A dictionary of the art of printing (part 6 of 6)

A dictionary of the art of printing (part 6 of 6)

“The Saxon types which were used in printing St. Gregory’s Homily, having been burnt in the fire which consumed Mr. Bowyer’s house and all his printing materials [Jan. 30. 1712-13], Lord Chief Justice Parker was so munificently indulgent, as to be at the expence of cutting a new Saxon type for Mrs. Elstob’s Saxon Grammar, from fac similes by Mrs. Elstob; the punches and matrices of which Mr. Bowyer’s son presented, by the hands of Edward Rowe-Mores, esq; to the University of Oxford. See the Archæologia Antiq. Soc vol. i. p. xxvii.”--Gent. Mag., Oct. 1778, p. 455. Note.

Saxon Upper Case.

+---+---+---+---+---+---+---++---+---+---+---+---+---+---+ |[A]| B |[C]| D |[E]| F |[G]|| | | | Ð | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+ |[H]| I | K | L |[M]| N | O || | | | | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+ | P | | R | S | T | | Ƿ || | | | | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+ | X | Y | Z | | | | U || | | | | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+ | | | | | | | || | | | | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+ | 1 | 2 | 3 | 4 | 5 | 6 | 7 || | | | | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+ | 8 | 9 | 0 | | | | k || | | | | | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+---+

Saxon Lower Case.

+-----+---+--+-----+--+-----++-----+---+---+---+---+------+------+ | | | | þ | | ||Thin | | | | ; | | | | | | | | | || Sp. | | | | | | | +-----+---+--+-----+--+ ++-----+---+---+---+---+------+------+ | ⁊ | | | | || | | | | | | | +-----+ b | c | ꝺ | e || ı | ꞅ | ꝼ | ᵹ | ð +------+------+ | [#] | | | | || | | | | | | | +-----+---+-----+-----+-----++-----+---+---+---+---+------+------+ | | | | | || | | | | | en | em | +-----+ l | m | n | h || o | ẏ | p | , | ƿ |Quadr.|Quadr.| | | | | | || | | | | | | | +-----+---+-----+-----+-----++-----+---+---+---+---+------+------+ | z | | | | || | | | : | | +-----+ | u | ꞇ | Sp. || a | ꞃ +---+---+ Quadr. | | x | | | | || | | . | - | | +-----+---+-----+-----+-----++-----+-------+---+---+-------------+

Saxon in British Founderies.

Double Pica.--Fry, to Thorowgood and Besley.

Great Primer.--Fry, to Thorowgood and Besley.

English.--Caslon. Fry, to Thorowgood and Besley. Oxford. Wilson.

Pica.--Caslon. Fry, to Thorowgood and Besley. V. and J. Figgins. Oxford. Wilson.

Small Pica.--Fry, to Thorowgood and Besley. V. and J. Figgins. Oxford. Wilson.

Long Primer.--Caslon. Fry, to Thorowgood and Besley. V. and J. Figgins. Wilson.

Brevier.--Caslon. Fry, to Thorowgood and Besley. V. and J. Figgins. Wilson.

SCALE OF PRICES.

The following scale of prices is copied literally from the official scale published by the master printers in 1810. The alteration in the scale in 1816, as well as the subsequent alterations and explanations have been also accurately copied from the official notifications issued to the trade by the committee of master printers.

“Scale of Prices for Compositor’s Work,

“_Agreed upon at a General Meeting of Master Printers, at Stationers’ Hall, April_ 16, 1810; _commencing on all Volumes or Periodical Numbers begun after the 30th Instant._

“ART. 1. All works in the English language, common matter, with space lines, including English and Brevier, to be cast up at 5¾d. per 1000; if in Minion 6d. per 1000; in Nonpareil 6¾d. Without space lines, including English and Brevier, 6d. per 1000; in Minion 6¼d. in Nonpareil 7d.; in Pearl, with or without space lines, 8d.; Heads and Directions, or Signature lines, included. A thick space to be considered an en in the width, and an en to be reckoned an em in the length of the page: and where the number of letters amounts to 500--1000 to be charged; if under 500, not to be reckoned: and, if the calculation at per 1000 shall not amount to an odd threepence, the odd pence to be suppressed in the price of the work; but where it amounts to or exceeds threepence, there shall be sixpence charged. Em and en quadrats, or whatever is used at the beginning or end of lines, to be reckoned as an em in the width.

“2. Works printed in Great Primer to be cast up as English; and all works in larger type than Great Primer, as half English and half Great Primer.

“3. All works in foreign languages, though common type, with space lines, including English and Brevier, to be cast up at 6¼d. per 1000; if in Minion 6¾d.; Nonpareil 7½d. Without space lines, including English and Brevier, 6½d.; Minion 7d.; Nonpareil 7¾d.; and Pearl, with or without space lines, 8¾d.

“4. English Dictionaries of every size, with space lines, including English and Brevier, to be paid 6¼d.: without space lines, 6½d. (In this article are not included Gazetteers, Geographical Dictionaries, Dictionaries of Arts and Sciences, and works of a similar description, except those attended with extra trouble beyond usual descriptive matter.) Dictionaries of two or more languages, of every size, with space lines, including English and Brevier, to be paid 6½d.: without space lines, 6¾d.; if smaller type than Brevier, to take the proportionate advance specified in Article 1.

“5. English Grammars, Spelling Books, and works of those descriptions, in Brevier or larger type, with space lines to be paid 6d. per 1000; without space lines 6¼d.: if in two languages, or foreign language, with space lines 6¼d.; without space lines 6½d.

“6. Small-sized Folios, Quartos, Octavos, and works done in Great Primer, or larger type (English language,) which do not come to seven shillings when cast up at the usual rate, to be paid as follows: English, and larger type, not less than 7s.; Pica 8s. 6d.: English 12mo. to be paid not less than 10s. 6d.; and Pica not less than 11s. 6d. per sheet.

“7. Reviews, Magazines, and works of a similar description, consisting of various sized letter, if cast up to the different bodies, to be paid 2s. 6d. per sheet extra.

“8. Pamphlets of five sheets and under, and parts of works done in different houses, amounting to not more than five sheets, to be paid 1s. per sheet extra; but, as it frequently occurs that works exceeding a pamphlet are often nearly made up without a return of letter, all such works shall be considered as pamphlets, and paid for as such.

“9. Works done in Sixteens*, Eighteens, Twenty-fours, or Thirty-twos, on Small Pica and upwards, to be paid 1s. 6d. per sheet extra. If on Long Primer, or smaller type, 1s. per sheet extra. Forty-eights to be paid 2s. per sheet extra, and Sixty-fours 2s. 6d. per sheet extra.

* The following resolution of the committee of the association of master printers is published in their fourth report, [3d July, 1840,] “That in Book-work two Forms of Double Foolscap be considered as one sheet.”

“10. Works requiring an alteration or alterations of margin, to be paid, for each alteration, 1s. per sheet to the Pressmen if altered by them, and 6d. to the Compositor, as a compensation for making up the furniture; if altered by the Compositor, then he is to be paid 1s. for the alteration, and the Pressmen 6d. for the delay.----This article to be determined on solely at the option of the employer.

“11. Bottom Notes consisting of twenty lines (or two notes, though not amounting to twenty lines) and not exceeding four pages, in every ten sheets, in quarto or octavo:--one page (or two notes, though not amounting to one page) and not exceeding six pages, in twelves:--two pages (or two notes, though not amounting to two pages) and not exceeding eight, in eighteens or above, to be paid 1s. per sheet; but under the above proportion no charge to be made. Bottom Notes, consisting of ten lines (or two notes, though not amounting to ten lines) in a pamphlet of five sheets or under, and not exceeding two pages, to be paid 1s. per sheet extra. Quotations, Mottos, Contents to Chapters, &c., in smaller type than the body, to be considered as Notes. [Where the notes shall be in Nonpareil or Pearl, in twelves, the number of pages to be restricted to four; in eighteens to five pages.]----This article is intended only to fix what constitutes the charge of 1s. per sheet for Bottom Notes*: all works requiring a higher charge than 1s. for Bottom Notes are to be paid for according to their value.

* The following interpretation of this article of the scale is given in a resolution of the committee of the master printers association, published in their fourth report, [3d July, 1840,] viz. “‘That there must be two Notes in every 10 sheets of a work to constitute the charge of 1_s_. per sheet for notes.’ E. g. if there should be only two notes, less than 20 lines each, in a work of more than 10 sheets, such work would not be liable to any charge for notes.”

“12. Side Notes to Folios and Quartos not exceeding a broad quotation, if only chap. or date, and not exceeding three explanatory lines on an average in each page, to be paid 1s. per sheet; in Octavo, if only chap. or date, and not exceeding three explanatory lines on an average in each page, 1s. 6d. per sheet. Cut-in Notes, in smaller type than the body, to be paid for in a similar manner.----Side and Bottom Notes to many, particularly historical and law works, if attended with more than ordinary trouble, to be settled between the employer and journeyman.

“13. Greek, Hebrew, Saxon, &c. or any of the dead characters, if one word and not exceeding three lines in any one sheet, to be paid for that sheet 1s. extra; all above to be paid according to their value.

“14. Greek with space lines, and without accents, to be paid 8½d. per 1000, if with separate accents 10d.; without space lines, and without accents, 8¾d.; with accents, 10¼d.; the asper not to be considered an accent. [If Dictionary matter, to take one halfpenny advance.]

“15. Hebrew, Arabic, Syriac, &c. to be paid double: Hebrew with points to be cast up as half body and half points doubled.

“16. Music to be paid double the body of the sonnet type.

“17. Index matter, though but one measure, to be paid 2s. per sheet extra.

“18. Booksellers’ Catalogues (in whatever language) to be cast up at 7d. per 1000, not including the numbering.

“19. Night work to commence and be paid for, from ten o’clock till twelve, 1s.; all after to be paid 3d. per hour extra till Six.--Morning work, commencing at four o’clock, to be paid 1s. extra.--Sunday work, if not exceeding 6 hours, to be paid for 1s.; if for a longer time, 2d. an hour.

“20. Jobs of one sheet or under (except Auctioneers’ Catalogues and Particulars) to be cast up at 7d. per 1000; if done in smaller type than Brevier, to take the proportionate advance specified in Article 1; if in foreign language, of one sheet or under, (except Auctioneers’ Catalogues,) to be cast up at 8d. per 1000; if done in smaller type than Brevier, to take the proportionate advance specified in Article 1.

“21. Where two pages only are imposed, either opposite to or at the back of each other, they shall be paid for as two pages; but if with an indorse, or any other kind of matter constituting a third, then to be paid as a sheet if in Folio; a half sheet if in Quarto, and so on.

“22. Broadsides, such as Leases, Deeds, and Charter-parties, above the dimensions of crown, whether table or common matter, to be paid the double of common matter; on crown and under, to be paid one and one half common matter.--The indorse to be paid one fourth of the inside page, as common matter.

“23. All Corrections to be paid 6d. per hour.

“24. The Imprint to be considered as two lines in the square of the page.

“25. Different volumes of the same work to be paid for distinctly, according to their value.

“ABSTRACT OF THE SCALE.

Key to Column Headers-- A. = Common. B. = Foreign. C. = English. D. = 2 Languages, or Foreign. E. = Without Accents. F. = With Accents.

+-------------------+-----+-----+-----------+-----------+-----------+ | | | | Diction- | Grammars, | | | | | | aries. | &c. | Greek. | | | | |-----+-----+-----+-----+-----+-----+ | | A. | B. | C. | D. | C. | D. | E. | F. | +-------------------+-----+-----+-----+-----+-----+-----+-----+-----+ | |d. |d. |d. |d. |d. |d. |d. |d. | |ENGLISH} {leaded | 5¾ | 6¼ | 6¼ | 6½ | 6 | 6¼ | 8½ | 10 | | to } | | | | | | | | | |BREVIER} {solid | 6 | 6½ | 6½ | 6¾ | 6¼ | 6½ | 8¾ | 10¼ | +-------------------+-----+-----+-----+-----+-----+-----+-----+-----+ |MINION {leaded | 6 | 6¾ | 6¾* | 7 * | | | | | | {solid | 6¼ | 7 | 7 * | 7¼* | | | | | +-------------------+-----+-----+-----+-----+-----+-----+-----+-----+ |NONPAREIL{leaded | 6¾ | 7½ | 7½* | 7¾* | | | | | | {solid | 7 | 7¾ | 7¾* | 8 * | | | | | +-------------------+-----+-----+-----+-----+-----+-----+-----+-----+ |PEARL {leaded}| 8 | 8¾ | 8¾ | 9 | | | | | | {or solid}| | | | | | | | | +-------------------+-----+-----+-----+-----+-----+-----+-----+-----+

+-------------------------------------------------------------------+ |_Notes constituting the Charge of One Shilling per Sheet.--See | | Article_ 11. | +-------------------------------------------------------------------+ | 4to. and 8vo. { 20 Lines } and not exceeding 4 Pages in 10 | | { or 2 Notes } Sheets. | +-------------------------------------------------------------------+ | 12mo. { 1 Page } and not exceeding 6 Pages in 10 | | { or 2 Notes } Sheets. | +-------------------------------------------------------------------+ | 18mo. or above { 2 Pages } and not exceeding 8 Pages in 10 | | { or 2 Notes } Sheets. | +-------------------------------------------------------------------+ | Pamphlets { 10 Lines } and not exceeding 2 Pages in 5 | | { or 2 Notes } Sheets.” | +-------------------------------------------------------------------+

A modification of the Compositors’ Scale took place in 1816, and the following notification was issued to the Trade:--

“At a Meeting of Master Printers held this day, pursuant to notice, for the purpose of taking into consideration the state of the Trade in general, in consequence of the alteration in the times;

“It was the opinion of this Meeting, that it would be highly expedient that, after the 19th of February, the following modification of the Compositors’ Scale of Prices of 1810, as far as regards Reprints, should take place.

