1 producing the most beautiful results1--in many cases scarcely discernible from copperplate4 ,a card1 to be well printed1 requires as careful treatment as a wood engraving1 7see p4 #bhj17 so far as making ready is concerned1 and in working without blankets and using the finest ink4 ,having made a light impression on the tympan-sheet1 place the pins so as to bring the impression as nearly as possible in the centre of the card1 one pin at the lower side and two at the off side1 taking care that the head of the pin does not come in contact with the types4 ,the impression should be exceedingly light until properly regulated1--at no time more than is actually necessary to bring up the face of the type4 ,cards are now mostly printed on small card-machines1 at the rate of one1 two1 and even ten thousand per hour4 ,all cards should be printed dry4 ,a small quantity of varnish put on the rollers and well distributed will prevent the enamel from peeling4 ,the addition of a little ultramarine blue will beautifully intensify the black ink used in printing enamelled cards4 ,the patent extension feed guides1 or tympan gauge pins1 shown on page #caj1 will be found very convenient and useful4 ,,gold ,,printing4 ,the types being made ready for press in the usual manner1 the surface is covered in the ordinary way with gold size instead of ink1 and the impression taken upon the paper4 ,for a large job1 remove only the back from a book of leaf-gold2 for a small one1 lay a straight edge across the book1 and cut it through1 of the size required1 with the point of a sharp penknife4 ,this must be done before using the size4 ,slightly wet the end of the forefinger of the right hand1 and1 placing the thumb of that hand on the pile of gold1 raise the edge of the paper with the forefinger sufficiently to dampen it with the moisture of that finger2 then press the moistened edge of the paper on the gold1 and it will adhere sufficiently to enable the fingers to lift gold and paper together and place it on the impression4 ,proceed thus until the size is entirely covered2 gently pat the gold with the balls of the fingers1 or any soft1 pliable substance1 until it is set2 then1 with a very soft hat-brush1 remove the superfluous gold1 when a clear and beautiful impression will appear4 ,its sharpness will depend on the judgment of the printer in applying the size to the type4 ,,bronze ,,printing ,is used more extensively than gold printing1 being attended with far less expense in the cost of the material4 ,the method of printing is the same1 except that1 instead of laying on the gold-leaf1 the impression is rubbed over with the bronze1 by dipping a small block1 covered with a short1 fine fur1 or a small wad of raw cotton1 into the powder1 and brushing off the superfluous bronze with a soft brush1 as in gold printing4 ,bronze can be procured of various colours1 and when laid on with judgment the effect is beautiful4 ,the palest bronze is best4 ,to produce a finished effect after bronzing1 take finely-powdered soapstone1 and apply in the same manner as bronze4 ,,printing ,,in ,,colours4 ,when red and black are to be printed on the same sheet1--the same process being applicable to all other colours1--the form is made ready in the usual way1 and a chalk-line is traced around the outside of the chase on the press-bed1 to show the exact situation in which the form must be replaced after having been lifted4 ,the form is then laid with its face downward on a letter-board covered with the press-blankets4 ,the words marked in the proof to be printed red are then forced down1 and ,nonpareil reglets nicely fitted into the vacancies1 which raise the red lines and words an equal distance from the other matter4 ,a sheet of paper is then pasted on the form1 to keep the ,nonpareil underlays in their proper places4 ,the form is again laid on the press1 observing the utmost care in placing it in its original position as indicated by the marks before made on the bed4 ,illustration3 ,,ink ,,stone ,,and ,,muller4 ,it must then be made perfectly fast to the corner irons1 as it is highly important that it remain firm and immovable during its stay on the press4 ,the frisket 7which is covered with strong paper7 is then put on1 the form rolled over with the red ink1 and an impression made on it4 ,the red words are then cut out with a sharp-pointed penknife1 with so much nicety as not to admit the smallest soil on the paper from the other matter4 ,the red being finished and the form washed1 the compositor unlocks it1 7this should be done on the imposing-stone1 as the pressman can easily lay it agreeably to the marks made on the press17 and draws out the red lines1 filling up the space with quadrates4 ,when this is done1 the pressman cuts out the frisket for the black4 ,an extra pair of points are used to prevent the black from falling on the red1 or1 as it is technically termed1 riding4 ,generally1 when a great number is to be printed1 as many forms are used as there are colours to be printed4 ,another method of placing the underlays is adopted for broadsides1 c4 with large letter and with but two or three lines of red4 ,the red lines are taken out on the press1 and underlays are put in1 upon which the lines are placed1 and the frisket is cut out as before mentioned4 ,a more expeditious method can be employed for forms in which the lines of one colour are not too numerous to be easily lifted4 ,after the form is ready1 and the various colours are marked on the proof1 a skeleton form is made up1 with labour-saving quotation furniture or wood furniture fitted into the spaces of all the lines except those of the colour to be first printed4 ,when the first colour is printed1 its lines are lifted from the form1 and the spaces filled with furniture1 and the lines for the next colour are set in their proper places and printed2 and so on till the job is completed4 ,the custom of printing broadsides1 c4 with several colours is so common that ink-makers generally now manufacture coloured inks2 consequently the printer can be supplied without the delay and labour of making4 ,we give the following particulars1 however1 for the benefit of those who wish to prepare their own colours4 ,varnish is the common menstruum adopted for all colours in printing4 ,red is the colour generally used with black4 ,trieste or ,english ,vermilion1 with a small portion of lake1 produces a beautiful red1 which should be ground with a muller on a marble slab till it be perfectly smooth4 ,if it be in the smallest degree gritty1 it clogs the form1 and consequently produces a thick and imperfect impression2 no pains should1 therefore1 be spared to render it perfectly smooth2 it may then be made to work as clear and free from picks as black4 ,a cheaper red1 but not so brilliant1 may be prepared with orange mineral1 rose pink1 and red lead4 ,prussian blue makes also an excellent colour1 but will require much time and labour to make it perfectly smooth4 ,it is also ground with the best varnish1 but made considerably thicker1 by allowing a greater portion of colour with the same quantity of varnish than the red2 it will then work clear and free from picks4 ,as this colour dries rather rapidly1 the rollers should be frequently washed4 ,other colours may be made1--viz41 lake and ,indian red1 which produce a deep red2 verditure and indigo1 for blues2 orpiment1 pink1 yellow ochre1 for yellows2 verdigris and green verditure1 for green1 c4 ,all these colours should be ground with soft varnish1 being in themselves driers1 or they will choke up the form4 ,the consistency of the ink must be governed by the quality of the work to be executed4 ,for a posting-bill or coarse job1 the ink should be very thin1 the proportion of varnish being much greater than required for fine work4 ,should the work be a wood-cut1 or small type1 the pigment should be made as thick as possible4 ,the best colours for printing are those of the lightest body and brightest colour4 ,,how ,,to ,,use ,,dry ,,colours4 ,to produce fine qualities of coloured printing inks by mixing pure dry colours with varnish1 the printer will do well to give heed to the following particulars3-- #a4 ,no more should be mixed at a time than will be required for the job in hand4 #b4 ,coloured inks should be mixed upon a slate or marble slab1 by means of the muller1 and never upon an iron or other metallic table4 ,the table1 before mixing1 should be thoroughly clean1 and perfectly free from the slightest soil or trace of other inks4 #c4 ,for working coloured inks1 the roller should not be too hard1 and should possess a biting1 elastic face4 ,when change of colour is required1 it should be cleaned with turpentine1 and a moist sponge passed over the face1 allowing a few minutes for the roller to dry before resuming its use4 ,for bronze printing1 the roller should have a firm face1 or the tenacity of the preparation may destroy it2 yet it must have sufficient elasticity to deposit the preparation freely and cleanly on the type4 #d4 ,various shades may be produced by observing the following directions3-- ,,bright ,,pink ,,ink4--,use carmine or crimson lake4 ,,deep ,,scarlet4--,to carmine add a little deep vermilion4 ,,bright ,,red4--,to pale vermilion add carmine4 ,,deep ,,lilac4--,to cobalt blue add a little carmine4 ,,pale ,,lilac4--,to carmine add a little cobalt blue4 ,,bright ,,pale ,,blue4--,cobalt4 ,,deep ,,bronze ,,blue4--,chinese4 ,,green4--,to pale chrome add ,chinese blue2 any shade can be obtained by increasing or diminishing either colour4 ,,emerald ,,green4--,mix pale chrome with a little ,chinese blue1 then add the emerald until the tint is satisfactory4 ,,amber4--,to pale chrome add a little carmine4 ,,deep ,,brown4--,burnt umber1 with a little scarlet lake4 ,,pale ,,brown4--,burnt sienna2 a rich shade is made by adding a little lake as above4 #e4 ,,gold ,,preparation4 ,print as with ordinary ink1 then put on the bronze powder with a broad camel-hair brush2 allow the impressions to remain a short time for the preparation to set1 then clean off the superfluous bronze3 the impressions will be much improved if passed through rollers4 ,,how ,,to ,,multiply ,,colours4 ,a printer who has on hand a stock of yellow1 carmine1 blue1 and black inks1 may produce other colours and shades by intermixing as follows3-- ,yellow and carmine1 mixed1 will give ,vermilion4 ,carmine and blue ,purple4 ,blue and black ,deep blue4 ,carmine1 yellow1 and black ,brown4 ,yellow and blue ,green4 ,yellow and black ,bronze green4 ,yellow1 blue1 and black ,deep green4 ,lighter shades may be obtained by adding proper proportions of white ink4 ,,contrast ,,of ,,colours4 ,it is wrongly supposed that the art of arranging colours so as to produce the best effects in printing is entirely dependent on the taste of the operator2 for harmony is determined by fixed natural laws4 ,the increasing demand for decorative or ornamental work renders it of some importance to the letter-press printer to make himself acquainted with these laws2 as1 without some attention to them1 the most elegant designs of the type founder1 and the finest inks that can be made1 may yield but an indifferent1 if not a decidedly unpleasing1 result4 ,the following remarks will be of use to persons to whom the subject is new2 but for a thorough explanation of it they should refer to ,chevreul on ,colours1--a valuable work in the ,french language1 which has been translated into ,english4 ,i4 ,we may1 in the first place1 consider ,,white ,,light as composed of three primary colours--blue1 red1 and yellow--duly blended2 these three1 in an infinite variety of proportion1 serving to produce all the hues in creation4 ,if we take any two of these primaries and mix them1 we have a secondary colour4 ,thus1 blue and red form violet1 blue and yellow give green1 red and yellow make orange4 ,each of these secondary colours harmonizes perfectly with the primary which does not enter into its composition4 ,violet1 for instance1--itself a mixture of red and blue1--harmonizes with yellow2 green1 having no red in its composition1 agrees well with red2 orange1 in the same way1 forms a perfect contrast with blue4 ,either of these contrasts has the effect of mutually brightening the colours employed2 a red and a green1 c4 being more beautiful when placed side by side than when viewed singly4 ,this is termed the ,,harmony ,,of ,,contrast ,,of ,,colours2 and a good example of it is seen in the scarlet geranium1 or the holly2 the one showing a light green leaf opposed to a bright red flower1 and the other a deep green leaf with a dark red berry4 ,the mixing of colours is a very different thing from contrasting them2 for strange as it may seem1 although one combination of the primary colours gives white1 yet another proportion will produce black4 ,while1 then1 red and green look beautiful side by side1 it does not generally answer to print red ink on green paper4 ,the reason is1 that as the ink is slightly transparent1 some of the green shows through it1 and appears somewhat black1 and thus lowers the brilliance of the red in the same degree as so much black ink would1 if mixed with it4 ,this remark will apply to orange or yellow on a blue paper1 c4 ,the darker and fuller the body of colour used1 the less it is affected in this manner4 ,the most perfect contrasts are those above mentioned1 which are formed by the complementary colours2 yet the primaries blue1 red1 and yellow also agree well together4 ,but if such colours as are not in harmony are placed near each other1 the effect is very damaging to their brightness4 ,while red is made more brilliant by the proximity of green1 it is dimmed and spoiled by placing it next an orange4 ,neither blue nor red contrasts well with violet1 because the latter contains each of these colours in its composition4 ,in any case where they must come into juxtaposition1 the unpleasant effect may be lessened by adding a little of the opposite colour3 so1 if a violet is to contrast with red1 it will be well to give it a shade of blue1 making it more purple2 if1 on the other hand1 it is to contrast with blue or green1 it should be made redder4 ,,ii4 ,,colours ,,with ,,black4 ,in all contrasts1 the depth of the colour is an important element1 but especially so in such as are to be affected by the presence of black4 ,in but few instances will the latter bear the neighbourhood of a very deep colour to advantage1 while it harmonizes with the lighter ones by contrast of tone4 ,yellow1 from its near approach to white1 should always be worked 8full20 orange and green should also be full1 and moderately deep in tone1 to contrast with black4 ,if a blue is employed1 it should be light1 or it will impoverish the black and be weakened itself4 ,a very light blue border1 with a broad margin of white between it and the body of matter enclosed1 will give a clean1 bright look to black ink1 and whiteness to the paper4 ,a light pink 7such as carmine reduced with flake-white or with clear varnish7 is also good2 yet perhaps the preceding is preferable4 ,dark and heavy borders are frequently a positive injury to printing1 where the working in a light shade would have secured a good effect2 for the border should always be so far secondary to the matter enclosed as not to draw off the attention too much to itself4 ,,iii4 ,,colours ,,on ,,tinted ,,papers ,,and ,,tinted ,,grounds4 ,besides the kind of harmony already mentioned1 there is another1 which is produced by the contrast of light and dark shades of the same colour4 ,this might be employed in letter-press more frequently than it is at present1 with some advantage1 as the effects it is capable of yielding are very chaste and pleasing4 ,in a photograph or an engraving1 all the effect is dependent on difference of tones of one colour2 and the beauty of a wood in summer consists chiefly in the contrast displayed by a variety of shades of green only4 ,a deep green ink on a paper of a light tone of the same colour is especially good1 if a heavy letter is used2 and indeed in most printing in colours1 full1 solid-faced letter should be preferred to outlines or shaded ones1 which are difficult to work1 and have at best but an inferior appearance unless the darkest tones are employed4 ,a deep blue on a light blue ground1 or against a light blue border1 is also good2 and without the latter accompaniment it is not unpleasant on a blue wove writing-paper4 ,to secure the proper effect1 however1 the tints should be of the same hue2 that is1 if the groundwork is of a bluish green1 the colour that is to be worked upon it should also be a green inclining to blue2 if1 on the other hand1 the ground is of a yellower green1 the body of ink should also be yellower2 and so on4 ,this may easily be managed by adding a small portion of ink of the colour required1 until the hue is matched4 ,,iv4 ,,neutral ,,tints4 ,in selecting borders for the more chaste description of printing1 it is a pretty safe rule to avoid such as cover much surface1 if they are to be worked in any strong colour or in black4 ,when lighter tints are used1 they will bear extension over a larger surface2 and in this case a pale gray or neutral border will have a beneficial effect on any body with which it is contrasted1 as well as on black itself1 which is purified by its proximity4 ,if the central printing is in black only1 or in black and yellow1 a lavender gray may be substituted for the border4 ,and in any case in which the central matter is all in one colour1 it will improve it to have a border of gray which is slightly tinged with the complementary of such colour4 ,thus1 if the body be red1 a very small portion of green may be added to the gray2 and so forth4 ,it must be remembered that in ornamental printing absolute cleanliness is indispensable4 ,the same roller should never be used for different colours1 even after it has been washed4 ,instead of hanging exposed to dust and to the air1 rollers should be kept in a tightly-closed box2 and in this manner they will remain a long time in good order4 ,the tins of ink should be similarly preserved1 and the lids never left off except at the moment of using from them4 ,these are small matters2 but it is only by patient attention to minute details that excellence can be attained in printing4 ,,oiling ,a ,,press4 ,excessive lubrication is wasteful1 unclean1 and hurtful to a press4 ,a small quantity of oil should be used at a time1 as a large amount will overrun on the press1 and hold the dust and grit caused by sweeping the floor2 these1 working into the journals1 will wear the press more than use4 ,the best oil should be used1 whether sperm1 lard1 or coal4 ,kerosene may be used to clean the ways of a press when they have become gummed by the use of improper oil4 ,presses should always be kept scrupulously clean4 ,,how ,,to ,,treat ,,wood ,,type4 ,to prevent warping1 all very large wood type should be set up on the edge when put away1 so that both sides may be equally exposed to the air4 ,in cleaning it1 neither ley nor water should be employed under any circumstances4 ,turpentine1 camphene1 benzine1 or kerosene oil may be used2 but turpentine and camphene are the best4 ,procure a small1 shallow pan2 lay the form flat on a board2 pour about six tablespoonfuls of turpentine into the pan2 touch the face of the brush to the turpentine1 and pass it quickly over the form before it evaporates4 ,six to eight spoonfuls of fluid will be found sufficient to clean a large form1 if thus used4 ,illustration3 ,,palette ,,knife4 ,illustration ,,warehouse ,,department4 ,,the ,,warehouseman4 ,illustration ,the warehouseman should be a man sober and upright1 and thoroughly competent to the business1 on whom entire reliance may be placed1--one who will act upon the principle of making his employer's interest the end of all his action4 ,the employer or foreman should frequently look to the concerns of the warehouse1 and see that all the work is forwarded with despatch and accuracy4 ,the warehouseman should be provided with a book1 termed 8,the ,warehouse ,book10 with pages annexed1 on the following plan1 and about the size of foolscap quarto3-- ---------------------------------------- ------------------------------ ,,butler',s ,,new ,,american ,,arithmetic4 7,,no4 ,,printed1 #ejjj47 ---------------------------------------- -------------------------- ,,receipt ,,of ,,no4 ,,of ,,to ,,whom ,,date4 ,,paper1 ,,and ,,of ,,copies ,,delivered1 ,,and ,,for ,,whom4 ,,whom4 ,,delivered4,,receipted ,,for4 ---------------------------------------- -------------------------- #ahgh4 ,may #c4 #dc reams of ,e4 ,c4 ,p4 ,h4 ,warren4 ,june #h4 #dj ditto4 0 #bd4 #bejj ,speel ,co4 ,j4 ,h4 ,butler 0 #cj4 #bjjj ,r4 ,eyelet1 binder4 ,co4 ,aug4 #d4 #cjj ,paul ,picot4 0 0 #e4 ,with waste #bcj ,wm4 ,crouse4 0 ---- #ejcj ---------------------------------------- -------------------------- ,when the paper is brought1 the warehouseman should at once compare it with the bill of delivery1 and1 if right1 enter the quantity immediately into the warehouse book4 ,the number of printed copies delivered to the binder or publisher should also be entered1 and his signature be taken at the time of delivery4 ,this plan will prevent disputes with the bookseller or author relative to the receipt of paper or the delivery of sheets4 ,having entered the receipt of the paper1 the warehouseman should then write on each bundle1 with red chalk1 the title of the book it is to be used for1 and remove it into a convenient part of the warehouse1 or into a store-room provided for that purpose4 ,,giving ,,out ,,paper ,,to ,,wet4 ,a bundle of paper consists of two reams1 or forty quires1 each quire containing twenty-four sheets4 ,formerly1 the two outside quires were called cassie quires1 as they were mostly made up of torn1 stained1 wrinkled1 or otherwise imperfect sheets4 ,at present1 all the quires are considered good1 although some outer sheets are injured by the twine used in tying up the bundles4 ,it is the general custom to print of every work what is termed an even number1--either #bej1 #ejj1 #gej1 #ajjj1 c4 ,these quantities are given out for the wetter in tokens1--viz43 for #bej sheets1 one token1 containing #aj quires #ah sheets2 for #ejj1 two tokens1 one #aa quires1 and the other #aj quires and a half2 for #gej1 three tokens1 two of them #aa quires each1 and the other #aj quires #f sheets2 and for #ajjj1 four tokens1 three of them #aa quires each1 and the other #aj quires4 ,if a work is printed in half-sheets1 it of course requires only half the above quantities4 ,it would be difficult to form any positive and invariable rule for the quantity to be given out for short numbers1 as it must depend in some degree upon the quality of the paper4 ,the more expensive papers1 on which1 generally1 short numbers or line copies are printed1 must be given out more sparingly than common paper1 and the tympan and register sheets be supplied by a more common sort1 cut to the size of the finer4 ,for numbers up to #aej1 on ordinary paper1 six sheets over will be sufficient4 ,some publishers are very testy on this point of allowance for waste4 ,in giving out paper for what are termed jobs1 the amount necessary can easily be found by a simple calculation in division4 ,for example1 a job1 7label or any thing else17 #gej in number1 #cb on a sheet1 will require #bd sheets1 which will give an overplus of #ah4 ,where a sheet has to be cut into many parts1 allowance must be made for accidents4 ,the overplus sheets are allowed for tympan-sheets1 register-sheets1 and other incidents1 such as bad sheets1 faults committed in rolling1 pulling1 bad register1 c42 in any of these casualties1 the pressman doubles the sheet in the middle and lays it across the heap4 ,in laying out the paper1 the warehouseman reverses every other token1 to enable the wetter to distinguish the different tokens4 ,when this is done1 he labels the heap1 thus3 ,american ,printer1 ,may #aj1 #ahgh1--that the pressman may know how long it has been wet1 and the state it is in for working4 #cb7gej7bc #fd --- #aaj #if --- #ad ,,hanging ,,up ,,paper ,,to ,,dry4 ,when the paper is worked off and counted1 the warehouseman carries the heap to the drying-room1 where the poles are fixed for the purpose of hanging the sheets upon to dry1 and lays it down on a table of convenient height1 with one end of the heap toward him4 ,he then takes the handle of the peel in one hand1 and lays the top part down upon the heap1 so that the upper edge may reach near the middle of the sheet2 then1 with the other hand1 he doubles over as much of the printed paper as he thinks sufficient to hang up at one lift1 which should be about twelve sheets1 according to the pole-room to hang them4 ,in hanging up the lifts1 he places them so that each lift will lap about an inch over the preceding one4 ,it is necessary1 where the end of the pole is exposed to a strong current of air from a window1 to lock the last lift4 ,this is done by folding a lift two or three times1 so as to concentrate its weight in a small compass1 and hanging this over the last lift near the window4 ,,taking ,,down ,,sheets ,,when ,,dry4 ,when the sheets are sufficiently dry1 the warehouseman takes his peel and begins with the last lift hung up1 on account of the wrapper being with that lift1 and proceeds in the reverse order of hanging them up1 successively taking them down1 and brushing them1 if dusty1 till he has finished the whole4 ,another way of taking the sheets down from the poles is1 to lay the flat side of the peel against the edge of that lift which hangs over the other sheets1 and push the peel forward1 forcing them to slide1 one lift over another4 ,but by this method the dust which settles on the sheets while hanging is rubbed in4 ,,filling ,,in ,,and ,,pressing ,,sheets4 ,when the sheets are taken down1 the warehouseman removes them to the warehouse1 where they are filled in between smooth pasteboards made for the purpose4 ,this operation is generally performed by boys1 who1 after a little practice1 become exceedingly expert at it4 ,we shall try to be somewhat minute in our description of this operation4 ,we will suppose the pasteboards to have sheets between them1 which will be the case after they have been once used4 ,the warehouse being provided with long tables or benches1 secured to the wall1 and a sufficient number of movable tables about the size of the largest paper1 the warehouseman places one of the small tables endwise against the long one1 forming a right angle1 upon which to lay the pressed sheets as they come out of the boards2 the boy then takes his stand at the right side of the table1 with the dry unpressed sheets at his right hand and the pasteboards at his left1 somewhat elevated1 leaving sufficient space before him to fill in the sheets4 ,he then proceeds as follows4 ,he first moistens the thumb of his right hand and reaches across to the pasteboards at his left1 drawing one off with his thumb and placing it before him2 he then catches a sheet of the dry paper also with his right hand and places it as near the centre of the pasteboard as possible2 then1 twisting his body nimbly round to the left1 he slides the pressed sheet from the pile of pasteboards to the table at his left side1 and1 in resuming his former position1 again draws off a pasteboard with his thumb2 and so on1 till the gross or bundle is filled4 ,it is then laid aside1 and another bundle filled and laid across the former1 taking care always to keep the bundles separated until they are put in press1 when they are separated by smooth boards made of cherry or other hard wood4 ,the bundles being all filled in1 the warehouseman proceeds to fill up the standing-press1 putting in one bundle at a time and placing a pressing-board between them2 there should also be a stout plank introduced between the top board and the platen4 ,in case the press should not hold quite as much as desired1 more may be got in by unscrewing the press after it has been once screwed down4 ,the press is finally screwed down as tight as possible4 ,it should remain so for at least twelve hours1 when it should be entirely emptied before the sheets are taken out of the boards4 ,the sides of the piles or heaps must be kept perfectly even4 ,in large offices1 hydraulic presses are used4 ,illustration3 ,,improved ,,standing ,,press4 ,,counting ,,out ,,and ,,putting ,,away ,,sheets4 ,when the sheets are taken out1 the warehouseman knocks them up1 and1 after counting them into quires1 ties them up in wrappers1 marking the name of the work and signature on each bundle4 ,two or three sheets of each signature should be laid aside1 in case the author1 bookseller1 or employer should want a copy of the work or a specimen of as many sheets as are finished4 ,,standard ,,sizes ,,of ,,machine-,,made ,,paper4 7,furnished by ,a4 ,g4 ,elliot ,co41 ,philadelphia47 ,,printing ,,paper4 ,medium inches1 #ai #bd ,royal #bj #be ,super ,royal #ba #bg ,imperial #bb #cb ,royal and ,half1 #be #cj ,double ,medium #bd #ch ,imperial and ,half #cb #cc ,double ,super ,royal #bg #db ,double ,imperial1 #cb #dd4 ,other sizes kept on hand1 but without technical names1 are as follows3--#bb #bh2 #bd #cf2 #be #ci2 #bf #dj2 #bh #db4 ,,writing ,,paper4 ,note inches1 #h #aj ,packet ,note #i #aa ,letter #aj #af ,commercial ,post #aa #ag ,packet ,post #aa #ah ,foolscap #ac #af ,flat ,cap #ad #ag ,crown #ae #ai ,demy #af #ba ,folio #ag #bb ,medium #ah #bc ,royal #ai #bd ,super ,royal #bj #bh ,imperial #bc #ca ,elephant #bc #bh ,columbier #bc #cd ,atlas #bf #cc ,double ,elephant #bg #dj ,antiquarian #ca #ec ,illustration ,a ,,table ,for ascertaining the ,number of ,forms for a ,book of any ,size1 and the ,quantity of ,paper necessary to print a thousand copies in any form1 from ,octavo to #cfmo1 half-sheetwise4 ---------------------------------------- ---------------------- ,,no4 ,,of ,,paper ,,for ,,forms4 #hvo4 #abmo4 #afmo4 #ahmo4 #bdmo4 #cbmo4 #cfmo4 #ajjj ,,copies4 ---------------------------------------- ---------------------- ,,pages4,,pages4,,pages4,,pages4,,pages4 ,,pages4,,pages4 ,,reams4 ,,qrs4 #a #h #ab #af #ah #bd #cb #cf #a #b #b #af #bd #cb #cf #dh #fd #gb #b #d #c #bd #cf #dh #ed #gb #if #ajh #c #f #d #cb #dh #fd #gb #if #abh #add #d #h #e #dj #fj #hj #ij #abj #afj #ahj #e #aj #f #dh #gb #if #ajh #add #aib #baf #f #ab #g #ef #hd #aab #abf #afh #bbd #beb #g #ad #h #fd #if #abh #add #aib #bef #bhh #h #af #i #gb #ajh #add #afb #baf #bhh #cbd #i #ah #aj #hj #abj #afj #ahj #bdj #cbj #cfj #aa #aa #hh #acb #agf #aih #bfd #ceb #cif #ab #b #ab #if #add #aib #baf #bhh #chd #dcb #ac #d #ac #ajd #aef #bjh #bcd #cab #daf #dfh #ad #f #ad #aab #afh #bbd #beb #ccf #ddh #ejd #ae #h #ae #abj #ahj #bdj #bgj #cfj #dhj 444 #af #aj #af #abh #aib #bef #bhh #chd #eab 444 #ag #ab #ag #acf #bjd #bgb #cjf #djh 444 444 #ah #ad #ah #add #baf #bhh #cbd #dcb 444 444 #ai #af #ai #aeb #bbh #cjd #cdb #def 444 444 #bj #ah #bj #afj #bdj #cbj #cfj #dhj 444 444 #bb #ba #afh #beb #ccf #cgh #ejd 444 444 #bc #b #bb #agf #bfd #ceb #cif 444 444 444 #bd #d #bc #ahd #bgf #cfh #dad 444 444 444 #be #f #bd #aib #bhh #chd #dcb 444 444 444 #bf #h #be #bjj #cjj #djj #dej 444 444 444 #bg #aj #bf #bjh #cab #daf #dfh 444 444 444 #bh #ab #bg #baf #cbd #dcb #dhf 444 444 444 #bi #ad #bh #bbd #ccf #ddh #ejd 444 444 444 #cj #af #bi #bcb #cdh #dfd 444 444 444 444 #ca #ah #cj #bdj #cfj #dhj 444 444 444 444 #cc #ca #bdh #cgb #dif 444 444 444 444 #cd #b #cb #bef #chd #eab 444 444 444 444 #ce #d #cc #bfd #cif #ebh 444 444 444 444 #cf #f #cd #bgb #djh #edd 444 444 444 444 #cg #h #ce #bhj #dbj #efj 444 444 444 444 #ch #aj #cf #bhh #dcb #egf 444 444 444 444 #ci #ab #cg #bif #ddd #eib 444 444 444 444 #dj #ad #ch #cjd #def #fjh 444 444 444 444 #da #af #ci #cab #dfh 444 444 444 444 444 #db #ah #dj #cbj #dhj 444 444 444 444 444 #dd ---------------------------------------- ---------------------- ,,example4--,how many reams will be required for a #abmo book containing #djh pages8 ,find the number of pages 7#djh7 in the #abmo column3 in the outer column on the left of the table the number of forms is seen1 and in the outer column on the right the quantity of paper required is given4 ,illustration ,,jobbing ,,facilities4 ,illustration ,there is no department in the art that is better provided with means for its efficient prosecution than job printing4 ,it is true that an establishment fully provided with all the old and new conveniences will involve a very considerable outlay2 yet a beginner in a small way1 who has to count the cost carefully1 may avail himself of many facilities which were unknown a score of years ago4 ,the smaller the capital1 the more need for the exercise of a wise discretion in the selection of material4 ,regard should be had to the special line of work to be undertaken1 and the type and presses adapted to that line should be selected4 ,if the master himself shall work with head and hand1 perseveringly and early and late1 and shall do good work at fair prices--never cutting-under to secure a job at non-paying rates1--and shall be obliging in manner and punctual in delivery1 and shall waste no dimes in drink or other useless expenses1 the growth of his business will be only a matter of time2 and he will gradually be able to order just what that growth necessitates1 until he shall find himself the proprietor of a well-appointed office and a paying business4 ,in his first outlay and in all his additions1 the best of every kind should be gotten1 if possible1 as cheap things always prove dear4 ,it matters