,,women ,,compositors4 ,,london3 ,,the ,,victoria ,,press1 ,,praed ,,street1 ,w4 ,,office ,,for ,,the ,,employment ,,of ,,women1 ,,under ,,the ,,patronage ,,of ,,her ,,majesty4 ,,women ,,compositors3 ,a ,,guide ,,to ,,the ,,composing ,,room4 ,,by ,h4 ,g4 ,b4 ,,london3 ,,the ,,victoria ,,press1 #aag1 ,,praed ,,street1 ,w4 ,,office ,,for ,,the ,,employment ,,of ,,women1 ,,under ,,the ,,patronage ,,of ,,her ,,majesty4 #ahhj4 ,,contents4 ,,page ,,introduction #g ,,outlines ,,of ,,compositors' ,,work #i ,frames--cases--type--composing-stick--r ule--galley--chase-- galley-press--corrections--imposing--c41 c4 ,,appendix ,i4 #be ,numerals--relative sizes of type--leads required to equal a line of any given body of type--table showing what number of ems of any other fount will correspond in depth of body with any given number of pica ems1 from #aj ems pica to #cj--the number of lines containing a thousand ens--accents--signs--points1 c4--metal rules--braces4 ,,appendix ,,ii4 #bi ,diagrams of ,imposition3--sheet of folio1 or quarter sheet of octavo--sheet of quarto1 or half sheet of octavo--sheet of octavo--sheet of twelves--sheet of sixteens4 ,,appendix ,,iii4 #cc ,illustrations3--upper case--lower case--imposing stone--composing-stick--mallet1 shooting-stick1 and planer--chase--galley--frame--galley-pre ss4 ,,appendix ,,iv4 #cg ,terms used in a composing room4 ,,appendix ,v4 #dc ,miss ,emily ,faithfull on ,women ,compositors4 ,,note4 ,the composition of this work was done by females at an average of #bj_/- per week4 ,the machining was done by men at #dj_/- per week4 ,,result3--,the higher the pay1 the worse the work4 ,,introduction4 ,among the many and varied employments which have of late years been opened up for women1 there are few which promise to be so remunerative and permanent as that of ,printing 7composing department74 ,it is an employment which gives scope for the exercise of the highest faculties as well as the nimblest fingers2 it requires but very little physical strength2 it is not in any way injurious to health2 it can be performed either sitting or standing2 and is1 at the same time1 one in which there is always a demand for employs4 ,this latter is a great consideration1 as it is well known that many very suitable employments for women are rendered almost unprofitable because there is so little demand for labour in them1 and so many applicants for each situation4 ,we have no hesitation in saying that if women will only take up this employment with a determination to surmount any difficulties which may appear at the outset1 they will find themselves in a few years in a position to demand such remuneration as few other employments can offer4 ,it may be objected by some that women of education will not care to be placed on the same level as journeymen compositors4 ,this we admit1 but only in a qualified sense4 ,they need not object to being on the same level as regards remuneration 7if they prove to be equally skilful71 and there is no fear of their being so in any other respects4 ,the following pages are written for the information of such as are desirous of learning the ,art of ,printing4 ,of course they are quite elementary1 but they will give a good general idea of the modus operandi4 ,,outlines ,,of ,,compositors' ,,work4 ,dear reader1 ,if you desire to know something about the ,art of ,printing1 suppose you go with me on an imaginary tour of inspection round a printing office with which ,i am acquainted4 ,we will suppose that you are quite ignorant of even the least fact connected with the business1 and that you will not mind asking me questions as we go along4 ,well1 here we are1 in a composing-room1 which contains a great many things you have never seen before1 and so1 perhaps1 ,i had better begin to tell you their names and uses4 ,first we notice the frames 7see p4 #ce74 ,these are wooden structures on the tops of which the cases lie in a slanting position1 something like a desk4 ,the lower part of the frame you will notice is fitted with a rack1 in which cases are kept when not in use4 ,these allow of the cases sliding in and out like drawers4 ,next we notice the cases 7see p4 #cc74 ,these are wooden trays1 with cross pieces forming a number of boxes or compartments1 in which the types are placed4 ,there is an upper and a lower case4 ,the upper has ninety-eight compartments1 and contains the capitals1 small capitals1 figures1 and accents4 ,the lower case has fifty-three compartments1 and contains the smaller or 8lower case0 letters1 points1 spaces1 and quadrats4 ,the types in these cases are arranged so as to afford the greatest facility in composing the letters into words4 ,on looking at them you will observe this--more particularly in the lower case4 ,you will notice that the letters required for the words most frequently recurring1 such as and1 the1 this1 that1 there1 them1 then1 are placed