“All Reprinted Works to be paid Three Farthings per 1000 less than the Scale of 1810. All Manuscript or Original Works shall continue to be paid for as at present.

“January 2. 1816.”

The following resolution is copied from Hansard’s Typographia:

“At a Meeting of the Committee of Master Printers held March 11, 1816.

“It having been stated that doubts had arisen in the minds of several Masters as to what should be considered ‘Reprinted Works,’--Resolved, That they be informed that, under the above Resolutions, all ‘Reprinted Works’ were meant to be comprehended, whether printed sheet for sheet or otherwise; it being understood, that, in cases where the copy is rendered peculiarly troublesome by intricate manuscript insertions, a reasonable allowance may be made for the same to the Compositor.”

Reprints, according to the Resolution of January 2, 1816.

Key to Column Headers-- A. = Common. B. = Foreign. C. = English. D. = 2 Languages, or Foreign. E. = Without Accents. F. = With Accents.

+--------------------+-----+-----+-----------+-----------+-----------+ | | | | Diction- | Grammars, | | | | | | aries. | &c. | Greek. | | | | |-----+-----+-----+-----+-----+-----+ | | A. | B. | C. | D. | C. | D. | E. | F. | +--------------------+-----+-----+-----+-----+-----+-----+-----+-----+ | |d. |d. |d. |d. |d. |d. |d. |d. | |English} {leaded | 5 | 5½ | 5½ | 5¾ | 5¼ | 5½ | 7¾ | 9¼ | | to } | | | | | | | | | |Brevier} {solid | 5¼ | 5¾ | 5¾ | 6 | 5½ | 5¾ | 8 | 9½ | +--------------------+-----+-----+-----+-----+-----+-----+-----+-----+ |Minion {leaded | 5¼ | 6 | 6 * | 6¼* | | | | | | {solid | 5½ | 6¼ | 6¼* | 6½* | | | | | +--------------------+-----+-----+-----+-----+-----+-----+-----+-----+ |Nonpareil {leaded | 6 | 6¾ | 6¾* | 7 * | | | | | | {solid | 6¼ | 7 | 7 * | 7¼* | | | | | +--------------------+-----+-----+-----+-----+-----+-----+-----+-----+ |Pearl {leaded} | | | | | | | | | | {or solid}| 7¼ | 8 | 8 | 8¼ | | | | | +--------------------+-----+-----+-----+-----+-----+-----+-----+-----+

* In the Abstract under the head “Dictionaries,” the prices for Minion and Nonpareil are erroneous, being one farthing too much; this error passed unnoticed, till the publication of the “Third Report of the Committee of the Association of Master Printers” in 1839, where it is corrected. I have given the Scale as originally published.

“Scale of Prices for Presswork,

“_Agreed upon at a General Meeting of Master Printers, at Stationers’ Hall, Feb._ 8, 1810; _commencing on all Volumes or Periodical Numbers begun after the_ 28_th Instant._

+-------+-------+------+ | 1000 | 750 | | |and up-| and | | “FOLIOS. |wards. | 500. | 250. | ON MEDIUM OR DEMY. +-------+-------+------+ | d. | d. | d. | Not exceeding 52 Pica Ems, upon Small Pica and | | | | upwards | 5 | 5½ | 6 | If on Long Primer, Bourgeois, or Brevier | 5½ | 6 | 7 | All above 52 Pica Ems, upon Small Pica and | | | | upwards | 5½ | 6 | 7 | If on Long Primer, Bourgeois, or Brevier | 6 | 6½ | 7 | Long Primer and upwards, on Copy or Crown | 5 | 5½ | 6 | | | | | “QUARTOS. | | | | ON MEDIUM OR DEMY. | | | | Not exceeding 40 Pica Ems, upon Long Primer and | | | | upwards | 5 | 5½ | 6 | If on Bourgeois or Brevier | 5½ | 5½ | 6 | All above 40 Pica Ems, and not less than Long | | | | Primer | 5½ | 5½ | 7 | If on Bourgeois or Brevier | 6 | 6 | 7 | Brevier and upwards, on Copy or Crown | 5 | 5½ | 6 | | | | | “OCTAVOS. | | | | ON MEDIUM OR DEMY. | | | | Not exceeding 24 Pica Ems, upon Small Pica and | | | | upwards | 5 | 5½ | 6 | If on Long Primer, Bourgeois, or Brevier | 5 | 5½ | 7 | All above 24 Pica Ems, on Brevier or upwards | 5½ | 6 | 7 | If less than Brevier | 6 | 6½ | 8 | Brevier and upwards, on Copy or Crown | 5 | 5½ | 6 | | | | | “TWELVES. | | | | ON MEDIUM OR DEMY. | | | | Not exceeding 21 Pica Ems, upon Long Primer and | | | | upwards | 5 | 5½ | 7 | If on Bourgeois or Brevier | 5½ | 6 | 7 | All above 21 Pica Ems, upon Long Primer and | | | | upwards | 5½ | 7 | 8 | If on Bourgeois or Brevier | 6 | 7 | 8 | Long Primer, Bourgeois, or Brevier, on Copy or | | | | Crown | 5 | 5½ | 7 | | | | | “EIGHTEENS. | | | | If not less than Small Pica | 5 | 5½ | 7 | If on Long Primer, Bourgeois, or Brevier | 5½ | 6 | 7 | If less than Brevier | 6 | 7 | 8 | | | | | “TWENTY-FOURS AND THIRTY-TWOS. | | | | If not less than Small Pica | 5½ | 6 | 7 | If on Long Primer, Bourgeois, or Brevier | 6 | 7 | 8 | If less than Brevier | 6½ | 8 | 9 | | | | | “POCKET BOOKS, | | | | OCTAVO. | | | | Post or Crown, 21 Pica Ems wide, 35 long | 5 | 6 | 7 | | | | | TWELVES. | | | | Pot, such as Lady’s and Christian Lady’s. Table | | | | Part, 6mo. 35 Pica Ems wide, 26 long | 5 | 6 | 7 | ------------------------------ Miscellany Part, | | | | 16 ditto wide, 26 long | 5 | 6 | 7 | Copy, Christian Gentleman’s, 26 wide, 35 long | 5 | 6 | 7 | | | | | “SCHOOL BOOKS. | | | | TWELVES. | | | | Copy or Crown, not exceeding 17 Pica Ems wide, | | | | 31 long, nor less than Brevier | 5 | 6 | 7 | | | | | OCTAVO. | | | | Copy or Crown, not exceeding 21 Pica Ems wide, | | | | nor less than Long Primer | 4¾ | 5½ | 6 |

N. B. School Books on Copy or Crown are defined to be, Palairet’s French Grammar, Chambaud, Salisbury Spelling Book, Fox’s Lessons, Ward’s Latin Grammar, and all of a similar description.

“ALMANACKS. d.

Royal Broadsides 7 Demy Ditto, Size Wing or Cambridge 5½ Goldsmith, Calendar Form 5½ Ditto, Prog. 5 Twelves Demy, 19 Ems wide, 34 long, Calendar 5½ Ditto, Prog. 5 Ditto, Crown, Size Rider 5 Octavo Foolscap, 20 Ems wide, 34 long, Cal. and Prog. 5

“BILLS IN PARLIAMENT.

From No. 4 inclusive to any No. under 100 4½ If 100, and under 200 5 If 200 or 250 5½ Above 250, and under 400 4½ If 400 or 500 5 If above 500, and under 700 4½ If 700 or 750 5 All above 750 4½

“N. B. Side Notes to be reckoned in the Width; Bottom Notes not to be regarded.

Works on Royal Paper to be paid One Halfpenny per Hour more than the above Prices.

Ditto on Foolscap or Pot, not less than 1000 Number, and wrought at one Pull, 4½d.

Ditto in Square Pages (like Entick’s Dictionary) and Works for the Public Offices, to be advanced One Halfpenny per Hour on the Scale of 1800.

Fine Paper of the same Size, if included within the Token, not to be charged extra; but, if of a larger Size, then to be paid according to the Scale.

Three or more Proofs pulled at one Time to be charged 4d. per Form; and, if made ready, to be charged as a Token.

Cards, large or small, to be paid 6½d. per 100.

Jobs without points to be paid 4½d. an hour.

Double Crown or Royal Broadsides, not exceeding 100 Number, to be paid 1s. 6d.; if more than 100, to be paid 1s. per 100.

Demy Broadsides, not more than 100, to be paid 1s.; above 100, and not exceeding 500, to be paid 10d. per 100; if above 500, to be paid at the rate of 1s. 9d. per Token.

Broadsides requiring three Pulls to be paid one-third more.

No Form to be deemed a Broadside that comes in at one Pull at the Common Press.

Night-work to commence and be paid for, from Ten o’clock till Twelve, 1s.; all after to be paid 3d. an Hour extra till Six.--Morning work, commencing at Four o’Clock, to be paid 1s. extra.--Sunday work, if not exceeding 6 hours, to be paid for 1s.; if for a longer time 2d. an hour.

“It is to be distinctly understood that no Advance shall take place on any Works but those which are paid by the Scale.”

An alteration in the prices of the first column took place in 1816, and the following notification of it was made:--

“At a Meeting of Master Printers held this day, pursuant to notice, for the purpose of taking into consideration the state of the Trade in general, in consequence of the alteration in the times;

“It was the opinion of this Meeting, that it would be highly expedient that, after the 19th of February, the following modification of the Pressmen’s Scale of Prices of 1810, as far as regards all Numbers exceeding the first 1000, should take place.

“Every Token above the first Four Tokens to be paid One Halfpenny per hour less than the Scale of 1810.

“January 2. 1816.”

ASSOCIATION OF MASTER PRINTERS. 4. PEMBERTON ROW, GOUGH SQUARE. December 10. 1838.

SIR,

I herewith transmit to you an Extract from the Proceedings which have taken place at a SPECIAL MEETING of the Committee convened this day for the purpose of “considering the case of the Refusal of the Compositors in Mr. BENTLEY’S Office to work upon his Magazine; and with a view to Conformity of Practice in our several Offices.”

“The Committee of Master Printers being informed that claims have been made by Compositors in some Offices for all Wrappers and Advertising Sheets to be set up by such Compositors only as were employed on the Periodicals to which they are attached, it was

“UNANIMOUSLY RESOLVED,

“That such claim on the part of the Compositors is an innovation on the antient and accustomed usages of the Trade, and wholly incompatible with that control which a Master has a right to exercise over the mode of conducting his own business; and that such claim will in future be resisted by every Member of this Committee.”

“It having been stated by Mr. BENTLEY, that the Compositors in his Office had refused to proceed with his Magazine in consequence of his having acted on the general understanding of the Committee, that the Compositors were not entitled to the Standing Advertisements in Periodicals,

“IT WAS RESOLVED,

“That Compositors are not entitled to such Standing Advertisements, or to any Standing Matter, such claim being also contrary to the antient and established practice of the Trade.

“That the above Resolutions be circulated among the Members of the ASSOCIATION, and that they be strongly recommended to act with the Committee in carrying them into effect.”

I am, Sir, Your obedient Servant, W. M‘DOWALL, Hon. Sec.

EXTRACT FROM

“THIRD REPORT of the COMMITTEE OF THE MASTER PRINTERS’ ASSOCIATION _to the Annual General Meeting, held at Anderton’s Coffee House, July_ 5. 1839.”

“In adverting to the dispute respecting Wrappers, which originated in a case submitted at the Monthly Meeting in December, the Committee feel it to be due to the Members of the Association to acknowledge the ready support which they have on all occasions afforded them. To that firm co-operation on their part, no less than to the reasonableness of the Deputation appointed by the Compositors to confer with the Committee, may be attributed the very satisfactory adjustment of a question which had been a source of serious disagreement in several Offices.

“The following are the Regulations ultimately agreed upon, a copy of which has been sent to each Member of the Association:--

“That the Companionship on a Magazine or Review be entitled to the first or title-page of the Wrapper of such Magazine or Review; but not to the remaining pages of such Wrapper, nor to the Advertising Sheets which may accompany the Magazine or Review.