little how well appointed an office may be1 there will be no gains in it unless the proprietor1 counting the cost carefully1 makes sure that every job shall pay a reasonable profit4 ,when a job is taken in1 it should be fully entered in a volume1 giving all particulars in regard to the number of copies1 style1 and price4 ,this may serve as a ,day ,book or ,blotter4 ,a memorandum-slip1 like the following1 may be filled out for each job1 and kept on file after the work shall have been completed3-- ,no4 of ,order ,size of ,card1 ,paper or ,book1 when finished ,quality ,number of ,copies ,style of ,type ,size of ,form ,colour of ,ink ,time of ,composition ,time on ,press ,proof wanted ,goods to be called for 0 0 delivered ,price ,paid in advance1 ,date ,it will be satisfactory to keep what may be called an ,estimate ,book1 in which may be entered the particulars of estimates given for various kinds of work1 whether the job be secured or not1 these particulars will be time-saving when a similar piece of work comes in for estimate4 ,samples of paper1 of all grades and colours1 may be kept in a convenient receptacle1 cut up into various sizes1 and with memoranda written on each sample to denote the cost per ream1 the weight1 and the number of pieces in a sheet4 ,a useful thing to have in a job office is ,ames's ,paper and ,card ,scale1 for fractional sizes1 showing the number of pieces of any required size that can be cut from a sheet without waste1 with a table giving the number of sheets required to cut #ajjj pieces1 and another showing the cost of paper by the quire1 sheet1 and hundred sheets1 at any given price per ream4 ,besides the above1 we may mention ,le ,blond's ,chart1 a very compact affair1 showing the number of any given size of card that can be cut out of a card sheet #bb #bh inches4 ,illustration3 ,,job ,,case4 ,illustration3 ,,triple ,,job ,,case4 ,illustration3 ,,labour-,,saving ,,rule ,,case4 ,the modern printer has every convenience that can be desired in the way of cases1 and his type and other material are amply provided with receptacles well adapted for each special use4 ,there are not only large and small cabinets1 filled with job cases of various styles and capacities1 but there may be had cases for rules1 leads1 and furniture1 as well as blank cases for indefinite uses4 ,we give representations of these4 ,illustration3 ,,labour-,,saving ,,slug ,,case4 ,illustration3 ,,labour-,,saving ,,lead ,,case4 ,illustration3 ,,quotation ,,furniture ,,case4 ,illustration3 ,,blank ,,case4 ,all cases should be labelled1 and the label should be printed in the same type that is contained in the case4 ,capitals and lower-case job types should not be laid together in the same boxes4 ,the saving of time in a year will pay for extra cases4 ,illustration3 ,,cabinet ,,of ,,cases1 ,,with ,,galley ,,top4 ,job type-cases should be kept in cabinets1 and not in stand-racks1 as the latter cannot be used without interfering with the hand whose stand may contain the case wanted4 ,various kinds of cabinets are shown on pages #bai-bba1 #bca and #bcd1 some of which are constructed to hold cases and quad and space boxes4 ,all matter should be cleared away as soon as done with4 ,this work can be done by careful boys4 ,standing galleys1 or cabinets with galley tops1 for type to be kept awhile1 will be found useful and convenient2 but matter preserved for occasional future use were better papered up and labeled or stored away locked up in a chase cabinet4 7,see p4 #bca47 ,a rack with sloping boards to support the forms will prove to be a safe and convenient place for keeping the forms of type which need to be held standing4 ,labour-saving leads1 and slugs1 and reglets1 cut to varying lengths1 when not in use1 should be kept in cases specially provided for them4 ,and so with labour-saving brass rule1 quotation furniture1 rule1 etc4 ,it is economical as well as tidy to have appropriate places for every thing4 ,for fixed measures1 or measures not often changed1 the standard screw composing-sticks are probably the best2 but for jobbing and table-work1 where the measure is frequently altered1 it will be well to use the new styles1 such as are shown above2 no screw-key or screw-driver being required1 the latter can be quickly and easily set to a new measure4 ,illustration3 ,,wooden ,,job ,,stick4 ,illustration3 ,,franklin ,,stick4 ,illustration3 ,,raymond',s ,,patent ,,stick4 ,illustration3 ,,newbury',s ,,stick4 ,illustration3 ,,hoe',s ,,patent ,,stick4 ,illustration3 ,,grover',s ,,stick4 ,illustration3 ,,albion ,,stick4 ,the boxwood quoin will probably continue to hold its place1 though not a few printers favour the use of the newly-invented iron articles offered by various manufacturers1 such as ,webb's ,mechanical ,quoin1 ,ames's1 ,hoe's1 ,allen's1 and ,hempel's ,patent ,quoins4 ,the latter quoin has1 from its durability and easy application1 crowded out all competitors4 ,illustration3 ,,hempel',s ,,quoins ,,in ,,position4 ,illustration3 ,,hempel',s ,,quoin4 ,among the very handy things to have about an office1 we may enumerate the circular and hollow quadrates1 shown on pages #gg and #gh2 corner quadrates1 cast in type-metal2 and also the brass line-formers1 shown on page #gi1 that enable the workman to curve lines expeditiously4 ,illustration3 ,,corner ,,quadrates4 ,even so simple a thing as a shooting-stick1 commonly made of hickory or ash1 is now to be had in brass or iron4 ,these latter are certainly more durable1 but dangerous in careless hands4 ,illustration3 ,,wooden ,,shooting-,,stick4 ,illustration3 ,,brass ,,shooting-,,stick4 ,illustration3 ,,iron ,,shooting-,,stick4 ,illustration3 ,,armstrong',s ,,combined ,,mallet ,,and ,,shooting-,,stick4 ,a novel invention is ,armstrong's ,patent ,combined ,mallet and ,shooting-,stick4 ,this is desirable for general use1 and for locking-up forms on the press1 or of service where room for the use of the ordinary mallet and shooting-stick is limited to a confined space4 ,illustration3 ,,mitering ,,machine4 ,illustration3 ,,lead ,,cutter4 ,a mitering machine and lead-cutter are among the necessary adjuncts of a printing-office4 ,perforating ,rule is slightly higher than type1 and is used in printing coupons and tickets which require to be partially severed while going through the press4 ,it is made of brass or steel4 ,a more convenient 7as well as more expensive7 article is ,ames's ,patent ,perforator3 its knife1 or perforator1 lies below the surface of the type while the rollers pass over the form1 and rises and makes a clean cut when the impression is on1 without injuring the rollers4 ,illustration3 ,,perforating ,,rule4 ,machines for perforating round holes are manufactured of several sizes4 ,the lowest-priced machine may be worked on a counter1 and will perforate every kind of card-board or paper4 ,we give a cut of this style4 ,illustration3 ,,round ,,hole ,,perforating ,,machine4 ,imposing ,stones may be had with drawers and cases underneath2 but these we do not deem advisable1 unless the printer be cramped in room1 as the cases may be wanted when the stone is in use while imposing or correcting forms4 ,for common use1 the plain stone with a single drawer1 and without a rim1 will be found the nicest4 ,when made otherwise1 the rim should be fitted snugly to the stone1 or the interstices will become filled with types1 dropped in while correcting4 ,illustration3 ,,imposing ,,stone4 ,a very convenient device for the compositor is the ,copy-,holder4 ,this1 however1 is for the book compositor rather than for the jobber4 ,its utility consists in bringing the copy nearer to the eye of the workman1 and in leaving all the boxes at command and uncovered by the manuscript or printed page4 ,there is also a ,lamp-,holder which will be found handy where gas is not accessible4 ,illustration3 ,,copy-,,holder4 ,illustration3 ,,ruggles ,,card ,,cutter4 ,card ,cutters are made of several styles1 and at prices from fourteen dollars to forty-five2 and ,paper ,cutters are yet more numerous1 some of them simple and low-priced1 and others massive and costing twelve hundred dollars4 ,we give an engraving of one of moderate price4 ,an extensive run of business only would require the employment of a large paper cutter4 ,illustration3 ,,minerva ,,cutting ,,machine4 ,illustration3 ,,megill',s ,,patent ,,gauge ,,pin4 ,illustration3 ,,extension ,,feed-,,guide4 ,several contrivances for facilitating press operations have been invented4 ,we may mention ,megill's ,patent ,gauge ,pin1 of sizes suitable for various margins4 ,two small teeth1 projecting from the lower side of the head of the pin1 press into the tympan sheet and prevent the gauge from moving4 ,there is also the ,extension ,feed-,guide1 which furnishes a gauge below the edge of the platen1 and is held firmly in place by the tympan-clamp4 ,illustration3 ,,hart',s ,,counter4 ,when long numbers are printed1 the ,automatic ,counter may be attached to the press4 ,it counts only when the form is being printed1 and shows the exact number in plain figures up to #ajj1jjj4 ,several styles of counting machines are made4 ,illustration3 ,,patent ,,ink ,,fountain4 ,an ink fountain has been contrived for attachment to the ,gordon job press1 or any other press with similar plate distribution4 ,it is quite a cosey little thing1 and is operated by the impression arm of the press4 ,iron furniture is made in sets containing twenty-one pieces1 adapted for use on the eighth1 quarter1 and half medium job presses4 ,illustration ,,useful ,,receipts4#bb ,printers' rollers4--#aj lbs4 ,french or ,irish heavy glue1 #ab lbs4 sugar or good quality molasses1 and #c lbs4 glycerine4 ,this will be sufficient to make two rollers twenty-nine by three and one-half inches1 and can be readily recast by following the directions given for recasting rollers4 ,,directions4--,soak the glue the necessary length of time that will enable it to melt with ease4 ,after being melted1 add the glycerine1 and boil fifteen minutes or until thoroughly mixed1 when the sugar or molasses may be added4 ,cook and stir continuously for fifteen minutes1 the composition will then be ready for pouring4 ,strict attention should be given that the moulds be thoroughly cleansed and evenly oiled previous to pouring4 99 99 99 99 99 ,german ,preservative for ,rollers4--,corrosive sublimate #b drachms1 fine table salt #b oz42 put together in half a gallon of soft water--let it stand twenty-four hours4 ,when rollers are clean washed with ley1 sponge them with the above mixture twice a week4 99 99 99 99 99 ,directions for ,recasting ,rollers4--,sponge the face of the roller with hot water2 scrape off the face thoroughly with a knife2 take the composition off the stock and cut it up small4 ,if the roller has been used only a short time1 it may be melted about as readily as new composition2 if it is older1 put it in a sieve or basket and soak it in cold water for about fifteen or twenty minutes2 take it out of the water1 cover with a damp cloth1 and leave over-night2 then melt as usual4 ,if composition is too hard1 wait till it is melted1 and stir in a sufficient quantity of common molasses2 avoid heavy1 clarified syrups4 99 99 99 99 99 ,printers' ,ley4--,no4 #a4--;,dissolve #bh lbs4 of soda in #eb gallons of water1 to which add #g lbs4 of soft-soap1 boiled4 ,stir well together4 ,printers' ,ley4--,no4 #b4--;,boil #c gallons of water in a copper2 throw in while boiling lb4 of unslacked lime and #b lbs4 of common soda2 stir well for fifteen minutes4 ,let it settle till cold1 when it must be taken out without disturbing the sediment1 and the liquid is then fit for use4 ,printers' ,ley4--,no4 #c4--,table salt #b oz41 unslacked lime #b lb41 ,scotch washing soda 7bruised7 #b lb4 ,put together in #c gallons of water1 stir well2 when settled1 ready for use4 ,,note4--,this ley1 if prepared carefully1 is very strong1 and will wash off almost any colour4 99 99 99 99 99 ,a ,strong ,white ,paste4--,dissolve #b oz4 of gum-arabic in #b quarts of water1 and stir it into #a pound of wheat flour until the whole becomes of a pasty consistency4 ,it is then to be heated1 and #a oz4 each of sugar of lead and alum dissolved in a little water added thereto1 and the composition well stirred until it shows signs of boiling1 when it must be removed from the fire4 ,add while hot #f drops of carbolic acid4 ,this is a very tenacious and durable paste1 and may be used on almost any substance4 99 99 99 99 99 ,pastes for ,fixing ,labels on ,glass4--,no4 #a4--,take of gum-arabic #a oz41 boiling water and glycerine #b fluid ounces each4 ,make a solution4 ,no4 #b4--,take of gum-arabic and powdered gum tragacanth oz4 each1 water #a oz41 acetic acid #bj drops4 ,mix4 ,the acid is used to prevent chemical change1 although a stiff paste made of tragacanth alone is not inclined to spoil by fermentation4 99 99 99 99 99 ,to ,make a good ,mucilage4--,the best quality of mucilage is made by dissolving clear glue in equal volumes of water and strong vinegar1 and adding one-fourth of an equal volume of alcohol1 and a small quantity of a solution of alum in water4 ,the action of the vinegar is due to the acetic acid which it contains4 ,this prevents the composition from gelatinizing by cooling2 but the same result may be accomplished by adding a small quantity of nitric acid4 ,some of the preparations offered for sale are merely boiled starch1 or flour1 mixed with nitric acid to prevent the gelatinizing4 99 99 99 99 99 ,liquid ,glue4--,take some good strong glue and mix it with full proof whisky4 ,let it digest for three or four days1 and it will be ready for use4 99 99 99 99 99 ,strong ,mucilage4--,the ,journal de ,pharmacie states that if1 to a strong solution of gum-arabic measuring #h fluid oz41 a solution of #cj grains of sulphate of aluminium dissolved in of an oz4 of water be added1 a very strong mucilage is formed1 capable of fastening wood together1 or mending porcelain or glass4 99 99 99 99 99 ,gum for ,backing ,labels4--,take any quantity of clear1 pure dextrine and mix it with boiling water until it assumes the consistency of ordinary mucilage4 ,apply thinly with a full-bodied1 evenly made1 and wide camel's-hair brush4 ,the paper should not be too thin or unsized4 ,the preparation will dry quickly1 and adhere when slightly wet4 ,,note4--,no more of the dextrine should be mixed at one time than can be used at once1 as it cannot be remelted easily4 99 99 99 99 99 ,mucilage for ,postage ,stamps1 ,envelopes1 etc41 is composed of dextrine #b parts1 acetic acid #a part1 alcohol #a part1 water #e parts4 99 99 99 99 99 ,common ,prepared ,glue4--,dissolve #b lbs4 good common glue in #c pints warm water1 and add #a quart of strong vinegar4 ,ready to use after twenty-four hours4 99 99 99 99 99 ,for making ,magenta ,surface ,paper4--#a oz4 of ,magenta1 7aniline17 oz4 ,bismarck brown1 7aniline17 #a cake of glue2 put these into #d gallons of boiling water4 ,coat the paper with this1 using an #h-;inch double-filled camel's-hair brush4 ,quantity given will coat two reams of double-crown4 ,a hard-sized paper must be used4 99 99 99 99 99 ,coloured ,writing ,inks4--,the following receipts have been well tested1 and are commended by good authorities as preferable to the solutions of aniline dyes1 which are now so extensively used as coloured inks3-- ,,green4--,two parts acetate of copper1 one part carbonate of potash1 and eight parts of water4 ,boil until half evaporated1 and filter4 ,,blue4--,three parts ,prussian blue1 one part oxalic acid1 and thirty parts of water4 ,when dissolved1 add one part of gum-arabic4 ,,yellow4--,one part fine orpiment1 well rubbed up with four parts thick gum water4 ,,red4--,with the aid of a gentle heat1 dissolve four grains of carmine in #a oz4 of aqua ammoni1 and add #f grains of gum-arabic4 ,,gold4--,rub gold leaf1 such as is used by bookbinders1 with honey1 till it forms a uniform mixture4 ,when the honey has been washed out with water1 the gold powder will settle at the bottom1 and must be mixed with gum water in sufficient quantity4 ,,silver4--,silver leaf treated in precisely the same manner gives a silver ink4 ,both these inks may be polished with ivory when dry4 ,,black4--,three ounces crushed gall-nuts1 two ounces crystallized sulphate of iron1 two ounces gum-arabic1 and twenty-four ounces water4 ,,white4--,fine ,french zinc-white1 or white lead1 rubbed up with gum water to the proper consistency4 99 99 99 99 99 ,fireproof ,ink4--,fireproof ink1 which can be used either for writing or printing3--,copal #ab grains1 graphite #bb drachms1 sulphate of iron #b drachms1 tincture of nut-galls #b drachms1 and sulphate of indigo #h drachms2 these are thoroughly mixed and boiled in water1 and the ink so obtained is said to be both fireproof and insoluble in water4 ,when any other colour than black is desired1 the graphite is replaced by any other mineral pigment of the required colour4 99 99 99 99 99 ,printing ,ink ,varnish4--,printing ink varnish is made by adding #d oz4 of boiled linseed or neat's-foot oil to #f oz4 of yellow rosin4 99 99 99 99 99 ,lithographic ,transfer ,ink4--,three parts gum copal1 #e parts wax1 #e purified tallow1 #d soap1 #e shellac1 #e mastic1 and one-half part sulphur4 ,the copal is to be melted in a copper vessel1 mixing in a little sweet oil1 add the wax and tallow1 and when these are well melted1 light the mass and throw in the soap1 well dried and cut in small pieces1 then the shellac and mastic4 ,the flame is to be increased by the addition of the flowers of sulphur1 and so a perfect mixture of the copal with the other substances will be attained4 ,the flame is to be alternately kindled and extinguished till the whole mass is reduced to one-fourth of its former bulk4 99 99 99 99 99 ,to give dark ,printing ,inks a ,bronze or ,changeable ,hue4--,take #a lb4 gum shellac and dissolve it in #a gallon #ie per cent4 alcohol spirits of cologne for #bd hours2 then add #ad oz4 aniline red2 let it stand a few hours longer1 when it will be ready for use4 ,add this to good blue1 black1 or other dark inks1 as needed1 in quantities to suit1 when1 if carefully done1 they will be found to have a rich bronze or changeable hue4 99 99 99 99 99 ,an ,ink for ,marking ,tin or ,zinc4--,an ink composed of copper one part1 dissolved in ten parts nitric acid1 ten parts water being afterward added1 is useful for marking on tin or zinc4 99 99 99 99 99 ,quick-drying ,preparations for ,printers' ,inks to be used on ,bookbinders' ,cases4--#a oz4 beeswax1 oz4 gum-arabic dissolved in sufficient acetic acid to make a thin mucilage1 oz4 ,brown's ,japan1 oz4 asphaltum varnish4 ,incorporate with #a lb4 of wood-cut ink4 99 99 99 99 99 ,a ,dryer4--,no4 #a1 for fine job work4 ,damar varnish #f oz41 bergamot #b drachms1 balsam copaiba #b drachms1 balsam of fir #c oz41 creosote #a drachm1 copal varnish #a drachm4 ,to enough ink for #ajjj ordinary business cards1 add from #h to #ab drops of the 8,indispensable10 and to larger quantities in proportion4 ,when used for bronze1 dry colours1 diamond printing1 etc41 take twice the quantity2 and where an extra quick dryer is desired1 add a few drops of dissolved gum-arabic to the ink1 after it has been mixed with ,no4 #a4 ,in all cases1 mix well with the ink before applying to the rollers4 ,dryer4--,no4 #b4--;,for news and poster ink4 ,spirits of turpentine #a qt41 balsam copaiba #f oz4 ,add a sufficient quantity to the ink to thin it to a proper consistency for working4 99 99 99 99 99 ,silvering ,solution for ,electrotype ,plates4--,nitrate of silver #b drachms1 distilled water #cg drachms4 ,dissolve and add sal ammoniac #a drachm1 hypophosphate of soda #d drachms1 precipitated chalk #d drachms4 ,agitate the preparation occasionally for twelve hours1 when it will be ready for use4 ,apply with a piece of fine sponge4 99 99 99 99 99 ,how to coat ,electrotypes with ,silver4--,electrotypes can be coated with silver 7for working with red ink7 in the following manner3 ,one part copper1 #e parts pure tin2 this alloy to be granulated1 not too fine1 and mixed with water and cream of tartar into a paste4 ,to each #bjj parts of the granulated alloy add #a part oxide silver1 the electro is then laid in it1 and boiled for a short time1 when it will be found to be beautifully plated4 ,fresh oxide must be added from time to time4 ,this coating is quite equal in durability to silver or tin4 99 99 99 99 99 ,to soften ,leather ,belting4--,castor oil is a good article for keeping leather belting soft and pliable4 99 99 99 99 99 ,how to open a ,ball of ,twine4--,a ball of twine1 if opened from the inside1 will run off easily enough and give no trouble in the untwining2 but if begun from the outside1 it will speedily get tangled and knotted4 99 99 99 99 99 ,to prevent ,adhesion4--,m4 ,,garde1 in l',imprimerie1 tells paper-makers how to obviate the inconvenience of the adhesion together of sized papers1 on damping1 by the coagulation of the size4 ,this is effected in the mills1 by dipping the sheets in a solution of alum or tannin4 ,a secondary advantage obtained is that the paper becomes tougher4 99 99 99 99 99 ,to detect ground ,wood in ,paper4--,mix three parts of strong nitric acid with one part of sulphuric acid3 a drop of this solution will immediately turn paper containing an admixture of ground wood a brown colour4 99 99 99 99 99 ,french ,gold ,printing4--,french copal varnish #a oz41 mastic varnish of an oz42 mix together and add twenty drops to the black ink table1 and distribute2 take an impression and apply1 with wool1 gold leaf1 ,dutch metal1 or bronze4 ,apply the bronze with cotton wool and rub hard over the black ink4 ,after each fifty printed1 wipe off the superfluous gold from the type with a silk handkerchief4 99 99 99 99 99 ,transfer ,varnish4--,take equal quantities of fir balsam and spirits turpentine4 ,mix1 shake well1 and set in a warm place until clear4 ,used in decalcomania1 and for maps1 prints1 drawings1 and other articles of paper2 and also to prepare tracing papers1 and to transfer engravings4 99 99 99 99 99 ,to make ,paper ,waterproof4--,dissolve #h oz4 of alum and #c oz4 of white soap in #d pints of water4 ,in another vessel dissolve #b oz4 of gum-arabic and #d oz4 of glue in #d pints of water4 ,mix the two solutions and heat them over the fire4 ,then immerse the paper1 sheet by sheet1 in the hot liquid1 then hang them up edgewise to dry1 or pass them between heated cylinders4 99 99 99 99 99 ,books ,preserved4--,the bindings may be preserved from mildew by brushing them over with the spirits of wine4 ,a few drops of any perfumed oil will secure libraries from the consuming effects of mould and damp4 ,russia leather1 which is perfumed with the tar of the birch tree1 never moulds or sustains injury from damp4 ,the ,romans used oil of cedar to preserve valuable manuscripts4 ,russia leather covered books placed in a stationer's window will destroy flies and other insects4 99 99 99 99 99 ,to restore ,engravings1 etc4--,old engravings1 wood-cuts1 or printed matter1 that have turned yellow1 may be rendered white by first washing carefully in water containing a little hyposulphite of soda1 and then dipping for a minute in ,javelle water4 ,to prepare the latter1 put #d lbs4 bicarbonate of soda in a kettle over a fire2 add #a gallon of boiling water1 and let it boil for fifteen minutes4 ,then stir in #a lb4 of pulverized chloride of lime4 ,when cold1 the liquid can be kept in a jug ready for use4 ,illustration ,,orthographical4 ,a thorough reformation of the orthography of the ,english language1 desirable as it is1 can scarcely be hoped for in this century2 though doubtless the time will come when an international convention will settle authoritatively the spelling of every word1 as acceptably as has been done by the ,academies of ,france and ,spain in regard to the orthography of the languages of those countries4 ,a or ,,an before a ,vowel or silent ,h4 ,in regard to the use of the indefinite article1 ,walker's ,dictionary very judiciously says1-- 8,this indefinite1 and1 as it may be called1 the euphonic article1 is said by all our grammarians to be used before a vowel or h mute2 but no notice is taken of using a instead of an before what is called a vowel1 as1 a useful book1 a useful ceremony1 a usurer1 c42 nor is any mention made of its constant usage before h when it is not mute1 if the accent of the word be on the second syllable1 as1 an heroic action1 an historical account1 c4 ,this want of accuracy arises from a want of analyzing the vowels1 and not attending sufficiently to the influence of accent on pronunciation4 ,a proper investigation of the power of the vowels would have informed our grammarians that the letter u1 when long1 is not so properly a vowel as a semi-consonant1 and perfectly equivalent to commencing y1 and that a feeling of this has insensibly influenced the best speakers to prefix a to it in their conversation1 while a confused idea of the general rule1 arising from an ignorance of the nature of the letters1 has generally induced them to prefix an to it in writing4 ,the same observations are applicable to the h4 ,the ear alone tells us that1 before heroic1 historical1 c41 the an ought invariably to be used2 but1 by not discovering that it is the absence of accent on the h that makes an admissible in these words1 we are apt to prefix an to words where the h is sounded1 as1 an horse1 an house1 c41 and thus set our spoken and written language at variance4 ,the article a must be used before all words beginning with a consonant1 and before the vowel u when long2 and the article an must be used before all words beginning with a vowel1 except long u2 before words beginning with h mute1 as1 an hour1 an heir1 c42 or before words where the h is not mute1 if the accent be on the second syllable1 as1 an heroic action1 an historical account1 c40 ,the few words in our language in which the h is mute are heir1 herb1 honest1 honour1 hospital1 hostler1 hour1 humble1 humour1 and their derivatives4 ,o1 or ,,oh4 ,oh should be used to express surprise1 pain1 sorrow1 or anxiety4 ,when the interjection is followed by a proper name1 or as an exclamation of wishing the ,o should be employed singly1 thus3 ,o mother dear1 ,jerusalem6 ,o ,lord6 ,o that ,i might find him4 ,,able and ,,ible4 ,all ,english words1 without regard to the source from which they have been derived1 and those which come from ,latin words ending in abilis or ,french ones in able1 take the termination able in ,english1 as1 procurable1 amendable1 desirable1 allowable1 voidable1 available1 fordable1 incontestable1 c42 but in words from ,latin and ,french words terminating in ibilis or ible1 then the ending will be ible in ,english4 ,for instance3 accessible1 sensible1 defensible1 convertible1 c4 ,in words ending in ce or ge1 the final e is preserved before the termination able1 for the purpose of indicating the soft sound of the consonant1 as in marriageable1 chargeable1 traceable1 serviceable1 c42 but before the ending ible the final e of the primitive disappears1 and there is no e before the termination4 ,examples3 deducible1 reducible1 frangible1 c4 ,the following list of words in ible is here added2 all others end in able3-- accessible admissible adustible appetible apprehensible audible cessible coercible collectible comminuible compatible competible comprehensible compressible conceptible conclusible congestible contemptible contractible controvertible convertible convincible corrigible corrosible corruptible credible deceptible decerptible decoctible deducible defeasible defectible defensible depectible deprehensible descendible destructible digestible discernible discerptible dispraisible dissolvible distensible divisible docible edible effectible eligible eludible enforcible evincible expansible expressible extendible extensible fallible feasible fencible flexible forcible frangible fusible horrible ignoscible illegible immarcessible immiscible#bc impassible#bd intelligible irascible legible miscible partible passible#be perceptible permiscible permissible persuasible pervertible plausible possible producible quadrible reducible referrible reflexible refrangible regible remissible reprehensible resistible responsible reversible revertible risible seducible sensible solvible tangible terrible transmissible visible ,,im or ,,in1 and ,,em or ,,en4 ,the prefix in is from the ,latin1 and that of en from the ,french and ,greek4 ,in generally signifies situation1 and en mostly expresses action4 ,hence1 perhaps1 in strictness1 inclose will signify 8to close in10 and enclose1 8to make close40 ,so1 to inquire will be 8to seek in1 or to search in10 and enquire1 to 8make search40 ,immigrate1 8to pass into20 emigrate1 8to go out of40 ,but this distinction is not attended to by writers1 and is1 indeed1 too refined for general practice4 ,before the letters b and p1 en becomes em1 as in embattle1 empower2 and in before some letters becomes ig1 il1 im1 or ir1 as in ignoble1 illegal1 improper1 irresolute4 ,we give a list of those generally spelt with im or in2 leaving it to be inferred that the rest are more usual with em or en4 imbarn imbibe imboil imbound imbrue imbrute imbue imburse immanacle immense immerge immerse immigrate immingle immit immix immure impact impale imparadise impassioned impawn impeach impearl impel impen imperil impinge implant implead import impose impound impregnate impress imprint imprison inarch incase inclasp inclip incloud include incrassate increase incur indart indent indict indite indoctrinate indrench induce induct ineye infer infest inflix inflame inflate inflect inflict infringe infuscate infuse ingrane ingest inhabit inhale inhere inhold inhume initiate inject inlapidate inlay inlet inoculate inosculate inquire inrail inscribe insculp inseam insert inset inshell inship insinew insphere inspire inspirit install instate insteep instil instop insure inter intertwine intort intreasure intrench intrude intrust inumbrate inure inurn invade inveigh invert invest invigorate invite invocate invoice invoke inwall inweave ,,in and ,,un4 ,in1 as a prefix1 also marks negation3 it is probable that it came from the ,romans4 ,un1 as a prefix1 is synonymous with in3 it is of ,saxon origin1 and generally joined to words from a northern source2 while in is oftener applied to those of ,latin derivation4 ,,ise and ,,ize4 ,the variation in the terminations ise and ize is due to the different derivations of words1--ize characterizing words from the ,greek and ,latin1 and ise from the ,french4 ,the rule1 however1 is not inflexible4 ,the following words are commonly spelled with the s4 advertise advise affranchise aggrandise amortise catechise chastise circumcise comprise compromise criticise demise despise devise disfranchise disguise divertise emprise enfranchise enterprise exercise exorcise galliardise manumise merchandise misprise 7mistake7 premise recognise reprise 7take again7 supervise surmise surprise ,,or and ,,our4 ,the ending our was in general use until the appearance of ,webster's ,dictionary1 in which the u was dropped in words terminating with our4 ,this innovation has steadily gained ground4 ,we do not approve of partial tinkerings with ,english orthography2 and1 until a general convention of ,british and ,american scholars settle the method of spelling ,english words1 we shall adhere to the established usage4 ,we append a list of words terminating in our4 arbour ardour armour behaviour candour clamour clangour colour contour demeanour dishonour dolour endeavour favour fervour flavour harbour honour humour labour neighbour odour parlour rancour rigour rumour savour saviour splendour succour tambour tumour valour vapour vigour ,the u is dropped when the termination ous is added to any of these words2 as1 clamorous1 dolorous1 humorous1 laborious1 odorous1 rancorous1 rigorous1 valorous1 vigorous4 ,and also in derivative words2 such as armory1 honorary1 c4 ,,sion and ,,tion4 ,primitive words which end in d1 de1 ge1 mit1 rt1 se1 or ss1 take sion in their derivatives2 but all other words have tion4 ,,examples4 abscind1 abscission condescend1 condescension evade1 evasion intrude1 intrusion absterge1 abstersion emerge1 emersion admit1 admission remit1 remission revert1 reversion convert1 conversion confuse1 confusion revise1 revision impress1 impression confess1 confession admix1 admixtion promote1 promotion ,,irregulars4 adhesion cohesion compulsion declension decursion depulsion dissension divulsion evulsion exesion expulsion impulsion incursion propulsion recension recursion revulsion scansion tension transcursion version attention causation distention distortion coercion suspicion crucifixion ,,farther and ,,further4 ,farther is nowadays only employed when speaking of distance2 in all other acceptations of the word1 further is generally adopted4 ,,peas and ,,pease4 ,there are scarcely any words in which a mistake is more frequently made than in peas and pease4 ,yet the distinction between them is simple and well defined4 ,peas is the plural of pea1 and1 consequently1 only follows numeral adjectives2 as1 8ten peas10 8a hundred peas10 8a few peas10 8many peas20 but pease is used when speaking of the legumen in the aggregate1 or generally4 ,thus1 we correctly say1 8,pease are dear this year10 8,pease were plentifully supplied to the horses10 c4 ,pease is also employed adjectively2 as1 8pease-pudding10 8pease-soup10 or 8pea-soup10 c4 ,the ,omission of ,s in the ,possessive ,case4 ,it is not uncommon with some persons to omit