nearest the centre of the case1 so that they are the more easily 8set up40 ,we will explain this process further on4 ,now let us examine the types4 ,these are small pieces of metal1 on the ends of which the letter is cast1 and are all of a uniform height4 ,on the front of the stem nicks are cut1 so that it is easy to see the position of the letters as they lie in their respective boxes4 ,the compositor takes her place in front of the case1 and works standing or sitting1 holding in one hand an instrument made of iron1 called a composing-stick 7see p4 #cd74 ,with the other hand she takes the types as she requires them out of the boxes2 ranges them on a slip of brass1 called a rule1 in her composing-stick1 and putting a space to make a blank between each two words1 forms one line after another1 till the stick is full1 when she empties it out upon the galley 7see p4 #ce74 ,a certain number of these lines are measured off into pages1 several of which being ranged and wedged tight in an iron frame1 called a chase 7see p4 #cd71 are ready for the press4 ,the composing-stick consists of a plate of iron about six inches long and two inches wide4 ,on the right side of this plate is a ledge1 about half an inch high1 running the whole length of the plate1 and serving to sustain the letters1 the backs of which are to rest against it2 on the same plate are placed two other lesser pieces1 one of which is contrived to slide along it1 so that the two pieces may be either approached or withdrawn at pleasure1 to adjust the line to the measure intended4 ,before the compositor proceeds to compose1 a rule1 or thin slip of brass plate1 cut to the length of the line1 and of the same height as the letter1 is placed against the ledge of the composing-stick for the letter to bear immediately against4 ,being thus prepared1 the compositor1 with the copy lying before her1 and the stick in her left hand1 picks up with the right the letters1 spaces1 c41 and places them against the rule2 with the thumb of the left hand she presses them close to the slide1 and thus keeps them tight and steady while the other hand is employed in setting in more letters2 the whole being performed with a degree of expedition not easily imagined4 ,a line being thus composed1 if it end with a word or syllable and fill the measure1 needs no further care2 otherwise more spaces are to be put between the several words to justify the lines1 i4e41 make the measure quite full so that every line may end evenly2 and thus she proceeds to another line4 ,the spaces here used are a sort of blank1 of the like dimension as the letters1 but not so high1 whose faces1 therefore1 when set1 do not appear nor give any impression4 ,they are of several kinds1 according to the dimensions of the whites or intervals to be made by them1 viz41 quadrats1 to fill up a break at the end of a paragraph1 or the like2 em quadrats1 which are square and of the thickness of an m1 serving to make the distance after a period1 or between sentence and sentence2 en quadrats1 of the thickness of an n1 to be placed after colons1 semicolons1 exclamations1 and interrogations2 and thick or thin spaces1 to be used between the words in justifying1 as above4 ,the first line being completely justified1 the compositor advances to the next4 ,in order to do this1 she moves the brass rule from behind the line and places it in front1 and composes another line against it1 after the same manner as the former3 and thus she goes on till her stick is full1 when she empties it into the galley in the following manner3 ,taking the rule from behind the last line1 she places it before it2 with her two middle fingers she squeezes the lines in the stick close1 her two fore-fingers at the same time being applied on the outside of the rule3 she then lifts them out of the stick1 and placing her thumbs behind the first line1 lifts them into the galley2 taking care to disengage her thumbs without breaking the lines4 ,the compositor1 having set the proper number of lines in the stick1 and emptied them out into the galley1 again fills and empties1 as before4 ,when a sufficient number of lines have been composed to fill the galley she secures it with side-stick and quoins1 and having pulled a proof on the galley-press 7see p4 #cf71 hands it to the forewoman with copy for reading4 ,the corrections are written on the margin of the proof1 right against the line where the faults are found4 ,there are different characters to express different corrections1 as ,d or 1 dele1 for anything to be effaced1 or left out4 ,when anything is to be inserted1 the place is marked in the line with a caret1 1 and the insertion added in the margin4 ,when a word1 syllable1 c41 is to be altered1 it is erased from the proof1 and that to be put in its place written in the margin2 always observing1 that if there be several mistakes in the same line the corrections in