“That Standing Advertisements or stereo-blocks, if forming a complete page, or, when collected together, making one or more complete pages, in a Wrapper or Advertising Sheet of a Magazine or Review, shall not be chargeable: the Compositor to charge only for his time in making them up. The remainder of the matter in such Wrapper or Advertising Sheet, including Standing Advertisements or stereo-blocks not forming a complete page, to be charged by the Compositor, and cast up according to the 8th or 20th Rules of the Scale, as they may respectively apply. But the charge of 2_s._ 6_d._ as given by Rule 7. is not to be superadded.

“With regard to Standing Matter, the Committee adhere to their Resolution of December 10th, 1838.”

Having thus given an accurate copy of the official scale of 1810, with the alterations and explanations of the master printers, to the present time, I shall now add the explanation published by the London Union of Compositors, of the different articles of the scale.

Article I.] “In casting up a work, although it be printed in half sheets, it is cast up in sheets; in jobs less than a sheet, however, the casting-up is confined to the job, and the compositor loses or gains the five hundred letters, or the threepence (as stated in Art. 1.) as the case may chance to be.

“By the term common matter is understood the usual description of Bookwork, and not such matter as Appeal Cases, Bills in Parliament, &c. for which peculiar and distinct charges are made.--See Appendix.

Space Lines.--The reason of pearl being always paid the same price (whether leaded with a lead equal to its own body in thickness, or without a lead) has often excited surprise; but this surprise will cease when we learn that in the year 1810, when an advance of one halfpenny on leaded, and three farthings on solid took place, no advance whatever was made on the price of pearl, which consequently when solid, which it most frequently is, does not have that advance which was granted in 1810; and the compositor in casting it up at 8d. receives only the price which was paid thirty years back. In 1805, the difference between the price of nonpareil and pearl was seven farthings; in 1810, the difference was one penny.

Head and White Lines.--The head or folio line and the white or direction line are invariably reckoned in the square of the page. Head lines, when set up in a smaller type than the body of the work, are charged one shilling per sheet; and if any justification of figures, &c. occur, an allowance is made for extra trouble; but if the head be in larger type than the text, no extra charge can be made.

“Reprints.--Annual Reports of societies, with lists of subscribers, &c. are not reprints. If the copy for a book be print-copy, but derived from various sources, such book is an original work, and paid for as manuscript. Works with MS. insertions are paid extra per sheet--not less than 1s.,--but if materially altered or much interlined, or consisting of half manuscript and half reprint, are considered as original works, and paid for as if they were all manuscript. Reprinted pamphlets (when more than one sheet) are subject to the reduction above specified. No reduction is made for printed copy introduced into magazines, reviews, &c.

“Diamond.--It is the custom of the trade to pay tenpence per thousand for diamond, whether leaded or unleaded.

“Ruby.--This description of letter is not common, but it is paid an intermediate price allowed for those bodies between which it is cast; thus, a ruby (which is less than nonpareil and larger than a pearl) is cast up at 7½d. leaded or unleaded.”

Art. II.] “This mode of casting up works, which was agreed to in 1796, applies also to jobs, but not to large-letter display broadsides, the charge for which will be found in the Appendix.”

Art. III.] “In the scale of 1805, foreign works in bourgeois and brevier were paid one farthing per thousand extra; but in 1810 one price was established for type from english to brevier inclusive.

“Works in the German language and common type are paid the same as other foreign works; but if the German character be employed, it is paid as Greek without accents. The same price is also paid for the Irish character.”

Art. IV.] “The words ‘of every size,’ allude to the dimensions of the page; because formerly (that is, by the scale of 1801) duodecimo and eighteenmo dictionaries were paid one halfpenny per thousand more than those set up in octavo or quarto.

“In framing the above article, it was intended that such gazetteers or dictionaries of the arts and sciences as were attended with any extra trouble beyond usual descriptive matter should be paid the above dictionary price; and therefore, such gazetteers or dictionaries as contain many references, italics, contractions, &c. take the advanced price as dictionary matter.

“If the above works are in two columns an extra charge of not less than one shilling per sheet is made for column matter.”

Art. V.] “There is a strange anomaly in this article. It was intended to allow the compositor one farthing per thousand extra for the trouble occasioned by the admixture of italic, the frequent occurrence of single letters and monosyllables in grammars, spelling books, &c.; but if a compositor be employed on a grammar wholly in a foreign language, it is paid no more for than if it were a foreign work (see Article III.) It should, however, to be consistent, be allowed the halfpenny for foreign, and the farthing for grammar, and be cast up at 6½d. with space lines, and 6¾d. without space lines.

“The extra farthing per thousand for this kind of work is not to pay for column matter; but two column matter, in grammars, spelling-books, &c. is charged not less than one shilling per sheet; three and not exceeding four columns are charged one and one half; and above four columns are charged double.

“School Arithmetics, as well as the works above specified, are cast up at the above prices.

“If the works specified above be in smaller type than brevier, they take the advance granted for such type in Article I.”

Art. VI.] “By the words ‘cast up at the usual rate,’ is meant works cast up without their extras; and though this article specifies small sized works in the English language, the principle is applied to foreign works also; and if foreign works amount only to the sums specified, they are entitled to an advance according to the number of thousands they contain as regulated by Art. 3. of the scale. For example, if a foreign folio or 8vo. work, in english type, without space lines, contain 13,000 letters, it would come to 7s. 0½d. Now, as the same work in the English language would come to 6s. 6d. and would consequently obtain by this Article an advance of 6d., so the foreign work is entitled to the like advance, and is paid 7s. 6d.; if it were not so, the compositor would not receive anything for the work being in a foreign language.”

Art. VII.] “The mere circumstance of a work being a periodical publication does not entitle it to the charge of 2s. 6d. per sheet. To justify this charge, the text must consist of two bodies, and be cast up to their respective founts. Publications, however, of more than one sized letter must not be cast up as all one body, to avoid the payment of the 2s. 6d. per sheet, but must be charged according to the proportion of type they contain, with the 2s. 6d. allowed by this article for the bodies.

“Reprints of this description of work (if more than a sheet) are cast up at three farthings per thousand less than the current number, but the 2s. 6d. per sheet is charged. No deduction, however, is made for printed copy introduced into the current numbers of these works.

“In Reviews, Magazines, &c. where leads are only occasionally used, or when used only in a small portion of the publication, no deduction is made.

“Reviews, Magazines, &c. are entitled to the charge for notes, although such notes are set up in one of the bodies used in the text.

“All matter pulled in galleys or slips is made up at the expense of the employer.”

Art. VIII.] “Parts of works done in different houses, when unequal in their nature, are cast up according to the respective merits of the different parts; and if a sheet, or less than a sheet, it is considered a job, and cast up at the price specified in Art. XX. of the scale.

“The expression ‘nearly made up,’ is indefinite; but in works where two-thirds of the matter are made up, one shilling per sheet is charged upon the whole.

“In works of two or more volumes, when the letter of the first volume is all made up, and used for the second, no charge can be made for making up letter.”

Art IX.] “This article does not apply to half sheets or sheets of double foolscap, double demy, &c. imposed as sixteens, as these are cast up and take the extras as octavo. Sixty-fours and forty-eights, in whatever type, are paid 2s. 6d. the former, and 2s. the latter, per sheet, extra.”

Art X.] “This article allows the employer to give the alteration either to the pressman or to the compositor; but it more properly belongs to the compositor, and the general practice of the trade is for the compositor on the work to make the alteration. The article does not apply to cases where a re-imposition or transposition of pages is required; in all such cases the compositor is entitled to charge his time.”

Art XI.] “This article is by general acceptation understood to mean that, in a quarto or octavo volume, there must be one note of twenty lines, or two shorter ones, to constitute any charge, and that there must be on an average more than four pages in every ten sheets to carry a higher charge than one shilling a sheet; that is, in a work of forty 8vo. sheets, more than sixteen pages; for a fresh calculation is not made for every ten sheets. If, therefore, two notes, or one note of twenty lines, occur in an octavo or quarto volume--and two pages or two notes in eighteens and smaller-sized works, one shilling per sheet is paid for such works throughout.

“Where the notes exceed the quantity stipulated in the above article, an additional sixpence per sheet is charged, until the quantity of note entitles the compositor to a further advance, when, in order to ascertain what that advance should be, the whole of the notes are measured off, and cast up as a distinct body, and one shilling per sheet is charged for placing.

“For example--A work of twenty sheets containing eighty pages of notes, or four pages in each sheet, is cast up as three-fourths pica (the body) and one-fourth long primer (the notes), as follows:

Per sheet. Pica, 40 by 40, at 6d. comes to 16s. ¾ths = £ 0 12 0 Long primer, 50 by 50, at ditto is 20s. ¼th = 0 5 0 -------- By letters 0 17 0 Making up, or placing notes 0 1 0 -------- £ 0 18 0 --------

“The usual rule for the type for notes is two sixes less than the text; i. e. English text has Small Pica notes; Small Pica text, Bourgeois notes; Long Primer text, Brevier notes; but when under this size a proportionally less quantity of note is required to constitute the above charges. Thus--If in a work set in Small Pica, the notes should be set in Brevier, which is three sizes less than the text; the same number of thousands should be composed for 1s. per sheet, as would be equivalent to the number of thousands contained in the four pages of Bourgeois, i.e. if the four pages of Bourgeois contain 10,000 letters, no more than that number of brevier should be composed without an increased charge.

“To compensate the compositor for time employed in making up, altering references, &c., the notes, although in the same size as any type used in the text, take the charge of 1s. per sheet.

“Notes upon notes, when set up in a smaller type than the note, are charged according to the rule laid down for notes.”

Art XII.] “In casting up a work with side-notes, the side-notes are not reckoned in the width of the page.

“Side-notes are cast up as double--that is, the length and breadth of the side-notes are taken, multiplied, and the product doubled. When the space between the notes do not exceed a broad quotation it is reckoned in measuring off the notes. The side-note width of the guard line and head lines are reckoned in measuring the depth of the notes. The reglets or leads between the text and side-note are reckoned in the width of the text, when the side-notes are cast up. One shilling per sheet for side-notes, in addition to their being cast up as double, is allowed for placing.

“Under-runners from side-notes are reckoned in the side-note, and paid 3d. each, in addition.

“When the bottom notes to law works, &c. are attended with extra trouble, in consequence of numerous contractions, an extra is paid.”

Art. XIII.] “The Saxon language is mentioned only in regard to the charge of one shilling per sheet, while works wholly done in that language seem to have been unintentionally omitted in the Scale; they are, however, paid the same as Greek without accents, according to Article XIV.

“The term ‘dead characters’ is extremely indefinite; and the charge allowed by this article is not limited to the languages of such nations as are extinct, but includes all languages for which roman or italic type is not employed, such as Sanskrit and other oriental characters; also German, Irish, &c. &c.

“This article defines only what charge is to be made for Greek, Hebrew, Saxon, &c. when introduced in small quantities in various parts of a sheet,--such as single words, half lines, or lines. If there be one word, and not more than three lines, the charge is one shilling for each character, in every sheet in which those characters occur: all above three lines is paid according to their value, preserving the 1s. per sheet for the first three lines. When the quantity of Greek, Hebrew, Saxon, &c. amounts to two-thirds, interspersed throughout the sheet, it is paid as all Greek, or an equivalent price allowed for the admixture.

“As it occasionally occurs that words in Greek, &c. are obliged to be set up in a different sized fount to the body of the work, when such is the case, extra is paid for justification.

“For the convenience of employers, and that each sheet of a work may be paid the same price, it is sometimes the practice to ascertain the quantity contained in the work, and put an average price upon each sheet. This was not formerly the general custom, nor is it, indeed, commendable, since by this mode it often happens that the task of setting up that part of a work containing the greatest quantity of Greek, &c. falls into the hands of those who have had no share of the lighter parts of the work, and thus endless and bitter disputes are caused by one man being called upon to perform that labour for which another has received the reward. The article limits the charge to ‘that sheet,’ and therefore a work in which small portions of Greek, &c. are introduced, should be charged according to the particular quantity in each sheet.”

Art. XIV.] “By ‘separate accents’ is meant the use of distinct accents with kerned letters.

“The composition of grammars being attended with extra trouble, ¼d. per 1000 is allowed for them. Therefore Grammars in Greek, Hebrew, &c. take the advance specified in Article V. Thus, a Greek grammar without space lines and accents is paid 9d. per 1000.

“Jobs in Greek, &c. of one sheet or under are also paid 1d. per thousand more than the prices above stated.

“It has been contended that works in Greek, Hebrew, &c. not being common matter, were not intended to be subject to the reduction upon reprints; but as the same advantage accrues to a compositor upon reprint Greek as upon reprint English, it is just that the reduction should be made; and therefore Greek, &c. set up from printed copy, is subject to the modification of the Scale proposed by the masters in 1816.”

Art. XV.] “The phrase ‘paid double’ signifies double the price of common matter. Although Hebrew with points is alone stated to be cast up as half body and half points doubled; yet Syriac, or any other language or character with points, is cast up in the same manner.