the s after the apostrophe in the possessive case of nouns1 if the name itself ends in s2 as1 8,james' book10 8,barnes' ,notes40 ,but this is incorrect2 for if we ask1 ,whose book8 we should directly answer1 ,james's4 ,the only case when the s can be judiciously omitted1 and this solely to avoid the too hissing sound of so many s's in succession1 is when the first word ends with the sound of s in its last two syllables1 and the next word begins with s2 as in ,misses' spectacles1 righteousness' sake1 conscience' sake4 ,formation of the ,plurals of ,words compounded of a ,noun and an ,adjective4 ,adjectives have no plural number4 ,therefore1 in a word compounded of a noun and an adjective1 the s denoting the plural number is attached to the end of the noun1 as follows3-- ,governor-general ,governors-general4 ,attorney-general ,attorneys-general4 ,court-martial ,courts-martial4 ,but where the adjective is taken substantively1 the mark of the plural will properly follow it4 ,for example3 ,brigadier-generals1 major-generals1 lieutenant-generals4 ,words compounded of a noun and the adjective full form their plurals thus3 spoonfuls1 cupfuls1 bucketfuls1 handfuls1 mouthfuls4 ,pointing of ,numbers1 ,weights1 ,measures1 c4 ,no comma should be placed between the constituent parts of the same number1 however long it may be4 ,thus1 we say1 8,one million one hundred thousand five hundred and twenty-one10 without any interpunction4 ,the reason is1 that there is no more than one numerical aggregate intended1 or but one complex notion2 and1 consequently1 no separation of parts or members can take place4 ,the same reasoning holds good as respects values1 weights1 c4 ,for instance1 when we say1 8,six dollars and ten cents10 we merely mean that aggregate amount1 but not necessarily any one of the coins indicated4 ,if we did so intend1 then two commas should be introduced1--one after 8dollars10 and the other after 8cents40 ,in like manner we should act with such sentences as1 8,five tons three hundredweight two quarters and fifteen pounds20 or1 8,ten acres four roods and twenty-seven perches20 and for the same reason3 no division of parts is intended1 but merely one aggregate amount4 ,when figures are used to express amounts1 a comma should not be inserted to cut off the tens unless the sum requires five figures3 e4g4 #aj1fjj1 #bj1jjj men1 c4 ,in column matter this rule will not apply4 ,derivation of ,english ,words4 ,of course the ,saxon forms the basis of our language in its essential parts1 and is the source whence we derive the greater part of our ordinary and most emphatic words4 ,nevertheless1 various other languages have been put under contribution1 especially the ,french1 ,latin1 and ,greek4 ,this will be evident from the following statement of derivations1 which will show the unlearned reader how important it is to him that he should acquire some knowledge of those languages1 if he desires to attain to a thorough proficiency in his business as an educated printer4 ,i4 ,from the ,greek are derived-- #a4 ,words ending in gram1 graph1 and graphy2 as1 telegram1 telegraph1 geography1 c42 from the word 1 7grapho17 ,i write1 and some other ,greek word4 #b4 ,those in gon2 from 1 7gonia17 an angle2 as1 octagon4 #c4 ,all words in logue or logy2 as1 epilogue1 astrology2 from 1 7logos17 a discourse4 #d4 ,ic1 ick1 ics are also ,greek terminations1 generally of adjectives4 #e4 ,words in meter are all of ,greek origin1 coming from the verb 1 7metro17 ,i measure1 in combination with some other word4 #f4 ,most words into which the terminations agogue1 asis1 esis1 or ysis enter are also of ,greek origin2 such as demagogue1 emphasis1 parenthesis1 analysis1 c4 ,,ii4 ,but the main source whence we have derived words1 with the exception of the ,saxon1 is the ,latin1 as will appear from an inspection of the following list3-- #a4 ,words ending in ance1 ancy1 or ant1 and ence1 ency1 or ent1 come from ,latin words ending respectively in ans1 antia1 or ens1 entia2 as1 abundance1 from abundantia2 infancy1 from infantia2 abundant1 from abundans2 absence1 from absentia2 excellency1 from excellentia2 and excellent1 from excellens4 #b4 ,words in al have their ,latin representatives in alis2 as1 corporal1 from corporalis4 #c4 ,verbs in ate mostly come from ,latin verbs of the first conjugation2 as1 moderate1 from modero4 #d4 ,words in ator are generally the same in both languages2 as1 orator1 senator1 moderator4 #e4 ,the termination id comes mostly from ,latin words ending in idus2 as1 acid1 from acidus2 but sometimes words of this ending are of ,greek origin2 as1 oxide1 7more correctly1 oxyd17 from 1 7oxys27 and1 indeed1 most scientific words of this ending2 as1 carotid1 from 1 c42 rhomboid1 from 4 #f4 ,il or ile is likewise from the ,latin termination of adjectives in ilis2 as1 docile1 from docilis2 civil1 from civilis4 #g4 ,the ,latin termination osus has its ,english representative in ious or ous2 as1 copious1 from copiosus2 numerous1 from numerosus4 ,but sometimes the ,english ending ous comes from a ,latin word in ax2 as1 capacious1 from capax4 #h4 ,the ,latin ending io has its ,english corresponding word in ion2 as1 nation1 from natio2 oration1 from oratio4 #i4 ,the endings ne1 re1 and te after a vowel are also for the greater part of ,latin origin2 as1 fortune1 from fortuna2 aquiline1 from aquilinus2 culture1 from cultura2 pure1 from purus2 complete1 from completus1 c4 #aj4 ,words in ty come from ,latin words in tas2 as1 equality1 from qualitas2 bounty1 from bonitas2 rarity1 from raritas1 c4 #aa4 ,the termination ude is also of ,latin origin1 coming from words in udo2 as1 fortitude1 from fortitudo2 elude1 from eludo4 #ab4 ,so also is uous1 by inserting the letter o2 as1 ambiguous1 from ambiguus2 continuous1 from continuus1 c4 ,,iii4 ,from the ,french have come-- #a4 ,most of our words in age2 as1 page1 rage1 usage4 #b4 ,all those in eau2 as1 beau1 flambeau1 c4 #c4 ,the ,french esse is represented by the ,english ess3 as1 princess1 from princesse4 #d4 ,words in que mostly come to us from the ,french directly2 some from the ,latin directly or indirectly2 as1 antique1 7,l4 antiquus1 ,f4 antique17 oblique1 opaque4 #e4 ,words ending in ment are nearly the same in both languages2 as1 commencement1 advancement1 7,f4 avancement17 c4 99 99 99 99 99 ,we subjoin some rules for spelling1 adapted from ,laidlaw's ,american ,pronouncing ,dictionary4#bf ,,rule ,i4 ,words ending in silent e after u or a consonant generally drop the e on taking an additional termination beginning with a vowel2 as1 sale1 salable2 plague1 plaguy2 sue1 suing2 eye1 eying4 ,,exception ,i4--,words ending in ce and ge retain e before able and ous2 as1 service1 serviceable2 trace1 traceable2 courage1 courageous2 advantage1 advantageous4 ,,exception ,,ii4--,compounds and prefixes retain e2 as1 firearms1 foreordain1 pole-axe1 vice-admiral1 fire-engine4 ,remark4--,from singe1 springe1 swinge1 tinge1 we write singeing1 springeing1 swingeing1 tingeing1 to distinguish from singing1 springing1 swinging1 and tinging4 ,dyeing1 from dye1 retains e1 to distinguish it from dying1 the present participle of die4 ,mile retains e in mileage4 ,derivatives from proper names of persons retain e2 as1 daguerreotype1 morseograph4 ,,rule ,,ii4 ,words ending in silent e generally retain the e on taking an additional termination beginning with a consonant2 as1 bereave1 bereavement2 issue1 issueless4 ,remark4--,awful1 awfully1 awfulness1 argument1 argumentation1 argumentative1 woful1 wofully1 wofulness1 duly1 truly1 and wholly1 are undisputed exceptions2 and abridgment1 acknowledgment1 judgment1 misjudgment1 prejudgment1 lodgment1 wobegone1 and rhymster1 are disputed exceptions4 ,some write abridgement1 acknowledgement1 judgement1 misjudgement1 prejudgement1 lodgement1 woebegone1 and rhymester4 ,,rule ,,iii4 ,words ending in ie change them into y before ing2 as1 lie1 lying4 ,the following words conform to this rule3-- lie belie outlie lie overlie underlie die hie tie untie vie outvie ,,rule ,,iv4 ,words ending in y preceded by a consonant generally change y into i on taking an additional syllable2 as1 mercy1 merciful1 merciless2 defy1 defied1 defies1 defieth1 defiant2 busy1 busier1 busiest1 business2 ply1 pliers2 porphyry1 porphyritic4 ,,exception ,i4--,y after a consonant is not changed into i before ing or ish2 as1 dry1 drying1 dryish4 ,,exception ,,ii4--,compounds usually retain y2 as1 mercy-seat1 county-town1 dairy-maid1 skylight4 ,remark4--,dryer1 dryest1 dryly1 dryness1 shyer1 shyest1 shyly1 shyness1 are undisputed exceptions to the rule2 and slyer1 slyest1 slyly1 slyness1 are disputed exceptions4 ,,rule ,v4 ,words ending in y preceded by a vowel retain the y2 as1 gay1 gayly1 gayness1 gayety2 pray1 prayer1 praying1 prayed1 prays4 ,remark4--,from day1 lay1 pay1 say1 stay1 are formed daily1 laid1 paid1 said1 saith1 staid4 ,the regular words dayly1 layed1 payed1 sayeth1 and stayed1 are sometimes used4 ,,rule ,,vi4 ,monosyllables and words having the primary accent on the last syllable1 when they end with a single consonant preceded by a single vowel1 double their final consonant before an additional syllable that begins with a vowel2 as1 wet1 wetter1 wettest1 wetting1 wetted2 drum1 drumming1 drummed2 dispel1 dispelling1 dispelled4 ,,exception4--,a final x1 or the s in gas1 should not be doubled2 as1 fix1 fixes1 fixed1 fixing2 annex1 annexing2 gases1 gasefy4 ,remark ,i4--,u after q is never reckoned a part of a diphthong or triphthong2 so that from quit are formed quitting1 quitted2 and from quag1 quaggy4 ,remark ,,ii4--,this rule applies only to derivatives which retain the accent of their primitives1 and not to such as inferable1 inference1 preferable1 preference1 referable1 and reference1 from infer1 prefer1 and refer4 ,to the forms inferrible1 referrible1 which are sometimes met with1 the general rule applies4 ,transferable1 from transfer1 is an exception to the general rule2 the regular form transferrible is not often used4 ,although parallelogram1 from parallel1 and modality from modal1 remove the primary accent to the point of duplication1 they do not double the final l4 ,see ,remark ,,ii4 under ,rule ,,vii4 ,,rule ,,vii4 ,a final consonant is not doubled when it is preceded by a diphthong1 when the primary accent is either not on1 or not retained upon1 the last syllable1 or when the additional syllable begins with a consonant2 as1 beat1 beating1 beaten2 differ1 differing1 differed1 difference1 different2 prefer1 preference2 refer1 reference2 fit1 fitful1 fitly1 fitness2 benefit1 benefited1 benefiting4 ,,exception ,i4--,compounds that remove the primary accent from the point of duplication retain the double letter2 as1 broad-brimmed1 heel-tapping4 ,remark ,i4--,when ly is affixed to words ending in l1 the l is not considered doubled2 as in cool-ly1 real-ly1 gravel-ly1 royal-ly4 ,remark ,,ii4--,nutmegged1 kidnapping1 kidnapped1 kidnapper1 zigzagging1 zigzagged1 excellence1 and some others1 are undisputed exceptions to the rule4 ,there are nearly one hundred words1 from which more than four hundred derivatives are formed1 that are usually made exceptions to this rule4 ,webster is distinguished for making nearly all the derivatives conform to the rule4 ,webster and ,smart accent the verb curvet1 on the first syllable1 with which accentuation curveting and curveted are correct spellings2 other orthoepists accent upon the last syllable1 then curvetting and curvetted are correct4 ,,rule ,,viii4 ,words ending in c accept of k before a termination beginning with e1 i1 or y2 as1 frolic1 frolicked1 frolicking2 colic1 colicky4 ,,illustrations4 colic colicky frolic frolicking frolicked havoc havocking havocked mimic mimicking mimicked mimicker physic physicking physicked rollic rollicking rollicked traffic trafficking trafficked trafficker talc talcky zinc zinckiferous 7zinciferous7 zincky ,,rule ,,ix4 ,words ending in a double letter preserve it double after a prefix or before a termination beginning with a different letter2 as1 op-press1 mis-spell1 in-thrall1 oversee2 see-ing1 op-pressive1 stiff-ness1 woo-ed1 still-ness1 assess-ment4 ,remark ,i4--,annul1 until1 twibil1 and the conservative fulfil1 or the ,websterian fulfill1 are the only exceptions to the first part of this rule extensively recognized by present usage4 ,the conservative distil and instil are at variance2 but the ,websterian distill and instill1 and also twibill1 as written by ,reid1 are in harmony with the rule4 ,remark ,,ii4--,pontific1 and all other derivatives of pontiff1 are exceptions to the latter part of this rule1 unless an f is discarded in the primitive word1 as ,webster suggests and the derivation warrants4 ,the derivatives of dull1 full1 skill1 and will1 are disputed exceptions3 if spelled as ,webster writes them1 dullness1 fullness1 skillful1 willful1 they conform to the rule4 ,,rule ,x4 ,the plural is usually formed from the singular by adding s2 as1 brave1 braves2 night1 nights2 hymn1 hymns4 ,,rule ,,xi4 ,nouns ending in o preceded by a vowel accept of s in the plural2 as1 cameo1 cameos2 studio1 studios4 ,,illustrations4 agios bagnios bamboos braggadocios cameos cuckoos curculios embryos folios imbroglios intaglios internuncios koodoos nuncios olios oratorios pistachios port-folios punctilios ratios seraglios solfeggios studios trios ,,rule ,,xii4 ,nouns ending in y preceded by a vowel accept of s in the plural2 as1 money1 moneys2 attorney1 attorneys2 valley1 valleys4 ,,rule ,,xiii4 ,nouns ending in o preceded by a consonant usually accept of es in the plural2 as1 echo1 echoes2 embargo1 embargoes4 ,remark4--,there are more than fifty words that conform to this rule1 and about thirty that accept of s only4 ,,illustrations4 archipelagoes armadilloes bilboes bravadoes bravoes buffaloes buffoes calicoes cargoes desperadoes echoes embargoes farragoes frescoes grottoes gustoes heroes innuendoes juntoes lazarettoes lingoes lumbagoes mangoes manifestoes mottoes mulattoes negroes palmettoes passadoes peccadilloes potatoes prunelloes punchinelloes punctoes ranchoes recitativoes relievoes renegadoes ritornelloes rotundoes stilettoes supercargoes testudoes tomatoes tornadoes torpedoes umboes vetoes violoncelloes viragoes volcanoes zeroes ,,exceptions4 albinos cantos centos dominos duodecimos halos hidalgos inamoratos lassos limbos major-domos mementos merinos mosquitos octavos pianos porticos provisos quartos rancheros ridottos rondos salvos set-tos sirocos solos torsos tyros ,it would be well if all words ending in o were made to conform to ,rules ,,xi4 and ,,xiii4 ,,rule ,,xiv4 ,nouns ending in ss1 z1 x1 ch soft1 and sh1 accept of es in the plural2 as1 dress1 dresses2 buzz1 buzzes2 box1 boxes2 peach1 peaches2 dish1 dishes4 ,,rule ,,xv4 ,nouns ending in y after a consonant change y into ies in the plural2 as1 city1 cities2 daisy1 daisies4 ,,rule ,,xvi4 ,compound nouns whose parts are connected by a hyphen accept of the sign of the plural after that part which essentially constitutes the noun2 as1 knight-errant1 knights-errant2 son-in-law1 sons-in-law2 man-of-war1 men-of-war2 step-child1 step-children2 ember-day1 ember-days2 man-singer1 men-singers4 ,,illustrations4 aides-de-camp beaus-ideal or beaux-ideal cartes-blanche charges-d'affaires chevaux-de-frise coups-de-main courts-martial cousins-german daughters-in-law fathers-in-law gendarmes or gens d'armes jets d'eau knights-errant mesdames men-of-war messieurs mothers-in-law poets-laureate porte-monnaies prices-current sergeants-at-arms sisters-in-law sons-in-law step-children step-fathers valets-de-chambre ,remark ,i4--,if no hyphen is used1 the sign of the plural is always placed at the end2 as1 spoonful1 spoonfuls4 ,remark ,,ii4--,the sign of the possessive case is always placed at the end of compound nouns2 as1 son-in-law's house4 ,,rule ,,xvii4 ,the compounds of man form their plural in the same manner as the simple word2 as1 fisherman1 fishermen2 man-of-war1 men-of-war4 ,,exceptions4--,the only exceptions to this rule are dragoman1 ,mussulman1 ,ottoman1 talisman1 ,turcoman1 ,german1 ,norman1 and landamman1 which accept of s4 ,,rule ,,xviii4 ,of the terminations eive and ieve1 and of the derivatives of each1 the former are found after c1 and the latter after other letters2 as1 conceive1 conceit1 receive1 receipt2 relieve1 relief1 relieving1 thieve1 thievish4 ,,illustrations4 achieve aggrieve bas-relief belief believe conceit conceivable conceive deceit deceitful deceive disbelief disbelieve grief grieve inconceivable lief lieve misbelief misconceive perceive preconceive receipt receive relief relieve relievo reprieve retrieve sieve thief thieve unbelief unbeliever undeceive 99 99 99 99 99 ,plurals of ,nouns which change ,f or ,,fe into ,,ves4 beeves calves elves halves knives leaves lives loaves selves sheaves shelves thieves tipstaves wharves wives wolves ,all other nouns ending in ff conform to ,rule ,x4 ,wharfs prevails in ,great ,britain1 wharves in ,america4 ,plurals of ,nouns ending in ,f or ,,fe which accept of ,s only in the ,plural4 briefs chiefs fiefs griefs mischiefs kerchiefs neckerchiefs handkerchiefs caliphs caufs clefs coifs delfs dwarfs turfs kerfs surfs fifes strifes safes scarfs waifs woofs hoofs roofs proofs reproofs disproofs waterproofs beliefs reliefs gulfs ,plurals of ,nouns ending in ,,eau1 ,,ieu1 and ,,ou4 beaux bureaux chapeaux chateaux flambeaux plateaux rondeaux jets d'eau portmanteaus purlieus adieux batteaux bijoux morceaux rouleaux tableaux ,a number of these nouns admits of two forms in the plural4 ,,how ,,to ,,secure ,,copyrights4 #a4 ,a printed copy of the title 7besides the two copies to be deposited after publication7 of the book1 map1 chart1 dramatic or musical composition1 engraving1 cut1 print1 photograph1 or a description of the painting1 drawing1 chromo1 statue1 statuary1 or model or design for a work of the fine arts1 for which copyright is desired1 must be sent by mail or otherwise1 prepaid1 addressed3 ,librarian of ,congress1 ,washington1 ,d4 ,c4 ,this must be done before publication of the book or other article4 ,the printed title required may be a copy of the title page of such publications as have title pages4 ,in other cases1 the title must be printed expressly for copyright entry1 with name of claimant of copyright4 ,the style of type is immaterial1 and the print of a type-writer will be accepted4 ,but a separate title is required for each entry1 and each title must be printed on paper as large as commercial note4 ,the title of a periodical must include the date and number4 #b4 ,a fee of #ej cents1 for recording the title of each book or other article1 must be enclosed with the title as above1 and #ej cents in addition 7or one dollar in all7 for each certificate of copyright under seal of the ,librarian of ,congress1 which will be transmitted by early mail4 #c4 ,within ten days after publication of each book or other article1 two complete copies of the best edition issued must be sent1 to perfect the copyright1 with the address3 ,librarian of ,congress1 ,washington1 ,d4 ,c4 ,the postage must be prepaid1 or else the publications inclosed in parcels covered by printed ,penalty ,labels1 furnished by the ,librarian1 in which case they will come ,,free by mail1 according to rulings of the ,post ,office ,department4 ,without the deposit of copies above required the copyright is void1 and a penalty of #be is incurred4 ,no copy is required to be deposited elsewhere4 #d4 ,no copyright is valid unless notice is given by inserting in every copy published1 on the title-page or the page following1 if it be a book2 or1 if a map1 chart1 musical composition1 print1 cut1 engraving1 photograph1 painting1 drawing1 chromo1 statue1 statuary1 or model or design intended to be perfected as a work of the fine arts1 by inscribing upon some portion thereof1 or on the substance on which the same is mounted1 the following words1 viz43 8,entered according to act of ,congress1 in the year 1 by 1 in the office of the ,librarian of ,congress1 at ,washington10 or1 at the option of the person entering the copyright1 the words3 8,copyright1 #ah--1 by 40 ,the law imposes a penalty of #ajj upon any person who has not obtained copyright who shall insert the notice 8,entered according to act of ,congress10 or 8,copyright10 etc41 or words of the same import1 in or upon any book or other article4 #e4 ,any author may reserve the right to translate or to dramatize his own work4 ,in this case1 notice should be given by printing the words 8,right of translation reserved10 or 8,all rights reserved10 below the notice of copyright entry1 and notifying the ,librarian of ,congress of such reservation1 to be entered upon the record4 ,since the phrase1 all rights reserved1 refers exclusively to the author's right to dramatize or to translate1 it has no bearing upon any publications except original works1 and will not be entered upon the record in other cases4 #f4 ,the original term of copyright runs for twenty-eight years4 ,within six months before the end of that time1 the author or designer1 or his widow or children1 may secure a renewal for the further term of fourteen years1 making forty-two years in all4 ,applications for renewal must be accompanied by explicit statement of ownership1 in the case of the author1 or of relationship1 in the case of his heirs1 and must state definitely the date and place of entry of the original copyright4 ,advertisement of renewal is to be made within two months of date of renewal certificate1 in some newspaper1 for four weeks4 #g4 ,the time within which any work entered for copyright may be issued from the press is not limited by any law or regulation1 but depends upon the discretion of the proprietor4 ,a copyright may be secured for a projected work as well as for a completed one4 #h4 ,a copyright is assignable in law by any instrument of writing1 but such assignment must be recorded in the office of the ,librarian of ,congress within sixty days from its date4 ,the fee for this record and certificate is one dollar1 and for a certified copy of any record of assignment one dollar4 #i4 ,a copy of the record 7or duplicate certificate7 of any copyright entry will be furnished1 under seal1 at the rate of fifty cents each4 #aj4 ,in the case of books published in more than one volume1 or of periodicals published in numbers1 or of engravings1 photographs1 or other articles published with variations1 a copyright is to be entered for each volume or part of a book1 or number of a periodical1 or variety1 as to style1 title1 or inscription1 of any other article4 ,but a book published serially in a periodical1 under the same general title1 requires only one entry4 ,to complete the copyright on such a work1 two copies of each serial part1 as well as of the complete work 7if published separately71 must be deposited4 #aa4 ,to secure a copyright for a painting1 statue1 or model or design intended to be perfected as a work of the fine arts1 so as to prevent infringement by copying1 engraving1 or vending such design1 a definite description must accompany the application for copyright1 and a photograph of the same1 at least as large as 8cabinet size10 should be mailed to the ,librarian of ,congress within ten days from the completion of the work or design4 #ab4 ,copyrights cannot be granted upon trade-marks1 nor upon mere names of companies or articles1 nor upon prints or labels intended to be used with any article of manufacture4 ,if protection for such names or labels is desired1 application must be made to the ,patent ,office1 where they are registered1 at a fee of #f for labels and #be for trade-marks4 #ac4 ,citizens or residents of the ,united ,states only are entitled to copyright4 #ad4 ,every applicant for a copyright should state distinctly the full name and residence of the claimant1 and whether the right is claimed as author1 designer1 or proprietor4 ,no affidavit or formal application is required4 ,,office ,,of ,,the ,,librarian ,,of ,,congress1 ,washington1 #ahhe4 ,illustration ,,the ,,metric ,,system4 ,the ,metric ,system is a decimal system of measures and weights1 based on the meter as its unit1 which originated in ,france during the last decade of the eighteenth century1 and has since been adopted by the greater number of ,states in ,europe and ,america4 ,in the ,united ,states its use was authorized in #ahff by ,act of ,congress4 ,the length of the meter was intended to be one ten-millionth part of the distance from the equator to either pole1 measured at the level of the sea1 but it is in reality a trifle less4 ,all other units for measuring and weighing are derived from it1 and the higher or lower denominations of the same kind of measure are obtained by multiplying or dividing its unit by tens1 and prefixing to its name the ,greek numerals1 deka #aj1 hekto #ajj1 kilo #ajjj1 or myria #ajjjj1 for the higher denominations1 and the ,latin numerals1 deci #a_/aj1 centi #a_/ajj1 or milli #a_/ajjj1 for the lower4 ,the unit of weight1 called the gram1 is theoretically the weight in vacuo of a cubic centimeter of distilled water at the temperature of maximum density assumed to be #d ,c4 or #ci #a ,fe4 ,including the meter and gram1 five units have been adopted in the metric system1 viz43-- #a4 ,the ,meter1 the unit of length1 #c4bhjhii feet #ci4cgjgi inches4 #b4 ,the ,are1 the unit of surface1 #a square dekameter #aai4fjccb square yards4 #c4 ,the ,liter1 the unit of capacity1 #a cubic decimeter #j4bfdahfce gallon #a4jefgded quarts4 #d4 ,the ,stere1 the unit of solidity1 #a cubic meter #ce4ccffcf cubic feet #a4cjhgfd cubic yards4 #e4 ,the ,gram1 the unit of weight1 #ae4dcbcdhgd grains troy4 ,for practical purposes the following are commonly used as units1 viz43-- ,for itinerary measure1 the kilometer #j4fbach mile4 ,for land measure1 the hektare #b4dgaad acres4 ,for commercial weight1 the kilogram #b4bjdfbabe pounds4 ,the nickel five-cent piece1 coined since #ahff1 weighs exactly #e grams4 ,,metric ,,equivalents ,,of ,,english ,,measures ,,and ,,weights4 ,,long ,,measure4 #a inch #b4edj centimeters4 #a foot #c4jdh decimeters4 #a yard #i4add decimeters4 #a rod #e4jbia meters4 #a mile #a4fjic kilometers4 ,,square ,,measure4 #a acre #dj4dfg ares4 ,,liquid ,,measure4 #a gill #a4ahca deciliters4 #a pint #d4gcbe deciliters4 #a quart #i4dfej deciliters4 #a gallon #c4ghf liters4 ,,dry ,,measure4 #a pint #e4ejfg deciliters4 #a quart #a4ajac liters4 #a peck #h4hajh liters4 #a bushel #c4ebd dekaliters4 ,,avoirdupois ,,weight4 #a ounce #b4hce dekagrams4 #a pound #d4ecei hektograms4 ,,troy ,,weight4 #a grain #f4dhj centigrams4 #a ounce #c4aajc dekagrams4 #a pound #c4gcbd hektograms4 ,,table ,,for ,,reducing ,,pounds ,,and ,,ounces ,,to ,,kilograms4 ---------------------------------------- --------------- ,oz4 ,kilo4,lbs4 ,kilo4,lbs4 ,kilo4,lbs4 ,kilo4 ,lbs4 ,kilo4 ---------------------------------------- --------------- #a #j4jbh #a #j4dedcaad4jfbfabg4ffi #ia #da4bgg #b #j4jeg #b #j4ijgcbad4eaefbbh4abc #ib #da4gca #c #j4jhe #c #a4cfaccad4ififcbh4egg #ic #db4ahd #d #j4aac #d #a4hadcdae4dbbfdbi4jcj #id #db4fch #e #j4adb #e #b4bfhceae4hgffebi4dhd #ie #dc4jib #f #j4agj #f #b4gbbcfaf4ccjffbi4icg #if #dc4ede #g #j4aih #g #c4agecgaf4ghcfgcj4cia #ig #dc4iii #h #j4bbg #h #c4fbichag4bcgfhcj4hde #ih #dd4deb #i #j4bee #i #d4jhbciag4fijfica4bih #ii #dd4ijf #aj #j4bhcaj #d4ecfdjah4addgjca4geb #ajj #de4cfj #aa #j4cabaa #d4iijdaah4eiggacb4bje #bjj #ij4gbj #ab #j4cdjab #e4ddcdbai4jeagbcb4fei #cjj #acf4jgi #ac #j4cfiac #e4higdcai4ejegccc4aac #djj #aha4dci #ad #j4cigad #f4cejddai4iehgdcc4eff #ejj #bbf4gii #ae #j4dbeae #f4hjddebj4dabgecd4jbj #fjj #bgb4aei #af #g4behdfbj4hfegfcd4dgc #gjj #cag4eah #ag #g4gaadgba4caiggcd4ibg #hjj #cfb4hgh #ah #h4afedhba4ggcghce4chj #ijj #djh4bch #ai #h4fahdibb4bbfgice4hcd #ajjj #dec4eih #bj #i4jgbejbb4fhjhjcf4bhh #bjjj #ijg4aie #ba #i4ebfeabc4acchacf4gda #cjjjacfj4gic #bb #i4igiebbc4ehghbcg4aie #djjjahad4cij #bcaj4dccecbd4jdahccg4fdi #ejjjbbfg4ihh #bdaj4hhfedbd4didhdch4ajb #fjjjbgba4ehf #beaa4cdjeebd4idhhech4eef #gjjjcage4ahc #bfaa4gicefbe4djahfci4jji #hjjjcfbh4gha #bgab4bdgegbe4heehgci4dfc #ijjjdjhb4cgh #bhab4gjaehbf4cjihhci4iagajjjjdece4igf #biac4aedeibf4gfbhidj4cgj #cjac4fjhfjbg4bafijdj4hbd ---------------------------------------- --------------- ,illustration ,,technical ,,terms ,,of ,,the ,,craft4 ,alley4--,the space between two stands4 ,ascending letters4--,letters that ascend into the upper shoulder2 as1 b1 d1 l1 c4 and all the capitals4 ,author's proof4--,the clean proof sent to an author after the compositors' errors have been corrected4 ,bank4--,a table about four feet high1 to lay sheets on at press4 ,bastard title4--,a short title preceding the general title of a work4 ,bastard type4--,type with a face larger or smaller than its regular body3 as ,nonpareil on ,minion body1 or ,minion on ,nonpareil body4 ,batter4--,types accidentally injured in a form4 ,beard of a letter4--,the outer angles supporting the face of a type and extending to the shoulder4 ,bearer4--,a strip of reglet to bear off the impression from a blank page4 ,a long piece of furniture1 type-high1 used in working jobs4 ,a solid-faced type interspersed among the blank parts of a page composed for stereotyping1 to resist the pressure of the knife when the plate is shaved4 ,bearer-lines4--,the top line and bottom line in a page prepared for stereotyping4 ,bed4--,the flat part of the press on which the form is laid4 ,bevels4--,slugs cast nearly type-high1 with a beveled edge1 used by stereotypers to form the flange on the side of the plates4 ,bite4--,an irregular white spot on the edge or corner of a printed page1 caused by the frisket not being sufficiently cut out4 ,blanket4--,a woollen cloth used in the tympan4 ,blank-line4--,a line of quadrates4 ,blocks4--,the mahogany forms on which stereotype plates are placed for printing4 ,blocked up4--,when the fount of type is all set1 and none is available for present use4 ,bodkin4--,a delicate awl-like tool used for correcting errors in type4 ,body4--,the shank of the letter4 ,botch4--,a bungling1 incompetent workman4 ,bottled4--,type wider at the bottom than at the top4 ,boxes4--,the compartments of a case in which the types are placed4 ,brayer4--,a wooden or glass rubber1 flat at the bottom1 used to bray or spread out ink on the ink-block4 ,break-line4--,a short line4 ,broad-side4--,a form of one page1 printed on one side of a whole sheet of paper4 ,broken matter4--,pages of type disrupted and somewhat intermingled4 ,bundle4--,two reams of paper4 ,bur4--,rough edge of a type which the founder neglected to take off in dressing4 ,cabinet4--,a receptacle for cases1 chases leads1 c4 ,cancelled figures4--,figures cast with a line across the face4 ,caret4--,a character used in proofreading to denote the place where omitted words should be inserted4 ,case4--,the receptacle for type1 divided into numerous compartments4 ,cassie paper4--,formerly1 the two outside quires of a ream1 consisting of defective sheets4 ,casting off4--,estimating how many pages a certain quantity of copy will make in type4 ,cattie4--,imperfect or smutty look of a printed sheet caused by an oily or unclean roller4 ,ceriphs4--,the lines or cross-strokes at the ends of the stem of a letter4 ,chapel4--,a printing-office4 ,chapel laws4--,rules of a printing-office4 ,chase4--,a rectangular iron frame in which pages of type are imposed4 ,circular quadrates4--,blank types curved on one side4 ,clean proof4--,a proof containing few faults4 ,clearing away4--,properly disposing of materials after a work has been completed4 ,clicker4--,the chief of a companionship4 ,close matter4--,solid matter with few break-lines4 ,companionship4--,all the hands employed on a work4 ,composing4--,setting type4 ,composing-rule4--,a steel or brass rule1 with a beak at one end1 used in typesetting4 ,composing-stick4--,an instrument in which types are arranged in words and lines4 ,corner quadrates4--,a quarter section of a hollow square or rectangle4 ,correct4--,a compositor is said to correct when he amends the faults marked in a proof4 ,corrections4--,the alterations or errors marked in a proof4 ,cut-in letter4--,a type of large size adjusted at the beginning of the first paragraph of a chapter4 ,cut-in note4--,a note justified into the side of a page4 ,dead horse4--,matter charged and paid for before it is set4 ,dele1 4--,a proof-reader's mark1 signifying to take out4 ,descending letters4--,letters that go down into the lower shoulder of the body2 as1 g1 j1 p1 q1 y4 ,devil4--,the errand-boy of a printing-office4 ,dished4--,a defect in electrotyped plates1 the centre of a letter being lower than its edges4 ,distributing4--,returning types to their various boxes after having been printed from4 ,spreading ink evenly over the surface of a roller4 ,double4--,among compositors1 repetition of words2 among pressmen1 a sheet that is twice pulled and mackled4 ,dressing a chase or form4--,fitting the pages and chase with furniture and quoins4 ,drive out4--,to space widely4 ,duck's-bill4--,a tongue cut in a piece of stout paper and pasted on the tympan at the bottom of the tympan-sheet1 to support the paper when laid on the tympan4 ,duodecimo1 or #abmo4--,twelve pages to a form4 ,em4--,the square of the body of a type4 ,en4--,half the dimensions of the preceding4 ,even page4--,the #b;d1 #dth1 #fth1 or any even-numbered page of a book4 ,fat4--,poetry and leaded matter4 ,fat face1 or ,fat letter4--,broad stemmed letter4 ,father of the chapel4--,president or chairman of a composing-room or press-room chosen