the margin must be separated by bars1 or strokes1 _/4 ,if a space be omitted1 its place is marked with a caret1 and the margin with 4 ,if a space be wrongly placed1 as in the middle of a word1 the two parts are connected with a curve1 and this mark put in the margin4 ,if a letter be inverted1 it is expressed on the margin with 4 ,if anything be transposed1 it is marked thus3 ,the shortest are the follies best2 for the shortest follies are the best2 and in the margin is added trs4 in a circle4 ,if ,roman characters are to be changed for italic1 or vice versa1 a line is drawn under them thus1 and ,roman or italic added in the margin2 if to capitals1 a treble line4 ,if a word or sentence is entirely omitted1 the place is marked with a caret1 and the missing words written in the margin4 ,if the letters of a word stand too far asunder1 a curve is drawn under them1 and in the margin is put this mark 4 ,where the alterations are considerable1 and particularly where insertions or omissions are to be made1 there usually arises a necessity for over-running4 ,in order to do this1 they must decompose1 or return the lines back from the galley into the composing-stick1 to be rectified accordingly4 ,if one or more words to be inserted in a line cannot be 8got in0 by changing the spaces of the line for lesser ones1 part of the line must be put back into the close of the preceding one1 or forward into the beginning of the subsequent one1 or both1 till room is obtained4 ,if the insertion be large1 several lines will need to be over-run1 either backward or forward1 till a break is arrived at2 when1 if it will not come in1 a line is to be driven out4 ,when an omission is to be made1 the contrary course must be taken4 ,if it be but little1 the compositor takes it out1 and drives out the remaining matter1 either by enlarging her spaces1 or bestowing the beginning of the following1 or the close of the preceding line therein4 ,if it be considerable1 she may be obliged to over-run several lines before it can be driven out4 ,as to the faults which escape the reader and compositor1 they are usually noted in what is called the errata4 ,the type1 then1 being composed and corrected in the galley1 she measures off enough for a page1 ties it up with a cord1 and proceeds to the next1 till all the pages required for the sheet are completed2 this being done1 she carries them to the imposing or correcting stone 7see p4 #cc71 there to range them in order in a chase4 ,this is called imposing4 ,the chase is a rectangular iron frame of dimensions which vary according to the size of the paper to be printed on4 ,it has two cross pieces of the same metal1 called a long and short cross1 mortised at each end into the frame so that they may be moved if necessary4 ,by the different situations of these crosses1 the chase is fitted for different volumes2 for quartos and octavos1 one traverses the middle lengthwise1 the other breadthwise1 so as to intersect in the centre1 which is the most customary situation2 for twelves and twenty-fours1 the short cross is shifted nearer to one end of the chase4 ,for folios1 the long cross is left entirely out1 and the short one placed in the middle2 and for broadsides1 or sheets printed on one side only1 both crosses are set aside4 ,to dress the chase1 or range and fix the pages in it1 a set of furniture is made use of1 consisting of reglets or slips of wood of different dimensions1 which are only about half an inch high1 so as to be lower than the letters4 ,some of these are placed at the top of the pages1 and are called heads2 others between them to form the inner margin1 called gutters2 others at the sides1 called side-sticks2 and others at the bottom1 called foot-sticks4 ,the pages then being placed in order on the stone1 the chase is put over them1 the furniture applied between the pages and the chase in the positions above mentioned2 and the whole is locked up by means of small pieces of wood1 cut in wedge form1 called quoins1 which are driven with a mallet and shooting-stick to a sufficient tightness4 ,in this condition1 the work is called a forme1 containing more or less pages according to the size of the volume4 ,before the forme is quite locked up1 it is pressed down by passing a smooth piece of wood1 called the planer1 over the letters1 to make their surfaces stand flat and even2 and1 when locked up1 it is tested1 to see that nothing is loose4 ,as there are two formes required to every sheet1 when both sides are to be printed1 it is necessary that they should be of exactly the same length and breadth2 i4e41 the corresponding heads1 gutters1 c41 are to be equal in both formes1 that the pages may fall exactly on the back of each other4 ,this is called register4 ,here1 then1 properly ends the compositor's work2 the forme1 thus finished1 being ready to be committed to the pressman4 ,besides the several kinds of letters