“Of the mode of casting up a work with points, the following is an example:--Supposing the work to be set up in small pica Hebrew with nonpareil points, it is cast up as half small pica and half nonpareil, that is, each page is charged as if it were a page of small pica and a page of nonpareil.

“Grammars, Dictionaries, &c. in these languages are cast up at double the price specified in Article V.

“This article applies only to works, or where several pages appear together. Small quantities of Arabic, Syriac &c. are paid according to Article XIII.”

Art. XVI.] “That is, if the sonnet type be long primer, the square of the page is taken as long primer, and the amount which the sheet or job would be paid as long primer is doubled.

“The rule is, however, but little applicable to the present style of letter-press music printing, the composition of which is now usually paid an ad valorem price, as double the price of sonnet type would not pay. Indeed, in music wholly instrumental, Art. 16. would be useless as a guide, as there would be no sonnet type employed.”

Art XVII.] “The charge of 2s. per sheet for Index matter does not include the charge for columns or tabular; and indexes cast up as tabular or table are charged 2s. in addition to what they come to by letters.”

Art. XVIII. “The expression, ‘not including the numbering,’ does not mean that the numbers are not to be reckoned in the square of the page, but that when the bookseller sends in his copy without numbers at the beginning of the article, or with incorrect numbers, and the compositor is required to alter them, or put in the numbers, he is entitled to make an extra charge for such numbering; in other words, 7d. per thousand does not include the charge for the trouble occasioned to the compositor by altering or marking in the numbers prefixed to the books.

“If a booksellers’ catalogue only make a sheet, or less than a sheet, it is cast up at no more than 7d. per thousand.

“Booksellers’ lists or advertisements are charged as a job at 7d. per thousand when only making a sheet or under; but if done in smaller type than brevier, they take the proportionate advance specified in Article 1.

“When notes or remarks in smaller type are inserted in a bookseller’s catalogue, they are paid the same as bottom notes.

“Catalogues in two columns are paid one shilling per sheet for columns.

“The words ‘in whatever language,’ mean that the foreign languages, where roman type is used, viz. Latin, Italian, French, &c. take no extra charge; but Greek, Hebrew, Syriac, &c. are paid according to Article 13.”

Art. XIX.] “The compositor’s day’s work is reckoned twelve hours; if, therefore, business require it, the compositor on the piece works from 8 till 10 in the evening, and from 6 to 8 in the morning, without any extra charge; but if required to come before 6, or called to work after 10, he immediately claims 1s., because he has already worked two hours beyond the ordinary time, without any extra charge. Sunday work, for any portion of time less than six hours, is paid 1s.

“Compositors on the establishment, when required to work beyond the recognised hours, are entitled to charge extra.--See Appendix.”

Art. XX.] “Auctioneers’ Catalogues and Particulars, of whatever extent, or whether leaded or unleaded, are cast up at 6d. per 1000; if any smaller type or other extras occur in a catalogue, they are paid in the same way as extras upon bookwork. The conditions in smaller type, when standing, are paid as an ordinary page of the catalogue; but if set up, are charged according to the type in which they are set.

“Jobs are not cast up as sheets or half sheets, but according to the number of pages they may contain. They are also subject to the regulations in Art. 1.--‘A thick space,’ &c. see Art. 1. to the end of that Article.”

Art. XXI.] “This article has occasionally been misconstrued; and it has been supposed that if any matter be on the third page, the compositors ought to charge the job as four pages; this, however, is not the case--for, in jobs, it requires matter on three pages, in order that they may be charged as four. Thus, a circular of two pages, printed on the first and third page, is only charged as two pages; but if there be matter on the first, second, and third, it is charged as four; or if there be matter on the first and second, and an indorse on the fourth, it is charged as four. This definition will appear correct when it is observed that the indefinite article is used in the scale, which does not say, constituting the third, but constituting a third.”

Art. XXII.] “This article means that ‘common matter’ or undisplayed broadsides, when set up in type ‘such as’ is used for leases, deeds, &c. are to be charged, if larger than crown, the double of common matter, but if on crown or under, to be paid one and one-half common matter; and if table, to be paid for as double. That this is the true interpretation of this article is evident from the introduction of the words ‘whether table or common matter,’ which were not in the scale of 1805, and which were inserted to prevent more than double being charged for broadside tables above the dimensions of crown. In Ireland, table broadsides above medium are paid treble; but by the above article, however few or numerous the columns may be, the charge is to be that of double common matter.”

Art. XXIII.] “When blank pages at the end of a work are filled up on its return from the author with fresh matter, or booksellers’ lists, or advertisements, the compositor charges the value of the matter, deducting the price of the blank, excepting the time for making up the blank. Matter driven out by the insertion of leads is charged by the compositor, but his time in doing so is not chargeable.

“The compositors on a work are entitled to correct the author’s proofs.”

Art. XXIV.] “In jobs, it is sometimes necessary to put the imprint nearly at the extremity of the paper, leaving a large blank between the last line and the printer’s name. In all such cases, the blank is not cast up, but the job is considered to be two lines longer than the last line of matter. Previous to 1805, the imprint was not cast up when it had a large blank before it; but as the compositor frequently had to set up the imprint, it was agreed that he should charge two lines for it.”

As the Scale of 1805 may be useful as an article of reference, I give it literally from an official copy which has been in my possession from that time.

Regulations and Scale of Prices for Compositors’ Work,

AS ADJUSTED AND AGREED TO IN FEBRUARY 1805.

“Article 1. All works in the English language, common matter, including English and Brevier, to be cast up, as settled in December 1800, at fivepence farthing per thousand; if in Minion (being a type not very prevalent), to be cast up at fivepence halfpenny; in Nonpareil, sixpence farthing; and Pearl, eightpence; Heads and Directions, or Signature lines, included. A thick space to be considered an en in the width, and an en to be reckoned an em in the length of the page: and, where the number of letters amounts to five hundred, a thousand to be charged; if under five hundred, not to be reckoned: and if the calculation at per thousand shall not amount to an odd threepence, the odd pence to be suppressed in the price of the work; but where it amounts to or exceeds threepence, there shall be sixpence charged.

“2. Works printed in Great Primer to be cast up as English; and all works in larger type than Great Primer as half English and half Great Primer.

“3. All works in a foreign language, though common type, to be cast up at fivepence three farthings per thousand, including English and Long Primer; if in Bourgeois or Brevier, sixpence per thousand; Minion, sixpence farthing; Nonpareil, sevenpence; and Pearl, eightpence three farthings.

“4. English Dictionaries of every size to be paid fivepence three farthings per thousand. (In this article are not included Gazetteers, Geographical Dictionaries, Dictionaries of Arts and Sciences, and works of a similar description, except those attended with extra trouble beyond usual descriptive matter.) Dictionaries of two or more languages of every size to be paid sixpence per thousand. If smaller type than Brevier, to take the proportionate advance specified in Article 1.

“5. English Grammars, Spelling Books, and works of those descriptions, in Brevier or larger type, to be cast up at fivepence halfpenny per thousand; if in two languages, or foreign language, to be cast up at fivepence three farthings per thousand.

“6. Small sized Folios, Quartos, Octavos, and works done in Great Primer or larger type (English language) which do not come to six shillings when cast up at the usual rate, to be paid as follows: English and larger type, not less than six shillings; Pica, seven shillings and sixpence: English Twelves to be paid not less than nine shillings and sixpence; and Pica not less than ten shillings and sixpence per sheet.

“7. Reviews, Magazines, and works of a similar description consisting of various sized letter, if cast up to the different bodies, to be paid two shillings per sheet extra.

“8. Pamphlets of five sheets and under, and parts of works done in different houses, amounting to not more than five sheets, to be paid one shilling per sheet extra; but, as it frequently occurs that works exceeding a Pamphlet are often nearly made up without a return of letter, all such works shall be considered as Pamphlets, and paid for as such.

“9. Works done in Sixteens, Eighteens, Twenty-fours, or Thirty-twos, on Small Pica and upwards, to be paid one shilling and sixpence extra per sheet. If on Long Primer, or smaller type, one shilling per sheet extra. Forty-eights to be paid two shillings per sheet extra, and Sixty-fours two shillings and sixpence per sheet extra.

“10. Works requiring an Alteration or Alterations of Margin, to be paid for each Alteration one shilling to the Pressmen if altered by them, and sixpence to the Compositor, as a compensation for making up the Furniture; if altered by the Compositor, then he is to be paid one shilling for the Alteration, and the Pressmen sixpence for the delay. This article to be determined on solely at the option of the Employer.

“11. Bottom Notes consisting of twenty lines (or two Notes, though not amounting to twenty lines), and not exceeding four pages, in every Ten Sheets, in Quarto or Octavo:--One page (or two notes, though not amounting to one page) and not exceeding six pages, in Twelves:--Two pages (or two notes, though not amounting to two pages) and not exceeding eight, in Eighteens or above; to be paid one shilling per sheet:--But under the above proportion no charge to be made. Bottom Notes consisting of ten lines (or two notes, though not amounting to ten lines) in a Pamphlet of five sheets or under, and not exceeding two pages, to be paid one shilling per sheet extra. Quotations, Mottos, Contents to Chapters, &c. in smaller type than the body, to be considered as notes. [Where the Notes shall be in Nonpareil or Pearl, in Twelves, the number of pages to be restricted to four; in Eighteens, to five pages: and, if the number of sheets or notes in a volume shall exceed what is stipulated, to take the proportionate advance.]

“12. Side Notes to Folios and Quartos not exceeding a broad quotation, if only chap. or date, and not exceeding three explanatory lines on an average in each page, to be paid one shilling per sheet; in Octavo, if only chap. or date, and not exceeding three explanatory lines on an average in each page, one shilling and sixpence per sheet. Cut-in Notes in smaller type than the body to be paid for in a similar manner.

“Side and Bottom Notes to many, particularly Historical and Law Works, if attended with more than ordinary trouble, to be settled between the Employer and Journeyman.

“13. Greek, Hebrew, Saxon, &c. or any of the dead characters, if one word and not exceeding three lines in any one sheet, to be paid for that sheet one shilling extra: all above to be paid ad valorem.

“14. Greek without accents to be paid eightpence per thousand; if with separate accents, ninepence halfpenny per thousand: the Asper not to be considered an Accent.

“15. Hebrew, Arabic, Syriac, &c. to be paid double:--Hebrew with Points to be cast up as half Body and half Points doubled.

“16. Music to be paid double the body of the sonnet type.

“17. Index Matter, though but one measure, to be paid one shilling per sheet extra.

“18. Booksellers’ Catalogues to be cast up at sixpence per thousand, not including the numbering.

“19. Em and En Quadrats, or whatever is used at the beginning or end of lines, to be reckoned as an Em in the width.

“20. Night Work to commence and be paid for, from Eleven o’clock till One, one shilling; till Two, one shilling and sixpence; and threepence per hour extra till Six.--Morning Work, commencing at Four o’clock, to be paid one shilling extra.--Sunday Work to be paid twopence per hour, provided it amount to not less than one shilling.

“21. Jobs of One Sheet or under (except Auctioneers’ Catalogues and Particulars) to be cast up at sixpence halfpenny per thousand; if done in smaller type than Brevier, to take the proportionate advance specified in Article 1.

“22. Jobs in Foreign Language, of One Sheet or under (except Auctioneers’ Catalogues) to be cast up at sevenpence halfpenny per thousand; if done in smaller type than Brevier, to take the proportionate advance specified in Article 1.

“23. Where Two Pages only are imposed, either opposite to or at the back of each other, they shall be paid for as Two Pages; but if with an Indorse, or any other kind of matter constituting a third, then to be paid as a Sheet, if in Folio; a Half-sheet if in Quarto; and so on.

“24. Broadsides, such as Leases, Deeds, and Charter Parties, above the dimensions of Crown, to be paid the double of common matter; on Crown and under, to be paid one and one-half common matter.--The Indorse to be paid one-fourth of the inside page.

“25. All Corrections to be paid sixpence per hour.

“26. The Imprint to be considered as two lines in the square of the page.

“27. Different Volumes of the same work to be paid for distinctly, ad valorem.

“This Scale to commence on Monday, the fourth day of March 1805.

_“Any Disputes that may arise in future, we agree to refer to the Decision of the Committee of Masters._

“On behalf of the Masters. | “On behalf of the Compositors. | (Signed) John Nichols | (Signed) Edward Davenport | Luke Hansard | James Atkinson | Thomas Bensley | Charles Fagan | George Woodfall | Samuel Charles Fawcett | Charles Baldwin | William Magrath | Thomas Gillet | Philemon Chalk | David Nathan Shury | Charles Higly | William Ruffy. | Henry Dench.”

SCALEBOARD.

Is that kind of scale commonly sold by some ironmongers in bundles; and of which, the scabbards for swords are made: the Compositor cuts it quadrat high, and to his length.--M. Till within these last few years it was supplied by the Printers Joiners in bundles of sixty sheets each, four feet long, and varying in width from five inches to ten; it is now supplied in slips quadrat high. In Moxon’s time it appears to have been used to branch out matter as we use leads at present, but, as these are so much superior, they have superseded it in that department; and it is now seldom employed, except in forms next the crosses, to facilitate the making of register at press, and in making margin uniform.--See PAPER.