by the hands4 ,feed guide4--,an implement attached to a press to aid in correct feeding4 ,feeding4--,supplying the press with sheets4 ,first form4--,the form first printed1 which generally contains the first page of a sheet4 ,fly4--,the person or apparatus that takes off the sheets from the press4 ,folio4--,two pages to a form4 ,foot-sticks4--,sloping pieces of furniture placed at the bottom of pages1 between which and the chase the quoins are driven to fasten the pages4 ,form4--,the pages when imposed in a chase4 ,foul proof4--,a proof with many faults marked in it4 ,fount4--,a complete assortment of type1 of the same nick1 body1 and face1 put up by type-founders in accordance with an ascertained ratio4 ,fountain4--,reservoir for ink1 attached to printing-presses4 ,friar4--,a light patch in a printed sheet1 caused by defective rolling4 ,frisket4--,an iron frame fastened by a hinge to the upper part of the tympan1 to hold the sheet of paper fast as it goes in and comes from the press4 ,fudge4--,to contrive without proper materials4 ,full press4--,when two men work at the press with hand rollers4 ,furniture4--,strips of wood or metal placed around and between pages to make the proper margin4 ,galley4--,a wooden or brass flat oblong tray1 with side and head ledges1 for holding type when composed4 ,galley-slaves4--,an ancient term of derision applied by pressmen to compositors4 ,gauge4--,a strip of reglet with a notch in it1 passed with the make-up1 to denote the length of the pages4 ,gauge-pin4--,an instrument to aid in feeding job presses correctly4 ,get in4--,to set close4 ,good colour4--,sheets printed neither too black nor too light4 ,guide4--,a strip of metal frequently used to denote the last line of copy set4 ,gutter-sticks4--,furniture used in imposition to separate the pages4 ,half press4--,when but one person works at the press4 ,half-title4--,the title of a book inserted in the upper portion of the first page of matter4 ,hanging indention4--,where successive lines are set-in an em or more beyond the first line4 ,head-sticks4--,furniture put at the head of pages in imposition1 to make margin4 ,hell4--,the receptacle for broken or battered letters2 the old-metal box2 the shoe4 ,high-line4--,term applied to a type that ranges above the rest in a line4 ,high 7or low7 to paper4--,applied to a type cast higher or lower than the rest of the fount4 ,hollow quadrates4--,metal quadrates mortised for the insertion of types1 c4 ,horse4--,the stage on the bank on which pressmen set the heap of paper4 ,horsing4--,charging for work before it is executed4 ,imposing4--,arranging and locking up a form of type in a chase4 ,imposing-stone4--,the stone on which compositors impose and correct forms4 ,imprint4--,the name of the printer or of the publisher appended to jobs or title-pages4 ,inferior letters4--,small letters cast near the bottom of the line4 ,inset4--,same as offcut4 ,jeff4--,to throw for the first choice with em quadrates instead of dice4 ,justifying4--,spacing out lines accurately4 ,keep in4--,to crowd in by thin spacing4 ,keep out4--,to drive out or expand matter by wide spacing4 ,kerned letter4--,type of which a part of the face hangs over the body4 ,laying cases4--,filling cases with a fount of new type4 ,laying pages4--,placing pages of type on the stone in a proper order for imposition4 ,leaders4--,dots or hyphens placed at intervals of one or more ems in length1 to guide the eye across the line to the folio in tables of contents1 c4 ,leads4--,thin strips of metal cast of various thicknesses1 quadrate-high1 to separate lines of type4 ,lean4--,close and solid matter4 ,lean face4--,light1 thin type4 ,letter hangs4--,when the page is out of square4 ,letter-press printing4--,printing from types4 ,ligatures4--,two or more letters cast on the same shank1 as 1 1 1 1 1 1 4 ,line formers4--,brass rule bent in various shapes to aid in making curved lines of type4 ,locking up4--,tightening up a form by means of quoins4 ,logotypes4--,the same as ligatures4 ,long cross4--,the bar that divides a chase the longest way4 ,long pull4--,when the bar is brought close to the cheek of a press4 ,low case4--,when the compositor has set almost all the letters out of his case4 ,lower case4--,the case containing the small letters of the alphabet1 figures1 points1 c4 ,low-line4--,applied to a type that ranges lower than the rest in a line4 ,mackle4--,when part of the impression appears double4 ,make-up4--,to arrange the lines of matter into pages4 ,make-up rule4--,a steel rule with a projection on the top1 for making up matter4 ,making margin4--,in imposition1 arranging the space between the pages of a form so that the margin will be properly proportioned4 ,making ready4--,preparing a form on the press for printing4 ,mallet4--,a wooden hammer4 ,matter4--,composed type4 ,measure4--,the width of a page4 ,monk4--,a black spot in a printed sheet1 owing to the ink not being properly distributed4 ,naked form4--,a form without furniture4 ,nicks4--,hollows cast in the front of the lower part of the shank of a type1 to show the compositor how to place it in his stick4 ,octavo1 or #hvo4--,eight pages to a form4 ,octodecimo1 or #ahmo4--,eighteen pages to a form4 ,odd page or folio4--,the #ast1 #c;d1 and all uneven-numbered pages4 ,off4--,signifies that the pressman has worked off the form4 ,offcut4--,a portion of a sheet that is cut off before folding4 ,off its feet4--,when matter does not stand upright4 ,open matter4--,matter widely leaded or containing numerous break-lines4 ,out4--,an omission marked in a proof by the reader4 ,out of register4--,when the pages do not back each other4 ,overlay4--,a scrap of paper pasted on the tympan-sheet to bring up the impression4 ,overrunning4--,carrying words backward or forward in correcting4 ,page-cord4--,twine used for tying up pages4 ,passing the make-up4--,passing to the next hand in order the lines remaining 7if any7 after a compositor has made up his matter1 together with the gauge and proper folio4 ,peel4--,a broad1 thin board with a long handle4 ,perfecting4--,printing the second form of a sheet4 ,perforating rule4--,brass or steel rule1 somewhat higher than type4 ,pi4--,type promiscuously intermingled4 ,pick4--,a particle of ink or paper imbedded in the hollow of a letter1 filling up its face and occasioning a spot4 ,pigs4--,an ancient nickname given in derision by compositors to pressmen4 ,the press-room was called a pigsty4 ,planer4--,a smooth block of wood used for levelling the surface of pages of type when imposed4 ,planing down4--,to bring down types evenly on their feet1 by laying a planer on the page and striking it firmly with a mallet4 ,platen4--,the part of a printing-press which1 acted upon by the lever1 gives the impression to a sheet4 ,point-holes4--,fine holes made by the points to register the second impression by ,points4--,two thin pieces of steel with a point at one end1 adjusted to the tympan with screws1 to make register4 ,quadrate4--,a low square blank type1 used to indent the first line of a paragraph1 and to fill up blank spaces4 ,quarters4--,octavos and twelves are said to be imposed in quarters1 not from their equal divisions1 but because they are imposed and locked up in four parts4 ,quarto1 or #dto4--,four pages to a form4 ,quire4--,twenty-four sheets of paper4 ,quoins4--,small wedges for locking up a form4 ,quotation furniture4--,quotations cast of various sizes in length and width1 used for blanking and as furniture4 ,quotations4--,large hollowed quadrates4 ,rack4--,receptacle for cases4 ,ratchet4--,an instrument for turning the screws of stereotype blocks4 ,ratting4--,working at less than the established prices4 ,ream4--,twenty quires of paper4 ,recto4--,right-hand page4 ,references4--,letters or characters serving to direct the reader's attention to notes at the foot of a page4 ,register4--,to cause the pages in a sheet to print precisely back to back4 ,register sheet4--,the sheet used to make register4 ,reglet4--,thin furniture1 of an equal thickness all its length4 ,it is made to match the depth of type4 ,reiteration4--,the form printed on the second side4 ,revise4--,the last proof of a form before working it off4 ,riding4--,one colour falling on another4 ,type at the end of a line catching against a lead4 ,rise4--,a form is said to rise when1 in raising it from the correcting stone1 no letters drop out4 ,roller4--,a wooden cylinder covered with composition1 which1 set in an iron frame1 revolves upon a rod1 and is used for inking type4 ,rounce4--,the handle for running in and out the carriage of a hand-press4 ,round pick4--,a dot in a letter in a stereotype plate caused by an air-bubble4 ,running title4--,the title of the book or subject placed at the top of the pages4 ,runs on sorts4-- ,requiring an inordinate proportion of particular letters4 ,saw-block4--,a box similar to a carpenter's mitre-block1 to guide in cutting furniture1 c4 ,schedule4--,a sheet of paper passed with the make-up1 containing folios1 on which the compositor marks his name opposite to the pages set by him4 ,set off4--,when sheets that are newly worked off soil those that come in contact with them1 they are said to set off4 ,shank4--,the metal body upon which the face of a letter stands4 ,sheep's-foot4--,an iron hammer with a claw-end4 ,sheetwise4--,when the pages of a sheet are imposed in two forms1 which are backed in printing4 ,shooting-stick4--,a wedge-shaped instrument for locking up a form4 ,short cross4--,the short bar which1 crossing the long bar1 divides the chase into quarters4 ,shoulder4--,the surface of the shank of a type not covered by the letter4 ,side sorts4--,types in the side and upper boxes of a case1 consisting of letters not frequently used4 ,side-sticks4--,sloping furniture on the outside of the pages next to the chase1 where the quoins are inserted4 ,signature4--,a letter or a figure used at the bottom of the first page of a sheet1 to direct the binder in placing the sheets in a volume4 ,slice galley4--,a galley with an upper movable bottom1 called a slice1 used for pages and jobs too large to be lifted by the fingers4 ,slug4--,a thick lead4 ,sometimes with a word or figure on top1 used to denote the ownership of matter on galleys4 ,slur4--,a blurred impression in a printed sheet4 ,solid pick4--,a letter in a stereotype plate filled up with metal1 resulting from an imperfect mould4 ,sorts4--,the letters in the several case-boxes are separately called sorts1 in printers' and founders' language4 ,space-rules4--,fine lines1 cast type-high1 and of even ems in length1 for table and algebraical work4 ,spaces4--,low blank types used to separate words4 ,squabble4--,a page or form is squabbled when the letters are twisted out of a square position4 ,stand4--,the frame on which the cases are placed4 ,stem4--,the vertical strokes of a type4 ,stereotype printing4--,printing from stereotyped plates4 ,stet4--,written opposite to a word in a proof1 to signify that the word erroneously struck out shall remain4 ,sub4--,a compositor occasionally employed on a daily paper1 to fill the place of an absentee4 ,superior letters4--,letters of a small face1 cast by the founder near the top of the line4 ,table-work4--,matter consisting partly of rules and figures4 ,take1 or ,taking4--,a given portion of copy4 ,token4--,two hundred and fifty sheets4 ,turn for a letter4--,when a sort runs short1 a letter of the same thickness is substituted1 placed bottom upward4 ,tympan4--,a frame covered with parchment or muslin and attached to the press-bed to lay the sheet on before printing4 ,underlay4--,a piece of paper or card placed under types or cuts to improve the impression4 ,uppercase4--,the case containing capital and small capital letters1 fractions1 c4 ,verso4--,left-hand page4 ,wayz-goose4--,a term given in ,england to the annual dinner customary among printers there during the summer months4 ,white line4--,a line of quadrates4 ,white page4--,a blank page4 ,white paper4--,until the second side of a sheet is printed1 pressmen call the heap white paper4 ,work and turn4--,when a sheet is printed half-sheetwise1 the paper must be turned and worked on the second side4 ,working in pocket4--,when the hands share equally their earnings on a work4 ,illustration3 ,,proof ,,press4 ,illustration ,,abbreviations4 ,a4--,acting4 a4--are1 7of the ,french metric system47 ,a4 or ,ans4--,answer4 ,a4 ,a4 ,g4--,assistant ,adjutant-,general4 ,a4 ,a4 ,p4 ,s4--,american ,association for the ,promotion of ,science4 ,a4 ,a4 ,s4--,academi ,american ,socius1 ,fellow of the ,american ,academy 7of ,arts and ,sciences74 ,a4 ,a4 ,s4 ,s4--,american ,antiquarian ,societatis ,socius1 ,member of the ,american ,antiquarian ,society4 ,a4 ,b4--,artium ,baccalaureus1 ,bachelor of ,arts4 ,a4 ,b4 ,c4 ,f4 ,m4--,american ,board of ,commissioners for ,foreign ,missions4 ,abp4--,archbishop4 ,abr4--,abridgment4 ,a4 ,c4--,ante ,christum1 before the birth of ,christ4 ,a4 ,c4--,archchancellor4 ,acct4--,account4 ,a4 ,c4 ,s4--,american ,colonization ,society4 ,a4 ,d4--,anno ,domini1 in the year of the ,lord4 ,a4 ,d4 ,c4--,aide-de-camp4 ,adj4--,adjective4 ,adjt4--,adjutant4 ,adjt4 ,gen4--,adjutant-,general4 ,ad lib4--,ad libitum1 at pleasure4 ,adm4--,admiral2 ,admiralty4 ,adm4 ,co4--,admiralty ,court4 ,admr4--,administrator4 ,admx4--,administratrix4 ,ad v4--,ad valorem1 at 7or on7 the value4 ,adv4--,adverb4 t4--tatis1 of age2 aged4 ,a4 ,f4 ,b4 ,s4--,american and ,foreign ,bible ,society4 ,a4 ,f4 ,a4 ,m4--,ancient ,free and ,accepted ,masons4 ,a4 ,g4--,adjutant-,general4 ,ag4--,argentum1 silver4 ,agr4--,agriculture4 ,a4 ,g4 ,s4 ,s4--,american ,geographical and ,statistical ,society4 ,agt4--,agent4 ,a4 ,h4--,anno ,hegir1 in the year of the ,hegira4 ,a4 ,h4 ,m4 ,s4--,american ,home ,missionary ,society4 ,ala4--,alabama4 ,ald4--,alderman4 ,alex4--,alexander4 ,alg4--,algebra4 ,alt4--,altitude4 ,a4 ,m4--,anno mundi1 in the year of the world4 ,a4 ,m4--,ante meridiem1 before noon2 morning4 ,a4 ,m4--,artium ,magister1 ,master of ,arts4 ,amb4--,ambassador4 ,amer4--,american4 ,,amm4--,amalgama1 amalgamation4 ,amt4--,amount4 ,an4--,anno1 in the year4 ,an4 ,a4 ,c4--,anno ante ,christum1 in the year before ,christ4 ,anat4--,anatomy4 ,anc4--,ancient2 anciently4 ,and4--,andrew4 ,ang4-,sax4--,anglo-,saxon4 ,anon4--,anonymous4 ,anth4--,anthony4 ,aor4 or aor4--,aorist4 ,a4 ,o4 ,s4 ,s4--,american ,orientalis ,societatis ,socius1 ,member of the ,american ,oriental ,society4 ,ap4--,apostle2 ,appius4 ,ap4--,apud1 in the writings of2 as quoted by4 ,a4 ,p4 ,g4 or ,ast4 ,p4 ,g4--,professor of ,astronomy in ,gresham ,college4 ,apo4--,apogee4 ,apoc4--,apocalypse4 ,app4--,appendix4 ,apr4--,april4 ,a4 ,q4 ,m4 ,g4--,assistant ,quartermaster-,general4 ,a4 ,r4--,anna ,regina1 ,queen ,anne4 ,a4 ,r4--,anno regni1 year of the reign4 ,a4 ,r4 ,a4--,associate of the ,royal ,academy4 ,arch4--,archibald4 ,arg4--,argumento1 by an argument drawn from such a law4 ,arith4--,arithmetic4 ,ark4--,arkansas4 ,a4 ,r4 ,r4--,anno regni regis1 in the year of the reign of the king4 ,a4 ,r4 ,s4 ,s4--,antiquariorum ,regi ,societatis ,socius1 ,fellow of the ,royal ,society of ,antiquaries4 ,art4--,article4 ,a4 ,s4 or ,assist4 ,sec4--,assistant ,secretary4 ,a4 ,s4 ,a4--,american ,statistical ,association4 ,a4 ,s4 ,s4 ,u4--,american ,sunday-,school ,union4 ,astrol4--,astrology4 ,astron4--,astronomy4 ,a4 ,t4--,archtreasurer4 ,a4 ,t4 ,s4--,american ,tract ,society4 ,ats4--,at suit of4 ,atty4--,attorney4 ,atty4-,gen4--,attorney-,general4 ,a4 ,u4 ,a4--,american ,unitarian ,association4 ,aub4 ,theol4 ,sem4--,auburn ,theological ,seminary4 ,a4 ,u4 ,c4--,anno urbis condit1 or1 ab urbe condit1 in the year from the building of the city 7,rome74 ,aug4--,august4 ,aur4--,aurum1 gold4 ,auth4 ,ver4--,authorized ,version1 7of the ,bible47 ,av4--,average2 ,avenue4 ,avoir4--,avoirdupois4 ,a4 ,y4 ,m4--,ancient ,york ,masons4 b4--born2 book4 ,b4 ,a4--,bachelor of ,arts4 ,bal4--,balance4 ,balt4--,baltimore4 ,bar4--,baruch4 ,bart4 or ,bt4--,baronet4 bbl4--,barrel4 ,b4 ,c4--,before ,christ4 ,b4 ,c4 ,l4--,bachelor of ,civil ,law4 ,b4 ,d4--,baccalaureus ,divinitatis1 ,bachelor of ,divinity4 ,bds4 or bds4--,boards 7bound in74 ,benj4--,benjamin4 ,bk4--,book4 ,b4 ,,ll4--,baccalaureus ,legum1 ,bachelor of ,laws4 ,b4 ,m4--,baccalaureus ,medicin1 ,bachelor of ,medicine4 ,bost4--,boston4 ,bot4--,botany4 ,bp4--,bishop4 ,b4 ,r4--,banco ,regis or ,regin1 the ,king's or ,queen's ,bench4 ,br4--,brig4 ,brig4--,brigade2 ,brigadier4 ,brig4-,gen4--,brigadier-,general4 ,brit4 ,mus4--,british ,museum4 ,bro4--,brother4 ,br4 ,univ4--,brown ,university4 ,b4 ,s4--,bachelor in the ,sciences4 bu4--bushel4 ,b4 ,v4--,beata ,virgo1 ,blessed ,virgin4 ,b4 ,v4--,bene vale1 farewell4 ca4--centiare1 7metric system47 ,c41 ch4 or chap4--,chapter4 ,c4 or cent4--,centum1 a hundred4 ,ct4 par4--,cteris paribus1 other things being equal4 ,cal4--,california2 ,calends4 ,can4--,canon4 ,cant4--,canticles4 ,cap4 or c4--,caput1 capitulum1 chapter4 ,caps4--,capitals4 ,capt4--,captain4 ,capt4-,gen4--,captain-,general4 ,cash4--,cashier4 ,ca4 resp4--,capias ad respondendum1 a legal writ4 ,ca4 sa4--,capias ad satisfaciendum1 a legal writ4 ,cath4--,catherine4 ,c4 ,b4--,communis ,bancus1 ,common ,bench4 ,c4 ,b4--,companion of the ,bath4 ,c4 ,c4--,caius ,college2 ,account ,current4 ,c4 ,c4 ,c4--,corpus ,christi ,college4 ,c4 ,c4 ,p4--,court of ,common ,pleas4 ,c4 ,e4--,canada ,east4 ,c4 ,e4--,civil ,engineer4 ,cel4 or ,celt4--,celtic4 ,cf4 or cf4--,confer1 compare4 cg4--centigram1 7metric system47 ,c4 ,g4--,commissary-,general2 ,consul-,general4 ,c4 ,h4--,court-,house4 ,ch4--,church2 ,chapter2 ,charles4 ,chanc4--,chancellor4 ,chap4--,chapter4 ,chas4--,charles4 ,chem4--,chemistry4 ,chr4--,christopher4 ,chron4--,chronicles4 ,cin4--,cincinnati4 ,c4 ,j4--,chief-,justice4 cl4--centiliter1 7metric system47 ,clk4--,clerk4 cm4--centimeter1 7metric system47 ,c4 ,m4--,common ,metre4 ,c4 ,m4 ,g4--,companion of the ,order of ,st4 ,michael and ,st4 ,george4 ,co4--,company2 ,county4 ,c4 ,o4 ,d4--,cash 7or collect7 on delivery4 ,col4--,colorado2 ,colonel2 ,colossians4 ,coll4--,collector2 ,colloquial2 ,college2 ,collection4 ,com4--,commerce2 ,committee2 ,commentary2 ,commissioner2 ,commodore4 ,com4 ,arr4--,committee of ,arrangements4 ,comdg4--,commanding4 ,comm4--,commentary4 ,comp4--,compare2 ,compound4 ,com4 ,ver4--,common ,version 7of the ,bible47 ,con4--,contra1 against2 in opposition4 ,con4 ,cr4--,contra credit4 ,conch4--,conchology4 ,cong4--,congress2 ,congius1 a gallon4 ,conj4 or conj4--,conjunction4 ,conn4 or ,ct4--,connecticut4 ,const4--,constable2 ,constitution4 ,cont4--,contra4 ,cor4--,corinthians4 ,corol4--,corollary4 ,cor4 ,sec4--,corresponding ,secretary4 ,c4 ,p4--,common ,pleas4 ,c4 ,p4--,court of ,probate4 ,c4 ,p4 ,s4--,custos ,privati ,sigilli1 ,keeper of the ,privy ,seal4 ,c4 ,r4--,custos ,rotulorum1 ,keeper of the ,rolls4 ,cr4--,creditor2 credit4 ,crim4 con4--,criminal conversation2 adultery4 ,c4 ,s4--,court of ,sessions4 ,c4 ,s4--,custos ,sigilli1 ,keeper of the ,seal4 ,ct41 cts4--,cent2 cents4 ,c4 ,theod4--,codice ,theodosiano1 in the ,theodosian ,code4 ,c4 ,w4--,canada ,west4 ,cwt4--,hundredweight4 ,cyc4--,cyclopedia4 d4--,denarius or denarii1 penny or pence4 d4--died4 ,d4--,five hundred4 ,dan4--,daniel2 ,danish4 ,d4 ,b4 or ,domesd4 ,b4--,domesday-,book4 ,d4 ,c4--,da ,capo1 again4 ,d4 ,c4--,district of ,columbia4 ,d4 ,c4 ,l4--,doctor of ,civil ,law4 ,d4 ,d4--,divinitatis ,doctor1 ,doctor of ,divinity4 ,d4 ,d4 ,d4--,dat1 dicat1 dedicat1 he gives1 he devotes1 he dedicates4 ,dea4--,deacon4 ,dec4--,december2 ,declination4 ,deg4--,degree or degrees4 ,del4--,delaware2 ,delegate4 ,del4 or del4--,delineavit1 he drew it4 ,dem4--,democrat4 ,dep4--,deputy4 ,dept4--,department4 ,deut4--,deuteronomy4 ,d4,f4--,dean of the ,faculty4 ,dft4 or deft4--,defendant4 ,d4,g4--,dei grati1 by the grace of ,god4 ,d4,g4--,deo gratias1 thanks to ,god4 dg4--decigram1 7metric system47 ,dg4--,dekagram1 7metric system47 ,d4 ,h4--,dead-head4 ,diam4--,diameter4 ,dict4--,dictator2 ,dictionary4 ,dim4--,diminutive4 ,disc4--,discount4 ,diss4--,dissertation4 ,dist4--,district4 ,dist4-,atty4--,district-,attorney4 dl4--deciliter1 7metric system47 ,dl4--,dekaliter1 7metric system47 dm4--decimetre1 7metric system47 ,dm4--,dekametre1 7metric system47 ,d4 ,m4--,doctor of ,music4 ,do4--,ditto1 the same4 ,dols4--,dollars4 ,dom4 ,ca4--,dominion of ,canada4 ,d4,o4,m4--,deo optimo maximo1 to ,god1 the best1 the greatest4 ,doz4--,dozen4 ,d4 ,p4--,doctor of ,philosophy4 ,dr4--,debtor2 ,doctor4 ,d4 ,s4--,dal segno1 from the sign4 ds4--,decistere1 7metric system47 ,ds4--,dekastere1 7metric system47 d4 s4 b4--,debit sans breve1 charge without abatement4 ,d4 ,t4--,doctor ,theologi1 ,doctor of ,divinity4 ,d4 ,v4--,deo volente1 ,god willing4 ,dwt4--,pennyweight4 ,e4--,east4 ea4--,each4 ,e4 by ,s4--,east by ,south4 ,eben4--,ebenezer4 ,eccl4--,ecclesiastes4 ,ecclus4--,ecclesiasticus4 ,ed4--,editor2 ,edition4 ,edm4--,edmund4 ,edw4--,edward4 ,e4 ,e4--,errors excepted4 e4 g4--,exempli grati1 for example4 e4 g4--,ex grege1 among the rest4 ,e4 ,i4--,east ,indies or ,east ,india4 ,eliz4--,elizabeth4 ,e4 lon4--,east longitude4 ,encyc4--,encyclopedia4 ,e4 ,n4 ,e4--,east-,northeast4 ,eng4--,england2 ,english4 ,ent4--,entomology4 ,env4 ,ext4--,envoy ,extraordinary4 ,ep4--,epistle4 ,eph4--,ephesians2 ,ephraim4 ,esd4--,esdras4 ,e4 ,s4 ,e4--,east-,southeast4 ,esq4--,esquire4 ,esth4--,esther4 et al4--,et alii1 and others4 et seq4--,et sequentia1 and what follows4 etc4 or c4--,et cteri1 et cter1 et ctera1 and others2 and so forth4 ,ex4--,example4 ,ex4--,exodus4 ,exc4--,excellency2 exception4 ,exch4--,exchequer4 ,exec4 ,com4--,executive ,committee4 ,execx4--,executrix4 ,exr4 or ,exec4--,executor4 ,ez4--,ezra4 ,ezek4--,ezekiel4 ,e4 ,o4 ,e4--,errors and omissions excepted4 ,fahr4--,fahrenheit4 ,f4 ,a4 ,m4--,free and ,accepted ,masons4 ,far4--,farthing4 ,f4 ,a4 ,s4--,fellow of the ,antiquarian ,society4 fcap4 or fcp4--,foolscap4 ,f4 ,d4--,fidei ,defensor or ,defensatrix1 ,defender of the ,faith4 ,fe4--,ferrum1 iron4 ,feb4--,february4 ,fec4--,fecit1 he did it4 ,fem4--,feminine4 ,f4 ,e4 ,s4--,fellow of the ,entomological ,society2 of the ,ethnological ,society4 ,ff4--,the ,pandects4 ,f4 ,g4 ,s4--,fellow of the ,geological ,society4 ,f4 ,h4 ,s4--,fellow of the ,horticultural ,society4 ,fi4 fa4--,fieri facias1 cause it to be done4 ,fid4 ,def4--,defender of the ,faith4 ,fig4--,figure4 ,fin4 ,sec4--,financial ,secretary4 ,fir4--,firkin4 ,fla4--,florida4 ,f4 ,l4 ,s4--,fellow of the ,linnan ,society4 f4 o4 b4--,free on board4 ,fol4--,folio4 ,for4--,foreign4 ,f4 ,p4 ,s4--,fellow of the ,philological ,society4 ,fr4--,fragmentum1 fragment4 ,fr4--,franc2 ,frau1 7lady47 ,fr4--,francis4 ,f4 ,r4 ,a4 ,s4--,fellow of the ,royal ,astronomical ,society4 ,f4 ,r4 ,c4 ,s4 ,l4--,fellow of the ,royal ,college of ,surgeons1 ,london4 ,fred4--,frederick4 ,f4 ,r4 ,g4 ,s4--,fellow of the ,royal ,geographical ,society4 ,fri4--,friday4 ,f4 ,r4 ,s4--,fellow of the ,royal ,society4 ,frs4--,frisian4 ,f4 ,r4 ,s4 ,e4--,fellow of the ,royal ,society1 ,edinburgh4 ,f4 ,r4 ,s4 ,l4--,fellow of the ,royal ,society1 ,london4 ,f4 ,r4 ,s4 ,l4--,fellow of the ,royal ,society of ,literature4 ,f4 ,s4 ,a4--,fellow of the ,society of ,arts4 ,f4 ,s4 ,a4 ,e4--,fellow of the ,society of ,antiquaries1 ,edinburgh4 ,ft4--,foot2 feet2 ,fort4 ,fur4--,furlong4 ,f4 ,z4 ,s4--,fellow of the ,zoological ,society4 g4--gram1 7metric system47 ,g4 or g4--,guineas4 ,g4 ,a4--,general ,assembly4 ,ga4--,georgia4 ,gal4--,galatians2 ,gallon4 ,g4 ,a4 ,r4--,grand ,army of the ,republic4 ,g4 ,b4--,great ,britain4 ,g4 ,c4--,grand ,chapter4 ,g4 ,c4 ,b4--,grand ,cross of the ,bath4 ,g4 ,c4 ,h4--,grand ,cross of ,hanover4 ,g4 ,c4 ,l4 ,h4--,grand ,cross of the ,legion of ,honour4 ,g4 ,e4--,grand ,encampment4 ,gen4--,genesis2 ,general2 ,genitive case4 ,gent4--,gentleman4 ,geo4--,george4 ,geog4--,geography4 ,geol4--,geology4 ,geom4--,geometry4 ,ger4--,germany2 ,german4 ,g4 ,l4--,grand ,lodge4 ,gl4--,glossa1 a gloss4 ,g4 ,m4--,grand ,master4 ,g4 ,o4--,general ,order4 ,goth4--,gothic4 ,gov4--,governor4 ,gov4-,gen4--,governor-,general4 ,g4 ,r4--,georgius ,rex1 ,king ,george4 ,gr4--,greek2 grain2 gramme2 groschen4 ,gram4--,grammar4 ,gro4--,gross4 ,grot4--,grotius4 ,ha4--,hektare1 7metric system47 h4 a4--,hoc anno1 this year4 ,hab4--,habakkuk4 ,hab4 ,corp4--,habeas corpus1 you may have the body4 ,hab4 fa4 poss4--,habere facias possessionem1 a writ to put the plaintiff in possession4 ,hab4 fa4 seis4--,habere facias seisinam1 a writ now superseded by the preceding4 ,hag4--,haggai4 ,ham4 ,coll4--,hamilton ,college4 ,h4 ,b4 ,c4--,hudson's ,bay ,company4 ,h4 ,b4 ,m4--,his or ,her ,britannic ,majesty4 ,h4 ,c4--,house of ,commons4 hdkf4--,handkerchief4 h4 e4--,hoc est1 that is1 or this is4 ,hectol4--,hectolitre1 7metric system47 ,heb4--,hebrews4 ,her4--,heraldry4 ,hf4-bd4--,half-bound4 ,hf4-cf4--,half-calf4 ,hg4--,hektogram1 7metric system47 ,hg4--,hydrargyrum1 mercury4 hhd4--,hogshead4 ,hist4--,history4 ,h4 ,j4 ,s4--,hic jacet sepultus1 ,here lies buried4 ,hl4--,hectoliter1 7metric system47 ,h4 ,l4--,house of ,lords4 ,hm4--,hectometer1 7metric system47 ,h4 ,m4--,his ,majesty4 ,h4 ,m4 ,p4--,hoc monumentum posuit1 erected this monument4 ,hon4--,honourable4 ,hort4--,horticulture4 ,hos4--,hosea4 ,h4 ,r4--,house of ,representatives4 ,h4 ,r4 ,e4--,holy ,roman ,emperor4 ,h4 ,r4 ,h4--,his ,royal ,highness4 ,hr4 hrn4--,herr1 ,herrn--gentleman1 gentlemen4 ,h4 ,r4 ,i4 ,p4--,hic requiescit in pace1 ,here rests in peace4 ,h4 ,s4--,hic situs1 ,here lies4 ,h4 ,s4 ,h4--,his ,serene ,highness4 h4 t4--,hoc titulum1 this title2 hoc tituli1 in or under this title4 h4 v4--,hoc verbum1 this word2 hic verbis1 in these words4 hund4--,hundred4 ,i4 ,,ii4 ,,iii4--,one1 two1 three1 or first1 second1 third4 ,ia4--,iowa4 ,ib4 or ibid4--,ibidem1 in the same place4 ,ich4--,ichthyology4 ,ictus4--,jurisconsultus4 ,id4--,idem1 the same4 ,id4 ,t4--,idaho ,territory4 i4e4--,id est1 that is4 ,i4 ,h4 ,s4--,jesus hominum ,salvator1 ,jesus the ,saviour of men4 ij4--,two1 7med47 ,ill4--,illinois4 ,in4--,inch2 inches4 incog4--,incognito1 unknown4 ,incor4--,incorporated4 ,ind4--,indiana2 ,index4 ,i4 ,n4 ,d4--,in nomine ,dei1 in the name of ,god4 ,ind4 ,ter4--,indian ,territory4 ,indef4--,indefinite4 ,in f4--,in fine1 at the end of the title1 law1 or paragraph quoted4 ,inf4--,infra1 beneath or below4 in lim4--,in limine1 at the outset4 in loc4--,in loco1 in the place2 on the passage4 in pr4--,in principio1 in the beginning and before the first paragraph of a law4 ,i4 ,n4 ,r4 ,i4--,jesus ,nazarenus1 ,rex ,judorum1 ,jesus of ,nazareth1 ,king of the ,jews4 ,inst4--,instant1 of this month2 ,institutes4 ,in sum4--,in summa1 in the summary4 ,int4--,interest4 ,interj4--,interjection4 in trans4--,in transitu1 on the passage4 ,intro4--,introduction4 ,i4 ,o4 ,o4 ,f4--,independent ,order of ,odd-,fellows4 ,i4 ,o4 ,u4--,i owe you4 ,i4 q4--,idem quod1 the same as4 ,isa4--,isaiah4 ,isl4--,island4 ,ital4--,italic2 ,italian4 ,,iv4--,four or fourth4 ,,ix4--,nine or ninth4 ,j4--,justice or ,judge4 ,,jj4--,justices4 j4--,one 7med47 ,j4 ,a4--,judge-,advocate4 ,jac4--,jacob4 ,jan4--,january4 ,jas4--,james4 ,j4 ,c4 ,d4--,juris ,civilis ,doctor1 ,doctor of ,civil ,law4 ,j4 ,d4--,jurum ,doctor1 ,doctor of ,laws4 ,jer4--,jeremiah4 ,jno4--,john4 ,jona4--,jonathan4 ,jos4--,joseph4 ,josh4--,joshua4 ,j4 ,p4--,justice of the ,peace4 ,j4 ,prob4--,judge of ,probate4 ,j4 ,r4--,jacobus ,rex1 ,king ,james4 ,jr4 or ,jun4--,junior4 ,j4 ,u4 ,d4 or ,j4 ,v4 ,d4--,juris utriusque ,doctor1 ,doctor of both ,laws 7of the ,canon and the ,civil ,law74 ,jud4--,judith4 ,judg4--,judges4 ,judge-,adv4--,judge-,advocate4 ,jul4 ,per4--,julian ,period4 ,jus4 ,p4--,justice of the ,peace4 ,just4--,justinian4 ,j4 ,w4--,junior ,warden4 ,k4--,king4 ,k4 ,a4--,knight of ,st4 ,andrew1 in ,russia4 ,k4 ,a4 ,n4--,knight of ,alexander ,nevskoi1 in ,russia4 ,kan4--,kansas4 ,k4 ,b4--,king's ,bench4 ,k4 ,b4--,knight of the ,bath4 ,k4 ,b4 ,a4--,knight of ,st4 ,bento d',avis1 in ,portugal4 ,k4 ,b4 ,e4--,knight of the ,black ,eagle1 in ,russia4 ,k4 ,c4--,king's ,council4 ,k4 ,c4--,knight of the ,crescent1 in ,turkey4 ,k4 ,c4 ,b4--,knight ,commander of the ,bath4 ,k4 ,c4 ,h4--,knight ,commander of ,hanover4 ,k4 ,c4 ,s4--,knight of ,charles ,,iii4 of ,spain4 ,k4 ,e4--,knight of the ,elephant1 in ,denmark4 ,k4 ,f4--,knight of ,ferdinand of ,spain4 ,k4 ,f4 ,m4--,knight of ,st4 ,ferdinand and ,merit1 in ,sicily4 ,kg4--,kilogram1 7metric system47 ,k4 ,g4--,knight of the ,garter4 ,k4 ,g4 ,c4--,knight of the ,grand ,cross4 ,k4 ,g4 ,c4 ,b4--,knight of the ,grand ,cross of the ,bath4 ,k4 ,g4 ,f4--,knight of the ,golden ,fleece1 in ,spain4 ,k4 ,g4 ,h4--,knight of the ,guelphs of ,hanover4 ,k4 ,g4 ,v4--,knight of ,gustavus ,vasa of ,sweden4 ,k4 ,h4--,knight of ,hanover4 ,ki4--,kings4 ,kingd4--,kingdom4 ,k4 ,j4--,knight of ,st4 ,joachim4 ,kl4--,kiloliter1 7metric system47 ,k4 ,l4 or ,k4 ,l4 ,a4--,knight of ,leopold of ,austria4 ,k4 ,l4 ,h4--,knight of the ,legion of ,honour4 ,km4--,kilometer1 7metric system47 ,k4 ,m4--,knight of ,malta4 ,k4 ,mess4--,king's ,messenger4 ,k4 ,m4 ,h4--,knight of ,merit1 in ,holstein4 ,k4 ,m4 ,j4--,knight of ,maximilian ,joseph of ,bavaria4 ,k4 ,m4 ,t4--,knight of ,maria ,theresa 7of ,austria47 ,knick4--,knickerbocker4 ,k4 ,n4 ,s4--,knight of the ,royal ,north ,star1 7in ,sweden47 ,knt4 or ,kt4--,knight4 ,k4 ,p4--,knight of ,st4 ,patrick2 ,knight of ,pythias4 ,kr4--,kreuzer1 7,german coin47 ,k4 ,r4 ,c4--,knight of the ,red ,cross4 ,k4 ,r4 ,e4--,knight of the ,red ,eagle1 7in ,prussia47 ,ks4--,kansas4 ,k4 ,s4 ,a4--,knight of ,st4 ,anne 7of ,russia47 ,k4 ,s4 ,e4--,knight of ,st4 ,esprit1 7in ,france47 ,k4 ,s4 ,f4--,knight of ,st4 ,fernando 7of ,spain47 ,k4 ,s4 ,f4 ,m4--,knight of ,st4 ,ferdinand and ,merit1 7in ,naples47 ,k4 ,s4 ,g4--,knight of ,st4 ,george 7of ,russia47 ,k4 ,s4 ,h4--,knight of ,st4 ,hubert 7of ,bavaria47 ,k4 ,s4 ,i4--,knight of the ,star of ,india4 ,k4 ,s4 ,j4--,knight of ,st4 ,januarius 7of ,naples47 ,k4 ,s4 ,l4--,knight of the ,sun and ,lion1 7in ,persia47 ,k4 ,s4 ,m4 ,s4 ,g4--,knight of ,st4 ,michael and ,st4 ,george 7of the ,ionian ,islands47 ,k4 ,s4 ,p4--,knight of ,st4 ,stanislaus of ,poland4 ,k4 ,s4 ,s4--,knight of the ,southern ,star 7of the ,brazils47 ,k4 ,s4 ,s4--,knight of the ,sword1 in ,sweden4 ,k4 ,s4 ,w4--,knight of ,st4 ,wladimir 7of ,russia47 ,k4 ,t4--,knight of the ,thistle2 ,knight ,templar4 ,kt4--,knight4 ,k4 ,t4 ,s4--,knight of the ,tower and ,sword 7in ,portugal47 ,k4 ,w4--,knight of ,william 7of the ,netherlands47 ,k4 ,w4 ,e4--,knight of the ,white ,eagle1 7in ,poland47 ,ky4--,kentucky4 ,l4--,fifty or fiftieth2 ,liber1 book4 l4--liter1 7metric system47 ,l41 or l4--,libra1 or libr1 pound or pounds sterling4 ,l4 or 1 s4 d4--,pounds1 shillings1 pence4 ,la4--,louisiana4 ,lam4--,lamentations4 ,lat4--,latitude2 ,latin4 ,lb4 or 4--,libra or libr1 pound or pounds in weight4 ,l4 ,c4--,lord ,chancellor2 ,lord ,chamberlain4 ,l4 ,c4--,lower ,canada4 l4 c4--,lower-case4 ,l4 ,c4 ,j4--,lord ,chief-,justice4 ,l4 ,d4--,lepide dictum1 finely said2 ,lady-,day4 ,ld4--,lord4 ,ldp4--,lordship4 ,leg4--,legate4 ,legis4--,legislature4 ,lev4--,leviticus4 ,lex4--,lexicon4 ,l4 ,i4--,long ,island4 ,lib4--,liber1 book4 ,lieut4--,lieutenant4 ,lieut4-,col4--,lieutenant-,colonel4 ,lieut4-,gen4--,lieutenant-,general4 ,lieut4-,gov4--,lieutenant-,governor4 ,linn4--,linnan4 ,lit4--,literally2 ,literature4 ,liv4--,livre1 book4 ,,ll4 ,b4--,legum ,baccalaureus1 ,bachelor of ,laws4 ,,ll4 ,d4--,legum ,doctor1 ,doctor of ,laws4 l4 l4--,loco laudato1 in the place quoted4 loc4 cit4--,loco citato1 in the place cited4 ,lon4--,longitude4 ,l4 ,s4--,locus sigilli1 place of the seal4 ,lt4--,lieutenant4 ,,lx4--,sixty or sixtieth4 ,,lxx4--,seventy or seventieth4 ,,lxx4--,the ,septuagint 7,version of the ,old ,testament47 ,,lxxx4--,eighty or eightieth4 m4--,meter1 7metric system47 ,m4--,mille1 a thousand2 ,meridies1 noon4 ,m4 or ,mons4--,monsieur4 ,m4 ,a4--,master of ,arts4 ,macc4--,maccabees4 ,mad4--,madam4 ,mad4 ,univ4--,madison ,university4 ,mag4--,magazine4 ,maj4--,major4 ,maj4-,gen4--,major-,general4 ,mal4--,malachi4 ,man4--,manasses4 ,mar4--,march2 ,maritime4 ,m4 ,a4 ,n4 ,s4--,member of the ,academy of ,natural ,sciences4 ,march4--,marchioness4 ,marg4--,margin4 ,marg4 ,tran4--,marginal ,translation4 ,marq4--,marquis4 ,masc4--,masculine4 ,mass4--,massachusetts4 ,math4--,mathematics2 ,mathematician4 ,matt4--,matthew4 ,max4--,maxim4 ,m4 ,b4--,medicin ,baccalaureus1 ,bachelor of ,medicine4 ,m4 ,b4--,music ,baccalaureus1 ,bachelor of ,music4 ,m4 ,b4 ,f4 et ,h4--,great ,britain1 ,france1 and ,ireland4 ,m4 ,c4--,member of ,congress4 ,mch4--,march4 ,md4--,maryland4 ,m4 ,d4--,medicin ,doctor1 ,doctor of ,medicine4 ,m4 ,e4--,methodist ,episcopal2 ,military or ,mechanical ,engineer2 ,most excellent4 ,me4--,maine4 ,med4--,medicine4 ,mem4--,memorandum4 ,mem4--,memento1 remember4 ,merc4--,mercury4 ,messrs4 or ,,mm4--,messieurs1 ,gentlemen4 ,met4--,metaphysics4 ,metal4--,metallurgy4 ,meteor4--,meteorology4 ,meth4--,methodist4 ,mex4--,mexico or ,mexican4 m4 ft4--,mistura fiat1 ,let a mixture be made4 mg4--milligram1 7metric system47 ,mg4--,myriagram1 7metric system47 ,m4-,goth4--,mso-,gothic4 ,mgr4--,monseigneur4 ,m4 ,h4 ,s4--,member of the ,historical ,society2 ,massachusetts ,historical ,society4 ,mic4--,micah4 ,mich4--,michigan4 ,mil4--,military4 ,min4--,mineralogy2 ,minute4 ,minn4--,minnesota4 ,min4 ,plen4--,minister ,plenipotentiary4 ,miss4--,mississippi4 ml4--milliliter1 7metric system47 ,ml4--,myrialiter1 7metric system47 ,m4 ,l4 ,a4--,mercantile ,library ,association4 ,mlle4--,mademoiselle4 mm4--millimeter1 7metric system47 ,mm4--,myriameter1 7metric system47 ,,mm4--,their ,majesties2 ,messieurs1 ,gentlemen2 ,two thousand4 ,mme4--,madame4 ,m4 ,m4 ,s4--,moravian ,missionary ,society4 ,m4 ,m4 ,s4 ,s4--,massachusettensis ,medicin ,societatis ,socius1 ,fellow of the ,massachusetts ,medical ,society4 ,mo4--,missouri2 ,month4 ,mod4--,modern4 ,mon4--,monday4 ,mons4--,monsieur1 ,sir4 ,mos4--,months4 ,m4 ,p4--,member of ,parliament2 ,member of ,police4 ,m4 ,p4 ,p4--,member of ,provincial ,parliament4 ,m4 ,r4--,master of the ,rolls4 ,mr4--,mister4 ,m4 ,r4 ,a4 ,s4--,member of the ,royal ,asiatic ,society2 ,member of the ,royal ,academy of ,science4 ,m4 ,r4 ,c4 ,c4--,member of the ,royal ,college of ,chemistry4 ,m4 ,r4 ,c4 ,s4--,member of the ,royal ,college of ,surgeons4 ,m4 ,r4 ,g4 ,s4--,member of the ,royal ,geographical ,society4 ,m4 ,r4 ,i4--,member of the ,royal ,institution4 ,m4 ,r4 ,i4 ,a4--,member of the ,royal ,irish ,academy4 ,mrs4--,mistress4 ,m4 ,r4 ,s4 ,l4--,member of the ,royal ,society of ,literature4 ,m4 ,s4--,memori sacrum1 ,sacred to the memory2 ,master of the ,sciences4 ,,ms4--,manuscriptum1 manuscript4 ,,mss4--,manuscripta1 manuscripts4 ,mt4--,mount or mountain4 ,mus4 ,b4--,bachelor of ,music4 ,mus4 ,d4--,doctor of ,music4 ,m4 ,w4--,most ,worthy2 ,most ,worshipful4 ,myth4--,mythology4 ,n4--,north2 ,number2 ,noun2 ,neuter4 n4--,note4 ,n4 ,a4--,north ,america4 ,nah4--,nahum4 ,nat4 ,hist4--,natural ,history4 ,nath4--,nathanael or ,nathaniel4 ,n4 ,b4--,new ,brunswick2 ,north ,britain2 ,nota bene1 mark well2 take notice4 ,n4 ,c4--,north ,carolina4 n4 d4--,no date4 ,n4 ,e4--,new ,england2 ,northeast4 ,neb4--,nebraska4 ,neh4--,nehemiah4 n4 e4 i4--,non est inventus1 he is not found4 nem4 con41 or nem4 diss4--,nemine contradicente1 or nemine dissentiente1 no one opposing2 unanimously4 ,neut4--,neuter 7gender47 ,nev4--,nevada4 ,new ,m4--,new ,mexico4 ,new ,test4 or ,n4 ,t4--,new ,testament4 ,n4 ,f4--,newfoundland4 ,n4 ,g4--,new ,granada2 ,noble ,grand4 ,n4 ,h4--,new ,hampshire2 ,new ,haven4 ,n4 ,h4 ,h4 ,s4--,new ,hampshire ,historical ,society4 ,ni4 pri4--,nisi prius4 ,n4 ,j4--,new ,jersey4 n4 l4--,non liquet1 it does not appear4 ,n4 lat4--,north latitude4 ,n4 ,m4--,new ,mexico4 ,n4 ,n4 ,e4--,north-northeast4 ,n4 ,n4 ,w4--,north-northwest4 ,n4 ,o4--,new ,orleans4 ,no4--,numero1 number4 ,nol pros4--,nolle prosequi1 unwilling to proceed4 ,nom4 or nom4--,nominative4 ,non con4--,not content2 dissenting1 7,house of ,lords47 ,non4 cul4--,non culpabilis1 not guilty4 ,non obst4--,non obstante1 notwithstanding4 ,non pros4--,non prosequitur1 he does not prosecute4 ,non seq4--,non sequitur1 it does not follow4 ,nos4--,numbers4 ,nov4--,november4 ,n4 ,p4--,notary ,public4 ,n4 ,s4--,new ,style1 7after #ageb27 ,nova ,scotia4 n4 u4--,name or names unknown4 ,num4--,numbers2 ,numeral4 ,n4 ,v4 ,m4--,nativity of the ,virgin ,mary4 ,n4 ,w4--,northwest4 ,n4 ,y4--,new ,york4 ,n4 ,y4 ,h4 ,s4--,new ,york ,historical ,society4 ,o4--,ohio2 ,octarius1 a pint4 ,ob4--,obiit1 he or she died4 ,obad4--,obadiah4 ,obs4--,obsolete2 ,observatory2 ,observation4 ,obt4 or obdt4--,obedient4 ,oct4--,october4 ,o4 ,f4--,odd-,fellow or ,odd-,fellows4 ,o4 ,k4--,all correct1 7slang47 ,old ,test4 or ,o4 ,t4--,old ,testament4 ,olym4--,olympiad4 ,opt4--,optics4 ,or4--,oregon4 ,orig4--,originally4 ,ornith4--,ornithology4 ,o4 ,s4--,old ,style1 7before #ageb47 ,o4 ,u4 ,a4--,order of ,united ,americans4 ,oxf4--,oxford4 ,oxon4--,oxonia1 ,oxonii1 ,oxford4 oz4--,ounce4 ,p4--,particula1 a little part1 as much as can be taken between the ends of two fingers2 pondere1 by weight4 ,p4 or p4--,page2 ,part2 ,participle4 ,pa4 or ,penna4--,pennsylvania4 ,pal4--,palontology4 ,par4--,paragraph4 ,par4 pas4--,parallel passage4 ,parl4--,parliament4 ,pathol4--,pathology4 ,payt4--,payment4 ,pb4--,plumbum1 lead4 ,p4 ,c4--,patres ,conscripti1 ,conscript ,fathers2 ,senators4 ,p4 ,c4--,privy ,council2 ,privy ,councillor4 ,pd4--,paid4 ,p4 ,e4--,protestant ,episcopal4 ,p4 ,e4 ,i4--,prince ,edward ,island4 ,pent4--,pentecost4 ,per1 or pr4--,by the1 or per lb4 ,per an4--,per annum1 by the year4 ,per cent4--,per centum1 by the hundred4 ,peri4--,perigee4 ,pet4--,peter4 ,p4 ,g4--,past ,grand4 ,phar4--,pharmacy4 ,ph4 ,b4--,philosophi ,baccalaureus1 ,bachelor of ,philosophy4 ,ph4 ,d4--,philosophi ,doctor1 ,doctor of ,philosophy4 ,ph4 ,g4--,pharmaci ,graduatus1 ,graduate in ,pharmacy4 ,phil4--,philip2 ,philippians2 ,philosophy2 ,philemon4 ,phila4 or ,phil4--,philadelphia4 ,philem4--,philemon4 ,philom4--,philomathes1 a lover of learning4 ,philomath4--,philomathematicus1 a lover of the mathematics4 ,phil4 ,trans4--,philosophical ,transactions4 ,phren4--,phrenology4 ,p4 ,h4 ,s4--,pennsylvania ,historical ,society4 ,pinx4 or pxt4--,pinxit1 he painted it4 ,p4 ,j4--,president ,judge2 ,police ,justice4 ,pl4 or ,plur4--,plural4 ,plff4--,plaintiff4 ,p4 ,m4--,post meridiem1 afternoon2 ,post-master2 ,passed ,midshipman4 ,p4 ,m4 ,g4--,postmaster-,general4 ,p4 ,o4--,post-,office4 ,pop4--,population4 ,port4--,portugal or ,portuguese4 ,p4 ,p4--,pater patria1 the father of his country2 ,propositum publice1 public notification4 ,p4 ,p4 ,c4--,pour prendre cong1 to take leave4 ,pp4 or pp4--,pages4 ,pph4--,pamphlet4 ,p4 ,r4--,populus ,romanus1 the ,roman people4 ,p4 ,r4 ,a4--,president of ,royal ,academy4 ,p4 ,r4 ,c4--,post ,romanum conditum1 from the building of ,rome4 ,pref4--,preface4 ,prep4--,preposition4 ,pres4--,president4 ,prin4--,principally4 ,prob4--,problem4 ,prof4--,professor4 ,pron4--,pronoun2 ,pronunciation4 ,prop4--,proposition4 ,prot4--,protestant4 ,pro tem4--,pro tempore1 for the time being4 ,prov4--,proverbs2 ,provost4 prox4--,proximo1 next 7month47 ,p4 ,r4 ,s4--,president of the ,royal ,society4 ,p4 ,s4--,post scriptum1 ,postscript2 ,privy ,seal4 ,ps4--,psalm or ,psalms4 ,pt4--,part2 ,pint2 ,payment2 ,point2 ,port4 p4 t4--,post-town4 ,p4 ,t4 ,o4--,please turn over4 ,pub4--,publisher2 ,publication2 ,published2 ,public4 ,pub4 ,doc4--,public ,documents4 p4 v4--,post-village4 pwt4--,pennyweight2 pennyweights4 ,q4--,queen2 ,question4 q4--quintal2 ,quasi1 as it were2 almost4 ,q4 ,b4--,queen's ,bench4 ,q4 ,c4--,queen's ,college2 ,queen's ,counsel4 q4 d4--,quasi dicat1 as if he should say2 quasi dictum1 as if said2 quasi dixisset1 as if he had said4 q4 e4--,quod est1 which is4 q4 e4 d4--,quod erat demonstrandum1 which was to be proved4 q4 e4 f4--,quod erat faciendum1 which was to be done4 q4 e4 i4--,quod erat inveniendum1 which was to be found out4 q4 l4--,quantum libet1 as much as you please4 ,q4 ,m4--,quartermaster4 qm4--,quomodo1 how2 by what means4 ,q4 ,m4 ,g4--,quartermaster-,general4 q4 p4 or q4 pl4--,quantum placet1 as much as you please4 ,qr4--,quarter4 ,q4 ,s4--,quarter ,sessions4 q4 s4--,quantum sufficit1 a sufficient quantity4 qt4--,quart4 qu4 or qy4 7874--,qure1 inquire2 query4 ,quar4--,quarterly4 ,ques4--,question4 q4 v4--,quod vide1 which see2 ,quantum vis1 as much as you will4 4--,recipe1 take2 ,response1 in church books4 ,r4--,regina1 ,queen2 ,rex1 ,king2 ,river2 ,rood2 ,rod4 ,r4 ,a4--,royal ,academy2 ,royal ,academician2 ,royal ,artillery4 ,r4 ,a4--,royal ,arch2 ,royal ,association4 ,r4 ,e4--,royal ,engineers4 ,rec4--,recipe2 ,recorder4 ,recd4--,received4 ,rec4 ,sec4--,recording ,secretary4 ,rect4--,rector2 ,receipt4 ,ref4--,reference4 ,ref4 ,ch4--,reformed ,church4 ,reg4--,register2 ,regular4 ,reg4 ,prof4--,regius ,professor4 ,regr4--,registrar4 ,regt4--,regiment4 ,rel4--,religion4 ,rep4--,representative2 ,republican2 ,report4 ,rev4--,reverend2 ,revelation 7,book of27 ,review2 ,revenue2 ,revise4 ,rhet4--,rhetoric4 ,r4 ,i4--,rhode ,island4 ,richd4--,richard4 ,r4 ,m4--,royal ,marines2 ,royal ,mail4 ,r4 ,m4 ,s4--,royal ,mail ,steamer4 ,r4 ,n4--,royal ,navy4 ,ro4--,recto1 right--hand page4 ,robt4--,robert4 ,rom4--,romans 7,book of47 ,rom4 ,cath4--,roman ,catholic4 ,r4 ,p4--,regius ,professor1 the ,king's ,professor4 ,r4 ,p4 ,e4--,reformed ,protestant ,episcopal4 ,r4 ,r4--,railroad4 ,r4 ,s4--,recording ,secretary4 ,rs4--,responsus1 to answer4 ,r4 ,s4 ,a4--,royal ,society of ,antiquaries2 ,royal ,scottish ,academy4 ,r4 ,s4 ,d4--,royal ,society of ,dublin4 ,r4 ,s4 ,e4--,royal ,society of ,edinburgh4 ,r4 ,s4 ,l4--,royal ,society of ,london4 ,r4 ,s4 ,s4--,regi ,societatis ,socius1 ,fellow of the ,royal ,society4 ,r4 ,s4 ,v4 ,p4--,rpondez1 s'il vous plat1 answer1 if you please4 ,rt4 ,hon4--,right ,honourable4 ,rt4 ,rev4--,right ,reverend4 ,rt4 ,wpful4--,right ,worshipful4 ,r4 ,w4--,right ,worthy4 ,s4--,south2 ,saint2 ,scribe2 ,sulphur2 ,sunday2 ,sun2 ,series2 ,solidus1 a shilling2 ,stere1 7metric system47 ,s4 ,a4--,south ,america2 ,south ,africa2 ,south ,australia4 s4 a4--,secundum artem1 according to art4 ,sam4--,samuel4 ,s4 ,a4 ,s4--,societatis ,antiquariorum ,socius1 ,fellow of the ,society of ,antiquaries4 ,sat4--,saturday4 ,sax4--,saxon4 ,sax4 ,chron4--,saxon ,chronicle4 ,s4 ,c4--,senats ,consultum1 a decree of the ,senate2 ,south ,carolina4 ,sc4--,sculpsit1 he engraved it4 sc4 or scil4--,scilicet1 namely4 ,scan4 ,mag4--,scandalum magnatum1 scandal of the great4 ,schol4--,scholium1 a note4 ,schr4--,schooner4 ,sci4 fa4--,scire facias1 to show cause4 ,sclav4--,sclavonic4 ,sculp4 or sculp4--,sculpsit1 he engraved it4 ,s4 ,d4--,salutem dicit1 sends health4 ,s4 ,e4--,southeast4 ,sec4--,secretary2 ,second4 ,sec4 ,leg4--,secretary of ,legation4 ,sec4 leg4--,secundum legem1 according to law4 ,sec4 reg4--,secundum regulam1 according to rule4 ,sect4--,section4 ,sem4--,semble1 it seems4 ,sen4--,senate2 ,senator2 ,senior4 ,sept4--,september2 ,septuagint4 ,seq4--,sequentia1 following2 sequitur1 it follows4 ,ser4--,series4 ,serg4--,sergeant4 ,serg4 ,maj4--,sergeant-,major4 ,servt4--,servant4 ,s4 ,g4--,south ,georgia2 ,solicitor ,general4 ,shak4--,shakspeare4 ,s4 ,h4 ,s4--,societatis ,histori ,socius1 ,fellow of the ,historical ,society4 ,sing4--,singular4 ,s4 ,isl4--,sandwich ,islands4 ,s4 ,j4--,society of ,jesus4 ,s4 ,j4 ,c4--,supreme ,judicial ,court4 ,skr4--,sanskrit4 ,s4 ,l4--,solicitor at ,law4 ,s4 lat4--,south latitude4 ,s4 ,m4--,state ,militia2 ,short ,metre2 ,sergeant-,major2 ,sons of ,malta4 sm4 c4--,small capitals4 ,s4 ,m4 ,lond4 ,soc4 ,cor4--,societatis ,medic ,londonensis ,socius ,cor41 ,corresponding ,member of the ,london ,medical ,society4 s4 n4--,secundum naturam1 according to nature4 ,soc4 ,isl4--,society ,islands4 ,sol4--,solomon2 ,solution4 ,sol4-,gen4--,solicitor-,general4 ,s4 of ,sol4--,song of ,solomon4 ,s4 ,p4--,sine prole1 without issue2 salutem precatur1 he prays for his prosperity4 ,s4 ,p4 ,a4 ,s4--,societatis ,philosophic ,american ,socius1 ,member of the ,american ,philosophical ,society4 ,s4 ,p4 ,c4 ,a4--,society for the ,prevention of ,cruelty to ,animals4 ,s4 ,p4 ,d4--,salutem plurimam dicit1 he wishes much health1 or sends his best respects4 ,s4 ,p4 ,g4--,society for the ,propagation of the ,gospel4 ,sp4 gr4--,specific gravity4 ,s4 ,p4 ,q4 ,r4--,senatus ,populusque ,romani1 the ,senate and people of ,rome4 ,s4 ,p4 ,r4 ,s4--,sublime ,prince of the ,royal ,secret4 ,sq4 ft4--,square foot or square feet4 ,sq4 in4--,square inch or inches4 ,sq4 m4--,square mile or miles4 ,sq4 r4--,square rood or roods4 ,sq4 yd4--,square yard4 ,sr4--,sir2 ,senior4 ,s4 ,r4 ,i4--,sacrum ,romanum ,imperium1 ,holy ,roman ,empire4 ,s4 ,r4 ,s4--,societatis ,regi ,socius1 ,fellow of the ,royal ,society4 ,s4 ,s4--,sunday-school4 ,,ss4--,saints4 ,,ss4 or ss4--,scilicet1 to wit4 ss4--,semis1 half4 ,s4 ,s4 ,c4--,solicitor of the ,supreme ,court4 ,s4 ,s4 ,e4--,south-southeast4 ,s4 ,s4 ,w4--,south-southwest4 ,st4--,saint2 ,street2 ,strait4 ,stat4--,statute4 ,s4 ,t4 ,d4--,sacra ,theologi ,doctor1 ,doctor of ,divinity4 ,ster4 or ,stg4--,sterling4 ,s4 ,t4 ,p4--,sacr ,theologi ,professor1 ,professor of ,divinity4 ,subj4--,subjunctive4 ,subst4--,substantive4 ,suff--,suffix4 ,su4-,goth4--,suio-,gothic4 ,su41 ,sun4 or ,sund4--,sunday4 ,sup4--,supplement2 ,superfine4 ,supt4--,superintendent4 ,surg4--,surgeon2 ,surgery4 ,surg4-,gen4--,surgeon-,general4 ,surv4--,surveyor4 ,surv4-,gen4--,surveyor-,general4 ,sus4--,susannah4 s4 v4--,sub verbo1 under the word or title4 ,s4 ,w4--,senior ,warden2 ,southwest4 ,syn4--,synonym2 ,synonymous4 ,t4--,territory4 t4--tonneau1 7metric system47 ,t4--,tutti1 all together4 ,t4 or tom4--,tome1 volume4 ,ta4--,tantalum 7,columbium47 ,t4 ,e4--,topographical ,engineers4 ,tenn4--,tennessee4 ,ter4--,territory4 ,tex4--,texas4 ,text4 ,rec4--,textus ,receptus1 the ,received ,text4 ,thlr4--,thaler1 7,german coin47 ,th4 or ,thurs4--,thursday4 ,theo4--,theodore4 ,theol4--,theology2 ,theological4 ,theoph4--,theophilus4 ,thess4--,thessalonians4 ,tho'4--,though4 ,thos4--,thomas4 ,thro'4--,through4 ,tim4--,timothy4 ,tit4--,titus4 ,t4 ,o4--,turn over4 ,tob4--,tobit4 ,tom4--,volume4 ,topog4--,topography2 ,topographical4 ,tr4--,transpose2 ,translator2 ,translation4 ,tr4--,trustee4 ,trs4--,trustees4 tr4--,trillo1 a shake4 ,trans4--,translator2 ,translation2 ,transactions4 ,treas4--,treasurer4 ,trin4--,trinity4 ,tues4 or ,tu4--,tuesday4 ,typ4--,typographer4 ,u4 ,c4--,upper ,canada4 ,u4 ,c4--,urbe condit1 year of ,rome4 ,u4 ,e4 ,i4 ,c4--,united ,east ,india ,company4 ,u4 ,g4 ,r4 ,r4--,underground ,railway4 ,u4 ,j4 ,d4--,utriusque ,juris ,doctor1 ,doctor of both ,laws1 7,civil and ,canon47 ,u4 ,k4--,united ,kingdom4 ult4--,ultimo1 last2 of the last month4 ,unit4--,unitarian4 ,univ4--,university4 ,u4 ,p4 ,c4--,united ,presbyterian ,church4 ,u4 ,s4--,united ,states4 u4 s4--,ut supra or uti supra1 as above4 ,u4 ,s4 ,a4--,united ,states of ,america2 ,united ,states ,army4 ,u4 ,s4 ,m4--,united ,states ,mail2 ,united ,states ,marines4 ,u4 ,s4 ,m4 ,a4--,united ,states ,military ,academy4 ,u4 ,s4 ,n4--,united ,states ,navy4 ,u4 ,s4 ,n4 ,a4--,united ,states ,naval ,academy4 ,u4 ,s4 ,s4--,united ,states ,senate4 ,u4 ,s4 ,v4--,united ,states ,volunteers4 ,u4 ,t4--,utah ,territory4 ,v4--,five or fifth4 ,v4--,violin2 ,,vv4--,violins4 v4 or vid4--,vide1 see4 v4 or vs4--,versus1 against2 ,versiculo1 in such a verse4 ,va4--,virginia4 ,vat4--,vatican4 ,v4 ,c4--,vice-,chancellor4 ,v4 ,d4 ,m4--,verbi ,dei ,minister1 ,minister of ,god's ,word4 ,ven4--,venerable4 ,ven4 or ,ven4 ,fa4--,venire facias1 a writ to a sheriff to summon a jury4 ,ven4 ,ex4--,venditione exponas1 a writ of execution directed to a sheriff to sell goods1 etc4 ,ver4--,verse4 ,v4 ,g4--,vicar-,general4 v4 g4--,verbi grati1 as for example4 ,,vi4--,six or sixth4 ,,vii4--,seven or seventh4 ,,viii4--,eight or eighth4 ,vice4 ,pres4 or ,v4 ,p4--,vice-,president4 ,visc4--,viscount4 viz4 or vl4--,videlicit1 to wit2 namely2 that is to say4 ,vo4--,verso1 left-hand page4 ,vol4--,volume4 ,v4 ,r4--,victoria ,regina1 ,queen ,victoria4 ,vt4--,vermont4 ,vul4--,vulgate 7,version47 vv4 ll4--,vari lectiones1 different readings4 v4 y4--,various years4 ,w4--,west4 ,wash4--,washington4 ,wed4--,wednesday4 w4 f4--,wrong fount4 ,whf4--,wharf4 ,w4 ,i4--,west ,india4 ,wisc4--,wisconsin4 ,wisd4--,wisdom1 7,book of47 ,wk4--,week4 ,w4 lon4--,west longitude4 ,w4 ,m4--,worshipful ,master4 ,wm4--,william4 ,w4 ,n4 ,w4--,west-northwest4 ,wpful4--,worshipful4 ,w4 ,s4--,writer to the ,signet4 ,w4 ,s4 ,w4--,west-southwest4 ,w4 ,t4--,washington ,territory4 ,wt4--,weight4 ,w4 ,va4--,west ,virginia4 ,x4--,ten or tenth4 ,,xi4--,eleven4 ,,xii4--,twelve4 ,,xiii4--,thirteen4 ,,xiv4--,fourteen4 ,,xv4--,fifteen4 ,,xvi4--,sixteen4 ,,xvii4--,seventeen4 ,,xviii4--,eighteen4 ,,xix4--,nineteen4 ,,xx4--,twenty4 ,,xxx4--,thirty4 ,,xl4--,forty4 ,,xc4--,ninety4 ,x4 or ,xt4--,christ4 ,xmas or ,xm4--,christmas4 ,xn4 or ,xtian4--,christian4 ,xnty4 or ,xty4--,christianity4 ,xper4 or ,xr4--,christopher4 ,yd4--,yard4 y4 or y4--,the4 y4--,them4 y4--,then4 y4--,their2 ,your4 y4--,this4 y4--,that4 ,y4 ,m4 ,c4 ,a4--,young ,men's ,christian ,association4 ,yrs4--,years2 ,yours4 ,zach4--,zachary4 ,zech4--,zechariah4 ,zeph4--,zephaniah4 ,zool4--,zoology4 4--,and4 c4--,and so forth4 ,illustration ,,foreign ,,words ,,and ,,phrases1 ,,with ,,translations4 ,a bas4--,down with4 ,a capite ad calcem4--,from head to foot4 ,a fin4--,to the end4 ,a fortiori4--,with stronger reason4 ,a l'abandon4--,at random4 ,a la bonne heure4--,opportunely2 in good time4 ,a la drobe4--,by stealth4 ,a la mode4--,according to the fashion4 ,a main arme4--,with force of arms4 ,a mensa et thoro4--,from bed and board4 ,a posteriori4--,from effect to cause2 from the latter4 ,a priori4--,from cause to effect2 from the former4 ,a tempo giusto4--,to sing or play in true time4 7,music47 ,a tempo rimo4--,to restore the original movement4 7,music47 ,a vinculo matrimonii4--,from the tie of marriage4 ,a votre sant4--,to your health4 ,ab extra4--,from without4 ,ab initio4--,from the beginning4 ,ab origine4--,from the beginning4 ,ab ova4--,from the beginning4 ,ab urbe condit4--,from the building of the city 7,rome72 abridged ,a4 ,u4 ,c4 ,abit invidia4--,all offence apart2 let there be no malice4 ,absit omen4--,may it not prove ominous4 ,absque hoc4--,without this or that4 ,ac etiam4--,and also4 ,actum est de republica4--,it is all over with the commonwealth4 ,ad absurdum4--,to show the absurdity4 ,ad arbitrium4--,at pleasure4 ,ad astra per aspera4--,to the stars through difficulties4 ,ad captandum vulgus4--,to catch the mob or the vulgar4 ,ad eundem4--,to the same point or degree4 ,ad finem4--,to the end4 ,ad ,grcas ,calendas4--,an indefinite postponement4 7,the ,greeks had no calends47 ,ad hominem4--,to the man 7that is1 to the interests or the passions of the man47 ,ad infinitum4--,without end4 ,ad inquirendum4--,for inquiry4 ,ad interim4--,in the mean while4 ,ad libitum4--,at pleasure4 ,ad litem4--,for the action 7at law47 ,ad nauseam4--,to a disgusting degree4 ,ad referendum4--,for further consideration4 ,ad rem4--,to the purpose4 ,ad unguem4--,to the nail2 exactly2 nicely4 ,ad valorem4--,according to the value4 ,addendum4--,an addition or appendix4 ,adhuc sub judice lis est4--,the affair is not yet decided4 grescit medendo4--,the remedy is worse than the disease4 quam servare mentem4--,to preserve an equable mind4 quo animo4--,with an equable mind4 re perennius4--,more lasting than brass2 enduring ever4 ,affaire du cur4--,a love affair2 an amour4 ,afflatus4--,inspiration4 ,agenda4--,things to be done4 ,agitato4--,a broken style of performance1 to awaken surprise4 7,music47 ,agnus ,dei4--,lamb of ,god4 ,aide-de-camp4--,assistant to a general4 ,aide-toi1 et le ciel t'aidera4--,help thyself1 and ,heaven will help thee4 ,alere flammam4--,to feed the flame4 ,al fresco4--,in the open air4 ,alga4--,a kind of sea-weed4 ,alguazil4--,a ,spanish constable4 ,alias4--,otherwise2 elsewhere4 ,alibi4--,elsewhere2 not present4 ,alis volat propriis4--,she flies with her own wings4 ,aliunde4--,from some other quarter or person4 ,allegretto4--,a movement quicker than andante1 but not so quick as allegro4 7,music47 ,allemande4--,a kind of ,german dance4 ,alma mater4--,benign mother 7applied to a university47 ,alter ego4--,a second self4 ,alto octavo4--,an octave higher4 ,alto relievo4--,high relief4 7,sculpture47 ,alto ripieno4--,the tenor of a great chorus4 ,alto violino4--,a small tenor violin4 ,amende4--,compensation2 apology4 ,ami du peuple4--,friend of the people4 ,amicus curi4--,a friend of the court4 ,amor patri4--,love of country4 ,amour propre4--,self-love2 vanity4 ,ancien rgime4--,former administration2 ancient order of things4 ,andante4--,moderately slow movement1 between largo and allegro4 7,music47 ,anglic4--,in ,english4 ,anguis in herb4--,a snake in the grass4 ,animis opibusque parati4--,ever ready with our lives and property4 ,animo et fide4--,by 7or with7 courage and faith4 ,animo facto4--,really and truly4 ,animus furandi4--,felonious intent4 ,anno ,domini4--,in the year of our ,lord4 ,anno lucis4--,in the year of light4 ,anno mundi4--,in the year of the world4 ,annus mirabilis4--,year of wonders4 ,ante bellum4--,before the war4 ,ante lucem4--,before light4 ,ante meridiem4--,before noon4 ,aperu4--,a brief sketch of any subject4 ,appogiatura4--,a note in a smaller character than the regular notes of the piece4 7,music47 ,apropos 7,fr4 propos47--,to the purpose4 ,aqua vit4--,water of life2 brandy4 ,arbiter elegantiarum4--,master of ceremonies2 an umpire in matters of taste4 ,arcana imperii4--,state secrets4 ,arcanum4--,a secret4 ,argumentum ad crumenam4--,an argument to the purse4 ,argumentum ad fidem4--,an appeal to faith4 ,argumentum ad hominem4--,an argument to the person4 ,argumentum ad ignorantiam4--,an argument founded on an adversary's ignorance of facts4 ,argumentum ad judicium4--,an appeal to the common sense of mankind4 ,argumentum ad populum4--,an appeal to the people4 ,argumentum ad verecundiam4--,an argument to modesty4 ,argumentum baculinum4--,club law4 ,arioso4--,light1 airy4 ,armiger4--,one bearing arms2 an esquire4 ,arpeggio4--,the notes of a chord played in rapid succession1 and not simultaneously4 7,music47 ,arrire-pense4--,mental reservation4 ,ars est celare artem4--,true art is to conceal art4 ,assumpsit4--,it is assumed or taken for granted4 ,astra castra1 ,numen lumen4--,the stars my camp1 the ,deity my light4 ,at spes non fracta4--,but hope is not broken4 ,au fait4--,well instructed2 master of it4 ,au fond4--,to the bottom1 or main point4 ,au pied de la lettre4--,literally4 ,au pis aller4--,at the worst4 ,au revoir4--,farewell4 ,audi alteram partem4--,hear the other side4 ,aura popularis4--,the gale of popular favour4 ,auri sacra fames4--,the accursed thirst for gold4 ,auter droit4--,another's right ,auter foit4--,another time4 ,auter vie4--,another's life4 ,aut vincere aut mori4--,victory or death4 ,auto-da-f1 ,auto-de-fe4--,an act of faith2 burning of heretics4 ,auxilium ab alto4--,help from on high4 ,avant-coureur4--,a forerunner4 ,ave1 ,maria4--,hail1 ,mary4 ,badinage4--,light or playful discourse4 ,bagatelle4--,a trifle4 ,bas bleu4--,a blue-stocking2 a literary woman4 ,basso-continuo4--,thorough bass4 ,basso-relievo4--,figures in low relief4 ,bateau4--,a long light boat4 ,beau-idal4--,a model of ideal perfection4 ,beau monde4--,the fashionable world4 ,bel esprit4--,a brilliant mind4 ,bella-donna4--,the deadly nightshade2 fair lady4 ,belles-lettres4--,polite literature4 ,bellum internecinum4--,a war of extermination4 ,bellum lethale4--,a deadly war4 ,bene placito4--,at pleasure4 7,music47 ,benigno numine4---,by the favour of ,providence4 ,ben trovato4--,well found2 an ingenious solution4 ,billet-doux4--,a love-letter4 ,bis dat qui cit dat4--,he gives twice who gives promptly4 ,bis peccare in bello non licet4--,to blunder twice is not allowed in war4 ,bis vincit1 qui se vincit in victori4--,he conquers a second time1 who controls himself in victory4 ,bizarre4--,odd2 fantastic4 ,blas4--,surfeited4 ,bon gr mal gr4--,willing or unwilling4 ,bon jour4--,good-day2 good-morning4 ,bon mot4--,a witty saying2 a jest2 a quibble4 ,bon soir4--,good-evening4 ,bon ton4--,high fashion2 first-class society4 ,bon vivant4--,a high liver4 ,bona fide4--,in good faith4 ,bon-bon4--,a sweetmeat2 confectionery4 ,bonhomie4--,good-natured simplicity4 ,bonis nocet quisquis pepercerit malis4--,he hurts the good who spares the bad4 ,bonne bouche4--,a delicious morsel4 ,bonus4--,an extra payment for a service rendered or a thing received4 ,boreas4--,the north wind4 ,boudoir4--,a small private apartment4 ,bourgeois4--,a citizen of the trading class2 a printing type4 ,bourgeoisie4--,the body of citizens4 ,bravura4--,a song of difficult execution4 ,brevet4--,patented4 ,brutum fulmen4--,a harmless thunderbolt2 unreasoning bluster4 ,burletta4--,a musical farce4 ,cachet4--,a seal4 ,cacoethes4--,a bad habit or custom4 ,cacoethes carpendi4--,a rage for finding fault4 ,cacoethes loquendi4--,an itch for speaking4 ,cacoethes scribendi4--,a passion for writing4 ,cadenza4--,the fall or modulation of the voice1 in music4 ,cca est invidia4--,envy is blind4 ,ctera desunt4--,the remainder is wanting4 ,cteris paribus4--,other things being equal4 ,calibre4--,capacity or compass2 mental power2 a term in gunnery4 ,camera obscura4--,a dark chamber used by artists4 ,campus ,martius4--,the field of ,mars2 a place of military exercise4 ,canaille4--,the rabble4 ,candida ,pax4--,white-robed ,peace4 ,cantata4--,a poem set to music4 ,cantate ,domino4--,sing to the ,lord4 ,cap--pie4--,from head to foot4 ,capias ad satisfaciendum4--,you may take to satisfy4 ,capriccio4--,a fanciful irregular kind of musical composition4 ,capriole4--,a leap without advancing2 capers4 ,caput mortuum4--,dead head2 the worthless remains4 ,caret4--,is wanting or omitted4 ,caret initio et fine4--,it wants beginning and end4 ,carpe diem4--,enjoy the present day4 ,carte blanche4--,unconditional terms4 ,casus belli4--,an occasion for war4 ,casus fderis4--,a case of conspiracy2 the end of the league4 ,catalogue raisonn4--,a catalogue of books arranged according to their subjects4 ,cause clbre4--,a remarkable trial in a court of justice4 ,caveat actor4--,let the doer beware4 ,caveat emptor4--,let the purchaser take heed or beware4 ,cavendo tutus4--,safe through caution4 ,ce n'est que le premier pas qui cote4--,it is only the first step which is difficult4 ,cedant arma tog4--,let military power yield to the civil4 ,cede ,deo4--,submit to ,providence4 ,certiorari4--,to be made more certain4 ,cessio bonorum4--,yielding up of goods4 ,c'est une autre chose4--,that is quite a different thing4 ,chacun son got4--,every one to his taste4 ,chanson4--,a song4 ,chansonnette4--,a little song4 ,chapeau4--,a hat4 ,chapelle ardente4--,the place where a dead person lies in state4 ,chaperon4--,an attendant on a lady1 as a guide and protector4 ,charg d'affaires4--,an ambassador of second rank4 ,chteau4--,a castle2 a country mansion4 ,chef-d'uvre4--,a masterpiece4 ,chevalier d'industrie4--,a knight of industry2 one who lives by persevering fraud4 ,chi tace confessa4--,silence is confession4 ,chiaro-oscuro or ,chiaroscuro4--,light and shadow in painting4 ,chose qui plat est demi vendue4--,a thing which pleases is already half sold4 ,cicerone4--,a guide or conductor4 ,cicisbeo4--,a dangler after a lady4 ,ci-devant4--,formerly2 former4 ,circa4--,about4 ,cit maturum cit putridum4--,soon ripe1 soon rotten4 ,clarior e tenebris4--,more bright from obscurity4 ,clique4--,a party2 a gang4 ,cognomen4--,a surname4 ,comme il faut4--,as it should be4 ,commune bonum4--,a common good4 ,communia propri dicere4--,to express common things with propriety4 ,communibus annis4--,one year with another4 ,compos mentis4--,of sound mind4 ,con amore4--,with love or hearty inclination4 ,concio ad clerum4--,a discourse to the clergy4 ,cong d'lire4--,permission to elect4 ,connoisseur4---,a skilful judge4 ,consensus facet legem4--,consent makes the law4 ,contour4--,the outline of a figure4 ,contra4--,against4 ,contra bonos mores4--,against good manners4 ,contretemps4--,a mischance2 disappointment4 ,coram nobis4--,before us4 ,coram non judice4--,before one who is not the proper judge4 ,cornucopia4--,the horn of plenty4 ,corpus delicti4--,the whole nature of the offence4 ,corrigenda4--,corrections to be made4 ,coryphus4--,a leader1 or chief4 ,cotillon4--,a lively dance4 ,couleur de rose4--,rose-colour2 an aspect of beauty and attractiveness4 ,coup de grce4--,the finishing stroke4 ,coup de main4--,a bold and rapid enterprise4 ,coup de pied4--,a kick4 ,coup de soleil4--,a stroke of the sun4 ,coup d'tat4--,a master-stroke of state policy4 ,coup d'il4--,rapid view or glance4 ,cote qu'il cote4--,cost what it may4 ,credat ,judus4--,a ,jew may believe it4 ,crescit amor nummi quantum ipsa pecunia crescit4--,the love of money increases as rapidly as the money itself increases4 ,crescit eundo4--,it increases by going4 ,crescite et multiplicamini4--,increase and multiply4 ,crimen falsi4--,falsehood2 perjury4 ,crux criticorum4--,the cross or puzzle of critics4 ,cui bono8--,to whose good8 ,cui malo8--,to whose harm8 ,cul de sac4--,the bottom of the bag2 a difficulty2 a street or lane that has no outlet4 ,cum grano salis4--,with a grain of salt2 with some allowance4 ,cum multis aliis4--,with many others4 ,cum privilegio4--,with privilege4 ,curia advisari vult4--,the court wishes to be advised4 ,curiosa felicitas4--,a felicitous tact4 ,currente calamo4--,with a running pen2 written off-hand4 ,custos rotulorum4--,keeper of the rolls4 ,da capo4--,over again4 ,damnant quod non intelligunt4--,they condemn what they do not comprehend4 ,data4--,things granted1 7sing4 datum47 ,de bonis non4--,of the goods not yet administered on4 ,de die in diem4--,from day to day4 ,de facto4--,in fact2 in reality4 ,de gustibus non est disputandum4--,there is no disputing about tastes4 ,de jure4--,by law or right4 ,de mortuis nil nisi bonum4--,say nothing but what is good of the dead4 ,de novo4--,anew4 ,de profundis4--,out of the depths4 ,de trop4--,out of place2 not wanted4 ,debito justiti4--,by debt of justice4 ,dbut4--,beginning of an enterprise2 first appearance4 ,deceptio viss4--,an illusion of the sight4 ,dedimus potestatem4--,we have given power4 ,deficit4--,a want of deficiency4 ,dei grati4--,by the grace of ,god4 ,djener la fourchette4--,a breakfast or luncheon with meats4 ,dele4--,blot out or erase4 ,delenda est ,carthago4--,carthage must be blotted out4 ,delta 7the ,greek letter 17 a triangular tract of land toward the mouth of a river4 ,dnouement4--,an unravelling or winding up4 ,deo adjuvante1 non timendum4--,god helping1 nothing need be feared4 ,deo favente4--,with ,god's favour4 ,deo gratias4--,thanks to ,god4 ,deo juvante4--,with ,god's help4 ,deo non fortun4--,from ,god1 not fortune4 ,deo volente1 or ,d4 ,v4--,god willing4 ,dpt4--,a store2 the recruiting reserve of regiments4 ,dernier ressort4--,the last resort4 ,desideratum4--,something desired or wanted4 ,desunt ctera4--,the other things are wanting4 ,detinet4--,he detains2 he keeps4 ,dtour4--,a circuitous march4 ,detur digniori4--,let it be given to the more worthy4 ,deus ex machin4--,a god from the clouds2 unexpected aid in an emergency4 ,devastavit4--,he wasted4 ,devoir4--,duty4 ,dexter4--,the right hand4 ,dictum4--,a positive assertion 7pl4 dicta47 ,dictum de dicto4--,report upon hearsay4 ,dies faustus4--,a lucky day4 ,dies ir4--,day of wrath4 ,dies non4--,a day on which judges do not sit4 ,dieu et mon droit4--,god and my right4 ,dieu vous garde4--,god protect you4 ,dii majorum gentium4--,the gods of the superior class2 the twelve superior gods4 ,dii penates4--,household gods4 ,dilettanti4--,persons who devote themselves to science merely for amusement or relaxation4 7,sing4 ,dilettante47 ,diluvium4--,a deposit of superficial loam1 sand1 c4 caused by a deluge4 ,dirigo4--,i direct or guide4 ,disjecta membra4--,scattered parts1 limbs1 or writings4 ,distrait4--,absent in thought2 absent-minded4 ,distringas4--,a writ for distraining4 ,divide et impera4--,divide and govern4 ,doce ut discas4--,teach1 that you may learn4 ,docendo dicimus4--,we learn by teaching4 ,dolce4--,soft and agreeable4 7,music47 ,dolce far niente4--,sweet idleness4 ,doli incapax4--,incapable of mischief4 ,doloroso4--,soft and pathetic4 7,music47 ,domicile 7,l4 domicilium47--,an abode4 ,domine dirige nos4--,o ,lord1 direct us4 ,dominus vobiscum4--,the ,lord be with you4 ,double entendre4--,double meaning 7correctly written double entente47 ,douceur4--,a present or bribe2 sweetness4 ,draco4--,a dragon2 a constellation4 ,dramatis person4--,the characters in a play4 ,duet 7,ital4 duetto47--,a song for two performers4 ,dulce est desipere in loco4--,it is pleasant to jest1 or revel1 at the proper time4 ,dulce et decorum est pro patri mori4--,it is sweet and pleasant to die for one's country4 ,dulia4--,an inferior kind of worship4 ,dum spiro1 spero4--,whilst ,i breathe1 ,i hope4 ,dum vivimus1 vivamus4--,while we live1 let us live4 ,duo4--,two2 a two-part song4 ,duodecimo4--,a book having twelve leaves to a sheet4 ,durante placito1 or durante beneplacito4--,during pleasure4 ,durante vit4--,during life4 ,dux fmina facti4--,a woman was the leader to the deed4 ,e pluribus unum4--,one out of many2 one composed of many3 the motto of the ,united ,states4 ,eau de vie4--,brandy2 water of life4 ,ecce homo4--,behold the man4 ,ecce signum4--,behold the sign4 ,eclaircissement4--,the clearing-up of an affair4 ,eclat4--,splendour2 applause4 ,editio princeps4--,the first edition4 ,eheu6--,ah1 alas6 ,elan4--,buoyancy2 dash4 ,elegit4--,he hath elected2 a writ of execution4 ,elve4--,a pupil4 ,elite4--,the best part4 ,embonpoint4--,roundness2 good condition4 ,emeritus4--,one retired from active official duties4 ,emeute4--,insurrection2 uproar4 ,empressement4--,eagerness2 ardour4 ,en ami4--,as a friend4 ,en avant6--,forward6 ,en flte4--,carrying guns on the upper deck only4 ,en grande tenue4--,in full dress4 ,en masse4--,in a mass2 in a body4 ,en passant4--,by the way2 in passing4 ,en rapport4--,in communication4 ,en revanche4--,in return4 ,en route4--,on the way4 ,enceinte4--,pregnant4 ,enfans perdus4--,lost children2 the forlorn hope4 ,ennui4--,weariness2 lassitude4 ,ense petit placidam sub libertate quietem4--,by his sword he seeks the calm repose of liberty4 ,ensemble4--,the whole taken together4 ,entente cordiale4--,the cordial understanding between two countries4 ,entre nous4--,between ourselves4 ,entre4--,entrance4 ,entremets4--,small and dainty dishes set between the principal ones at table4 ,eo nomine4--,by that name4 ,equilibrium4--,equality of weight2 even balance4 ,ergo4--,therefore4 ,eripuit clo fulmen1 sceptrumque tyrannis4--,he snatched the thunderbolt from heaven1 and the sceptre from tyrants4 ,erratum4--,a