and characters above mentioned1 used in printing1 there are likewise rules for division lines1 borders1 and head and tail-pieces1 accommodated to the several kinds of letters4 ,the rules for division lines are of brass1 and are made exactly the same height as the letter2 otherwise they would hinder the neighbouring letters from printing1 or would themselves be hindered4 ,these the compositor occasionally cuts into proper lengths1 as her work requires4 ,the borders1 or flowers1 are a kind of ornament1 in various forms1 serving for the division of books1 chapters1 c4 ,their depth is proportioned to the letter1 and their length adjusted to the page2 for being composed of several moveable pieces1 it is easy to lengthen or shorten them4 ,the head and tail-pieces1 either cut in wood1 or cast in type metal1 are used at the beginnings and endings of chapters or books4 ,the initial letters are sometimes cut in wood1 and figured2 sometimes cast like the other characters4 ,for the convenience of binding1 printers have recourse to signatures1 i4e41 letters of the alphabet placed at the bottom of the first page of each sheet1 which show the order in which the sheets are to be bound1 as well as whether the quires are complete4 99 99 99 99 99 ,and now1 perhaps1 you may be inclined to ask1 8,how long does it take a person to learn to set up type sufficiently well to obtain employment80 ,to this we would reply1 that very much depends upon the age and ability of the learner4 ,girls who begin young1 say at the age of fifteen1 generally learn to set up fairly well in about twelve months1 and then begin to acquire speed1 so that they can set from #be1jjj to #cj1jjj letters per week4 ,those who begin later1 say at about twenty years of age1 should be able to do the same amount at the end of six months1 for which they would receive from twelve to fifteen shillings per week1 according to the conditions on which they enter as learners4 ,we have known some to earn twenty shillings per week after twelve months' learning1 and afterwards increase to between twenty-five and thirty shillings4 ,we do not mean to say that every learner would make the same progress1 as we have known many who have not2 but1 generally speaking1 the deficiency arises either from a want of proper education1 or a lack of anything like aptitude for business4 ,however1 we are quite sure that persons of fair education1 who make up their minds to learn1 can do so with even better results than those we have before mentioned4 ,it is not to be expected that a business of this description can be learned without some amount of perseverance1 and those who take it up must be prepared to meet with difficulties and overcome them4 ,for persons of more mature age there are special posts to occupy1 one of which is that of forewoman4 ,this post requires not less than six months' training1 in order to learn the general routine of the work4 ,but those who fill it must have a natural aptitude for business1 and possess those qualities which are essential in governing a number of hands in any business4 ,the remuneration would be higher in this case1 though much would depend upon the ability of the individual4 ,the post of reader is also an important one1 and requires about the same amount of training4 ,it is essential that a reader should have a practical knowledge of at least the rudiments of printing4 ,moreover1 a person filling this post must necessarily possess a large amount of general knowledge2 must be able to read a great variety of manuscripts1 and have a quick eye to detect errors4 ,a good reader can always obtain a high rate of remuneration4 ,we have now gone over the whole ground1 though1 perhaps1 very superficially4 ,our object1 however1 is not so much to give an exhaustive treatise on the ,art of ,printing1 as a general idea of one branch of it to those who desire to learn2 and only by entering a printing office for a given time as a learner1 is it possible to acquire any useful knowledge of the business4 ,,appendix ,i4 ,,numerals4 ,numbers expressed by letters2 either ,roman or italic caps or lower case are used1 thus--,vol4 ,i4 chap4 xvii4 ,the numerals are-- ,i i #a ,v v #e ,x x #aj ,l l #ej ,c c #ajj ,d d #ejj ,m m #ajjj ,the manner of expressing numbers by numerals1 is by either taking from a higher or adding to a lower numeral thus-- ,,iv iv #d ,,vi vi #f ,,ix ix #i ,,xi xi #aa ,,xiv xiv #ad ,,xvi xvi #af ,,xx xx #bj ,,xl xl #dj ,,lx lx #fj ,,xc xc #ij ,,cx cx #aaj ,,cd cd #djj ,,dc dc #fjj ,,cm cm #ijj ,,mc mc #aajj ,,md md #aejj ,,leads ,,required ,,to ,,equal ,a ,,line ,,of ,,any ,,given ,,body ,,of ,,type4 ,pearl ,one four and one eight-to-pica4 ,ruby ,one four and one six-to-pica4 ,nonpareil ,two fours2 three sixes2 or four eights4 ,emerald ,one four1 one six1 and one eight4 ,minion ,one four and two sixes4 ,brevier ,two fours and one six4 ,bourgeois ,three