SCANDIC. See RUNIC.

SCLAVONIAN,

or Illyrian alphabet, “is ascribed to St. Jerom The Bulgarian letters were originally the same with the Sclavonian. There are several letters in these alphabets, which seem to be of northern original, which are adapted to sounds peculiar to the languages of the people descended from the Scythians who settled in Europe.”--Astle. See SERVIEN. RUSSIAN.

SCRIPT.

The name of a class of types, which, as the appellation implies, is an imitation of writing. The French call it Anglaise.

There is no character connected with our language on which so much labour has been expended within the last twenty-five years as on this. The old Scripts were so notoriously stiff and formal, that they could hardly be said to bear any other resemblance to writing than in the mere shapes of the letters; these were cast on a square shank, with all the ascenders and descenders hanging over the body, which is styled kerned. These kerned letters, having no support, were liable on pressure to break off, and the fount became so disfigured thereby that the use of Script was abandoned by almost common consent. In 1815 Messrs. Firmin Didot and Sons introduced a new Script, cut with great freedom, and cast on a rhomboidal shank, with triangular blocks having a corresponding angle on one side, and the other two sides forming a right angle, with which to justify the beginnings and endings of lines. In order to enable the printer to form complete words without any apparent junction, a great number of parts of letters, parts of common words, and double letters, were added to the regular alphabet; thus encumbering the plan with such a variety of sorts that it required great care, and was very tedious to compose correctly.

This plan was very popular on the Continent, and almost universally adopted; and so much importance was attached to it that Messrs. Didot and Sons took out an English patent for it, which they attempted to enforce against the letter founders of this country a few years afterwards, but which was resisted, and the claim to invention abandoned.

Since 1820 the English letter founders have produced a variety of beautiful Scripts of different sizes, but generally a modification of the French rhomboidal body plan; still the difficulty of composition remained to a great extent, and materially detracted from its general utility.

Within the last five years a further improvement has been made by the introduction of a new square-bodied Script, for which we are also indebted to French artists, Messrs. Laurent and Deberney, who have given it the name of Américain, which is so beautifully cut, and managed, that the effect of the whole, when well worked, is excellent.

The kern, instead of being unsupported, is protected by the shank of the letter, having two angles thus [Illustration] thrown out at the head of the two opposite corners of the body, so as to give support to both ascenders and descenders; the opposite angles of the letters are cast with a corresponding slope to receive the hanging over letters without their incurring any danger of riding upon each other.

This plan obviates all the difficulties of the two former ones, and requires only a pair of common cases. It is easily composed, and there is not more risk of damage than attends the working of any other description of delicate type. The sizes of this Script at present in the trade are, Canon, Two Lines English, Two Lines Pica, Great Primer, and Pica.

SCRIPT UPPER CASE.--Slanting body.

+---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | | | | | | | || | | | | | | | | A | B | C | D | E | F | G || H | J | K | L | M | N | O | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | | | | | | | || | | | | | r |o no| | P | Q | R | S | T | U | V || W | X | Y | Z | I | | | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | | | | | | | || | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 || 8 | 9 | 0 | £ | ¼ | ½ | ¾ | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | | | | | | | || | | | | | 1 | 2 | | ( | ) | ! | ? | ‘’| & | - || , | ; | : | . | = | fs| fs | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | | | | | | ^1| ^2|| ^1| ^2| ^1| ^2| | | | | a | a | am| an| ar| as| as|| av| av| b | b | c | c | cr | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | ^1| ^2| | | ^1| ^2| || | | | | ^1| ^2| ^1 | | cs| cs| d | d | ds| ds| e || e | em| en| er| es| es| ev | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+ | | | | | | ^ | ^2|| | | ^1| ^2| | | | | ev| f | ff| g | g | gs| gs|| h | h | hs| hs| i | i | im | +---+---+---+---+---+---+---++---+---+---+---+---+---+----+

The sorts marked with ^1 are cast thin, for joining with the letters which commence with a junction stroke, as m, n, r, v, w, x, y, z, and the compounds commencing with those letters. Those marked with ^2, and distinguished by an extra nick, are cast thick, to go before a, b, c, d, e, f, g, h, i, k, l, o, p, q, t, u, &c.

SCRIPT LOWER CASE.--Slanting body.

+----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | | | | ^2 | ^1 | ^2 | || | ^1 | ^2 | | | ^1 | ^2 | | in | ir | is | is | ir | ir | k || k | ks | ks | l | l | ls | ls | +----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | | | | | ^1 | ^2 | ^1 || ^2 | | | | | ^1 | ^2 | | m | m | m | m | ms | ms | ms || ms | n | n | n | n | ns | ns | +----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | ^1 | ^2 | ^1 | ^2 | | | || ^1 | ^2 | | | | | | | ns | ns | o | o | p | p | pr || ps | ps | q | r | r | r | r | +----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | | | | | ^1 | ^2 | ^1 || ^2 | ^1 | ^2 | ^1 | ^2 | | | | r | r | r | r | rs | rs | rs || rs | s | s | s | s | t | t | +----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | | | ^1 | ^2 | | | || | | ^1 | ^2 | ^1 | ^2 | ^1 | | t | tr | ts | ts | u | u | um || un | ur | us | us | v | v | v | +----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | ^2 | ^1 | ^2 | ^1 | ^2 | | || | | | ^1 | ^2 | ^1 | ^2 | | v | w | w | w | w | x | y || y | y | y | ys | ys | ys | ys | +----+----+----+----+----+----+----++----+----+----+----+----+----+----+ | z | j | Line |Thin| Thick ||Hair|En |Em | Line | | | | | begin- | Sp.| Sp. || Sp.|Quad|Quad| endings.|Quadrats.| | | | nings. | | || | | | | | +----+----+---------+----+---------++----+----+----+---------+---------+

SCYTHO-GOTHIC. See RUNIC.

SECOND AT THE PRESS. See FIRST.

SECOND PULL. See FIRST PULL.--M.

SECTION.

A section, marked thus §, is the division of a discourse, or chapter, into less parts or portions.--Murray. It is also used in printing as a reference to notes.

SEDITIOUS LIBELS. See LIBELS.

SEMICOLON. See PUNCTUATION.

SERVIEN.

“The alphabets of the nations descended from the Scythians established in Europe, namely, the Servien, the Russian, the Sclavonian, and the Bulgarian, are all derived from the Greek. The Servien letters are called the Cyrillitan characters, from St Cyril, who converted the Moravians to Christianity; smaller characters were afterwards introduced, called Glogolitici. The Russian letters are immediately derived from those used by St. Cyril.”--Astle.

SET AT RANDOM.

When compositors cannot make up their matter into pages as they compose it, either by reason of their working in companionship, or from other causes, they put it in galleys till they can make up; this is termed Setting at Random. When a compositor is obliged to set a great quantity at random, so that it becomes inconvenient, on account of the number of galleys it occupies, and the room it takes up on the cases, he ties it up in moderate-sized pieces and puts it on page papers under his frame, with a bit of paper stuck in each with a number, to mark the order; if it be a work in quarto or folio, too large for page papers, he ties a cord round the matter in each galley and keeps it on the slices of his slice galley under his frame, till he makes up.

SET MATTER.

Matter that is composed, but not worked off, whether it be made up into pages or at random, is called set matter, to distinguish it from matter for distribution.

SET-OFF SHEETS.

Sheets of waste paper that are used upon the tympan sheet, to prevent the ink setting-off on the sheets that are successively printed when the reiteration is working; they are changed as soon as any setting-off is perceptible. They are slipped under the points at their edges, and are quickly changed, or turned, which is always done to economize the use of paper.

Set-off Sheets are also used upon the cylinders of machines that perfect, for the same purpose.

A sheet of thin paper is interleaved between every impression of fine work, particularly if it be large heavy paper and large type, to prevent setting-off in the heap; the work is hung up to dry with these sheets in, which are taken out by the warehouseman before the work is piled away, who then knocks them up, folds them in quires, and takes care of them till they are wanted again by the Pressmen.

Paper for these purposes is supplied by the warehouseman, who gives for the first waste or spoiled impressions; for the other tissue paper is generally used, and with care it will last a long time.

SET OUT PAPER.

Counting out the proper quantity by the warehouseman, to wet--M. We now term it Giving out Paper, which see.

SETS CLEAN. See CLEAN PROOF.

SETS CLOSE. See GET IN.--M. The phrase is now used for close spacing.

SETS FOUL. See FOUL PROOF.--M.

SETS OFF.

Work that is newly wrought off at the press often sets off, especially if it be fat beaten with soft ink: for when it comes to be beaten, or sometimes only hard pressed, by the Bookbinder, the moist ink spreads and delates itself round about the face of every letter, and sullies and stains the whole white paper.--M. We do not now include this spreading and delating of the ink in the meaning of setting off, but use the term only when one printed sheet parts with some of its ink to the sheet on which it is laid, or in the press, or in the process of binding, which it will do with large letter, which requires much ink, or when a book is pressed, or bound, before the ink is sufficiently dry: the Bookbinder’s hammer is a severe test; and where a book is required to be bound as soon as printed, the best plan, perhaps, is to have it cold pressed, which flattens the impression of the types, and renders it unnecessary to beat so much as when this mode of proceeding is not adopted. In printing fine work at press set-off sheets are used to prevent one sheet defacing another.--See SET-OFF SHEETS.

SET THE ROUNCE.

Fixing the girts so that the Rounce stand in the most advantageous position to run the carriage in easily.--M.

SETS UP TO HIMSELF.

When a compositor has received the making-up from a companion, and has composed the intermediate matter, he has set up to himself; that is, he has composed the matter that followed his companion’s last page and preceded the part he commenced with, and has joined the two parts, so as to enable him to make up. See JOIN, and MAKING-UP, TO GIVE THE.

SETS WIDE. See DRIVE OUT.--M. We now use the term for wide spacing.

SET UP CLOSE.

When two or more companions are on the same piece of work, and when any one of them composes all his copy, so that there is none intermediate between the close of his and the beginning of the companion’s that follows him, it is said, he has set up close, or, he has set close up.

SEVENTY-TWOMO.

A sheet of paper folded into seventy-two leaves or one hundred and forty-four pages is termed seventy-twos or seventy-twomo.

SHANK.

The square metal the face of a letter stands on, is called the Shank of a Letter.--M.

SHARP IMPRESSION.

This expression is used two ways by printers: some say it is a sharp impression when much blanket is used, and the impression of the types on the paper is deep: others hold, and I am of the opinion, that it is a sharp impression when no more than the face of the types appears on the paper, with the lines clear and smooth, and of a full colour, with as little indention as possible on the paper. Pressmen and their employers should know in which sense they each use the term, otherwise it may cause a serious mistake in work, as the two meanings embrace the best as well as the commonest work.

SHEARS.

Something similar to those used by tailors; they are employed to cut brass rule, scaleboard, thin reglet, &c. to proper lengths. The shears best adapted to this purpose have blades short in proportion to their handles.

SHEEP’S FOOT.

Is all made of iron, with an hammer head at one end, to drive the ball nails into the ball stocks, and a claw at the other end, to draw the ball nails out of the ball stocks.--M. It is customary to have one for each press, which in a wooden press is suspended by the head from two nails driven into the near cheek of the press, just below the cap. It is a very useful article to the pressman; but is often applied instead of the mallet and shooting stick, to tighten or to loosen quoins, though it occasionally makes a batter by slipping; I do not like to see it used for this purpose.

SHEKESTEH. See PERSIAN.

SHELF. See TILL.

SHERWIN AND COPE’S PRESS.

The Imperial Press. Dr. Lardner thus describes this press:--In this beautiful and compact machine, the works upon which the power depends are almost wholly concealed within the head of the press, and are in themselves extremely few and simple. The leverage connected with the bar is similar in principle to that of the Stanhope press; and the distinguishing peculiarity of this press consists in the manner in which the lever, called the chill, is made to act upon the piston, as represented in the engraving of the working parts. The stout cast-iron lever or chill terminates in a sort of polished toe or point. This last-mentioned projection of the lever is made to act on a cup or knuckle acting upon the head of a stout iron bolt, which simply drops down a perforation of the piston, so as to rest upon the uppermost of two steel wedges, one of which, by its connexion with a screw in the front, admits of being pushed forward or drawn back, so as to elevate or lower the bolt, and thus regulate, by altering the length of the piston, the bearing of the platen upon the types. The head-bolt passes through a hole perforated somewhat obliquely; by which ingenious contrivance, a side twist, which would otherwise be occasioned by the motion of the head gear is avoided. It will now easily be perceived how, by the operation of the bar, the toe is made to act upon the inside bolt, and thus force down the piston, which, after the impression has been taken, is carried back again, by means of two stout steel springs attached to the insides of the cheeks of the press, and thus on the return of the bar lift the platen from the face of the types and allow the carriage with the form to be run out. These springs, operating uniformly, cause the action of the piston to be very smooth. The Imperial press, is, I believe, in high estimation for easiness in the pull, which gives it speed in working, and for evenness of impression.