mistake or error 7pl4 errata47 ,escrow4--,a deed or writing left with another1 to be delivered on the performance of something specified4 ,espiglerie4--,waggish tricks4 ,esprit de corps4--,the animating spirit of a collective body4 ,est modus in rebus4--,there is a medium in all things4 ,estoppel4--,a stop1 a preventive plea4 ,esto perpetua4--,may it last forever4 ,et ctera4--,and the rest4 ,eureka4--,i have found it4 ,ex4--,out of2 late 7as1 ex-consul47 ,ex animo4--,heartily4 ,ex cathedr4--,from the chair2 with high authority4 ,ex concesso4--,from what has been granted4 ,ex curi4--,out of court4 ,ex fumo dare lucem4--,out of smoke to bring light4 ,ex nihilo nihil fit4--,nothing can come of nothing4 ,ex officio4--,by virtue of his office4 ,ex parte4--,on one side only 7before a noun1 exparte47 ,ex pede ,herculem4--,we recognize a ,hercules from the size of the foot3 that is1 we judge of the whole from the specimen4 ,ex post facto4--,after the deed is done4 ,ex tempore4--,without premeditation4 ,ex uno disce omnes4--,from one learn all2 from one judge of the whole4 ,excelsior4--,more elevated2 onward4 ,excerpta4--,extracts4 ,exempli grati4--,as for example4 ,exeunt omnes4--,all retire4 ,experimentum crucis4--,a decisive experiment4 ,experto credo4--,believe one who has experience4 ,expos4--,an exposition2 recital4 ,faber su fortun4--,the architect of his own fortune4 ,facile primus1 facile princeps4--,by far the first or chiefest4 ,facilis est descensus4--,descent is easy4 ,fac simile4--,make it like2 hence1 an exact copy4 ,fac totum4--,do all2 a man of all work4 ,facta est lux4--,there was light4 ,fas est ab hoste doceri4--,it is allowable to learn even from an enemy4 ,fata obstant4--,the fates oppose it4 ,fauteuil4--,an easy-chair4 ,faux pas4--,a false step4 ,felo de se4--,a self-murderer4 ,feme couverte4--,a married woman4 ,feme sole4--,a woman unmarried4 ,festina lente4--,hasten slowly2 advance steadily rather than hurriedly4 ,fte4--,a feast or celebration4 ,fte champtre4--,a rural feast4 ,feu de joie4--,a bonfire2 a discharge of musketry on days of rejoicing4 ,feuilleton4--,a small leaf2 a supplement to a newspaper2 a pamphlet4 ,fiat4--,let it be done4 ,fiat justitia1 ruat clum4--,let justice be done1 though the heavens should fall4 ,fiat lux4--,let there be light4 ,fide1 non armis4--,by faith1 not by arms4 ,fide1 sed cui vide4--,trust1 but see whom4 ,fides et justitia4---,fidelity and justice4 ,fidus ,achates4--,faithful ,achates 7that is1 a true friend47 ,fieri facias4--,cause it to be done 7a kind of writ47 ,filius nullius4--,a son of nobody4 ,fille-de-chambre4--,a chambermaid4 ,finale4--,to close or end4 ,finem respice4--,look to the end4 ,finis4--,the end4 ,finis coronat opus4--,the end crowns the work4 ,flagrante bello4--,while the war is raging4 ,flagrante delicto4--,in the commission of the crime4 ,flneur4--,a lounger4 ,flecti1 non frangi4--,to be bent1 not to be broken4 ,fleur-de-lis4--,the flower of the lily 7pl4 fleurs-de-lis47 ,forte4--,in music1 a direction to sing or play with force or spirit4 ,fortes fortuna juvat4--,fortune assists the brave4 ,fortissimo4--,very loud4 ,fortiter in re4--,resolute in deed4 ,fracas4--,bustle2 a slight quarrel2 more ado about the thing than it is worth4 ,fruges consumere nati4--,born merely to consume the fruits of the earth4 ,fugam fecit4--,he has taken to flight4 ,fuit ,ilium4--,troy has been4 ,functus officio4--,out of office4 ,furore4--,excitement4 ,gaiet de cur4--,gayety of heart4 ,gallic4--,in ,french4 ,gardez bien4--,take good care4 ,gardez la foi4--,keep the faith4 ,gaucherie4--,awkwardness4 ,gaudeamus igitur4--,so let us be joyful4 ,gendarme4--,a military policeman4 ,gendarmerie4--,the body of the gendarmes4 ,genius loci4--,the genius of the place4 ,genus irritabile vatum4--,irritable tribe of poets4 ,gloria in excelsis4--,glory to ,god in the highest4 ,gratis4--,free of cost4 ,gratis dictum4--,mere assertion4 ,gravamen4--,the thing complained of4 ,grisette4--,dressed in gray 7a term applied to ,french shop-girls1 c47 ,gusto4--,great relish4 ,habeas corpus4--,you are to have the body2 a writ of right1 by virtue of which every citizen can1 when imprisoned1 demand to be put on his trial4 ,habitu4--,a frequenter4 ,hc olim meminisse juvabit4--,it will be pleasant hereafter to remember these things4 ,haricot4--,a kind of ragout2 a kidney-bean4 ,haud passibus quis4--,not with equal steps4 ,wrongly quoted3 see ,non1 c4 ,haut gout4--,high flavour4 ,hauteur4--,haughtiness4 ,helluo librorum4--,a book-worm4 ,hic et ubique4--,here1 there1 and everywhere4 ,hic jacet4--,here lies4 ,hinc ill lacrym4--,hence proceed these tears4 ,hoc age4--,do this2 attend to what you are doing4 ,homme d'esprit4--,a man of talent1 or of wit4 ,homo multarum literarum4--,a man of much learning4 ,honi soit qui mal y pense4--,evil be to him that evil thinks4 ,honores mutant mores4--,honours change men's manners4 ,hora fugit4--,the hour or time flies4 ,horresco referens4--,i shudder to relate4 ,hors de combat4--,disabled for fighting2 vanquished4 ,hortus siccus4--,a collection of dried plants4 ,hostis humani generis4--,an enemy of the human race4 ,hotel de ville4--,a town-hall4 ,htel-,dieu4--,the chief hospital in ,french cities4 ,humanum est errare4--,it is human to err4 ,hunc tu caveto4--,beware of him4 ,ibidem1 contracted ibid4 or id4--,in the same place4 ,ich dien4--,i serve4 ,id est4--,that is2 abridged i4 e4 ,id genus omne4--,all of that sort4 ,idem1 contracted id4--,the same4 7,id4 ib41 the same author2 in the same place47 ,idoneus homo4--,a fit man4 ,ignoramus4--,we are ignorant4 ,ignorantia legis neminem excusat4--,ignorance of the law excuses no one4 ,il a le diable au corps4--,the devil is in him4 ,imitatores1 servum pecus4--,imitators1 a servile herd4 ,imperium in imperio4--,one government existing within another4 ,impransus4--,one who has not dined4 ,imprimatur4--,let it be printed4 ,imprimis4--,in the first place4 ,impromptu4--,a prompt remark without study4 ,in articulo mortis4--,at the point of death4 ,in capite4--,in the head4 ,in clo quies4--,there is rest in heaven4 ,in commendam4--,in trust4 ,in conspectu fori4--,in the eye of the law2 in the sight of the court4 ,in curi4--,in the court4 ,in duplo4--,twice as much4 ,in equilbrio4--,equally balanced4 ,in esse4--,in being4 ,in extenso4--,at full length4 ,in extremis4--,at the point of death4 ,in form pauperis4--,as a pauper4 ,in foro conscienti4--,before the tribunal of conscience4 ,in hoc signo vinces4--,in this sign thou shalt conquer4 ,in limine4--,at the threshold4 ,in loco4--,in the place4 ,in medias res4--,into the midst of things4 ,in memoriam4--,to the memory of4 ,in perpetuum4--,forever4 ,in petto4--,in reserve2 in one's breast4 ,in posse4--,in possible existence4 ,in posterum4--,for the time to come4 ,in propri person4--,in his own person4 ,in puris naturalibus4--,quite naked4 ,in re4--,in the matter of4 ,in situ4--,in its original situation4 ,in statu quo4--,in the former state4 ,in te1 ,domine1 speravi4--,in thee1 ,lord1 have ,i put my trust4 ,in terrorem4--,by way of warning4 ,in totidem verbis4--,in so many words4 ,in toto4--,altogether4 ,in transitu4--,on the passage4 ,in utrumque paratus4--,prepared for either event4 ,in vacuo4--,in empty space1 or in a vacuum4 ,in vino veritas4--,there is truth in wine4 ,incognito4--,disguised2 unknown4 ,index expurgatorius4--,a list of prohibited books4 ,infra dignitatem4--,beneath one's dignity4 ,innuendo4--,covert meaning2 indirect hint4 ,inops consilii4--,without counsel4 ,insouciance4--,carelessness2 indifference4 ,instar omnium4--,one will suffice for all2 an example to others4 ,inter alia4--,among other things4 ,inter arma leges silent4--,in the midst of arms the laws are silent4 ,inter nos4--,between ourselves4 ,inter se4--,among themselves4 ,ipse dixit4--,he himself said it2 dogmatic assertion4 ,ipsissima verba4--,the very words4 ,ipso facto4--,by the fact itself2 actually4 ,ipso jure4--,by the law itself4 ,ira furor brevis est4--,anger is brief madness4 ,ita lex scripta est4--,thus the law is written4 ,item4--,also4 ,jacta est alea4--,the die is cast4 ,jamais arrire4--,never behind4 ,je ne sais quoi4--,i know not what4 ,jet d'eau4--,a jet of water4 ,jeu de mots4--,play upon words2 a pun4 ,jeu d'esprit4--,a witticism4 ,judicium ,dei4--,the judgment of ,god4 ,juniores ad labores4--,young men for labours4 ,jure divino4--,by divine law4 ,jure gentium4--,by the law of nations4 ,jure humano4--,by human law4 ,jus civile4--,civil law4 ,jus gladii4--,right of the sword4 ,juste milieu4--,the golden mean2 a just medium4 ,justiti soror fides4--,faith is the sister of justice4 ,la critique est aise1 et l'art est difficile4--,criticism is easy1 but art is difficult4 ,labor ipse voluptas4--,labour itself is pleasure4 ,labor omnia vincit4--,labour conquers all things4 ,laissez-nous faire4--,let us alone4 ,lapsus calami4--,a slip of the pen2 an error in writing4 ,lapsus lingu4--,a slip of the tongue4 ,lapsus memori4--,a slip of memory4 ,lares et pentes4--,household gods4 ,l'argent4--,money1 or silver4 ,laudator temporis acti4--,a praiser of time past4 ,laus ,deo4--,praise to ,god4 ,laus propria sordet4--,praise of one's own self defiles4 ,le beau monde4--,the fashionable world4 ,le bon temps viendra4--,the good time will come4 ,le grand uvre4--,the great work2 the philosopher's stone4 ,le pas4--,precedence in place or rank4 ,le savoir-faire4--,the knowledge how to act2 address4 ,le tout ensemble4--,all together4 ,lege4--,read4 ,leges legum4--,the law of laws4 ,lse majest4--,high treason4 ,l'toile du nord4--,the north star4 ,lettre de cachet4--,a sealed letter2 a royal warrant4 ,levari facias4--,that you cause to be levied2 a writ of execution4 ,leve4--,a morning visit or reception4 ,lex loci4--,the law of the place4 ,lex magna est1 et prvalebit4--,the law is great1 and will prevail4 ,lex non scripta4--,the unwritten or common law4 ,lex scripta4--,statute law4 ,lex talionis4--,the law of retaliation4 ,lex terr1 lex patri4--,the law of the land4 ,l'homme propose1 et ,dieu dispose4--,man proposes1 and ,god disposes4 ,libretto4--,a little book or pamphlet4 ,licentia vatm4--,a poetical license4 ,lingua ,franca4--,the mixed language spoken by ,europeans in the ,east4 ,liqueur4--,a cordial4 ,lis litem generat4--,strife begets strife4 ,lis sub judice4--,a case not yet decided4 ,lite pendente4--,during the trial4 ,litera scripta manet4--,the written letter remains4 ,literati4--,men of letters or learning4 ,loco citato4--,in the place cited4 ,loco parentis4--,in the place of the parent4 ,locum tenens4--,one who holds a place for another4 ,locus sigilli 7,l4 ,s474--,the place of the seal4 ,longo intervallo4--,at a great distance4 ,ludere cum sacris4--,to trifle with sacred things4 ,lusus natur4--,a sport or freak of nature4 ,macte virtute4--,proceed in virtue4 ,mademoiselle4--,a young unmarried lady4 ,magna ,charta4--,the great charter of ,england4 ,magna civitas1 magna solitudo4--,a great city is a great desert4 ,magna est veritas1 et prvalebit4--,the truth is great1 and will prevail4 ,magni nominis umbra4--,the shadow of a great name4 ,magnum opus4--,a great work4 ,magnus ,apollo4--,great ,apollo2 one of high authority4 ,maison de ville4--,the town-house4 ,matre d'htel4--,an hotel-keeper2 a house-steward4 ,majordomo 7,ital4 maiordomo47--,one who has the management of a household4 ,mal fide4--,in bad faith2 treacherously4 ,mal propos4--,out of time2 unbecoming4 ,malaria4--,noxious exhalations4 ,malgr4--,in spite of4 ,malum in se4--,bad in itself4 ,mandamus4--,we command3 a peremptory writ to compel obedience4 ,mange4--,a riding-school4 ,mania a potu4--,madness caused by drunkenness4 ,manu forti4--,with a strong hand4 ,mardi gras4--,shrove-,tuesday4 ,mare clausum4--,a closed sea2 a bay4 ,materfamilias4--,the mother of a family4 ,materia medica4--,substances used in the healing art4 ,matine4--,a morning party4 ,mauvais got4--,bad taste4 ,mauvais sujet4--,a worthless fellow4 ,mauvaise honte4--,false modesty2 bashfulness4 ,maximum4--,the greatest4 ,maximus in minimis4--,very great in trifling things4 ,me judice4--,i being judge2 in my own opinion4 ,medio tutissimus ibis4--,a medium course will be safest4 ,meditatione fug4--,in contemplation of flight4 ,memento mori4--,remember death4 ,memorabilia4--,things to be remembered4 ,memoriter4--,by rote4 ,mnage4--,household4 ,mens sana in corpore sano4--,a sound mind in a sound body4 ,metis sibi conscia recti4--,a mind conscious of rectitude4 ,mensa et thoro4--,from bed and board4 ,merum sal4--,pure salt2 genuine ,attic wit4 ,meum et tuum4--,mine and thine4 ,minimum4--,the least4 ,minuti4--,minute concerns2 trifles4 ,mirabile dictu4--,wonderful to be told4 ,mirabilia4--,wonders4 ,mittimus4--,we send3 a warrant for the commitment of an offender4 ,modus operandi4--,manner of operation4 ,montani semper liberi4--,mountaineers are always freemen4 ,morceau4--,a morsel4 ,more suo4--,in his own way4 ,mot du guet4--,a watchword4 ,multum in parvo4--,much in a small space4 ,mutanda4--,things to be altered4 ,mutatis mutandis4--,the necessary changes being made4 ,mutato nomine4--,the name being changed4 ,navet4--,ingenuousness2 simplicity4 ,ne cede malis4--,yield not to misfortune4 ,ne exeat4--,let him not depart4 ,ne plus ultra4--,nothing further2 the uttermost point4 ,ne quid nimis4--,not too much of any thing2 do nothing to excess4 ,ne sutor ultra crepidam4--,let not the shoemaker go beyond his last4 ,ne tentes1 aut perfice4--,attempt not1 or accomplish thoroughly4 ,nec pluribus impar4--,not an unequal match for numbers4 ,nec scire fas est omnia4--,it is not permitted to know all things4 ,necessitatis non habet legem4--,necessity has no law4 ,ne4--,born4 ,nefasti dies4--,days upon which no public business was transacted2 also1 unlucky days4 ,nemine contradicente4--,no one contradicting4 ,nemine dissentiente4--,without opposition or dissent4 ,nemo me impune lacessit4--,no one wounds me with impunity4 ,nemo mortalium omnibus horis sapit4--,no one is wise at all times4 ,nemo repent fuit turpissimus4--,no man ever became a villain at once4 ,nemo solus sapit4--,no one is wise alone4 ,niaiserie4--,silliness4 ,nihil debet4--,he owes nothing2 a plea denying a debt4 ,nihil quod tetigit1 non ornavit4--,whatever he touched he embellished4 ,nil admirari4--,to wonder at nothing4 ,nil desperandum4--,never despair4 ,nimium ne crede colori4--,trust not too much to looks4 ,n'importe4--,it matters not4 ,nisi ,dominus frustra4--,unless the ,lord be with us1 all efforts are in vain4 ,noblesse oblige4--,rank imposes obligation4 ,nolens volens4--,willing or unwilling4 ,noli me tangere4--,don't touch me4 ,nolle prosequi4--,unwilling to proceed4 ,nolo episcopari4--,i am not willing to be made a bishop 7an old formal way of declining a bishopric47 ,nom de guerre4--,an assumed name4 ,nom de plume4--,a literary title4 ,nomen et omen4--,name and omen2 a name that is ominous4 ,non compos mentis4--,not of sound mind4 ,non deficiente crumen4--,if the money does not fail4 ,non est disputandum4--,it is not to be disputed4 ,non est inventus4--,not found4 ,non libet4--,it does not please me4 ,non mi ricordo4--,i don't remember4 ,non nobis solum4--,not merely for ourselves4 ,non obstante4--,notwithstanding4 ,non omnis moriar4--,i shall not wholly die4 ,non passibus quis4--,not with equal steps4 ,non sequitur4--,it does not follow3 an unwarranted conclusion4 ,non sibi1 sed omnibus4--,not for itself1 but for all4 ,nonchalance4--,coolness2 easy indifference4 ,nonpareil4--,peerless2 a small printing type4 ,nosce teipsum4--,know thyself4 ,noscitur ex sociis4--,he is known by his companions4 ,nota bene4--,mark well4 ,nous verrons4--,we shall see4 ,novus homo4--,a new man4 ,nudum pactum4--,an invalid agreement4 ,nulla crux1 nulla corona4--,no cross1 no crown4 ,nulla nuova1 bona nuova4--,the best news is no news4 ,nullius filius4--,the son of nobody4 ,nunc aut nunquam4--,now or never4 ,o tempora6 o mores6--,oh1 the times6 oh1 the manners6 ,obiit4--,he 7or she7 died4 ,obiter dictum4--,a thing said by the way1 or in passing4 ,obsta principiis4--,resist the first beginnings4 ,odi profanum4--,i loathe the profane4 ,odium theologicum4--,the hatred of theologians4 ,ohe6 jam satis4--,oh1 there is now enough4 ,olla podrida4--,an incongruous mixture4 ,omne ignotum pro magnifico4--,whatever is unknown is thought to be magnificent4 ,omnes4--,all4 ,omnia bona bonis4--,all things are good with the good4 ,omnia vincit amor4--,love conquers all things4 ,on-dit4--,a rumour2 a flying report4 ,onus4--,burden4 ,onus probandi4--,the responsibility of producing proof4 ,ope et consilio4--,with assistance and counsel4 ,ora et labora4--,pray and work4 ,orator fit1 poeta nascitur4--,the orator is made by education1 but a poet must be born4 ,ore rotundo4--,with full-sounding voice4 ,otium cum dignitate4--,dignified leisure4 ,outr4--,preposterous2 eccentric4 ,oyer and ,terminer4--,a criminal court4 ,pallida mors4--,pale death4 ,par excellence4--,by way of eminence4 ,par nobile fratrum4--,a noble pair of brothers2 two just alike4 ,pari passu4--,with equal step2 in the same degree4 ,parole d'honneur4--,word of honour4 ,pars pro toto4--,part for the whole4 ,particeps criminis4--,an accomplice4 ,parturiunt montes1 nascetur ridiculus mus4--,the mountains are in labour2 a ridiculous mouse will be brought forth4 ,parva componere magnis4--,to compare small things with great4 ,parvenu4--,a new comer2 an upstart4 ,pas4--,a step2 precedence4 ,passe-partout4--,a master-key4 ,passim4--,in many places2 everywhere4 ,paterfamilias4--,the father of a family4 ,pater noster4--,our ,father2 the ,lord's prayer4 ,pater patri4--,father of his country4 ,patois4--,a provincial dialect4 ,pax in bello4--,peace in war4 ,peccavi4--,i have sinned4 ,penchant4--,an inclination2 a leaning toward4 ,pendente lite4--,while the suit is pending4 ,penetralia4--,secret recesses4 ,per aspera ad astra4--,through trials to glory4 ,per capita4--,by the head2 equal division4 ,per cent4 or per centum4--,by the hundred4 ,per contra4--,contrariwise4 ,per curiam4--,by the court4 ,per diem4--,by the day4 ,per fas et nefas4--,through right and wrong4 ,per saltum4--,with a leap2 at once4 ,per se4--,by itself2 alone4 ,perdu4--,lost4 ,pre de famille4--,the father of a family4 ,petit4--,small2 little4 ,petitio principii4--,a begging of the question4 ,petit-matre4--,a fop4 ,peu peu4--,gradually2 a little by little4 ,pinxit4--,painted it3 placed after the artist's name on a picture4 ,pi4--,more4 ,plateau4--,a plain2 a flat surface4 ,plebs4--,common people4 ,pluries4--,very often2 a third writ1 after two writs have issued4 ,poco4--,a little4 ,poeta nascitur1 non fit4--,a poet is born1 not made4 ,point d'appui4--,point of support2 prop4 ,poisson d',avril4--,april fool4 ,populus vult decipi4--,people like to be deceived4 ,posse comitats4--,the power of the county4 ,postea4--,afterward2 endorsement of the verdict upon the record4 ,post mortem4--,after death4 ,postulata4--,things assumed4 ,prcognita4--,things previously known4 ,prmonitus1 prmunitus4--,forewarned1 forearmed4 ,preux chevalier4--,a brave knight4 ,prim facie4--,on the first view4 ,primum mobile4--,the primary motive1 or moving power4 ,primus inter pares4--,chief among equals4 ,principia1 non homines4--,principles1 not men4 ,principiis obsta4--,resist the first innovations4 ,pro aris et focis4--,for our altars and our hearths4 ,pro bono publico4--,for the public good4 ,pro et con 7for contra74--,for and against4 ,pro form4--,for form's sake2 according to form4 ,pro hc vice4--,for this turn or occasion4 ,pro loco et tempore4--,for the place and time4 ,pro patri4--,for our country4 ,pro rat4--,in proportion4 ,pro re nat4--,for a special emergency4 ,pro tanto4--,for so much4 ,pro tempore4--,for the time-being4 ,probatum est4--,it has been tried and proved4 ,procs-verbal4--,a written statement4 ,prochein ami4--,the next friend4 ,procul1 ,o procul este1 profani6--,far1 far hence1 ,o ye profane6 ,pronunciamento4--,a public declaration4 ,propagand fide4--,for extending the faith4 ,protg4--,a person taken charge of1 or patronized2 a ward1 c4 ,prudens futuri4--,thoughtful of the future4 ,pugnis et calcibus4--,with fists and heels2 with all the might4 ,punica fides4--,punic faith2 treachery4 ,qure4--,query2 inquiry4 ,quamdiu se bene gesserit4--,so long as he shall conduct himself properly4 ,quantum4--,the due proportion4 ,quantum libet4--,as much as you please4 ,quantum meruit4--,as much as he deserved4 ,quantum sufficit4--,a sufficient quantity2 enough4 ,quare clausum fregit4--,an action for damages to real estate4 ,quare impedit4--,why he hinders4 ,quasi dicas4--,as if you should say4 ,quelque chose4--,a trifle4 ,qui capit1 ille facit4--,he who takes it makes it4 ,qui pense8--,who thinks8 ,qui tam8--,who as well8 the title given to a certain action at law4 ,qui transtulit sustinet4--,he who brought us hither still preserves us4 ,qui va l8--,who goes there8 ,qui vive8--,who goes there8 hence1 on the qui-vive1 on the alert4 ,quid-nunc8--,what now8 a newsmonger4 ,quid pro quo4--,one thing for another2 8tit for tat40 ,quid rides8--,why do you laugh8 ,quis separabit8--,who shall separate us8 ,quo animo8--,with what intention4 ,quo jure8--,by what right8 ,quo warranto4--,by what warrant or authority4 ,quoad hoc4--,to this extent4 ,quod avertat ,deus8--,which may ,god avert6 ,quod vide4--,which see4 ,quodlibet4--,a nice point2 a subtlety4 ,quondam4--,former4 ,quorum4--,of whom3 a term signifying a sufficient number for a certain business4 ,quos ,deus vult perdere1 prius dementat4--,those whom ,god wishes to destroy1 he first deprives of understanding4 ,ragout4--,a highly-seasoned dish4 ,rara avis4--,a rare bird2 a prodigy4 ,re infect4--,the business being unfinished4 ,recte et suaviter4--,justly and mildly4 ,rectus in curi4--,upright in the court2 with clean hands4 ,redolet lucern4--,it smells of the lamp2 it is a laboured production4 ,reductio ad absurdum4--,a reducing a position to an absurdity4 ,regina4--,queen4 ,regium donum4--,a royal donation 7a grant from the ,british crown to the ,irish ,presbyterian clergy47 ,regnant populi4--,the people rule4 ,rencontre4--,an encounter4 ,renaissance4--,new birth3 applied to the revival of the classic arts in the fifteenth and sixteenth centuries4 ,requiescant in pace4--,may they rest in peace4 ,requiescat in pace4--,may he rest in peace4 ,rerum primordia4--,the first elements of things4 ,res angusta domi4--,narrow circumstances at home2 poverty4 ,res integra4--,an entire matter4 ,respice finem4--,look to the end4 ,respublica4--,the commonwealth4 ,restaurateur4--,a tavern-keeper who provides dinners1 c4 ,rsum4--,an abstract or summary4 ,resurgam4--,i shall rise again4 ,revenons nos moutons4--,let us return to our subject4 ,rex4--,king4 ,rouge4--,red colouring for the skin4 ,rouge et noir4--,red and black 7a kind of game47 ,rus in urbe4--,the country in town4 ,ruse contre ruse4--,diamond cut diamond3 trick for trick4 ,ruse de guerre4--,a stratagem of war4 ,salle4--,hall4 ,salus populi suprema lex est4--,the welfare of the people is in the supreme law4 ,salvo pudore4--,without offence to modesty4 ,sanctum sanctorum4--,holy of ,holies4 ,sang-froid4--,coolness2 self-possession4 ,sans4--,without4 ,sans crmonie4--,without ceremony4 ,sans peur et sans reproche4--,without fear and without reproach4 ,sans souci4--,without care2 free and easy4 ,sans tche4--,stainless4 ,sans-culottes4--,without breeches3 a term applied to the rabble of the ,french ,revolution4 ,sartor resartus4--,the cobbler mended4 ,satis1 superque4--,enough1 and more than enough4 ,satis verborum4--,enough of words2 you need say no more4 ,sauve qui peut4--,save himself who can4 ,savant4--,a learned man4 ,savoir-faire4--,ability2 skill4 ,scandalum magnatum4--,scandal of the great4 ,scienter4--,knowingly4 ,scilicet4--,that is to say2 to wit4 ,scire facias4--,cause it to be known4 ,scripsit4--,wrote it4 ,sculpsit4--,engraved it3 placed after the engraver's name in prints4 ,secundum artem4--,according to rule4 ,selon les rgles4--,according to rule4 ,semper fidelis4--,always faithful4 ,semper idem4--,always the same4 ,semper paratus4--,always ready4 ,senats consultum4--,a decree of the senate4 ,seriatim4--,in order2 successively4 ,si quris peninsulam amnam1 circumspice4--,if thou seekest a beautiful peninsula1 behold it here4 ,sic in originali4--,so it stands in the original4 ,sic itur ad astra4--,such is the way to immortality4 ,sic passim4--,so everywhere4 ,sic semper tyrannis4--,so be it ever to tyrants4 ,sic transit gloria mundi4--,thus passes away the glory of the world4 ,sicut ante4--,as before4 ,similia similibus curantur4--,like things are cured by like4 ,simplex munditiis4--,of simple elegance4 ,sine die4--,without naming a day4 ,sine invidi4--,without envy4 ,sine qua non4--,an indispensable requisite4 ,siste1 viator4--,stop1 traveller4 ,sobriquet4--,a nickname4 ,soi-disant4--,self-styled2 pretended4 ,soire4--,an evening party4 ,souvenir4--,remembrance2 a keepsake4 ,spartam nactus es1 hanc exorna4--,you have got something good2 make the most of it you can4 ,spectas et spectaberis4--,you will see and be seen4 ,spes mea ,christus4--,christ is my hope4 ,spolia opima4--,the richest booty4 ,stans pede in uno4--,standing on one foot4 ,statu quo1 or in statu quo4--,in the same state4 ,stet4--,let it stand4 ,suaviter in modo1 fortiter in re4--,gentle in manner1 resolute in deed4 ,sub judice4--,under consideration4 ,sub ros4--,under the rose2 privately4 ,sub silentio4--,in silence4 ,subpna4--,under a penalty3 a summons to attend a court as a witness4 ,succedaneum4--,a substitute4 ,sui generis4--,of its own kind2 peculiar4 ,summum bonum4--,the chief good4 ,supersedeas4--,a writ to stay proceedings4 ,super visum corporis4--,upon a view of the body4 ,suppressio veri1 suggestio falsi4--,a suppression of the truth is the suggestion of a falsehood4 ,supra4--,above4 ,suum cuique4--,let every one have his own4 ,table d'hte4--,an ordinary at which the master of the hotel presides4 ,tabula rasa4--,a smooth or blank tablet4 ,tdium vit4--,weariness of life4 ,tale quale4--,such as it is4 ,tant mieux4--,so much the better4 ,tant pis4--,so much the worse4 ,tapis4--,the carpet4 ,tartuffe4--,a nickname for a hypocritical devotee1 derived from the principal character in ,molire's comedy so called4 ,te judice4--,you may judge4 ,tempora mutantur1 et nos mutamur in illis4--,the times are changed1 and we are changed with them4 ,tempus edax rerum4--,time the devourer of all things4 ,tempus fugit4--,time flies4 ,tempus omnia revelat4--,time reveals all things4 ,teres atque rotundus4--,smooth and round2 polished and complete4 ,terra firma4--,solid earth2 a safe footing4 ,terra incognita4--,an unknown country4 ,terre tenant4--,a person in actual possession of the land4 ,tertium quid4--,a third something2 a nondescript4 ,tte--tte4--,a conversation between two parties4 ,tirade4--,a tedious and bitter harangue4 ,ton4--,the fashion4 ,torso4--,the fragmentary trunk of a statue4 ,tort4--,a wrong2 an injury4 ,tot homines1 quot sententi4--,so many men1 so many minds4 ,totidem verbis4--,in just so many words4 ,toties quoties4--,as often as4 ,toto clo4--,by the whole heavens2 diametrically opposite4 ,toto corde4--,with the whole heart4 ,toujours prt4--,always ready4 ,tour tour4--,by turns4 ,tout bien ou rien4--,the whole or nothing4 ,tout ensemble4--,the whole4 ,tria juncta in uno4--,three united in one4 ,tu quoque1 ,brute6--,and thou too1 ,brutus6 ,tuebor4--,i will defend4 ,tutto buono che vien da ,dio4--,all is good which comes from ,god4 ,tuum est4--,it is your own4 ,ubi jus incertum1 ibi jus nullum4--,where the law is uncertain1 there is no law4 ,ubi libertas1 ibi patria4--,where liberty dwells1 there is my country4 ,ubi supra4--,where above mentioned4 ,ultima ratio regum4--,the last argument of kings2 military weapons2 war4 ,ultima ,thule4--,the utmost boundary or limit4 ,ultimatum4--,a final answer or decision4 ,un bel esprit4--,a wit2 a virtuoso4 ,un sot triple tage4--,an egregious blockhead4 ,un voce4--,with one voice2 unanimously4 ,unique4--,singular2 the only one of its kind4 ,usque ad nauseam4--,to disgust4 ,usus loquendi4--,usage in speaking4 ,ut infra4--,as below4 ,uti possidetis4--,as you possess2 state of present possession4 ,utile dulci4--,utility with pleasure4 ,vade-mecum4--,go with me2 a constant companion4 ,v victis4--,woe to the vanquished6 ,vale4--,farewell4 ,valet-de-chambre4--,a servant who assists his master in dressing4 ,vari lectiones4--,various readings4 ,veluti in speculum4--,as in a mirror4 ,venditioni exponas4--,that you expose to sale2 writ of execution4 ,veni1 vidi1 vici4--,i came1 ,i saw1 ,i conquered4 ,venire4--,to come2 a writ to a sheriff directing him to summon jurors4 ,venue4--,the place from which the jury are drawn4 ,verbatim et literatim4--,word for word and letter for letter4 ,verbum sat sapienti4--,a word is enough for a wise man4 ,verdad es verde4--,truth is green4 ,veritas vincit4--,truth conquers4 ,versus4--,against2 toward4 ,vertu1 ,virt4--,virtue2 taste2 art2 skill4 ,veto4--,i forbid4 ,vi et armis4--,by force and arms4 ,vi4--,by the way of4 ,via media4--,a middle course4 ,vice4--,in the room of4 ,vice vers4--,the terms being exchanged2 reversely4 ,vide4--,see4 ,vide et crede4--,see and believe4 ,vide ut supra4--,see as above4 ,videlicet4--,to wit1 namely4 ,videttes4--,sentinels on horseback4 ,vignette4--,a name given to slight engravings with which books1 bank-notes1 c4 are ornamented4 ,vincit amor patri4--,love of country prevails4 ,vinculum matrimonii4--,the bond of marriage4 ,virtuoso4--,one skilled in matters of taste or art4 ,virtute officii4--,by virtue of office4 ,vis inerti4--,inert power2 the tendency of every body to remain at rest4 ,vis medicatrix natur4--,the healing tendency of nature4 ,vis poetica4--,poetic genius4 ,vis vit4--,the vigour of life4 ,vis--vis4--,face to face4 ,vita brevis1 ars longa4--,life is short1 and art is long4 ,viv voce4--,by word of mouth2 by the living voice4 ,vivant rex et regina4--,long live the king and queen4 ,vivat regina4--,long live the queen4 ,vivat respublica4--,live the republic4 ,vive la bagatelle4--,success to trifling4 ,vive la reine4--,long live the queen4 ,vive l'empereur4--,long live the emperor4 ,vive le roi4--,long live the king4 ,vive l'impratrice4--,long live the empress4 ,vive1 vale4--,farewell1 and be happy4 ,voil tout4--,that's all4 ,voil une autre chose4--,that's quite a different matter4 ,voir dire4--,a preliminary examination to determine the competency of a witness4 ,volens et potens4--,willing and able4 ,volgo gran bestia4--,the mob is a great beast4 ,volere potere4--,to will is to do4 ,volti subito4--,turn over quickly4 ,vox1 et prterea nihil4--,a voice1 and nothing more4 ,vox populi1 vox ,dei4--,the people's voice is ,god's voice4 ,vox stellarum4--,the voice of the stars3 applied to almanacs4 ,vulg4--,vulgarly2 commonly4 ,vuelta4--,over1 to next page or 7o47 ,vulnus immedicabile4--,an irreparable injury4 ,vultus est index animi4--,the countenance is the index of the mind4 ,zonam solvere4--,to loose the virgin zone4 ,illustration ,illustration ,,index4 ,abbreviated syllables1 #ae4 ,abbreviations1 list of1 #cdd-cef4 ,abecedarium1 probably the earliest attempt at printing1 #aa4 ,accents and aspirates1 ,greek1 #ii-aja4 ,hebrew1 #ajf-ajh4 ,russian1 #aab1 #aac4 ,accented letters1 #fg4 ,acids used in making paper spoil the effect of ink1 #bgf1 #bgg4 ,adams1 ,isaac1 inventor of the bed-and-platen power-press1 #bcg1 #bch4 ,adhesion of paper1 how to prevent1 #caf4 ,admiration1 sign of1 #fc4 ,agate type1 specimen of1 #ed4 ,alcfrid1 ,runic memorial of1 #hi4 ,alexandri ,galli ,doctrinale1 one of the first printed books1 #aj4 ,almanac1 first printed book in the ,middle ,colonies1 #af1 #ag4 ,alphabet1 ,anglo-,saxon1 #ia4 ,english1 #eh4 ,german1 #id4 ,greek1 #ih4 ,hebrew1 #ajd4 ,hieroglyphic1 #hd4 ,runes1 #hf-ij4 ,russian1 #aab1 #aac4 ,alterations in a proof justly chargeable1 #bjd1 #bje1 #baa4 not allowable in reprints of old and standard authors1 #bjb4 ,amber ink1 how to produce1 #bhh4 ,ambiguous and compound words to be set uniformly1 #bjb4 ,american type1 superior quality of1 #bc4 ,american ,weekly ,mercury1 third newspaper in ,america1 #ag4 ,ancient ornaments1 exquisite and curious1 #ae1 #af4 press1 clumsy1 #bce4 typographical peculiarities1 #ae4 ,anglo-,saxon characters1 how originated1 #ea4 alphabetical table of1 #ia4 cases for1 #ib1 #ic4 ,lord's ,prayer in1 #ea4 runes1 table of1 #hh4 ,apostrophe1 how used1 #fc1 #fd4 ,appeal against the ,turks1 of #aded1 #aa4 ,applegath and ,cowper1 improvers of the cylinder press1 #bch1 #bci4 ,apprentice1 how to instruct an1 #abb4 must be punctual1 obedient1 and courteous1 #abc4 qualifications required in an1 #aba4 ridiculous practices to be avoided by1 #abb4 ,apprentices1 advice to1 #acg1 #ach4 ,arithmetical figures1 when introduced1 #gj4 ,article1 the indefinite1 rule for using1 #cah4 ,ascending letters1 #ei4 ,asterisk1 use of1 #ff4 ,astronomical signs1 #gc1 #gd4 ,authors1 detention of proofs by1 #bje4 hints to1 #baa4 impatience of1 #bje4 whims of1 #fa4 ,automatic counter1 illustrated1 #caj4 machine1 for casting and finishing type1 #bc4 ,backing long or short pages1 #acc4 ,baine1 ,john1 sets up a type-foundry in ,philadelphia1 #ai4 ,bay ,psalm-,book1 first book printed at ,cambridge1 #af4 ,bearers on hand-presses1 how prepared1 #bei1 #bgg1 #bgh1 #bha4 ,beaumont1 ,victor1 inventor of serrated cutting blade1 #bdb4 ,beginners1 