eights and two sixes4 ,long ,primer ,three fours2 or six eights4 ,small ,pica ,two fours and two sixes4 ,pica ,four fours2 or six sixes4 ,english ,three fours and two sixes4 ,,accents4 ,the accented letters are-- ,acute ,grave ,circumflex ,diresis ,long ,short ,french 1 ,spanish 4 ,,signs4 ,the following are a few of the most common signs-- 1 ,pound weight4 1 ,per4 1 at4 1 pound sterling1 pound l4 _/1 ,solidus1 shilling mark4 1 ,per cent4 ,plus1 or more4 - ,minus1 or less4 ,equal4 ,multiple4 ,sign of division4 ,degree4 ,minute4 ,seconds4 ,,points1 ,,etc4 1 ,comma 2 ,semicolon 3 ,colon 4 ,full point ' ,apostrophe - ,hyphen 6 ,admiration 8 ,interrogation ,short 8and0 77 ,parentheses ,brackets ,fist4 ,,metal ,,rules4 ,en - em -- #b-;em ---- #c-;em ------ #d-;em -------- ,,braces4 #b-;em #c-;em #d-;em ,superior ,,relative ,,sizes ,,of ,,type4 ,dble ,pica #b-line ,small ,pica4 ,paragon 0 ,l4 ,primer4 ,gt4 ,primer 0 ,bourgeois4 ,english 0 ,minion4 ,pica 0 ,nonpareil4 ,small ,pica #b-line ,ruby4 ,l4 ,primer 0 ,pearl4 ,bourgeois 0 ,diamond4 ,brevier 0 ,minikin4 #d ems of ,gt4 ,primer #a inch4 #e 0 ,english 0 #f 0 ,pica 0 #g 0 ,small ,pica 0 #h ems of ,l4 ,primer #a inch4 #i 0 ,brevier 0 #ab 0 ,nonpareil 0 #ag 0 ,diamond 0 ,,table showing what number of ems of any other fount will correspond in depth of body with any given number of ,pica ems1 from #aj ems ,pica to #cj4 ---------------------------------------- ------------------- ,pica4 ,small ,long ,bourg4,brev4 ,min4 ,nonp4 ,ruby4 ,pearl4,pica4 ,pica4,primr4 ---------------------------------------- ------------------- #aj #aa #ab #ad #ae #ag #bj #bc #be #aj #aa #ab #ad #ae #ag #ah #bb #be #bh #aa #ab #ad #ae #ag #ah #bj #bd #bg #cj #ab #ac #ae #af #ah #bj #bb #bf #cj #cc #ac #ad #af #ag #bj #ba #bc #bh #cb #ce #ad #ae #ag #ai #ba #bc #be #cj #cd #ch #ae #af #ah #bj #bc #be #bg #cb #cg #dj #af #ag #ai #ba #bd #bf #bh #cd #ci #dc #ag #ah #ba #bb #be #bh #cj #cf #da #de #ah #ai #bb #bd #bg #bi #cb #ch #dd #dh #ai #bj #bc #be #bh #ca #cd #dj #df #ej #bj #ba #bd #bf #cj #cb #ce #db #dh #ec #ba #bb #be #bg #ca #cd #cg #dd #ea #ee #bb #bc #bf #bi #cb #ce #ci #df #ec #eh #bc #bd #bg #cj #cd #cg #dj #dh #ee #fj #bd #be #bi #ca #ce #ch #db #ej #eh #fc #be #bf #cj #cb #cg #dj #dd #eb #fj #fe #bf #bg #ca #cd #ch #db #de #ed #fb #fh #bg #bh #cb #ce #dj #dc #dg #ef #fe #gj #bh #bi #cc #cf #da #de #di #eh #fg #gc #bi #cj #cd #ch #db #df #ej #fj #fi #ge #cj ---------------------------------------- ------------------- ,,the ,,number ,,of ,,lines ,,containing ,a ,,thousand ,,ens ,in any body of type from ,pica to ,nonpareil1 and from #aj to #dj ,pica ems in width4 ---------------------------------------- ---------------------- ,pica4 ,,number ,,of ,,lines ,,containing ,a ,,thousand ,,letters4 ems in ---------------------------------------- -------- width4 ,pica4 ,small ,long ,bourg4,brevier4,minion4 ,nonp4 ,pica4 ,primer4 ---------------------------------------- ---------------- #aj #ej #dc #dj #cf #cb #bi #be #aa #de #dj #cf #cb #bi #bg #bc #ab #db #cf #cb #bi #bg #bd #ba #ac #ch #cc #cj #bg #be #bc #ai #ad #cf #ca #bi #be #bc #ba #ah #ae #cc #bi #bi #bc #bc #bj #ag #af #ca #bg #be #bb #bj #ai #af #ag #bi #bf #bc #ba #ai #ag #ae #ah #bh #bd #bb #bj #ah #af #ad #ai #bf #bc #ba #ai #ag #ae #ac #bj #be #bb #bj #ah #af #ae #ac #ba #bd #ba #ai #ag #ae #ad #ab #bb #bc #bj #ah #af #ae #ac #ab #bc #bb #ai #ag #ae #ad #ac #aa #bd #ba #ah #ag #ae #ac #ab #aj #be #bj #ag #af #ad #ac #ab #aj #bf #ai #ag #ae #ad #ab #aa #aj #bg #ai #af #ae #ac #ab #aa #i #bh #ah #ae #ad #ab #ab #aa #i #bi #ag #ae #ad #ab #aa #aj #i #cj #ag #ad #ac #ab #aa #aj #h #ca #af #ad #ac #aa #aj #aj #h #cb #af #ad #ab #aa #aj #i #h #cc #ae #ac #ab #aa #aj #i #h #cd #ae #ac #ab #aj #i #i #g #ce #ad #ab #aa #aj #i #h #g #cf #ad #ab #aa #aj #i #h #g #cg #ad #ab #aa #aj #i #h #g #ch #ac #aa #aj #i #i #h #g #ci #ac #aa #aj #i #h #h #f #dj #ab #aa #aj #i #h #g #f ---------------------------------------- ---------------- ,,appendix ,,ii4 ,,diagrams ,,of ,,imposition4 ,illustration3 ,,sheet ,,of ,,folio1 ,,or ,,quarter ,,sheet ,,of ,,octavo4 ,illustration3 ,,sheet ,,of ,,quarto1 ,,or ,,half ,,sheet ,,of ,,octavo4 ,illustration3 ,,outer ,,forme4 ,,inner ,,forme4 ,a ,,sheet ,,of ,,octavo4 ,illustration3 ,,outer ,,forme4 ,,inner ,,forme4 ,a ,,sheet ,,of ,,twelves4 ,illustration3 ,,outer ,,forme4 ,,inner ,,forme4 ,a ,,sheet ,,of ,,sixteens4 ,,appendix ,,iii4 ,,illustrations4 ,illustration3 #a4 ,upper ,case4 #b4 ,lower ,case4 #c4 ,imposing ,stone4 ,illustration3 ,composing ,stick4 ,mallet1 ,shooting-stick1 and ,planer4 ,chase4 ,illustration3 ,galley4 ,frame4 ,illustration3 ,galley-press4 ,,appendix ,,iv4 ,,terms ,,used ,,in ,a ,,composing-,,room4 ,author's proof4--,the clean proof sent to an author after the compositors' errors have been corrected4 ,bastard title4--,a short title preceding the general title of a work4 ,bastard type4--,type