On the first introduction of this press the toe of the lever or chill worked on a flat surface on the top of the bolt; the introduction of the cup or knuckle is a subsequent improvement.

They are made of different sizes, from foolscap folio to double royal.

SHOE.

An old shoe with the hind quarter cut away, hung upon a nail through the heel at the end of the imposing stone, into which to put bad letters when correcting. When full, the person who has the care of the materials empties it into the old metal box.

SHOOTING STICK.

Is a perfect wedge about six inches long, and its thicker end two inches broad, and an inch and an half thick; and its thin end about an inch and an half broad, and half an inch thick; made of box wood.--M. They are not now made so thick.

The use of a shooting stick is to drive the quoins with a mallet, both in locking-up and unlocking a form; they are 8½ inches long.

As the thin end of a wooden shooting stick always wears down rapidly, or splits, some houses have adopted metal ones, made of brass, well secured in a strong wooden handle, with a square piece cut out of the end, leaving one side a little longer than the other, with a more acute angle; these are very useful where the quoining room is small, and the quoins are of course thin.

SHORT CROSS.

See CHASE.--M. The shortest and also the broadest bar that divides a chase into quarters; there is a groove in the upper side of it to admit the spurs of the points to be pressed into it without injuring their points. This cross is dovetailed in the middle of the sides of the chase, for folios, quartos, and octavos, without the long cross for folios; there is another dovetail in the rim of the chase, leaving about two thirds of the chase on one side of the short cross and one third on the other; the cross is fitted into these dovetails for twelves, and separates the offcut from the other part of the sheet. I would always place the short cross in the middle of the chase for eighteens, where the margin will admit it, as it divides the pages more equally, and makes the form safer when locked up; in this case the cross occupies the place of a gutter instead of a back.

SHORT PAGE.

A page that is not full of matter; as the end of a chapter, a book, or a volume. Though it is termed a short page, yet the term only applies to what appears when printed, for in reality the page is, or ought to be, made up to the exact length of the other pages in the sheet, the blank part being filled up with furniture. I would always put a lead at the least after the last line of the matter, and next to that a piece of thick reglet cut to the measure, to prevent any letters dropping down, and a line of quotations, or large quadrats, at the bottom, which will keep the other pages in register; the vacancy between these may then be filled up with furniture to make the page of a proper length, and if they be not so long as the exact width of the page it will not be material; but if it be made up entirely with furniture, the adjoining pages will be twisted and out of register, when the form is locked up, for it is not possible to cut the pieces so accurate to the width as a line of quadrats, for the gutter to rest against. If the page be very short, it will be better to have an additional line of quadrats or quotations in the middle.

SHORT PULL.

When the pull is so justified, that a sufficient pressure is produced when the bar is brought about half way over, or a little more; this pull is adopted in small light forms, where despatch is required.

SHORT RIBS. See CRAMP IRONS.

SHUFFLING.

This is a term used in the Warehouse; and is part of the process of Knocking-up, when the paper is laid in heaps, after having been taken down from the poles, to make it lie even at the edges. It is performed by taking hold of a few quires of the paper loosely at the sides, and holding the far side a little lower than that next the body, upon the table, when, shaking both hands, it gradually projects the lower sheets; then lifting it up and bending it a little, it is let drop on its edge upon the table; by repeating this process two or three times, the parcel becomes even at the edges, and is in a fit state to be piled away. It is a process in which expertness can only be acquired by practice, and observation.

SIDE NOTES. See MARGINAL NOTES.

SIDE STICK.

The same as foot stick, except that they are placed against the side of the page, as their name signifies. See FOOT STICK.

SIGLA.

By this term are meant, notes, breviatures, letters set for words, characters, short hand.

We find sigla in the most ancient MSS.: some specimens of such as were used in the sixth, seventh, and eighth centuries, are here given. Some of these sigla were made by the Antiquarians who wrote the book, and others afterwards for the illustration of the text The annexed sigla may be explained thus:--

1. H. S. i. e. Hic suppleas, or hæc supplenda. 2. H. D. i. e. Hic deficit, or hæc deficiunt. 3. Paragraphus, a note of division. 4. Diple, to mark out a quotation from the Old Testament. 5. Crisimon, being composed of X and P, which stands for Christ. 6. Hederacei folii Figura, an ivy leaf, the ancient mark of division. 7. Ancora superior. To denote a very remarkable passage. 8. Denotes, the beginning of a lesson. 9. Signifies good. 10. Stands for something very kind, or benevolent. 11. Points out a fine or admirable passage. 12. L. D. lepide dictum. Finely said.

Many writers have employed their pens in elucidating the sigla on coins and medals; among others, Octavius de Strada in Aurea Numismata, &c. where we read C. CÆSAR. DIVI. F. IMP. COS. III. VIR R. P. C. that is, Caii Cæsaris Divi filius imperator consul Triumvir reipublicæ constituendæ. A number of similar examples may be found in the same author, and in Æneas Vicus Parmensis de Augustarum imaginibus.

As to epitaphs or sepulchral inscriptions, it was common to begin them with these literary signs, D. M. S. signifying Diis Manibus Sacrum, and, as still is customary with us, on such occasions, the glorious actions, praises, origin, age, and rank of the deceased, with the time of his death, were set forth.

It is a fact too well known to require any particular elucidation, that it was customary with the ancients to burn the bodies of the dead, and to deposit the remains in urns or vessels, as appears from the funeral obsequies of Patroclus and Achilles in Homer.

Altars erected to the Supreme Being are of the highest antiquity, but by the ambition and corruption of mankind were afterwards prostituted to flatter both the living and the dead. Inscriptions, or literary signs, frequently appeared on those altars; as Ar. Don. D. that is, Aram dono dedit, and such like.

Public Statues were erected to Kings, Emperors, and others, both before and after their death, on which the names of the dedicators were frequently inscribed in literary signs. As in this inscription, Civ. Interamnanæ Civ. Utriusque Sex. Aer. Coll. Post Ob. H. P. D. that is, Cives Interamnanæ civitatis utriusque sexus ære collato post obitum hujus patronæ dedicarunt.

The Hebrews, Greeks, and Romans used forms of saluting or complimentary expressions at the beginning of their letters, and then proceeded to the subject of the letters themselves.

The Latin method was to place the name of the writer first, afterwards that of the person to whom the letter was addressed. The names were either put simply without any epithet in literary signs, as C. ATT. S. that is Cicero Attico Salutem; or the dignity or rank of the person was added, as, C. S. D. Planc. Imp. Cos. Des. that is, Cicero Salutem dicit Planco Imperatori Consuli designato. The epistolary writings of the Romans abound with examples of this kind.

The Military Sigla amongst the Romans are treated of by Vegetius and Frontinus.

See John Nicholaus, who hath written professedly upon the Sigla of the Ancients;--J. Nicolai Tractatus de Siglis Veterum. Lugd. Bat. 1703, 4to.

A competent knowledge of these literary signs, or verbal contractions used by the ancients, is of the utmost importance to those who wish to be familiarly acquainted with ancient history. These Sigla or Signs frequently appear on marbles, coins, and medals, and occur in those inestimable volumes of antiquity, which have transmitted to us the most important truths relative to the religion, manners, customs, arts and sciences, of ancient nations. These are keys, as it were, to unlock the most precious volumes of antiquity; they introduce us to a more speedy acquaintance with all the various works of ancient artists and writers. The instruction to be derived from this branch of polite learning is of itself a sufficient spur to stimulate attention and industry; but its utility, which is no less obvious, is an additional incentive to augment our application and desires, when we consider, that there are no ancient documents, either on metals, marbles, precious stones, bark, parchment, paper, or other materials, which do not abound with these literary contractions, and that it will be very difficult to understand them without this necessary knowledge.--Astle. See RECORDS.

SIGNATURE.

A letter of the alphabet placed at the bottom of the first page of each sheet of a work, to denote, alphabetically, the order of the sheets.

It is customary to commence with B on the first sheet of the body of the work, and to go regularly through the alphabet, with the exception of the letters J, V, and W, which are never used as signatures; and which had, in fact, no existence in the alphabet at the time of the invention of printing; [J] expressing both I and J; [U], both U and V; and [UU] the double letter W. If the work extend to more sheets in number than there are letters in the alphabet, the succeeding sheets go on with a second alphabet, which commences with A, and both the letters are usually given, in this manner, A A, or Aa, and sometimes, to avoid the repetition, thus, 2 A; if a third alphabet be necessary it is always, at the present day, placed with the number before it, as 3 A. The printer’s first alphabet consists of twenty-two letters, and the second and succeeding ones of twenty-three.

As a guide to the bookbinder there are other signatures used in a sheet besides the first--in a sheet of octavo the first page has B, the third has B 2, the fifth has B 3, and the seventh has B 4: in a sheet of twelves they are carried to B 6; B 5 being the first page of the offcut; and however numerous the pages may be in a sheet with one signature, when they are all inserted, they are continued to the last odd page before the middle of the sheet, but never carried beyond the middle. In general they are all omitted except the two first, to show the first fold of the paper, and the first on the offcut. Small capitals are more frequently used for signatures than large capitals, as disfiguring the foot of the page in a slighter manner.

Sometimes figures are used instead of letters, but not often; the Gentleman’s Magazine is an instance.

TABLE OF SIGNATURES AND FIRST FOLIO OF EACH SHEET.

FOLIO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

------------------+-----------------+-----------------+----------------- No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol. ------------------+-----------------+-----------------+----------------- | 23 2 A 89 | 46 3 A 181 | 69 4 A 273 1 B 1 | 24 B 93 | 47 B 185 | 70 B 277 2 C 5 | 25 C 97 | 48 C 189 | 71 C 281 3 D 9 | 26 D 101 | 49 D 193 | 72 D 285 4 E 13 | 27 E 105 | 50 E 197 | 73 E 289 5 F 17 | 28 F 109 | 51 F 201 | 74 F 293 6 G 21 | 29 G 113 | 52 G 205 | 75 G 297 7 H 25 | 30 H 117 | 53 H 209 | 76 H 301 8 I 29 | 31 I 121 | 54 I 213 | 77 I 305 9 K 33 | 32 K 125 | 55 K 217 | 78 K 309 10 L 37 | 33 L 129 | 56 L 221 | 79 L 313 11 M 41 | 34 M 133 | 57 M 225 | 80 M 317 12 N 45 | 35 N 137 | 58 N 229 | 81 N 321 13 O 49 | 36 O 141 | 59 O 233 | 82 O 325 14 P 53 | 37 P 145 | 60 P 237 | 83 P 329 15 Q 57 | 38 Q 149 | 61 Q 241 | 84 Q 333 16 R 61 | 39 R 153 | 62 R 245 | 85 R 337 17 S 65 | 40 S 157 | 63 S 249 | 86 S 341 18 T 69 | 41 T 161 | 64 T 253 | 87 T 345 19 U 73 | 42 U 165 | 65 U 257 | 88 U 349 20 X 77 | 43 X 169 | 66 X 261 | 89 X 353 21 Y 81 | 44 Y 173 | 67 Y 265 | 90 Y 357 22 Z 85 | 45 Z 177 | 68 Z 269 | 91 Z 361 ------------------+-----------------+-----------------+----------------- 92 5 A 365 | 115 6 A 457 | 138 7 A 549 | 161 8 A 641 93 B 369 | 116 B 461 | 139 B 553 | 162 B 645 94 C 373 | 117 C 465 | 140 C 557 | 163 C 649 95 D 377 | 118 D 469 | 141 D 561 | 164 D 653 96 E 381 | 119 E 473 | 142 E 565 | 165 E 657 97 F 385 | 120 F 477 | 143 F 569 | 166 F 661 98 G 389 | 121 G 481 | 144 G 573 | 167 G 665 99 H 393 | 122 H 485 | 145 H 577 | 168 H 669 100 I 397 | 123 I 489 | 146 I 581 | 169 I 673 101 K 401 | 124 K 493 | 147 K 585 | 170 K 677 102 L 405 | 125 L 497 | 148 L 589 | 171 L 681 103 M 409 | 126 M 501 | 149 M 593 | 172 M 685 104 N 413 | 127 N 505 | 150 N 597 | 173 N 689 105 O 417 | 128 O 509 | 151 O 601 | 174 O 693 106 P 421 | 129 P 513 | 152 P 605 | 175 P 697 107 Q 425 | 130 Q 517 | 153 Q 609 | 176 Q 701 108 R 429 | 131 R 521 | 154 R 613 | 177 R 705 109 S 433 | 132 S 525 | 155 S 617 | 178 S 709 110 T 437 | 133 T 529 | 156 T 621 | 179 T 713 111 U 441 | 134 U 533 | 157 U 625 | 180 U 717 112 X 445 | 135 X 537 | 158 X 629 | 181 X 721 113 Y 449 | 136 Y 541 | 159 Y 633 | 182 Y 725 114 Z 453 | 137 Z 545 | 160 Z 637 | 183 Z 729 ------------------+-----------------+-----------------+-----------------