ironical rules for1 #aci1 #adj4 ,bewcastle cross1 ,runic inscription on1 #hi4 ,bible1 first1 printed at ,mentz1 by ,gutenberg1 ,fust and ,schffer1 in #adee1 of which there are four copies in ,europe and two in the ,united ,states1 #aa4 ,brinley's1 #aa4 ,german1 printed in ,germantown1 by ,saur1 #ai4 ,lenox's1 #aa4 ,mazarin1 #aa4 printed in ,iceland in #aehd1 #ad4 quarto1 in standing type1 in ,philadelphia1 #bf4 ,biblia ,pauperum1 attributed to ,koster1 #aj4 ,bill of type1 #eg4 ,binny1 ,archibald1 first successful founder in ,philadelphia1 #ai1 #bj4 improver of the type-mould1 #ai1 #db4 ,black letter1 when used1 #ea4 ,blades1 ,william1 #ad4 ,blaeu1 ,willem ,jansen1 early inventor of a press1 #bce4 ,blankets for wood-cut printing1 #bhb4 ,india-rubber1 #bff4 thick paper1 #bff4 ,welsh flannel1 #bff4 when to be used1 #beg1 #bff4 ,blanking1 remarks concerning1 #bei4 ,bleaching powders deleterious1 #bgf4 ,block books1 #aj4 ,blue ink1 how to make1 #bhg1 #bhh4 ,bodkin1 how to use the1 #bjh1 #bji4 illustrated1 #bji1 #baj4 ,books1 cheapening of1 due to steam-presses1 #bdj4 early1 printed in ,gothic character1 #af4 first1 printed on one side of the leaf only1 #aj4 how to preserve1 #cag4 ,book-folding machine1 illustrated1 #bdi4 ,borders1 #hj1 #abj4 ,boston ,gazette1 second newspaper published in ,america1 #ag4 ,news-,letter1 first newspaper published in ,america1 #ag4 ,bourgeois1 specimen of1 #ed4 ,boxwood1 description of good1 #cf4 liable to warp1 #bhb1 #bhc4 quoin1 #cjf4 ,braces1 use of1 #ge4 ,bracket1 how used1 #fe4 ,bradford1 ,william1 first printer in the ,middle ,colonies1 #af1 #ag4 ,brass rules1 remarks concerning1 #hj4 slotted corners1 description of1 #dd4 ,break-lines improperly driven over1 #acc4 should never begin a page1 #acc4 ,brevier1 specimen of1 #ed4 ,brilliant1 smallest type in ,america1 #eb4 specimen of1 #ed4 ,brinley's collection of ,bibles1 #aa4 ,british founders reject ,american casting-machines1 #bc4 ,bronze printing1 how executed1 #bhd1 #bhe4 ,brown ink1 how to produce1 #bhh4 ,bruce1 ,david and ,george1 type-founders in ,new ,york1 #ba1 #bb4 ,david1 ,jr41 type-casting machine invented by1 #bb4 ,bullock1 ,william1 inventor of the first perfecting press1 #bdb-bdd4 chain-running press1 #bdd4 self-feeding perfecting press1 illustrated1 #bdc4 ,bundle of paper described1 #bid4 ,cabinet for chases1 illustrated1 #bca4 with galley-top1 illustrated1 #cjd4 ,cabinets1 job cases should be kept in1 #cjd4 of cases1 for sorts1 quads1 etc41 illustrated1 #bai-bba4 should be kept in perfect order1 #bba4 ,cambridge1 first press in ,north ,america at1 #af4 ,campbell's cylinder presses1 #bci1 #bdf4 self-feeding perfecting press1 #bdf4 ,cancelled figures1 #gj4 ,capital1 good character is1 #ach4 letters1 #eh-fj4 letters1 how to use1 #ei1 #fj4 ,card-cutters1 #cji4 printing1 directions for1 #bhc1 #bhd4 sheets1 chart for cutting1 7,le ,blond17 #cjb4 ,carey1 ,mathew1 #bf4 ,cases1 ,american plan of ,roman1 #abd1 #abe4 blank1 #cjc4 ,german1 #if1 #ig4 ,greek1 #ajb1 #ajc4 ,hebrew1 #aji1 #aaa4 how to label job1 #cjd4 job1 #cjb4 labour-saving lead1 #cjc4 labour-saving rule1 #hb1 #cjb4 labour-saving slug1 #cjc4 music1 #aag-aai4 number of1 to a fount1 #abh4 proposed improvement in1 #abf4 quotation furniture1 #cjc4 ,saxon1 #ib1 #ic4 triple job1 #cjb4 ,caslon1 ,william1 #ah4 ,cassie quires1 why so called1 #bid4 ,casting off copy1 methods of1 #bbc-bbf4 ,catch-words1 first used at ,venice1 #af4 in titles1 how to be set1 #acd4 ,caxton1 ,william1 introduces printing into ,england1 #ad4 his first types not cast or founded1 #ac4 ,centennial ,exhibition1 #ahgf1 presses exhibited at1 #bdd-bdf4 fast printing at1 #bde4 ,chalcography1 inventor of1 #cd4 ,chromo-lithography1 #bi4 ,chromos1 printed on cylinder presses1 #ca4 ,chronicle of ,cologne1 #i4 ,cicero1 ,french and ,german name for ,pica1 #ec4 ,circular quadrates1 #gh4 ,clicker1 or maker-up1 duties of1 #bbf-bbh4 ,clymer1 ,george1 inventor of the ,columbian press1 #bcf1 #bcg4 ,colon1 use of1 #fb4 ,colorito1 ,abraham1 printer at ,soncino1 #adhh1 #ad4 ,colour1 uniformity in1 #bfc1 #bgh1 #bgi4 ,coloured inks1 how to make1 #bhf-bhh4 printing1 instructions for1 #bhe-bhg4 ,colours1 contrast of1 #bhi-bib4 how to multiply1 #bhh4 how to use dry1 #bhg1 #bhh4 ,columbian press1 illustrated1 #bcf4 introduced into ,england1 #bcg4 ,combination borders1 #hj1 #abj4 ,comma1 use of1 #fb4 ,commercial post paper1 size of1 #bih4 signs1 #ga4 ,companionships1 how managed1 #bbh-bcb4 misunderstandings in1 #bbh4 ,composing1 directions for1 #abi-acf4 how to avoid errors in1 #acj4 position in1 #abg4 rule1 steel1 illustrated1 #bbh4 sticks1 illustrated1 #cje4 screw1 the best for fixed measures1 #cje4 ,composition rollers1 how to make1 #beb-bed1 #caa1 #cab4 how to wash1 #bec4 melting-kettle for1 illustrated1 #beb4 ,compositors1 differences in #bah4 rules to be observed by1 #bcc1 #bcd4 ,compound words1 #fd1 #fe1 #cca4 ,contents1 rules for1 #ace4 ,continuous sheet1 printing from a1 #bdb4 ,contrast of colours1 #bhi-bib4 ,conversation in a printing office to be avoided1 #bcd4 ,copy1 casting off1 #bbc-bbf4 takes of1 should be small1 #bba4 to be carefully prepared1 #bjd4 ,copyholder1 illustrated1 #cji4 ,copyrights1 how to secure1 #ccc-cce4 application to be made to ,librarian of ,congress1 #ccc4 cannot be granted upon trade-marks or labels1 #cce4 duration of1 #ccd4 form of notice1 #ccd4 penalty for false notice1 #ccd4 renewal of1 #ccd4 ,cork bearers1 #bei4 ,corner quadrates1 illustrated1 #cjg4 ,corpus1 ,german name for ,long ,primer1 #ed4 ,correcting in the metal1 #bjg-baa4 directions for1 #bjh-baj4 rules for1 in a companionship1 #bca1 #bcb4 ,coster1 7see ,koster17 #i-aa4 ,cottrell ,babcock's cylinder presses1 #bci4 ,counting out sheets1 #big4 ,courtesy1 importance of1 #abc4 ,creases and wrinkles in paper1 how to remove1 #bfc4 ,cross-bar1 how to avoid springing1 #adh4 ,crown paper1 size of1 #bih4 ,cut-in notes1 how adjusted1 #aca1 #acb4 ,cuts1 how to make ready1 #bhj-bhc4 ,cylinder press1 invention of the1 #bch4 presses1 making ready on1 #bfe-bge4 ,dagger or obelisk1 use of1 #ff4 ,dash1 use of1 #fc4 ,dates1 method of1 during the ,french ,republic1 #fi4 ,daye1 ,john1 ,anglo-,saxon types first cut by1 #ea4 ,daye1 ,stephen1 first printer in ,north ,america1 #af4 ,dedications1 how displayed1 #ace4 position of1 #ace4 ,degener ,weiler's ,liberty press1 illustrated1 #bdf1 #bdg4 ,delicate impression1 how to produce1 #bha1 #bhb4 ,demy paper1 size of1 #bih4 ,derivation of ,english words1 #cbd-cbf4 ,descending letters1 #ei4 ,de ,vinne's history of the invention of printing1 #ab4 ,diamond type1 specimen of1 #ed4 ,diphthongs1 ,greek1 #ii4 ,distributing1 directions for1 #abh1 #abi4 how to wash matter for1 #abh1 #abi4 pernicious effects from heating type for1 #abi4 proper times for1 #abi4 ,dividing words1 rules for1 #fd1 #fe4 ,donatus of #adea1 #aa4 ,double imperial paper1 size of1 #bih4 letters1 #ei4 medium paper1 size of1 #bih4 super-royal paper1 size of1 #bih4 ,drawing paper1 how to be wet1 #bef4 ,dry colours1 how to use1 #bhg1 #bhh4 ,duck's bill1 to prevent paper from slipping on the tympan1 #bgh4 ,duodecimo1 or twelves1 scheme for imposing sheet of1 #afe4 the same1 without cutting1 #aff4 the same1 two signatures1 #afg4 half-sheet1 #afh4 the same1 without cutting1 #afh4 the same1 from the centre1 #afi4 sheet of1 from the centre1 #agj4 the same1 long way1 #aga1 #agb4 one-third of a sheet1 #aga1 #agb4 two half-sheets1 together1 #agc4 half-sheet1 two signatures1 #agd4 ,earl ,stanhope's printing-press1 #bcf4 ,earliest printing-press1 #bce4 written sounds1 #hc-he4 ,egyptian hieroglyphics1 specimens of type for printing1 #hc-he4 ,eighteens1 scheme for imposing half-sheet of1 #agf4 the same1 with two blanks1 #agf4 sheet of1 folded together1 #agg1 #agh4 the same1 with one signature1 #agg1 #agh4 the same1 with two signatures1 #agi1 #ahj4 the same1 with three signatures1 #agi1 #ahj4 half-sheet of1 without transposition1 #aha4 ,electro-stereotyping1 #bg1 #dc4 ,electrotyping1 method of1 #bg4 ,emerald green1 #bhh4 ,enamelled cards1 to be printed dry1 #bhc1 #bhd4 ,english type1 specimen of1 #ec4 ,engraver's proof useful to pressmen1 #bhc4 ,engravings1 copper-plate1 #cd4 how to print1 #bhj-bhc4 how to restore1 #cag4 tools for1 #cd4 wood1 #ca-cd4 ,epitaph1 printer's1 #bjh4 ,errata1 list of1 where placed1 #acf4 ,errors inevitable1 #acf4 made in correcting a proof1 #bjc1 #bjd4 ,escala espiritual de ,san ,juan ,climaco1 the first book printed in ,america1 #af4 ,even impressions on a hand-press1 how to obtain1 #bgg-bgi4 ,exclamation1 sign of1 #fc4 ,feed-guides1 ,megill's1 illustrated1 #caj4 ,figgins's1 ,vincent1 opinion of ,caxton's type1 #ac4 ,figures1 arithmetical1 #gj4 old style1 #gj4 scratched or cancelled1 #gj4 ,filling the standing press1 #bif1 #big4 ,fine hand-presswork1 remarks concerning1 #bge-bgi4 printing1 character of ink required for1 #bge1 #bgf4 paper suitable for1 #beg4 why difficult in the ,united ,states1 #bgf1 #bgg4 ,finiguerra1 ,thomas1 discoverer of chalcography1 #cd4 ,firefly press1 ,gordon's1 #bdg4 ,fireproof ink1 #cad4 ,flat cap paper1 size of1 #bih4 ,flowers and borders1 remarks on1 #hj4 ,fly on cylinder presses1 how to be set1 #bgd4 ,folding machines1 #bdi4 ,folio1 imposing single sheet of1 #aej4 paper1 size of1 #bih4 two sheets quired1 #aea1 #aeb4 ,follow copy1 the compositor's rule1 #bjd4 ,foolscap paper1 dimensions of1 #bih4 ,foreign words and phrases1 translated1 #ceg-cgb4 ,foreman1 duties and qualifications of1 #bah-bcb4 ,form1 how to make ready for hand-press1 #beg-bfj4 of warehouse book1 #bic4 ,forms1 directions for locking up1 #adg1 #adh4 how to impose1 #ada1 #adb4 how to wash1 #bfd1 #bfe4 precautions in unlocking1 #bjh4 ,forties1 scheme for imposing half-sheet of1 #aia4 ,forty-eights1 scheme for imposing quarter sheet of1 with two signatures1 #aib4 the same1 without cutting1 #aic4 half-sheet of1 #aib4 the same1 three signatures1 #aic4 quarter sheet of1 #aid4 ,foul proof1 a grievous fault1 #bjg4 ,founders1 ,english1 ancient regulations concerning1 #ah4 ,fount of letter1 complete1 described1 #eh4 ,founts1 irregularities of1 #eh4 ,fractions1 #gj4 ,franklin1 ,benjamin1 attempts type-founding1 #ai4 ,james1 establishes the ,new ,england ,courant1 #ag4 ,franklin presses1 ,gordon's1 #bdg4 illustrated1 #bdf4 ,friars1 how to obviate1 #bfc4 ,frisket1 directions for preparing1 #beh4 catch of1 how to place1 #bei4 ,full point1 use of1 #fb1 #fc4 ,furniture1 how to make up1 #add1 #ade4 ,fust1 ,john1 connection with ,gutenberg and ,schffer1 #aa1 #ab4 ,gaillarde1 ,french term for ,bourgeois type1 #ed4 ,gallows1 how to be placed1 #bei4 ,game of ,chess1 first book printed in ,england by ,caxton1 #ad4 ,gauge pins1 ,megill's1 illustrated1 #caj4 ,ged1 ,william1 inventor of stereotyping1 #bd4 ,geometrical signs1 #ga1 #gb4 ,german alphabet1 #id4 plan of cases for1 #if1 #ig4 similar letters elucidated1 #id1 #ie4 ,germantown1 first paper mill in ,america1 near1 #ag4 first quarto ,bible in ,america1 printed at1 #ai4 type cast at1 by ,saur1 #ai4 ,giving out book paper to wet1 #bid4 paper for jobs1 #bid1 #bie4 ,globe press1 #bdh4 ,glover1 ,jesse1 introduces printing into ,cambridge1 ,mass41 #af4 ,glue1 common prepared1 #cac4 liquid1 how to make1 #cac4 ,gold preparation1 how to use1 #bhh4 printing1 how practised1 #bhd1 #cag4 size for gold printing1 #bhd4 ,good habits inculcated1 #aba-abc1 #acg1 #ach4 presswork1 conditions for securing1 #bgi4 ,gordon's ,franklin press1 illustrated1 #bdf4 job-presses1 #bdf1 #bdg4 ,gothic characters1 early books printed in1 #af4 ,gradation of type bodies1 #ef4 ,grant ,thorburn1 benevolence of1 #bci4 ,great ,primer1 specimen of1 #ec4 ,greek accents and aspirates1 #ih-aja4 alphabetical table of1 #ih4 letters1 numerical value of1 #fg1 #ih4 ligatures now discarded1 #ih4 numeral letters1 table of1 #fg4 plan of cases for1 #ajb1 #ajc4 rules for composing1 #aja4 ,green ink1 how to make1 #bhh4 ,gros ,romain1 ,french title for ,great ,primer1 #ec4 ,guillemet's quotation marks1 #fb4 ,gutenberg1 account of1 #i-ad4 ,gutter-sticks1 directions for cutting1 #adh4 ,gypsum in paper1 effects of1 #bgf1 #bgg4 ,haarlem1 the birthplace of printing1 #i4 ,hand-mould improved by ,binny1 #bj4 ,hand-press1 how to prepare impression on1 #bge-bgi4 how to overlay on1 #bgg4 bearers used on1 #bgg1 #bgh4 ,hand-presswork1 fine1 how to produce1 #bge-bgi4 ,handwriting1 erroneous notion concerning1 #bbf4 ,hanging pages1 how to rectify1 #bjh4 up paper to dry1 #bie4 ,hansard's receipt for making rollers1 #bec1 #bed4 ,hard roller1 best for fine work1 #bfg4 ,head-lines1 how displayed1 #aca4 ,heap of paper1 how to treat1 #bei4 ,heated type1 pernicious effects from distributing it1 #abi4 ,hebrew accents1 #ajf-ajh4 alphabet1 identical with ,phnician1 #hc4 alphabetical table of1 #ajd4 ,bible1 first printed1 #ad4 letters1 numeral value of1 #ajd4 letters of similar appearance1 #aje4 lower case1 without points1 #aji4 ,masoretic points or vowels1 #ajf4 method of composing1 #aje4 plan of cases with points1 #aaj1 #aaa4 scheme for imposing #hvo sheet of1 #afa1 #afb4 spacing letters1 #aje4 ,height of type1 standard for1 #eg1 #eh4 ,hieroglyphic alphabet1 #hd4 ,hinderances to fine printing in ,america1 #bgf1 #bgg4 ,hints honoured in the breach1 #acf1 #acg4 ,hoe ,co4's cylinder presses1 #bci-bdb4 ,hoe1 ,richard ,m41 inventor of type-revolving printing machine1 #bda4 ,robert1 account of1 #bci1 #bdj4 ,hoe's web perfecting press1 illustrated1 #bde4 ,hollow quadrates1 use of1 #gg4 ,horn-book1 illustration of1 xi4 ,humphreys's ,history of the ,art of ,printing1 #ab4 ,hurried work1 how to expedite1 #bbf-bbh4 ,hyphen1 how employed1 #fd1 #fe4 not used by the earliest printers1 #ae4 ,iceland1 early printing office in1 #ad4 ,imperial and half paper1 size of1 #bih4 paper1 dimensions of1 #bih4 ,imposing forms1 directions for1 #ada1 #adb4 in companionships1 rules for1 #bcj1 #bca4 ,imposing1 memoranda concerning1 #adh1 #adi4 abstract title-deeds1 #aej4 ,,folio1 single sheet1 #aej4 two sheets1 quired1 #aea1 #aeb4 ,,quarto1 common sheet of1 #aec1 #aed4 scheme for1 music books1 #aec1 #aed4 two half-sheets1 together1 #aee1 #aef4 half-sheet1 broad way1 #aee1 #aef4 ,,octavo1 sheet of1 #aeg1 #aeh4 the broad way1 #aeg1 #aeh4 half-sheet1 #aei4 two half-sheets1 together1 #aei1 #afj4 two quarters1 together1 #afj4 sheet1 mixed1 #afa1 #afb4 sheet of ,hebrew1 #afa1 #afb4 sheet1 from the centre1 #afc1 #afd4 half-sheet1 from the centre1 #afc4 two quarters1 from the centre1 #afd4 ,,duodecimo1 or #abmo1 sheet1 #afe4 the same1 without cutting1 #aff4 the same1 two signatures1 #afg4 half-sheet1 #afh4 the same1 without cutting1 #afh4 the same1 from the centre1 #afi4 sheet of1 from the centre1 #agj4 the same1 long way1 #aga1 #agb4 one-third of a sheet1 #aga1 #agb4 two half-sheets1 together1 #agc4 half-sheet1 two signatures1 #agd4 ,,sixteens1 half-sheet of1 #agd4 sheet of1 #age4 ,,eighteens1 half-sheet of1 #agf4 the same1 with two blanks1 #agf4 sheet of1 folded together1 #agg1 #agh4 sheet of1 one signature1 #agg1 #agh4 the same1 two signatures1 #agi1 #ahj4 sheet of1 three signatures1 #agi1 #ahj4 half-sheet of1 without transposition1 #aha4 ,,twenties1 half-sheet of1 with two signatures1 #aha4 sheet of1 #ahb4 ,,twenty-,,fours1 half-sheet of1 #ahc4 sheet of1 two signatures1 #ahc1 #ahd4 half-sheet of1 sixteen-way1 #ahd4 half-sheet of1 long1 #ahe4 half-sheet1 two signatures1 #ahe4 half-sheet1 without cutting1 #ahf4 ,,thirty-,,twos1 half-sheet of1 #ahf4 sheet of1 #ahg1 #ahh4 the same1 four signatures1 #ahg1 #ahh4 half-sheet1 two signatures1 #ahi4 half-sheet of1 mixed1 #ahi4 ,,thirty-,,sixes1 half-sheet of1 #aij4 the same1 without cutting1 #aij4 the same1 two signatures1 #aia4 ,,forties1 half-sheet of1 #aia4 ,,forty-,,eights1 quarter sheet of1 with two signatures1 #aib4 the same1 without cutting1 #aic4 common quarter-sheet of1 #aid4 half-sheet of1 two signatures1 #aib4 the same1 three signatures1 #aic4 ,,sixty-,,fours1 quarter sheet1 #aie4 the same1 two signatures1 #aid4 sixty-fours1 mixed1 #aie4 half-sheet of1 #aif4 ,,seventy-,,twos1 half-sheet of1 #aig4 ,,ninety-,,sixes1 half-sheet of1 #aih4 ,,one ,,hundred ,,and ,,twenty-,,eights1 half-sheet of1 #aii4 ,imposing stone1 illustrated1 #cjh4 ,impression on cylinder presses1 how to regulate1 #bfi-bge4 ,indenting paragraphs1 rule for1 #acb4 ,index1 directions for preparing copy of1 #acc4 rule for setting1 #acc4 where placed1 #acc4 ,india paper suitable for overlays1 #bhj4 ,india-rubber cloth1 good qualities of1 #bff4 ,ink-block1 how to be placed1 #bea4 ,ink1 black1 how to intensify1 #bhd4 coloured1 #bhf1 #bhg4 requires a hard roller1 #bfg4 for cylinder presses1 #bfg1 #bfh4 for fine work1 indispensable qualities of1 #bge1 #bgf4 how to prevent setting off1 #bgi4 how to remove surplus from the roller1 #bfb4 how to produce amber1 #bhh4 blue1 #bhg1 #bhh4 brown1 #bhh4 fire-proof1 #cad4 green1 #bhh4 lilac1 #bhh4 pink1 #bhh4 purple1 #bhh4 red1 #bhf-bhh4 scarlet1 #bhh4 vermilion1 #bhh4 to mark tin or zinc1 #cae4 driers1 how to make1 #cae1 #caf4 ,ink-fountain1 how to manage1 #bfh4 patent1 illustrated1 #caj4 ,ink-stone and muller1 illustrated1 #bhe4 ,interleaving necessary in fine presswork1 #bgi4 ,interrogation1 sign of1 #fc4 ,iron furniture1 how made1 #caj4 ,ironical rules for compositors1 #acf1 #acg4 for beginners in business1 #aci1 #adj4 ,italic letter1 invention of1 #ej4 abuse of1 #ea4 ,job department1 #cjj-caj4 capitals and lower-case should not be laid together1 #cjd4 cases should be labelled with the type which is in case1 #cjd4 how to conduct the business1 #cjj4 memorandum slip for record1 #cja4 requisites for1 #cja-caj4 selection of material1 #cjj4 ,job presses1 ,american1 unsurpassed1 #bdf4 varieties of1 #bdf-bdh4 ,jobbing facilities1 #cjj-caj4 ,jobs1 making margin for1 #adg4 ,johnson1 ,lawrence1 type-founder in ,philadelphia1 #bj4 ,william ,m41 invents a type-casting machine1 #bb4 ,journeymen1 idle1 #ah4 ,junius1 ,hadrianus1 #aj4 ,justification1 accurate1 absolutely essential1 #aca4 ,kerned letters1 #ei4 ,kinsley1 ,dr41 invents a cylinder press1 #bch4 ,knowledge1 progress of1 accelerated by steam-presses1 #bdj4 ,knig1 ,frederick1 inventor of the cylinder press1 #bch4 ,koster1 7or ,coster17 ,laurentius1 inventor of printing1 #i-ad4 printer of block books1 #aj4 used wooden and tin type1 #aj4 ,labour-saving brass rule1 #ha4 plan of case for1 #hb4 curvatures1 #gi4 quotation furniture1 #gg4 rule1 #dc1 #ha4 ,lamp-holder1 #cji4 ,laying a fount of type1 directions for1 #abg4 pages1 #adc1 #add4 ,lead cutter1 illustrated1 #cjg4 ,leads1 described1 #hj4 ,leather belting1 how to soften1 #caf4 ,lenox1 ,james1 of ,new ,york1 collection of ,bibles1 #aa4 ,lepsius1 ,r41 hieroglyphic types of1 #hc4 ,letter paper1 size of1 #bih4 ,letters of ,indulgence1 of #aded-e1 #aa4 ,letters1 accented1 #fg4 ascending1 #ei4 descending1 #ei4 double1 #ei4 kerned1 #ei4 long1 #ei4 numeral1 #fg4 short1 #ei4 two-line1 #gf4 ,ley1 directions for making1 #cab4 not to be used on wood-cuts1 #bhc4 ,ley-brush1 how to be made1 #bfe4 ,ley-trough1 described1 #bfd1 #bfe4 ,liberty press1 illustrated1 #bdg4 ,lifting pages1 #adc4 ,lightning press1 ,hoe's1 #bci-bdb4 illustrated1 #bdj4 ,lilac ink1 how to make1 #bhh4 ,lithographic chalk and ink1 #bh4 stone1 #bg4 transfer ink1 how to make1 #cae4 ,lithography1 discovery of1 #bg4 practice of1 #bg-ca4 ,locking up forms1 #adg1 #adh4 ,long letters1 #ei4 ,long ,primer1 specimen of1 #ed4 ,lord's ,prayer in ,anglo-,saxon1 #ea4 ,lower-case sorts1 #ei4 ,machine-casting1 #bb4 ,machine-made paper1 sizes of1 #bih4 ,machine-press of ,isaac ,adams1 #bcg1 #bch4 ,frederick1 ,knig1 #bch4 ,applegath and ,cowper1 #bch4 ,richard ,m4 ,hoe1 #bci-bdb4 ,william ,bullock1 #bdb-bdd4 ,campbell1 #bci1 #bdf4 ,cottrell ,babcock1 #bci4 ,walter1 #bdd4 ,mackling1 how to remedy1 #bfc4 ,make-up rule1 steel1 illustrated1 #bbi4 ,making margin1 #ade-adg4 for jobs1 #adg4 ready a form1 directions for1 #beg-bfj4 on cylinder presses1 #bfe-bge4 wood-cuts1 directions for1 #bhj-bhc4 register1 directions for1 #bfj4 ,making up furniture1 #add1 #ade4 in companionship1 #bbi4 letter and furniture in companionships1 #bcj4 ,manual de ,adultos1 one of the first books printed in ,america1 #af4 ,manuccio1 ,aldo1 #fa4 ,mappa1 ,adam ,g41 one of the early ,american type-founders1 #ai4 ,margin1 how to make1 #ade-adg4 on cylinder presses1 #bfh4 ,masoretic points1 #ajf4 ,mathematical signs1 #ga1 #gb4 ,matrices1 copper1 #dj4 electrotyped1 #bc4 ,matrix1 illustrated1 #dj4 ,mazarin ,bibles1 #aa4 ,measure of stick1 how to make by ems1 #abi4 ,mecom1 ,benjamin1 #bd4 ,medium paper1 size of1 #bih4 ,melting-kettle1 description of1 #beb4 ,metal rules1 #ge4 ,metric system1 #ccf1 #ccg4 ,minerva cutting machine1 illustrated1 #cji4 ,minion type1 specimen of1 #ed4 ,mitering machine1 illustrated1 #cjg4 ,mittel1 ,german name for ,english type1 #ec4 ,modern conveniences1 #abj4 ,mucilage1 directions for making1 #cab1 #cac4 ,mud process in stereotyping1 #bf4 ,music1 comparative table of bodies1 #aae4 directions for composing1 #aaf4 plan of cases for1 #aag-aai4 specimens of1 #aad4 ,new ,hampshire ,gazette1 oldest living paper of the ,united ,states1 #ag4 ,newspapers1 number of1 printed in the ,united ,states in #ahja and #ahaj1 #bj4 ,new types1 how to prevent them from adhering together1 #abg4 ,new ,york ,gazette1 first newspaper published there1 #ag4 ,nicks1 position of1 #eh4 ,nicholson1 ,william1 suggester of the cylinder press1 #bch4 ,ninety-sixes1 to impose half-sheet1 #aih4 ,nonpareil press1 illustrated1 #bdg4 type1 specimen of1 #ed4 ,norse-,runic alphabet1 #hg1 #hh4 ,north ,american and ,united ,states ,gazette1 of ,philadelphia1 oldest daily newspaper in the ,united ,states1 #ag4 ,note paper1 size of1 #bih4 ,notes1 proper size of type for1 #aca4 cut in1 how arranged1 #acb4 ,numeral letters1 ,gothic1 #fh1 #fi4 ,greek1 #fg4 ,roman1 #fh1 #fi4 ,numerical value of ,greek letters1 #fg1 #ih4 ,hebrew letters1 #ajd4 ,octavo1 scheme for imposing sheet of1 #aeg1 #aeh4 sheet of1 the broad way1 #aeg1 #aeh4 two 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,hoe's1 #bci-bdb4 ,ruggles1 #bdf4 ,samuel ,rust's1 #bcg4 ,walter1 #bdd4 ,wells1 #bdf4 ,willem ,jansen ,blaeu's1 #bce4 ,proof-marks1 explanation of1 #bad1 #bae4 illustration of1 #bab1 #bac4 ,proof-press1 illustrated1 #cdc4 ,proof-reader1 author's obligations to1 #bja4 duties of a1 #bjb1 #bjg4 friendly offices of1 #bja4 qualifications of1 #bjj-bjf4 should be a compositor1 #bjj4 ,proof-readers1 caprices of1 #bjg4 ,proof-sheets1 alterations in1 justly chargeable1 #bjd1 #bje1 #baa4 detained by authors1 #bje4 errors in correcting1 #bjc1 #bjd4 method of reading1 #bjb1 #bjc4 plan for keeping account of1 #bjc4 remarks concerning1 #bjb4 should be read by two readers1 #bjd4 ,proofs of engravings1 how to take1 #bhc4 ,proper names should be plainly written1 #baa4 ,prussian blue ink1 #bhg4 ,publishers' interference with the printers' province1 #acd4 ,pulling1 directions for1 #bfj-bfb1 #bgi4 ,punch1 illustrated1 #dj4 ,punctuality indispensable in an apprentice1 #abc4 ,punctuation1 amending of1 should be confined to one reader1 #bjd4 and orthography to be uniform throughout a book1 #bjb4 points of later invention than printing1 #fa4 variations in use of1 #fa4 whims of authors1 #fa4 ,wilson's ,treatise on1 #fb1 #fe4 ,quadrates1 circular1 illustrated1 and described1 #gh1 #gi4 corner1 illustrated1 #cjf4 directions for composing1 #gh1 #gi4 hollow1 illustrated1 #gg4 ,quantity of paper required to print a book of one thousand copies1 #bii4 ,quarto1 scheme for imposing1 #aec1 #aed4 the broad way for music1 #aec1 #aed4 two half-sheets1 together1 #aee1 #aef4 half-sheet1 the broad way1 #aee1 #aef4 ,quires1 cassie1 of what made up1 #bid4 ,quitting work1 precautions to be used by the pressmen in1 #bfd4 ,quoins1 proper form of1 #adg1 #adh4 how to unlock1 #adh4 various patents1 #cjf4 ,quotation furniture1 illustrated1 #gg4 marks1 #fb4 ,quotations1 broad and narrow1 #gf4 ,railroad-ticket printing-machine1 #bdf4 ,ramage1 ,adam1 #bcf4 ,reading-boy1 #bjb4 ,receipts1 various1 #caa-cag4 ,red ink1 how to make1 #bhf1 #bhh4 ,references1 use of1 #ff1 #fg4 ,register1 how to make1 #bfj4 ,regulations for a printing-office1 #bcc1 #bcd4 ,reprints from standard authors not to vary from the original1 #bjb4 ,revise1 #bjf4 ,revise sheet necessary1 #bfj4 ,riding1 how to prevent1 #bhf4 ,rittenhouse1 ,william1 the first paper-maker in ,america1 #ag4 ,roller-boy1 #bfb4 ,roller-handle1 how to lie when used1 #bea4 how to check1 #bea4 ,roller1 hard1 best for fine work1 #bfg4 soft1 required for posters and old type1 #bfg4 ,roller-mould1 directions for using1 #beb4 ,roller-stand1 how to set up1 #bej1 #bea4 illustrated1 #bea4 ,rollers1 composition1 how made1 #beb-bed1 #caa1 #cab4 for hand-presses1 how to keep1 #bgh4 hand-press1 #beb4 precautions in using1 #beb4 to be adapted to style of work1 #bfg4 when in working order1 #bec4 ,roman letter1 invention of1 #di4 deserving general adoption1 #ej4 ,ronaldson1 ,james1 type-founder in ,philadelphia1 #ai4 ,richard1 type-founder in ,philadelphia1 #bj4 ,rosetta stone1 discovery of1 #hc4 ,royal and half paper1 size of1 #bih4 ,royal paper1 size of1 #bih4 ,ruggles's job presses1 #bdf4 card cutter1 illustrated1 #cji4 ,rule1 brass1 #hj4 labour-saving1 illustrated1 #ha4 plan of case for1 #hb4 ,rules and remedies for pressmen1 #bfb-bfd4 for beginners in business1 ironical1 #aci1 #adj4 for compositors1 ironical1 #acf1 #acg4 for perforating1 illustrated1 #cjh4 ,runes1 earliest alphabets of the ,teutons and ,goths1 #hf4 ,runic alphabets1 #hf-ij4 inscription on ,bewcastle cross1 #hi4 ,russian alphabet1 #aab1 #aac4 ,rust1 ,samuel1 inventor of the ,washington press1 #bcg4 ,saur 7or ,sower71 ,christopher1 first ,american type-founder1 #ai4 issues the ,germantown ,chronicle in #agci1 #ai4 prints the first quarto ,bible1 #ai4 ,scarlet ink1 how to make1 #bhh4 ,schffer1 ,peter1 inventor of type-founding1 #ac1 #ad4 ,semicolon1 invented by ,aldo ,manuccio1 #fa4 use of1 #fb4 ,senefelder1 ,alois1 discoverer of lithography1 #bg4 ,setting fly on a cylinder press1 #bgd4 off1 how to prevent ink from1 #bgi4 tapes1 process of1 #bgd4 up a ,washington press1 #bej4 up a roller-stand1 #bej1 #bea4 ,seventy-twos1 scheme for imposing half-sheet of1 #aig4 ,shades of ink1 how to produce1 #bhh4 ,sheets1 counting out and putting away1 #bid4 filling in and pressing1 #bif4 how to take down from the poles1 #bif4 names of1 #adi4 ,shooting-sticks1 illustrated1 #cjg4 ,short letters1 #ei4 numbers of sheets1 allowance for1 #bid4 pages1 how to back1 #acc4 ,side notes1 how arranged1 #aca1 #acb4 ,signatures1 table of1 #baf1 #bag4 inventor of1 #af4 ,signaturing1 remarks concerning1 #ace4 ,signs1 astronomical1 #gc1 #gd4 ,signs1 commercial1 #ga4 mathematical1 #ga1 #gc4 medical1 #gd1 #ge4 ,silk tympan-covers1 #bed4 ,silvering solution1 how to make1 #caf4 ,sitting at work improper1 #abg4 ,sixteens1 scheme for imposing half-sheet of1 #agd4 sheet of1 #age4 ,sixty-fours1 scheme for imposing quarter-sheet of1 #aie4 scheme for imposing quarter-sheet of1 with two signatures1 #aid4 quarter sheet of1 mixed1 #aie4 half-sheet of1 #aif4 ,slotted brass corners1 illustrated1 #dd4 ,slovenly copy1 censurable1 #bbc4 ,slurring1 how to prevent1 #bfc1 #bgh4 ,small capital letters1 #eh1 #fj1 #fa4 ,pica1 specimen of1 #ed4 ,smith1 ,george ,frederick1 founder in ,philadelphia1 #bj4 ,matthew1 press-maker1 #bci4 ,peter1 inventor of a hand-press1 #bcg4 ,sorts1 upper and lower case1 #ei4 ,sounds of ,german letters1 #id4 ,greek letters1 #ih4 ,hebrew letters1 #ajd4 ,sower--see ,saur4 ,samuel ,co41 early ,american type-founders1 #bj4 ,space-rules1 metal1 #ha4 ,spaces1 described1 #ge4 various sizes of1 should be kept separate1 #abh4 ,spacing1 remarks on1 #acj1 #aca4 ,speculum ,human ,salvationis1 the first printed book1 #aa4 ,spelling1 rules for1 #cah-ccb4 ,spiegal enser ,behoudenisse1 one of the first printed books1 #aj4 ,spring bearers1 #bei4 ,springing1 to prevent wood-cuts from1 #bhj4 ,square cross1 where used1 #ff4 ,standard for height of type1 #eg1 #eh4 metal furniture1 #gg4 ,standing press1 how to fill1 #bif1 #big4 improved1 illustrated1 #big4 ,stanhope1 ,earl1 press invented by1 #bcf4 ,star chamber1 regulations of1 concerning ,english founders1 #ah4 ,st4 ,augustin1 ,french and ,dutch name for ,english type1 #ec4 ,stereotype plates1 ,english imperfections of1 #ah4 how to underlay1 #bgb4 block1 illustrated1 #dd4 ,stereotyping1 invention of1 #bd4 mode of1 #bd-bf1 #df4 mud process1 #bf4 ,stop cylinder press1 illustrated1 #bch4 well adapted for fine printing1 #bci4 ,stower1 extract from1 #bje1 #bjf4 ,superiors1 #fg4 ,super-royal paper1 size of1 #bih4 ,syllables1 abbreviated1 #ae4 how to divide1 #fd1 #fe4 ,symbols1 absurd1 #gd4 ,table of paper required for a book1 #bii4 proof-marks1 #bab4 signatures1 #baf1 #bag4 ,takes of copy should be small1 #bba4 ,taking copy in companionships1 #bbh1 #bbi4 ,taking down sheets when dry1 #bif4 ,tapes1 how to set1 #bgd4 ,technical terms explained1 #cch-cdc4 names should be legibly written1 #baa4 ,tertia1 ,german name of ,great ,primer1 #ec4 ,theinhardt1 ,ferdinand1 ,prussian type-founder1 #hd4 ,thirty-sixes1 scheme for imposing half-sheet of1 #aij4 half-sheet of1 without cutting1 #aij4 the same1 with two signatures1 #aia4 ,thirty-twos1 scheme for imposing half-sheet of1 #ahf4 sheet of1 #ahg1 #ahh4 sheet of1 with four signatures1 #ahg1 #ahh4 half-sheet1 two signatures1 #ahi4 half-sheet of1 mixed1 #ahi4 ,thomas1 ,isaiah1 #ad4 ,tilloch1 ,dr4 ,alexander1 #bd4 ,tinted paper1 coloured ink on1 #bia4 ,tints1 neutral1 #bia4 ,title-deeds1 scheme for imposing1 #aej4 ,title-pages1 hints for setting1 #acd4 remarks on1 #acd4 ,token-sheet1 purpose of1 #bef4 ,tokens explained1 #bid4 ,tools for wood engraving1 #cd4 ,trade-marks1 how to secure patents1 #cce4 ,transposing pages1 directions for1 #bjg4 pages in companionships1 #bcb4 ,turkey boxwood1 best for engraving1 #cd4 ,turning a heap1 directions for1 #bfa1 #bfb4 ,turpentine1 spirits of1 best for cleansing wood-cuts1 #bhc4 ,tweezers1 illustrated1 #baj4 ,twenties1 scheme for imposing half-sheet of1 with two signatures1 #aha4 sheet of1 #ahb4 ,twenty-fours1 scheme for imposing half-sheet of1 #ahc4 sheet of1 #ahc1 #ahd4 half-sheet1 the sixteens way1 #ahd4 half-sheet of1 long1 #ahe4 half-sheet of1 without cutting1 #ahf4 ,two-line letters1 how used1 #gf4 ,tying up pages1 #adb1 #adc4 ,tympan suitable for cylinder press1 #bfe4 ,tympans1 how to cover1 #bed4 ,type bodies1 point system of1 #ee1 #ef4 ,type-casting machine1 description of1 #db4 illustrated1 #da4 origin of1 #bb4 ,type-casting machine1 perfected by ,david ,bruce1 ,jr41 #bb1 #bc4 ,type-founding a distinct calling in the seventeenth century1 #ah4 early1 in ,new ,york1 #ai4 early1 in ,philadelphia1 #ai4 in ,america1 #ai4 in ,europe1 #ah4 ,type-foundries in the ,united ,states1 #bc4 ,type-foundry1 first ,american1 at ,germantown1 ,pennsylvania1 #ai4 walk over a1 #ci-dh4 ,type1 how to lay a fount of1 #abg4 ,type-measure1 #bbg4 ,type-metal1 #dj4 ,type-revolving printing machine1 ,hoe's1 illustrated1 #bdj4 ,types1 bill of1 #eg4 ,black or ,old ,english letter1 #di1 #ea4 directions for choosing1 #ej4 fount of1 #eh4 gradation of1 #ee4 how to prevent them from adhering1 #abg4 ,italic1 invention of1 #ej4 names and sizes of1 #eb-ed4 prices of1 since #ahja1 #be4 process of manufacturing1 #ci-dc4 ,roman1 invention of1 #di4 specimens of1 #ec1 #ed4 ,typographic ,advertiser1 #bj4 ,typographical errors1 a blemish1 #bjj4 peculiarities1 ancient1 #ag1 #ah4 ,underlaying old stereotype plates1 #bhb4 ,underlays1 when proper on cylinder presses1 #bgj-bgb4 ,uniformity in colors1 how to secure1 #bfc4 in spacing essential1 #acj4 ,universal press1 illustrated1 #bdh4 ,unlocking forms1 precautions in1 #bjh4 ,upper-case sorts1 #ei4 ,van der ,mey's method of stereotyping1 #bd4 ,variations from copy chargeable1 #baa4 ,varnish for printing ink1 how to make1 #cad4 the common menstruum for colours1 #bhf4 ,varnish1 prevents enamel from peeling1 #bhd4 ,vignettes1 how to prepare on the press1 #bha4 ,walter perfecting press1 #bdd4 ,warehouse book1 form of1 #bic4 department1 #bic-bih4 ,warehouseman1 duties of1 #bic4 ,warping of a cut1 how to cure1 #bhb4 how to prevent1 #bhb4 ,washing forms1 directions for1 #bfd1 #bfe4 ,washington press1 how to set up1 #bej4 invented by ,samuel ,rust1 illustrated1 #bcg4 ,waterproof paper1 how to make1 #cag4 ,watts1 ,john1 #ba4 ,web perfecting presses1 #bdb-bdf4 ,wells's job presses1 #bdf4 ,wet paper1 how to be protected overnight1 #bfd4 ,wetting paper1 directions for1 #bee-beg4 drawing and plate paper1 #bef4 rules for giving out paper for1 #bid1 #bie4 ,wetting-trough1 how to be made1 #bee4 ,white1 ,elihu1 type-founder in ,new ,york1 #ba1 #bb4 ,white pages1 how to be treated1 #bei4 ,wood-cuts1 how to prepare on the press1 #bhj-bhc4 how to wash1 #bhc4 how to take proof of1 #bhc4 ,wood engraving1 tools for1 #cd4 type1 how to be cared for1 #bib4 ,woollen blankets1 needless when new type is used1 #beg1 #bff4 ,words and phrases1 foreign1 #ceg-cgb4 ,working in pocket unsatisfactory1 #bbg4 ,works1 how to manage hurried1 #bbf4 ,wrinkles in paper1 how to remove1 #bfc4 ,writing inks1 coloured1 how to make1 #cad4 ,yellow ink1 how to produce1 #bhg1 #bhh4 ,zarotti1 ,antonio1 the inventor of signatures1 #af4 ,zell1 ,ulrich1 printer of the ,chronicle of ,cologne1 #i4 ,zodiacal signs1 #gc4 ,illustration ,,footnotes #a ,the earliest testimony in favour of ,koster is contained in a ,german volume published at ,cologne in #adii1 known as the ,chronicle of ,cologne1 which was printed by ,ulrich ,zell1 originally of ,mayence1 and a well-known follower of ,gutenberg and his system4 ,under the heading 