with a face larger or smaller than its appropriate body3 as ,nonpareil on ,minion body1 or ,minion on ,nonpareil body4 ,batter4--,types accidentally injured in a forme4 ,beard of a letter4--,the outer angle supporting the face of a type and extending to the shoulder4 ,blank page4--,a page on which no matter appears4 ,body4--,the shank of the letter4 ,boxes4--,the compartments of a case in which the types are placed4 ,break4--,the last line of any paragraph4 ,casting off4--,estimating how many pages a certain quantity of copy will make in type4 ,chapel4--,the meetings held by compositors for the purpose of redressing grievances1 collecting fines1 and disposing of their funds4 ,clean proof4--,when a proof has but few faults in it1 it is called a clean proof2 and when a proof is to be sent to the author1 the compositor is ordered to pull a clean proof4 ,clearing away4--,properly disposing of materials after a work has been completed4 ,close matter4--,solid matter with few break-lines4 ,companionship4--,all the hands on a work4 ,composing4--,setting type4 ,correct4--,when the reader reads the proof1 or the compositor corrects the mistakes marked in the proof1 they are both said to correct2 the reader the proof1 the compositor the type4 ,corrections4--,the alterations or errors marked in a proof4 ,cut-in letter4--,a type of large size adjusted at the beginning of a line at the commencement of chapters4 ,cut-in note4--,a note justified into the side of a page4 ,distributing4--,returning types to their various boxes after having been printed from4 ,double4--,a repetition of words4 ,dressing a chase or forme4--,fitting the pages and chase with furniture and quoins4 ,even lines4--,when a piece of printing has to be executed in great haste1 a number of compositors are employed on it1 and the copy is cut into small pieces for each1 to facilitate the making-up1 imposing1 and the general furthering of the work2 if the copy should be in long paragraphs1 the compositors have each to begin a line and to make their copy end a line1 frequently with great irregularity of spacing4 ,this is termed making even4 ,in newspapers it is of constant occurrence4 ,fat4--,poetry and leaded matter4 ,folio4--,the figure or figures which stand at the head of the page2 also a sheet of paper once doubled4 ,forme4--,the pages when imposed in a chase4 ,foul proof4--,a proof with many faults marked in it4 ,fount4--,an assortment of type in definite proportions4 ,furniture4--,strips of wood or metal1 placed around and between pages when imposed4 ,gauge4--,a strip of reglet with a notch in it1 passed with the making up1 to denote the length of the pages4 ,get in4--,to set close4 ,gutter-sticks4--,furniture used in imposition to separate the pages4 ,half-title4--,the title of a book inserted in the upper portion of the first page of matter4 ,head-line4--,the top line of a page containing the running title and folio4 ,when there is no running title the folio is styled the head-line4 ,chapter lines are head-lines1 as are also the titles of articles in periodicals and newspapers4 ,imposing4--,arranging and locking up a forme of type in a chase4 ,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 type4 ,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 on the stone in the proper order for imposition4 ,lean4--,close and solid matter4 ,lean face4--,light1 thin type4 ,letter hangs4--,when the page is out of square4 ,locking up4--,tightening up a forme by means of quoins4 ,longcross4--,the bar that divides a chase the longest way4 ,low case4--,when the compositor has set almost all the letters out of her case4 ,making up4--,to arrange the lines of matter into pages4 ,making margin4--,in imposition1 arranging the space between the pages of a forme so that the margin will be properly proportioned4 ,measure4--,the width of a page4 ,open matter4--,matter widely leaded or containing numerous break-lines4 ,off its feet4--,when matter does not stand upright4 ,out4--,an omission marked in a proof by the reader4 ,over-running4--,carrying words backward or forward in correcting4 ,passing the making-up4--,passing to the next hand in order the lines remaining 7if any7 after a compositor has made up her matter1 together with the gauge and proper folio4 ,pie4--,type promiscuously intermingled4 ,planing down4--,to bring down types evenly on their feet1 by laying a planer on the page and striking it firmly with a mallet4 ,revise4--,the last proof of a forme before working it off4 ,riding4--,type at the end of a line catching against a lead1 or the ends of leads over-lapping each other4 ,runs on sorts4--,requiring an inordinate proportion of particular letters4 ,shank4--,the square metal upon which the face of a letter stands4 ,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 ,sorts4--,the letters in the several case-boxes are separately called sorts1 in