------------------+-----------------+-----------------+----------------- 184 9 A 733 | 207 10 A 825 | 230 11 A 917 | 253 12 A 1009 185 B 737 | 208 B 829 | 231 B 921 | 254 B 1013 186 C 741 | 209 C 833 | 232 C 925 | 255 C 1017 187 D 745 | 210 D 837 | 233 D 929 | 256 D 1021 188 E 749 | 211 E 841 | 234 E 933 | 257 E 1025 189 F 753 | 212 F 845 | 235 F 937 | 258 F 1029 190 G 757 | 213 G 849 | 236 G 941 | 259 G 1033 191 H 761 | 214 H 853 | 237 H 945 | 260 H 1037 192 I 765 | 215 I 857 | 238 I 949 | 261 I 1041 193 K 769 | 216 K 861 | 239 K 953 | 262 K 1045 194 L 773 | 217 L 865 | 240 L 957 | 263 L 1049 195 M 777 | 218 M 869 | 241 M 961 | 264 M 1053 196 N 781 | 219 N 873 | 242 N 965 | 265 N 1057 197 O 785 | 220 O 877 | 243 O 969 | 266 O 1061 198 P 789 | 221 P 881 | 244 P 973 | 267 P 1065 199 Q 793 | 222 Q 885 | 245 Q 977 | 268 Q 1069 200 R 797 | 223 R 889 | 246 R 981 | 269 R 1073 201 S 801 | 224 S 893 | 247 S 985 | 270 S 1077 202 T 805 | 225 T 897 | 248 T 989 | 271 T 1081 203 U 809 | 226 U 901 | 249 U 993 | 272 U 1085 204 X 813 | 227 X 905 | 250 X 997 | 273 X 1089 205 Y 817 | 228 Y 909 | 251 Y 1001 | 274 Y 1093 206 Z 821 | 229 Z 913 | 252 Z 1005 | 275 Z 1097 ------------------+-----------------+-----------------+----------------- 276 13 A 1101 | 299 14 A 1193 | 322 15 A 1285 | 345 16 A 1377 277 B 1105 | 300 B 1197 | 323 B 1289 | 346 B 1381 278 C 1109 | 301 C 1201 | 324 C 1293 | 347 C 1385 279 D 1113 | 302 D 1205 | 325 D 1297 | 348 D 1389 280 E 1117 | 303 E 1209 | 326 E 1301 | 349 E 1393 281 F 1121 | 304 F 1213 | 327 F 1305 | 350 F 1397 282 G 1125 | 305 G 1217 | 328 G 1309 | 351 G 1401 283 H 1129 | 306 H 1221 | 329 H 1313 | 352 H 1405 284 I 1133 | 307 I 1225 | 330 I 1317 | 353 I 1409 285 K 1137 | 308 K 1229 | 331 K 1321 | 354 K 1413 286 L 1141 | 309 L 1233 | 332 L 1325 | 355 L 1417 287 M 1145 | 310 M 1237 | 333 M 1329 | 356 M 1421 288 N 1149 | 311 N 1241 | 334 N 1333 | 357 N 1425 289 O 1153 | 312 O 1245 | 335 O 1337 | 358 O 1429 290 P 1157 | 313 P 1249 | 336 P 1341 | 359 P 1433 291 Q 1161 | 314 Q 1253 | 337 Q 1345 | 360 Q 1437 292 R 1165 | 315 R 1257 | 338 R 1349 | 361 R 1441 293 S 1169 | 316 S 1261 | 339 S 1353 | 362 S 1445 294 T 1173 | 317 T 1265 | 340 T 1357 | 363 T 1449 295 U 1177 | 318 U 1269 | 341 U 1361 | 364 U 1453 296 X 1181 | 319 X 1273 | 342 X 1365 | 365 X 1457 297 Y 1185 | 320 Y 1277 | 343 Y 1369 | 366 Y 1461 298 Z 1189 | 321 Z 1281 | 344 Z 1373 | 367 Z 1465 ------------------+-----------------+-----------------+-----------------

------------------+-----------------+-----------------+----------------- 368 17 A 1469 | 391 18 A 1561 | 414 19 A 1653 | 437 20 A 1745 369 B 1473 | 392 B 1565 | 415 B 1657 | 438 B 1749 370 C 1477 | 393 C 1569 | 416 C 1661 | 439 C 1753 371 D 1481 | 394 D 1573 | 417 D 1665 | 440 D 1757 372 E 1485 | 395 E 1577 | 418 E 1669 | 441 E 1761 373 F 1489 | 396 F 1581 | 419 F 1673 | 442 F 1765 374 G 1493 | 397 G 1585 | 420 G 1677 | 443 G 1769 375 H 1497 | 398 H 1589 | 421 H 1681 | 444 H 1773 376 I 1501 | 399 I 1593 | 422 I 1685 | 445 I 1777 377 K 1505 | 400 K 1597 | 423 K 1689 | 446 K 1781 378 L 1509 | 401 L 1601 | 424 L 1693 | 447 L 1785 379 M 1513 | 402 M 1605 | 425 M 1697 | 448 M 1789 380 N 1517 | 403 N 1609 | 426 N 1701 | 449 N 1793 381 O 1521 | 404 O 1613 | 427 O 1705 | 450 O 1797 382 P 1525 | 405 P 1617 | 428 P 1709 | 451 P 1801 383 Q 1529 | 406 Q 1621 | 429 Q 1713 | 452 Q 1805 384 R 1533 | 407 R 1625 | 430 R 1717 | 453 R 1809 385 S 1537 | 408 S 1629 | 431 S 1721 | 454 S 1813 386 T 1541 | 409 T 1633 | 432 T 1725 | 455 T 1817 387 U 1545 | 410 U 1637 | 433 U 1729 | 456 U 1821 388 X 1549 | 411 X 1641 | 434 X 1733 | 457 X 1825 389 Y 1553 | 412 Y 1645 | 435 Y 1737 | 458 Y 1829 390 Z 1557 | 413 Z 1649 | 436 Z 1741 | 459 Z 1833 ------------------+-----------------+-----------------+----------------- 460 21 A 1837 | 483 22 A 1929 | 506 23 A 2021 | 529 24 A 2113 461 B 1841 | 484 B 1933 | 507 B 2025 | 530 B 2117 462 C 1845 | 485 C 1937 | 508 C 2029 | 531 C 2121 463 D 1849 | 486 D 1941 | 509 D 2033 | 532 D 2125 464 E 1853 | 487 E 1945 | 510 E 2037 | 533 E 2129 465 F 1857 | 488 F 1949 | 511 F 2041 | 534 F 2133 466 G 1861 | 489 G 1953 | 512 G 2045 | 535 G 2137 467 H 1865 | 490 H 1957 | 513 H 2049 | 536 H 2141 468 I 1869 | 491 I 1961 | 514 I 2053 | 537 I 2145 469 K 1873 | 492 K 1965 | 515 K 2057 | 538 K 2149 470 L 1877 | 493 L 1969 | 516 L 2061 | 539 L 2153 471 M 1881 | 494 M 1973 | 517 M 2065 | 540 M 2157 472 N 1885 | 495 N 1977 | 518 N 2069 | 541 N 2161 473 O 1889 | 496 O 1981 | 519 O 2073 | 542 O 2165 474 P 1893 | 497 P 1985 | 520 P 2077 | 543 P 2169 475 Q 1897 | 498 Q 1989 | 521 Q 2081 | 544 Q 2173 476 R 1901 | 499 R 1993 | 522 R 2085 | 545 R 2177 477 S 1905 | 500 S 1997 | 523 S 2089 | 546 S 2181 478 T 1909 | 501 T 2001 | 524 T 2093 | 547 T 2185 479 U 1913 | 502 U 2005 | 525 U 2097 | 548 U 2189 480 X 1917 | 503 X 2009 | 526 X 2101 | 549 X 2193 481 Y 1921 | 504 Y 2013 | 527 Y 2105 | 550 Y 2197 482 Z 1925 | 505 Z 2017 | 528 Z 2109 | 551 Z 2201 ------------------+-----------------+-----------------+-----------------

------------------+-----------------+-----------------+----------------- 552 25 A 2205 | 575 26 A 2297 | 598 27 A 2389 | 621 28 A 2481 553 B 2209 | 576 B 2301 | 599 B 2393 | 622 B 2485 554 C 2213 | 577 C 2305 | 600 C 2397 | 623 C 2489 555 D 2217 | 578 D 2309 | 601 D 2401 | 624 D 2493 556 E 2221 | 579 E 2313 | 602 E 2405 | 625 E 2497 557 F 2225 | 580 F 2317 | 603 F 2409 | 626 F 2501 558 G 2229 | 581 G 2321 | 604 G 2413 | 627 G 2505 559 H 2233 | 582 H 2325 | 605 H 2417 | 628 H 2509 560 I 2237 | 583 I 2329 | 606 I 2421 | 629 I 2513 561 K 2241 | 584 K 2333 | 607 K 2425 | 630 K 2517 562 L 2245 | 585 L 2337 | 608 L 2429 | 631 L 2521 563 M 2249 | 586 M 2341 | 609 M 2433 | 632 M 2525 564 N 2253 | 587 N 2345 | 610 N 2437 | 633 N 2529 565 O 2257 | 588 O 2349 | 611 O 2441 | 634 O 2533 566 P 2261 | 589 P 2353 | 612 P 2445 | 635 P 2537 567 Q 2265 | 590 Q 2357 | 613 Q 2449 | 636 Q 2541 568 R 2269 | 591 R 2361 | 614 R 2453 | 637 R 2545 569 S 2273 | 592 S 2365 | 615 S 2457 | 638 S 2549 570 T 2277 | 593 T 2369 | 616 T 2461 | 639 T 2553 571 U 2281 | 594 U 2373 | 617 U 2465 | 640 U 2557 572 X 2285 | 595 X 2377 | 618 X 2469 | 641 X 2561 573 Y 2289 | 596 Y 2381 | 619 Y 2473 | 642 Y 2565 574 Z 2293 | 597 Z 2385 | 620 Z 2477 | 643 Z 2569 ------------------+-----------------+-----------------+----------------- 644 29 A 2573 | 667 30 A 2665 | 690 31 A 2757 | 713 32 A 2849 645 B 2577 | 668 B 2669 | 691 B 2761 | 714 B 2853 646 C 2581 | 669 C 2673 | 692 C 2765 | 715 C 2857 647 D 2585 | 670 D 2677 | 693 D 2769 | 716 D 2861 648 E 2589 | 671 E 2681 | 694 E 2773 | 717 E 2865 649 F 2593 | 672 F 2685 | 695 F 2777 | 718 F 2869 650 G 2597 | 673 G 2689 | 696 G 2781 | 719 G 2873 651 H 2601 | 674 H 2693 | 697 H 2785 | 720 H 2877 652 I 2605 | 675 I 2697 | 698 I 2789 | 721 I 2881 653 K 2609 | 676 K 2701 | 699 K 2793 | 722 K 2885 654 L 2613 | 677 L 2705 | 700 L 2797 | 723 L 2889 655 M 2617 | 678 M 2709 | 701 M 2801 | 724 M 2893 656 N 2621 | 679 N 2713 | 702 N 2805 | 725 N 2897 657 O 2625 | 680 O 2717 | 703 O 2809 | 726 O 2901 658 P 2629 | 681 P 2721 | 704 P 2813 | 727 P 2905 659 Q 2633 | 682 Q 2725 | 705 Q 2817 | 728 Q 2909 660 R 2637 | 683 R 2729 | 706 R 2821 | 729 R 2913 661 S 2641 | 684 S 2733 | 707 S 2825 | 730 S 2917 662 T 2645 | 685 T 2737 | 708 T 2829 | 731 T 2921 663 U 2649 | 686 U 2741 | 709 U 2833 | 732 U 2925 664 X 2653 | 687 X 2745 | 710 X 2837 | 733 X 2929 665 Y 2657 | 688 Y 2749 | 711 Y 2841 | 734 Y 2933 666 Z 2661 | 689 Z 2753 | 712 Z 2845 | 735 Z 2937 ------------------+-----------------+-----------------+-----------------