8,of the art of printing books1 when and where1 and by whom1 was invented the inexpressibly useful art of printing books10 the author says1 8,although the art1 as now practised1 was discovered at ,mayence1 nevertheless the first idea came from ,holland1 and the ,donati1 which had been previously printed there4 ,those books are therefore the origin of the art40--,see ,humphreys1 ch4 iii4 and iv4 ,we cite further the following well-known account3-- 8,about one hundred and twenty-eight years ago1 ,laurens ,zanssen ,coster inhabited a decent and fashionable house in the city of ,haarlem1 situated on the market-place1 opposite the royal palace4 ,the name of ,coster was assumed1 and inherited from his ancestors1 who had long enjoyed the honourable and lucrative office of coster or sexton to the church4 ,this man deserves to be restored to the honour of being the first inventor of printing1 of which he has been unjustly deprived by others1 who have enjoyed the praises due to him alone4 ,as he was walking in the wood contiguous to the city1 which was the general custom of the richer citizens and men of leisure1 in the afternoon and on holidays1 he began to cut letters on the bark of the beech2 with these letters he enstamped marks upon paper in a contrary direction1 in the manner of a seal1 until at length he formed a few lines for his own amusement and for the use of the children of his brother-in-law4 ,this succeeding so well1 he attempted greater things2 and1 being a man of genius and reflection1 he invented1 with the aid of his brother- or son-in-law1 ,thomas ,pietrison1 a thicker and more adhesive ink1 as the common ink was too thin and made blotted marks4 ,with this ink he was able to print blocks and figures1 to which he added letters4 ,i have seen specimens of his printing in this manner4 ,in the beginning he printed on one side only4 ,this was a ,dutch book1 entitled ,spiegal enser ,behoudenisse4 ,that it was one of the first books printed after the invention of the art1 appears from the leaves1 which are pasted together1 that the naked sides might not be offensive to the eyes2 and none at first were printed in a more perfect manner4 ,as this new species of traffic attracted numerous customers1 thus did the profits arising from it increase his love for the art and his diligence in the exercise of it4 8,he engaged workmen1 which was the source of the mischief4 ,among these workmen was one ,jan 3 whether his surname be that of ,faust1 or any other1 is of no great importance to me1 as ,i will not disturb the dead1 whose consciences must have smote them sufficiently while living4 ,this ,jan1 who assisted at the printing press under oath1 after he had learned the art of casting the types1 setting them1 and other articles belonging to the art1 and thought himself sufficiently instructed1 having watched the opportunity1 as he could not find a better1 he packed up the types and the other articles on ,christmas eve1 while the family was engaged in celebrating the festival1 and stole away with them4 ,he first fled to ,amsterdam1 thence to ,cologne1 until he could establish himself at ,mentz1 as a secure place1 where he might open shop and reap the fruits of his knavery4 ,it is a known fact that within the twelve months 7that is1 in the year #addj7 he published the ,alexandri ,galli ,doctrinale1 7a grammar at that time in high repute17 with ,petri ,hispani ,tractatibus ,logicis1 with the same letters which ,laurens had used4 ,these were undoubtedly the first products of his press4 ,these are the principal circumstances that ,i have collected from creditable persons far advanced in years1 which they have transmitted like a flaming torch from hand to hand3 ,i have also met with others who have confirmed the same40--,hadrianus ,junius1 #aefh4 #b ,the first copies of the ,bible are not dated1 and do not contain the printer's name4 ,only a few impressions have been preserved to the present time2 indeed1 they were entirely lost to the world until the latter half of the last century1 when a copy was discovered in the library of ,cardinal ,mazarin in ,paris2 hence1 the few existing copies are generally spoken of as ,mazarin ,bibles4 ,some of these were printed on vellum1 but the earliest copies were on paper4 ,there are only six copies now extant2 two of which are in the ,united ,states1 one belonging to the collection of the late ,mr4 ,george ,brinley of ,connecticut1 and the other owned by the late ,mr4 ,james ,lenox of ,new ,york4 ,these two copies are on paper4 ,the ,brinley copy is said to have a leaf or two in fac-simile1 while the ,lenox copy is perfect in every respect4 ,this copy1 together with his unequalled collection of rare ,bibles1 now enriches the magnificent ,lenox ,library1 founded in ,new ,york1 in #ahgj1 by this excellent and wisely beneficent man4 ,the four remaining copies are in ,europe1 two of which were sold in ,london at auction2 one on vellum selling for #bj1jjj1 and the other1 on paper1 bringing #ad1jjj4 #c 8,the names of ,koster and ,gutenberg will ever remain associated with its positive invention2 and to ,koster1 if we are to be guided by a vast mass of unanswerable evidence in his favour1 must be assigned the glory of achieving the first actual steps in that art1 of which ,gutenberg was soon destined1 not only to extend and solidify the basis1 but to raise at once upon that basis a most noble superstructure40--,humphreys1 p4 #ej4 #d ,for detailed and conflicting accounts1 see ,humphreys's ,history of the ,art of ,printing1 7,london17 and ,de ,vinne's ,invention of ,printing1 7,new ,york47 ,humphreys dispassionately goes over the ground1 and while giving due credit to ,gutenberg1 awards to ,koster the honour of the invention of the art of printing4 ,a perusal of ,de ,vinne1 on the other hand1 leaves the impression of an effort to prove a preconceived opinion1 every probability in favour of ,koster being curtly set aside1 and every perchance on the side of ,gutenberg being regarded as incontrovertible fact4 ,de ,vinne derides the idea that types were at first cut1 and not cast or founded2 and this in the face of the fact that in the earliest printed books1 there are not two letters of one kind that are precisely alike in a page2 that is1 every letter a varies somewhat from all other a's1 and so with b and all other letters4 ,this could not be the case if the types were cast or founded4 ,to support his view1 ,de ,vinne copies from ,de la ,borde a wood engraving representing letters cut and sawn apart2 and from the imperfection of this experiment argues that the first types could not have been cut4 ,this proves nothing except the incapacity of the experimenter4 ,a dozen years ago an ingenious man in ,philadelphia produced copper-headed types in a mass on type-metal bodies1 which had to be cut apart singly4 ,the specimen of these types here given proves conclusively that the thing can be done far better than was done by ,koster on wood or metal1 though his types were ten times larger than these3-- ,illustration3 abcdefghijklmnopqrstuvwxyz,a,b,c,d,e,f,g ,h,i,j,k,l,m,n,o,p,q,r,s,t,u,v,w,x,y,z ,new ,york ,new ,jersey ,mississippi ,georgia ,virginia ,louisiana ,tennessee ,arkansas ,kentucky ,new ,hampshire ,maine ,massachusetts ,kansas ,we have repeated the experiment in our own foundry with ,long ,primer type1 and with a similar result4 ,these experiments are sufficient to show the ungroundedness of ,mr4 ,de ,vinne's argument4 ,he further states that in some of the specimens given by him1 the letters have been so worn that they have run into one another2 but the fact is1 such letters were logotypes1 and cut on the same block4 ,any accurate type-founder can verify this fact almost at a glance4 ,in a lecture by ,mr4 ,josiah ,marples1 an accurate ,english printer1 before the ,liverpool ,literary and ,philosophical ,society on ,type-founders and ,type-founding1 the speaker alluded to ,caxton and his types1 and to ,mr4 ,vincent ,figgins's reproduction of the 8,game of ,chesse10 whose nephew had enabled him to exhibit a copy of the same to the meeting4 8,mr4 ,vincent ,figgins1 whose skill as a practical type-founder10 it was remarked1 8entitled his opinion to great weight1 believed that the book was not printed from types such as were cast by ,schffer1 but from types which were cast with solid faces1 upon which were cut with the graver each letter separately4 ,to this ,mr4 ,figgins attributed the fact that in the original book no pure style of letters was used1 but a mixture between the old black and that called ,secretary2 that no two letters were exactly alike1 and that frequent use was made of logotypes40 ,mr4 ,de ,vinne finds some difficulty in demolishing the ,koster 8legend0 7as he and ,van der ,linde call it7 in the fact that the existence of numerous volumes and fragments of ancient printing have to be somehow accounted for2 and he thereupon adopts the hypothesis of an unknown printer1 to whom he attributes these early productions4 ,the admittedly ancient water-marks in the paper he rules out1 simply because such water-marks were used long afterward4 ,he gives fac-simile specimens of the types used in these books2 but1 in violation of all the laws of probability1 he gives the inferior specimens last4 ,the necessities of his theory compelled him to this course1 the natural order being the reverse of the one adopted by him4 ,the inferior specimens show clearly the first attempts of an inventor1 an inventor too who had before been a block printer4 ,the succeeding books show as clearly the successive stages of improvement1 the last stage of which was equal or even superior to any thing executed by ,gutenberg before the appearance of the great ,bible4 ,this 8unknown printer0 was doubtless ,koster4 ,it is by no means a wild question whether the credit of even the first ,bible belongs to ,gutenberg or to ,peter ,schffer2 for1 after the dissolution of the partnership between ,gutenberg and ,fust1 the former produced nothing worthy of note1 while ,schffer printed the ,bible again1 as well as other works1 notably the ,psalter1 a most wonderful specimen of ancient typography4 ,schffer appears to be as undoubtedly the inventor of type-founding as ,koster was of printing1--,gutenberg was neither1 though we must award him high credit for his skill in availing himself of the knowledge derived from ,koster1 and his perseverance through a series of years4 ,but the almost impenetrable cloud of mystery that surrounds the discovery of printing should induce a spirit of hesitancy that is not at all characteristic of ,van der ,linde and others4 ,neither ifs1 buts1 nor perhapses1 nor strained inferences1 prove anything except the weakness of the argument that rests upon them4 ,we are satisfied that the types used by the first printers were not cast or founded in a mode at all approximating to the modern method4 ,the question is1 not who was the first type-founder in the modern style1 but who was the first printer with movable types1 no matter whether of wood1 pewter1 or tin2 and we agree with the judicious ,isaiah ,thomas in the opinion that ,koster was that man4 ,see ,haarlem the ,birthplace of ,printing1 not ,mentz1 by ,j4 ,h4 ,hessels1 ,cambridge1 ,england1 #ahhg3 an emphatic confutation of the ,gutenberg legend4 #e ,two copies of ,bradford's ,almanac are known to be in existence4 ,we give the ,address of ,,the ,,printer ,,to ,,the ,,readers4 ,hereby understand that after great charge ,trouble1 ,i have brought that ,,great ,,art ,,mystery ,,of ,,printing into this part of ,america2 believing it may be of great service to you in several respects2 hoping to find encouragement1 not only in this ,almanack1 but what else ,i shall enter upon for the use service of the ,inhabitants of these ,parts4 ,some irregularities there be in this ,diary1 which ,i desire you to pass by this year2 for being lately come hither1 my materials were misplaced out of order1 whereupon ,i was forced to use ,figures ,letters of various ,sizes3 but understanding the want of something of this nature1 being importuned thereto1 ,i ventured to make public this2 desiring you to accept thereof2 by the next 7as ,i find encouragement7 shall endeavour to have things compleat4 ,and for the ease of ,clarks1 ,scriveniers1 c41 ,i propose to print blank ,bills1 ,bonds1 ,letters of ,attorney1 ,indentures1 ,warrants1 etc41 what else presents itself1 wherein ,i shall be ready to serve you2 and remain your friend4 ,w4 ,,bradford4 ,philadelphia1 the #ajth month1 #afhe4 #f ,mr4 ,horatio ,gates ,jones1 of ,philadelphia1 in his introduction to ,frame's ,short ,description of ,pennsilvania1 gives further interesting particulars4 ,see1 also1 ,munsell's ,chronology1 c4 of ,paper and ,paper ,making1 ,albany1 ,n4 ,y41 #ahgf4 #g ,the remainder of this article was mostly furnished by the late ,mr4 ,george ,bruce1 of ,new ,york4 #h ,after the retirement of ,binny ,ronaldson1 ,richard ,ronaldson carried on the business of this foundry until #ahcc1 when he in turn was succeeded by ,lawrence ,johnson and ,george ,f4 ,smith4 ,mr4 ,johnson1 a man of great energy and enterprise1 had 7contemporaneously with ,jedediah ,howe7 introduced stereotyping into ,philadelphia1 and now both callings were incorporated4 ,ten years afterward1 ,mr4 ,smith retired2 and in the year #ahde ,mr4 ,johnson associated with him ,thomas ,mac,kellar1 ,john ,f4 ,smith and ,richard ,smith1 who had1 as it were1 grown up with the business4 ,the foundry now quickly grew in importance1 and won a wide reputation4 ,mr4 ,johnson died ,april #bf1 #ahfj1 and was succeeded by his three partners1 who1 with ,peter ,a4 ,jordan1 constituted the firm known as ,mac,kellar1 ,smiths ,jordan1 under whose management the establishment was brought to rank equal with and excel most of the type foundries in the world4 ,mr4 ,jordan died ,march #be1 #ahhd4 ,in #ahhe ,wm4 ,b4 ,mac,kellar1 ,g4 ,fredk ,jordan and ,c4 ,f4 ,huch were associated with the remaining partners1 and a corporation was formed under the name of ,the ,mac,kellar1 ,smiths ,jordan ,company4 ,their 8,typographic ,advertiser0 7begun in #ahee7 and ,specimen ,books are regarded as unique mechanical and literary productions4 ,the height and body of the ,pica of this ,company have been universally adopted in the ,united ,states as the standard of size for the ,american ,point ,system of type4 #i ,chambers's ,encyclopdia4 #aj ,wilson's ,treatise on ,english ,punctuation is a full and explicit work on this subject1 and should be studied by every printer and author4 ,it is worthy of adoption as the standard authority4 #aa ,wilson1 in his ,treatise on ,english ,punctuation1 says1 very judiciously1-- ,the hyphen is employed in words in such a manner as is best calculated to show their origin1 composition1 or import1 and to exhibit the syllables in their neatest form4 ,agreeably to this rule1-- #a4 ,compound and derivative words are resolved into their primitives2 as1 school-master1 hand-writing1 pen-knife1 snuff-box1 looking-glass2 arch-angel1 geo-logy1 theo-cracy1 ortho-graphy4 #b4 ,prefixes1 affixes1 and grammatical terminations are separated2 as1 dis-continue1 en-able1 trans-port2 shear-er1 load-ed1 print-ing2 king-dom1 false-hood1 differ-ence1 command-ment4 #c4 ,one consonant between two vowels is to be joined to the latter syllable2 as1 ta-lent1 fa-tal2 me-lon1 le-ver2 spi-rit1 si-lence2 cy-nic1 ty-ro2 le-ga-cy1 mo-no-po-ly4 ,except x1 and single consonants when they belong to the former portion of a derivative word2 as1 ex-ile1 ex-ist1 ex-amine2 up-on1 dis-ease1 circum-ambient4 #d4 ,two or more consonants belong to the latter syllable1 when they are capable of beginning a word2 as1 ta-ble1 sti-fle1 lu-cre1 o-gle1 mau-gre1 stro-phe1 de-stroy4 #e4 ,but when the consonants cannot begin a word1 or when the vowel preceding them is short1 the first should be separated2 as1 ab-bey1 ac-cent1 vel-lum1 ab-ject1 gar-den1 laun-dry1 pam-phlet2 blas-pheme1 dis-tress1 min-strel4 ,it is desirable that compound and derivative words should1 at the end of lines1 be divided in such a manner as to indicate their principal parts4 ,thus1 school-master is preferable to schoolmas-ter1 dis-approve to disap-prove1 resent-ment to re-sentment1 ortho-doxy to or-thodoxy2 though1 as regards the analysis of words into syllables1 the latter mode is unobjectionable4 ,from the narrowness of the printed line1 however1 in some books1 the principle recommended cannot always be adhered to4 ,the terminations tion1 sion1 cial1 tial1 and many others1 formerly pronounced as two syllables1 but now only as one1 must not be divided either in spelling or at the end of a line4 ,a syllable consisting of only one letter1 as the a in cre-ation1 should not commence a line4 ,this word would be better divided crea-tion2 and so all others of a similar kind4 ,a line of print must not end with the first syllable of a word when it consists of a single letter2 as1 a-bide1 e-normous2 nor begin with the last syllable when it is formed of only two letters2 as1 nation-al1 teach-er1 similar-ly4 ,for regard should be had to the principles of taste and beauty as well as to the laws of syllabication4 #ab ,the ,hebrew alphabet is almost identical with the ,phnician4 #ac ,chambers's ,encyclopdia1 published by ,j4 ,b4 ,lippincott ,co41 ,philadelphia4 #ad ,bell's ,greek ,grammar4 #ae ,see pages #cah-ccb4 #af ,the following epitaph was no doubt written by a printer after performing the most disagreeable task attendant on his profession3-- ,no more shall copy bad perplex my brain1 ,no more shall type's small face my eyeballs strain2 ,no more the proof's foul page create me troubles1 ,by errors1 transpositions1 outs1 and doubles3 ,no more my head shall ache from author's whims1 ,as overrunnings1 driving-outs1 and ins2 ,the sturdy pressman's frown ,i now may scoff1 ,revised1 corrected1 finally wrought off4 #ag ,we are indebted to a friend for the following sketch of the origin1 progress1 and present condition of the world-famous house of ,r4 ,hoe ,co4 ,robert ,hoe1 the founder of the present house of ,r4 ,hoe ,co4 of ,new ,york1 was born at ,hose1 in ,leicestershire1 ,england1 in #aghd4 ,his father was a well-to-do farmer in that pleasant1 sequestered district2 but1 as the family was large1 ,robert was apprenticed to a carpenter in a neighbouring town4 ,his attention was early attracted and his mind impressed by the prosperity of the people of the ,united ,states2 and1 being a republican at heart1 and conscious that the institutions of his own country presented almost insurmountable obstacles to the advancement of the working classes1 he purchased his indentures from his employer1 and in #ahjc emigrated to ,new ,york4 ,on his arrival he made the acquaintance of ,grant ,thorburn1 who1 becoming interested in him1 received him into his family1 and with great kindness nursed him with his own hands through an attack of the yellow fever1 which was then raging in the city4 ,he soon established himself in his trade1 and1 by his industry1 integrity1 and enterprise1 became advantageously known to the public4 ,at the age of twenty he married the daughter of ,matthew ,smith1 of ,westchester ,co41 ,new ,york1 by whom he had three sons and six daughters4 ,for a time he was in partnership with his brother-in-law1 ,matthew ,smith1 ,jr41 a carpenter and printers' joiner1 who1 on their separation1 associated with himself his brother1 ,peter ,smith1 who was educated at ,yale ,college1 and was the inventor of the well-known hand-press bearing his name4 ,on the decease of these two brothers1 ,robert ,hoe1 in #ahbc1 succeeded to the business1 which was then in its infancy1 giving employment to only a handful of men1 and being conducted in the middle of the block bounded by ,maiden ,lane1 ,pine1 ,william1 and ,pearl ,streets1 in some old buildings to which access was gained by an alley running from ,maiden ,lane to ,pine ,street4 ,here the business1 under the style of ,robert ,hoe ,co41 grew rapidly2 but the extension of ,cedar ,street made necessary its removal to the present location in ,gold ,street4 ,about this time1 the flat-bed cylinder press1 for newspaper printing1 was introduced into ,england2 and ,mr4 ,hoe sent an intelligent mechanic there to examine it1 and it was soon brought into use here1 with valuable improvements4 ,in #ahcb1 ,mr4 ,hoe's failing health obliged him to relinquish the business to his eldest son1 ,richard ,m4 ,hoe1 and ,matthew ,smith1 son of his first partner4 ,in the following year he died4 ,shortly after his decease1 the firm erected extensive buildings in ,broome ,street1 in the eastern part of the city1 where the greater part of their manufacturing has since been carried on4 ,they also commenced making cast-steel saws1 which had previously been exclusively imported from ,england2 and this branch has steadily increased in importance4 ,matthew ,smith1 a man of uncommon ability and business talents1 died in #ahdb4 ,the business was then continued by ,richard ,m4 ,hoe1 with his two brothers1 ,robert ,hoe and ,peter ,smith ,hoe1--the eldest1 as before1 taking charge of the mechanical department1 in which his industry and fertility of invention are attested by the number and value of his patents4 ,in #ahcg1 he patented here and in ,england his method of grinding circular saws1 by which the thickness of any part of a saw can be regulated with accuracy4 ,in #ahdf1 he brought out the so-called 8,lightning ,press10 or ,type-,revolving ,printing ,machine1 described in the text1--the greatest innovation on the routine of the printing craft since the days of ,gutenberg4 ,this press entirely superseded all others for fast printing1 and was introduced into the principal offices1 not only in this country1 but in ,england1 ,scotland1 ,ireland1 and ,australia4 ,in #aheh1 the firm purchased of ,isaac ,adams1 of ,boston1 ,massachusetts1 his entire patent-rights1 together with his establishment for the manufacture of his bed-and-platen book printing presses1 and various machines for binders' use1 which they continue to conduct there1 though with increased facilities and many improvements4 ,their works in different places now cover thirty-five city lots1 or about two acres1 and give employment to nearly six hundred hands4 ,the office and warerooms of the house in ,england are at #ac ,salisbury ,square1 ,fleet ,street1 ,london1 one of the partners1 being a resident in that city1 attending to the business there4 #ah ,while publisher of a paper in ,catskill1 he produced within a week1 aided by some village mechanics1 a press for his own use4 ,with the exception of a stone bed1 the principal parts were made entirely of wood4 ,it was a flat-bed press1 having a series of impression cylinders connected by an endless chain1 by means of which they passed over and around the bed continually4 ,he called it the ,chain-running ,press4 ,it was employed by ,frank ,leslie to print an edition of his ,illustrated ,newspaper4 #ai ,r4 ,hoe ,co4's ,catalogue4 #bj ,adapted from ,savage4 #ba ,adapted from ,savage4 #bb ,mostly from the ,paper and ,printing ,trades ,journal1 ,london4 #bc ,for other words beginning with im1 in1 ir1 or un negative1 look for the simple word4 #bd ,incapable of suffering4 #be ,capable of suffering4 #bf ,published by ,e4 ,c4 ,markley ,son1 ,philadelphia4 ,an excellent book4 ,illustration ,illustration3 ,,et ,,facta ,,est ,,lux4 ,illustration ,,established1 #agif4 ,mac,kellar1 ,smiths ,jordan ,foundry1 ,,letter ,,founders1 ,nos4 #fjf-fad ,sansom ,street1 ,philadelphia4 ,this establishment1 the oldest in ,america1 has kept even pace with all the improvements in type-founding2 and its productions at the present day1 in beauty of style1 accuracy of standing1 and durability of material1 are all that skill1 ingenuity1 and long experience have been able to effect4 ,neither pains nor expense will be withheld to maintain its reputation4 ,book and ,newspaper ,faces4 ,some are of light and dainty face1 others of medium1 and others again of broad and massive character4 ,,the ,,lightface ,,series2 the ,,french-,,face ,,series2 the celebrated ,,scotch-,,face ,,series1 introduced by us many years ago2 the ,,book ,,series2 the ,,large-,,face ,,series2 the ,,classic ,,series2 the ,,news ,,series2 the ,,broadface ,,series2 the ,,modern ,,series2 the ,,original ,,old ,,style ,,series2 the ,,bradford ,,series2 the ,,binny ,,series2 the ,,ronaldson ,,series2 the ,,mackellar ,,series1 and all others introduced by us1 are kept constantly on hand1 in large and small founts4 ,german ,book and ,newspaper ,faces1 ,of various styles1 also kept on hand or furnished to order4 ,elegant ,scripts and other ,note and ,circular ,types1 ,in great variety of styles1 for all kinds of ,notes1 ,blanks1 and ,circular ,printing4 ,greek1 ,hebrew and ,music ,type4 ,,music ,,type without an equal in ,america1 or a superior in the world4 ,the sizes are ,excelsior1 or half-,nonpareil1 ,diamond1 ,agate1 and ,nonpareil4 ,,greek and ,,hebrew of all practical sizes4 ,fancy and ,ornamental ,type1 ,unrivalled for beauty1 originality1 extent1 and variety4 ,in this department1 native and foreign genius and inventive skill are alike laid under contribution1 and no other foundry in the world can furnish so complete and beautiful an assortment4 ,borders1 ,flourishes1 ,corners and ,ornaments1 ,for finest artistic and ornamental printing1 to meet every requirement of the printer4 ,cuts and ,ornaments1 ,for general use1 from more than three thousand subjects1 many of them very fine4 ,office ,furnishings4 ,,cabinets of various kinds and prices4 ,,stands1 double or single1 or made in different styles to order1 of walnut or poplar4 ,,cases of all kinds4 ,,imposing ,,stones of regular sizes constantly on hand2 special sizes and styles got up to order4 ,,galleys of all kinds1 either wood or brass4 ,,stereotype ,,blocks1 with or without rule borders4 ,,chases of wrought or cast iron4 ,,composing-,,sticks of all kinds1 large and small4 ,,racks for cases4 ,,ink ,,stones4 ,card1 ,paper1 ,lead and ,rule ,cutters4 ,labour-,saving ,wood ,rule4 ,labour-,saving ,wood ,furniture4 ,labour-,saving ,curvatures4 ,furniture1 ,quoins1 ,mallets2 ,shooting-,sticks of brass1 iron or dogwood2 ,planers1 ,bodkins1 ,ley and ,washing ,brushes1 c4 ,eureka ,cabinets4 ,size to fit in space at left of double stand4 ,stained in imitation of cherry4 ,,sort-,,case ,,cabinet4--,contains eight drawers1 each divided into sixteen compartments4 ,it will be found useful as a receptacle for quads1 leaders or sorts4 ,,handy ,,cabinet4--,contains five drawers1 arranged to hold twenty different sizes of spaces and quads1 and eight blank drawers1 for cuts or large type4 ,,galley ,,cabinet4--,no4 #a1 for twenty-four single and fourteen double column galleys4 ,no4 #b1 for forty-eight single galleys4 ,no4 #c1 for thirty-four double galleys4 ,,ink ,,cabinet4--,contains four compartments for ink1 c41 and marble slab #ah #bj inches on top1 for mixing inks4 ,,chase ,,cabinet4--,arranged to contain one-eighth1 one-quarter1 and one-half medium chases4 ,with or without ink stone4 ,,combination ,,cabinet4--,no4 #a1 contains four blank drawers1 three sort-case drawers1 and four quad drawers4 ,no4 #b1 contains four sort-case drawers and six quad drawers4 ,,quad ,,cabinet4--,contains twelve drawers1 each divided into two compartments1 suitable for quads or leaders4 ,labour-,saving ,leads and ,slugs4 ,two and three point 7six and four-to-,pica7 ,,leads1 from #dh to #cjj points 7#d to #be ems ,pica7 in length2 put up in any useful quantity4 ,six and twelve point 7,nonpareil and ,pica7 ,,slugs1 cut to same lengths4 ,cases arranged specially for ,labour-,saving ,leads and ,slugs4 ,labour-,saving ,quotation ,furniture4 ,accurately cast1 and equally valuable either as furniture or as quotations4 ,the pieces range from #dh to #bdj points in length1 and from #bd to #dh points in width1 quadrate height1 with suitable spaces4 ,reversible ,metal ,furniture1 ,for imposition of forms and general blank-work4 ,cast to our standard #ab point body4 ,labour-,saving ,rule1 7,matching our standard type bodies17 ,single1 ,double1 ,parallel1 ,dotted1 and ,triple faces4 ,cut accurately of various lengths4 ,it will be found of vast utility in tabular and job work1 rendering the use of shears and file entirely unnecessary4 ,cases furnished specially adapted to it4 ,brass ,circles and ,ovals1 ,of various sizes and faces1 for label and stamp borders4 ,slotted ,brass ,corners1 ,of beautiful original patterns1 matching our brass rules4 ,hollow ,quadrates1 ,for the easy formation of ,circles1 ,ellipses1 c41 made in sizes to suit our ,brass ,circles and ,ovals1 from ,nos4 #a to #ac4 ,corner ,quadrates1 ,on #ab point and #f point ,metal and #b point ,brass bodies4 ,printing ,presses and ,ink4 ,presses of the most celebrated makers in the ,united ,states1 as well as all varieties and colours of ,american and ,foreign ,,printing ,,inks1 ,,sizes1 ,,bronzes1 ,,varnishes1 c4 at manufacturers' prices4 ,roller ,composition4 ,glue for ,rollers1 and the various ,patent ,compositions1 furnished to order at manufacturers' prices4 ,electrotyping ,of ,almanacs1 ,jobs1 ,wood-,cuts1 ,labels1 ,binders' ,stamps1 c4 ,wood ,engraving4 ,cuts designed and engraved to order in the finest style of art4 ,outfits for ,printing ,offices4 ,estimates given in detail 7with the cost7 of all the materials required for either ,newspaper or ,job ,offices4 ,,mackellar1 ,,smiths ,,jordan ,,foundry1 ,nos4 #fjf-fad ,sansom ,street1 ,philadelphia4 ,,printers' ,,text-,,books4 ,a ,manual of ,typography1 containing ,practical ,directions for ,managing all ,departments of a ,printing ,office1 as well as ,complete ,instructions for ,apprentices4 ,eighteenth ,edition4 ,revised and ,enlarged4 ,price1 #b4jj4 ,by mail1 #b4aj4 8,most successful of the books of this class known to me40--,correspondent of the ,archiv fr ,buchdruckerkunst1 ,leipzig4 8,any intelligent person will find this work a serviceable companion40--,journal of ,commerce1 ,chicago4 8,a neat volume1 beautifully printed40--,l',imprimerie1 ,paris4 8,the most complete work on the subject40--,daily ,free ,press1 ,atchison1 ,kansas4 8,a great amount of curious information1 historical and illustrative40--,evening ,post1 ,new ,york4 8,the result of intelligent research and considerable personal experience40--,the ,nation1 ,new ,york4 8,this is taken as the standard ,american treatise on practical printing1 and is eminently worthy the high reputation it has attained40--,springer's ,history and ,mystery of ,printing4 ,wilson's ,punctuation4 ,a ,treatise on ,punctuation1 designed for ,printers1 ,letter-,writers1 ,authors1 and ,correctors of the ,press4 ,price1 #a4ej4 ,by mail1 #a4fj4 8,it is an excellent work for schools and academies1 and for those who would become self-taught40--,christian ,freeman4 8,we have never before met with any work on ,punctuation which gave us so great satisfaction as this40--,the ,student4 8,this is a useful and valuable work on ,english ,punctuation1 and every one can read it with profit and pleasure40--,boston ,daily ,atlas4 8,it contains all the necessary directions for self-taught writers and editors40--,american ,whig ,review4 ,american ,encyclopdia of ,printing4 ,comprising 7with plates7 #eej imperial octavo pages1 giving more than sixteen hundred definitions1 descriptions1 and articles relating to the ,history1 ,implements1 ,processes1 ,products1 and auxiliary ,arts of ,printing2 splendidly ,illustrated by more than two hundred ,chromo-,lithographs1 ,lithographs1 ,wood ,engravings1 ,imitations of ,water-,marks1 ,embossed and ,ruled ,pages1 etc4 ,edited by ,j4 ,luther ,ringwalt4 ,price1 #f4jj4 ,typographic ,advertiser4 ,elegantly printed1 and furnished free to all ,printing ,offices4 ,needful to those who desire to keep up with the improvements in ,typography4 8,this grand journal1 the oldest in the country1 maintains its place in the van against all comers4 ,its typographic appearance is unequalled in the world of printing1 and a careful study of its peerless specimen pages will do more to advance the beautiful in job composition and presswork than all the tawdry imitations of lithography1 and badly designed and worse executed rule work that has been thrust upon a suffering art from ,caxton to to-day4 ,its editorial management is as good as its typography is handsome and artistic40--,springer's ,history and ,mystery of ,printing4 ,money spent for good books is well invested2 and in this day of typographical progress1 no active-minded printer can really afford not to have the above works in his office library4 ,address all orders to ,,mackellar1 ,,smiths ,,jordan ,,foundry1 ,nos4 #fjf-fad ,sansom ,street1 ,philadelphia4 ,transcriber's ,note ,list of changes made to the text3 ,page #bgc1 8pressman0 changed to 8pressmen0 7,many pressmen take a dozen proofs7 ,page #ceh1 8,felonius0 changed to 8,felonious0 7,felonious intent47 ,letter sounds in the alphabet tables were usually but not always italicised--italic font has been added where it seemed needed to standardise4 ,inconsistent use of hyphens and old-fashioned spelling are left unchanged4 is used to represent a symbol described as 8the ,gothic ,m04 and are used to represent the primitive square-cornered forms of the ,roman numeral and its reverse 4 is used for the proofreader's 8dele0 mark1 which inexplicably still doesn't have its own ,unicode codepoint4 symb is used for characters which have no sufficiently close ,unicode equivalent1 and these are included as illustrations in the ,,html version4