printers' and founders' language4 ,squabble4--,a page or forme is squabbled when the letters are twisted out of a square position4 ,shoulder4--,the upper surface of the shank of a type not covered by the letter4 ,stet4--,written opposite to a word1 to signify that the word erroneously struck out in a proof shall remain4 ,superior letters4--,letters of a small face1 cast by the founder near the top of the type4 ,table work4--,matter consisting partly of rules and figures4 ,take1 or ,taking4--,a given portion of copy4 ,turn for a letter4--,when a sort runs short1 a letter of the same thickness is substituted1 placed bottom upward4 ,wayz-goose4--,a term given to the annual dinner customary among printers during the summer months4 ,white line4--,a line of quadrats4 ,white page4--,a blank page4 ,working in pocket4--,when the hands share equally their earnings on a work4 ,,appendix ,v4 ,miss ,emily ,faithfull wrote as follows in #ahgd3 ,in the end of #ahei our attention was directed to the printing trade as offering a field for the employment of women1 and early in the following year the ,victoria ,press was opened in the face of a great and powerful opposition1,a and we commenced what was then considered a rash experiment1 and perhaps might have proved so1 but for the liberal support accorded by friends who appreciated the difficulties we had to encounter from those who tried to check the movement by fair means or foul4 ,a ,mr4 ,gladstone in speaking on monopolies 7about the date to which we allude7 observed2--8,then we come to the printer's monopoly--a powerful combination1 which has for its first principle that no woman shall be employed1 for reasons obvious enough--viz41 because women are admirably suited for that trade1 having a niceness of finger which would enable them to handle type better than men2 they are1 however1 excluded by the printers' combination40 ,the opposition was not only directed against the employer1 but the female apprentices were subjected to all kinds of petty insults4 ,unmanly tricks were played upon them2 their frames and stools were covered with ink so as to soil their dresses unawares1 the letters were mixed in their boxes1 and their cases were emptied of 8sorts40 ,nevertheless1 after some years of work1 in spite of foes without and traitors within1 property purposely injured1 machinery wantonly broken1 c41 c41 we have steered our little bark safely through the natural and artificial perils by which it was surrounded1 and can now point to an office in thorough working order1 producing its own monthly magazine and weekly paper1 together with the books1 reports of societies1 chancery bills1 cards1 and circulars1 with which the friends of the movement from all parts of the country kindly favour us4 ,nor does the success of our experiment stop here2 we gladly and thankfully recall the fact that female compositors are now employed in several other offices2 the applications for 8trained hands0 are increasing4 ,during the last month we have received letters from different correspondents asking us to send women compositors and proof readers to country offices4 ,for the women who have taken up this trade have proved equal to their work4 ,they 8set up type0 with expedition and accuracy4 ,we have no hesitation in saying1 after our long experience1 that young girls learn with greater rapidity than boys of the same age2 they are not only more intelligent1 but they are far more attentive4 ,they have another vantage ground which employers will not be slow to recognise--viz41 habits of sobriety4 ,they do not ask for a few hours' leave of absence and remain away a couple of days 8on the spree10 which too often forms the man's excuse for placing the master printer in a position of more or less awkwardness1 according to the size of the office4 ,and in one direction the introduction of women into printing offices may prove beneficial to others as well as to themselves4 ,this has been tested to a great extent in ,america4 ,not only did we find women at work in ,harper's splendid office in ,new ,york1 but during a visit to ,harvard1 ,mr4 ,houghton1 the proprietor of the ,riverside ,press1 kindly took us over his immense establishment1 where we found men and women at work1 side by side1 setting up type4 ,he spoke not so much of the work executed by the nimble fingers of the women1 but of the moral effects of their presence there4 ,the men had been shamed out of the use of bad words and habits1 and he declared that it was impossible to over rate the good achieved1 adducing that in the interests of his business nothing would induce him to have a room in which men worked alone4 ,and this is justly regarded as a model ,press in ,america4 ,it reminds you of the good old days when the printer was a scholar4 ,the heads of departments are all college men4 ,when we had concluded our tour of inspection1 and ,mr4 ,houghton had assured us that his idea of introducing women compositors was due to a visit he had paid to our own ,victoria ,press1 we indeed felt amply rewarded for any anxiety experienced in the establishment of an office which had not only helped ,english women1 but actually influenced the fate of their sisters on the other side of the ,atlantic ,ocean--far beyond its own immediate centre4 ,female compositors can earn from #ajs4 to #cjs41 but a good reader sometimes receives #b #bs4 a week4 ,before anyone is qualified to undertake this position they must spend about twelve months in learning the technicalities of the business4 ,quickness of eye and a thorough knowledge of grammar and punctuation are indispensable1 but they are not sufficient qualifications4 ,we must be emphatic on this point1 for many ladies come to us1 and think because they can detect an error in some newspaper or magazine article1 they are capable of filling the very onerous position of a reader,b in a printing office4 ,b ,several ladies have applied for a readership in a printing office lately vacant1 stating as their qualification a capacity for reading aloud2 another lady stated that 8she knew she could undertake it for her father was a solicitor1 and she had often copied out legal documents40 ,unfortunately1 few ladies ever think1 or are allowed to think1 of preparing themselves for work2 they never dream of it until driven to take it up for self support1 and then require immediate payment4 ,now1 charity cannot find an enduring place in the labour market1 consequently women cannot be placed in positions of trust and respectability simply because they need remuneration1 and those who desire to undertake any work in connexion with printing must be prepared to train themselves4 ,in confirmation of the opinions we have expressed about the position of a proof reader1 we quote the following observation from a practical printer1 who has always been friendly to the movement1 and is a recognised authority on this point4 ,he writes in answer to our enquiry3--8,there must be a previous acquaintance with practical printing4 ,a very few people will do without it1 but they are exceptions4 ,by rights1 there ought to be three or four years' experience as a compositor first4 ,then a few months under careful supervision may make a reader40 ,,sixpence ,,monthly1 ,,with ,,photograph4 ,,annual ,,subscription1 #g_/-1 ,,post ,,free4 ,,new ,,series4 ,,the ,,victoria ,,magazine1 ,,conducted ,,by ,,emily ,,faithfull4 ,it discusses the social questions that affect the status of women with a knowledge and ability altogether its own4--,spectator4 ,there is not an article in it too dry for a lady's reading1 or too frivolous to interest a man4--,examiner4 ,takes high rank among its contemporaries4--,daily ,telegraph4 ,altogether the ,victoria shows traces of increased freshness and power4--,guardian4 ,every number of the ,victoria ,magazine perceptibly furthers the good work4--,oxford ,undergraduates' ,journal4 ,a credit to its conductors4--,liverpool ,daily ,post4 ,the ,victoria thoroughly sustains its character as the principal organ in questions relating to women4--,yarmouth ,independent4 ,,london3 ,,the ,,victoria ,,press1 ,,praed ,,street1 ,w4 ,,simpkin1 ,,marshall ,,co41 ,,stationers' ,,hall ,,court1 ,,sold ,,at ,,railway ,,bookstalls4 ,,second ,,edition4 ,price #a #ajs4 ,dedicated by permission to ,her ,majesty4 ,,te ,,deum ,,laudamus1 ,,illuminated ,,by ,,esther ,,faithfull ,,fleet4 ,could not easily be surpassed in beauty of design1 or in the finish of their execution4--,the ,times4 ,resplendent with gorgeous colouring and gilding1 and the designs have much beauty and variety of form4--,illustrated ,london ,news4 ,we must not omit to state that the book is also a triumph of printing in colour4--,pall ,mall ,gazette4 ,,the ,,victoria ,,press1 ,,praed ,,street1 ,,london1 ,w4 ,,third ,,edition4 ,price ,sixpence4 ,,prayers1 ,,texts1 ,,hymns ,,for ,,those ,,in ,,service4 ,by the ,author of 8,count up your ,mercies10 ,,and 8,tracts for ,railway ,men and others40 ,,the ,,victoria ,,press1 ,,praed ,,street1 ,,london1 ,w4 ,,amateur ,,authors ,can have their ,works printed and published ,,at ,,the ,,victoria ,,press ,with advantage to themselves1 and at the same time help in the movement for the ,employment of ,women4 ,,estimates ,,sent ,,free4 ,,transcriber',s ,,notes3 #a4 ,unicode symbols have been used to represent the handwritten marks that were used to indicate corrections3 7,greek small letter delta1 ,u#jc;,b#d7 for delete 7,undertie1 ,u#bjc;,f7 to connect two parts of a word 7,close up1 ,u#bjej7 to indicate two parts should be closed up 7,gurmukhi digit seven1 ,u#j;,a#f;,d7 to indicate inverted letter #b4 ,enclosed italics font in underscores4 #c4 ,enclosed bold font in equals4 #d4 ,enclosed spaced font in tilde4 #e4 ,enclosed underline1 overline and undercurve in plus4