------------------+-----------------+-----------------+----------------- 736 33 A 2941 | 759 34 A 3033 | 782 35 A 3125 | 805 36 A 3217 737 B 2945 | 760 B 3037 | 783 B 3129 | 806 B 3221 738 C 2949 | 761 C 3041 | 784 C 3133 | 807 C 3225 739 D 2953 | 762 D 3045 | 785 D 3137 | 808 D 3229 740 E 2957 | 763 E 3049 | 786 E 3141 | 809 E 3233 741 F 2961 | 764 F 3053 | 787 F 3145 | 810 F 3237 742 G 2965 | 765 G 3057 | 788 G 3149 | 811 G 3241 743 H 2969 | 766 H 3061 | 789 H 3153 | 812 H 3245 744 I 2973 | 767 I 3065 | 790 I 3157 | 813 I 3249 745 K 2977 | 768 K 3069 | 791 K 3161 | 814 K 3253 746 L 2981 | 769 L 3073 | 792 L 3165 | 815 L 3257 747 M 2985 | 770 M 3077 | 793 M 3169 | 816 M 3261 748 N 2989 | 771 N 3081 | 794 N 3173 | 817 N 3265 749 O 2993 | 772 O 3085 | 795 O 3177 | 818 O 3269 750 P 2997 | 773 P 3089 | 796 P 3181 | 819 P 3273 751 Q 3001 | 774 Q 3093 | 797 Q 3185 | 820 Q 3277 752 R 3005 | 775 R 3097 | 798 R 3189 | 821 R 3281 753 S 3009 | 776 S 3101 | 799 S 3193 | 822 S 3285 754 T 3013 | 777 T 3105 | 800 T 3197 | 823 T 3289 755 U 3017 | 778 U 3109 | 801 U 3201 | 824 U 3293 756 X 3021 | 779 X 3113 | 802 X 3205 | 825 X 3297 757 Y 3025 | 780 Y 3117 | 803 Y 3209 | 826 Y 3301 758 Z 3029 | 781 Z 3121 | 804 Z 3213 | 827 Z 3305 ------------------+-----------------+-----------------+----------------- 828 37 A 3309 | 851 38 A 3401 | 874 39 A 3493 | 897 40 A 3585 829 B 3313 | 852 B 3405 | 875 B 3497 | 898 B 3589 830 C 3317 | 853 C 3409 | 876 C 3501 | 899 C 3593 831 D 3321 | 854 D 3413 | 877 D 3505 | 900 D 3597 832 E 3325 | 855 E 3417 | 878 E 3509 | 901 E 3601 833 F 3329 | 856 F 3421 | 879 F 3513 | 902 F 3605 834 G 3333 | 857 G 3425 | 880 G 3517 | 903 G 3609 835 H 3337 | 858 H 3429 | 881 H 3521 | 904 H 3613 836 I 3341 | 859 I 3433 | 882 I 3525 | 905 I 3617 837 K 3345 | 860 K 3437 | 883 K 3529 | 906 K 3621 838 L 3349 | 861 L 3441 | 884 L 3533 | 907 L 3625 839 M 3353 | 862 M 3445 | 885 M 3537 | 908 M 3629 840 N 3357 | 863 N 3449 | 886 N 3541 | 909 N 3633 841 O 3361 | 864 O 3453 | 887 O 3545 | 910 O 3637 842 P 3365 | 865 P 3457 | 888 P 3549 | 911 P 3641 843 Q 3369 | 866 Q 3461 | 889 Q 3553 | 912 Q 3645 844 R 3373 | 867 R 3465 | 890 R 3557 | 913 R 3649 845 S 3377 | 868 S 3469 | 891 S 3561 | 914 S 3653 846 T 3381 | 869 T 3473 | 892 T 3565 | 915 T 3657 847 U 3385 | 870 U 3477 | 893 U 3569 | 916 U 3661 848 X 3389 | 871 X 3481 | 894 X 3573 | 917 X 3665 849 Y 3393 | 872 Y 3485 | 895 Y 3577 | 918 Y 3669 850 Z 3397 | 873 Z 3489 | 896 Z 3581 | 919 Z 3673 ------------------+-----------------+-----------------+-----------------

------------------+-----------------+-----------------+----------------- 920 41 A 3677 | 943 42 A 3769 | 966 43 A 3861 | 989 44 A 3953 921 B 3681 | 944 B 3773 | 967 B 3865 | 990 B 3957 922 C 3685 | 945 C 3777 | 968 C 3869 | 991 C 3961 923 D 3689 | 946 D 3781 | 969 D 3873 | 992 D 3965 924 E 3693 | 947 E 3785 | 970 E 3877 | 993 E 3969 925 F 3697 | 948 F 3789 | 971 F 3881 | 994 F 3973 926 G 3701 | 949 G 3793 | 972 G 3885 | 995 G 3977 927 H 3705 | 950 H 3797 | 973 H 3889 | 996 H 3981 928 I 3709 | 951 I 3801 | 974 I 3893 | 997 I 3985 929 K 3713 | 952 K 3805 | 975 K 3897 | 998 K 3989 930 L 3717 | 953 L 3809 | 976 L 3901 | 999 L 3993 931 M 3721 | 954 M 3813 | 977 M 3905 | 1000 M 3997 932 N 3725 | 955 N 3817 | 978 N 3909 | 1001 N 4001 933 O 3729 | 956 O 3821 | 979 O 3913 | 1002 O 4005 934 P 3733 | 957 P 3825 | 980 P 3917 | 1003 P 4009 935 Q 3737 | 958 Q 3829 | 981 Q 3921 | 1004 Q 4013 936 R 3741 | 959 R 3833 | 982 R 3925 | 1005 R 4017 937 S 3745 | 960 S 3837 | 983 S 3929 | 1006 S 4021 938 T 3749 | 961 T 3841 | 984 T 3933 | 1007 T 4025 939 U 3753 | 962 U 3845 | 985 U 3937 | 1008 U 4029 940 X 3757 | 963 X 3849 | 986 X 3941 | 1009 X 4033 941 Y 3761 | 964 Y 3853 | 987 Y 3945 | 1010 Y 4037 942 Z 3765 | 965 Z 3857 | 988 Z 3949 | 1011 Z 4041 ------------------+-----------------+-----------------+----------------- 1012 45 A 4045 | 1035 46 A 4137 | 1058 47 A 4229 | 1081 48 A 4321 1013 B 4049 | 1036 B 4141 | 1059 B 4233 | 1082 B 4325 1014 C 4053 | 1037 C 4145 | 1060 C 4237 | 1083 C 4329 1015 D 4057 | 1038 D 4149 | 1061 D 4241 | 1084 D 4333 1016 E 4061 | 1039 E 4153 | 1062 E 4245 | 1085 E 4337 1017 F 4065 | 1040 F 4157 | 1063 F 4249 | 1086 F 4341 1018 G 4069 | 1041 G 4161 | 1064 G 4253 | 1087 G 4345 1019 H 4073 | 1042 H 4165 | 1065 H 4257 | 1088 H 4349 1020 I 4077 | 1043 I 4169 | 1066 I 4261 | 1089 I 4353 1021 K 4081 | 1044 K 4173 | 1067 K 4265 | 1090 K 4357 1022 L 4085 | 1045 L 4177 | 1068 L 4269 | 1091 L 4361 1023 M 4089 | 1046 M 4181 | 1069 M 4273 | 1092 M 4365 1024 N 4093 | 1047 N 4185 | 1070 N 4277 | 1093 N 4369 1025 O 4097 | 1048 O 4189 | 1071 O 4281 | 1094 O 4373 1026 P 4101 | 1049 P 4193 | 1072 P 4285 | 1095 P 4377 1027 Q 4105 | 1050 Q 4197 | 1073 Q 4289 | 1096 Q 4381 1028 R 4109 | 1051 R 4201 | 1074 R 4293 | 1097 R 4385 1029 S 4113 | 1052 S 4205 | 1075 S 4297 | 1098 S 4389 1030 T 4117 | 1053 T 4209 | 1076 T 4301 | 1099 T 4393 1031 U 4121 | 1054 U 4213 | 1077 U 4305 | 1100 U 4397 1032 X 4125 | 1055 X 4217 | 1078 X 4309 | 1101 X 4401 1033 Y 4129 | 1056 Y 4221 | 1079 Y 4313 | 1102 Y 4405 1034 Z 4133 | 1057 Z 4225 | 1080 Z 4317 | 1103 Z 4409 ------------------+-----------------+-----------------+-----------------

-----------------+-----------------+-----------------+----------------- 1104 49 A 4413 | 1127 50 A 4505 | 1150 51 A 4597 | 1173 52 A 4689 1105 B 4417 | 1128 B 4509 | 1151 B 4601 | 1174 B 4693 1106 C 4421 | 1129 C 4513 | 1152 C 4605 | 1175 C 4697 1107 D 4425 | 1130 D 4517 | 1153 D 4609 | 1176 D 4701 1108 E 4429 | 1131 E 4521 | 1154 E 4613 | 1177 E 4705 1109 F 4433 | 1132 F 4525 | 1155 F 4617 | 1178 F 4709 1110 G 4437 | 1133 G 4529 | 1156 G 4621 | 1179 G 4713 1111 H 4441 | 1134 H 4533 | 1157 H 4625 | 1180 H 4717 1112 I 4445 | 1135 I 4537 | 1158 I 4629 | 1181 I 4721 1113 K 4449 | 1136 K 4541 | 1159 K 4633 | 1182 K 4725 1114 L 4453 | 1137 L 4545 | 1160 L 4637 | 1183 L 4729 1115 M 4457 | 1138 M 4549 | 1161 M 4641 | 1184 M 4733 1116 N 4461 | 1139 N 4553 | 1162 N 4645 | 1185 N 4737 1117 O 4465 | 1140 O 4557 | 1163 O 4649 | 1186 O 4741 1118 P 4469 | 1141 P 4561 | 1164 P 4653 | 1187 P 4745 1119 Q 4473 | 1142 Q 4565 | 1165 Q 4657 | 1188 Q 4749 1120 R 4477 | 1143 R 4569 | 1166 R 4661 | 1189 R 4753 1121 S 4481 | 1144 S 4573 | 1167 S 4665 | 1190 S 4757 1122 T 4485 | 1145 T 4577 | 1168 T 4669 | 1191 T 4761 1123 U 4489 | 1146 U 4581 | 1169 U 4673 | 1192 U 4765 1124 X 4493 | 1147 X 4585 | 1170 X 4677 | 1193 X 4769 1125 Y 4497 | 1148 Y 4589 | 1171 Y 4681 | 1194 Y 4773 1126 Z 4501 | 1149 Z 4593 | 1172 Z 4685 | 1195 Z 4777 -----------------+-----------------+-----------------+----------------- 1196 53 A 4781 | 1219 54 A 4873 | 1242 55 A 4965 | 1265 56 A 5057 1197 B 4785 | 1220 B 4877 | 1243 B 4969 | 1266 B 5061 1198 C 4789 | 1221 C 4881 | 1244 C 4973 | 1267 C 5065 1199 D 4793 | 1222 D 4885 | 1245 D 4977 | 1268 D 5069 1200 E 4797 | 1223 E 4889 | 1246 E 4981 | 1269 E 5073 1201 F 4801 | 1224 F 4893 | 1247 F 4985 | 1270 F 5077 1202 G 4805 | 1225 G 4897 | 1248 G 4989 | 1271 G 5081 1203 H 4809 | 1226 H 4901 | 1249 H 4993 | 1272 H 5085 1204 I 4813 | 1227 I 4905 | 1250 I 4997 | 1273 I 5089 1205 K 4817 | 1228 K 4909 | 1251 K 5001 | 1274 K 5093 1206 L 4821 | 1229 L 4913 | 1252 L 5005 | 1275 L 5097 1207 M 4825 | 1230 M 4917 | 1253 M 5009 | 1276 M 5101 1208 N 4829 | 1231 N 4921 | 1254 N 5013 | 1277 N 5105 1209 O 4833 | 1232 O 4925 | 1255 O 5017 | 1278 O 5109 1210 P 4837 | 1233 P 4929 | 1256 P 5021 | 1279 P 5113 1211 Q 4841 | 1234 Q 4933 | 1257 Q 5025 | 1280 Q 5117 1212 R 4845 | 1235 R 4937 | 1258 R 5029 | 1281 R 5121 1213 S 4849 | 1236 S 4941 | 1259 S 5033 | 1282 S 5125 1214 T 4853 | 1237 T 4945 | 1260 T 5037 | 1283 T 5129 1215 U 4857 | 1238 U 4949 | 1261 U 5041 | 1284 U 5133 1216 X 4861 | 1239 X 4953 | 1262 X 5045 | 1285 X 5137 1217 Y 4865 | 1240 Y 4957 | 1263 Y 5049 | 1286 Y 5141 1218 Z 4869 | 1241 Z 4961 | 1264 Z 5053 | 1287 Z 5145 -----------------+-----------------+-----------------+-----------------

-----------------+-----------------+-----------------+----------------- 1288 57 A 5149 | 1311 58 A 5241 | 1334 59 A 5333 | 1357 60 A 5425 1289 B 5153 | 1312 B 5245 | 1335 B 5337 | 1358 B 5429 1290 C 5157 | 1313 C 5249 | 1336 C 5341 | 1359 C 5433 1291 D 5161 | 1314 D 5253 | 1337 D 5345 | 1360 D 5437 1292 E 5165 | 1315 E 5257 | 1338 E 5349 | 1361 E 5441 1293 F 5169 | 1316 F 5261 | 1339 F 5353 | 1362 F 5445 1294 G 5173 | 1317 G 5265 | 1340 G 5357 | 1363 G 5449 1295 H 5177 | 1318 H 5269 | 1341 H 5361 | 1364 H 5453 1296 I 5181 | 1319 I 5273 | 1342 I 5365 | 1365 I 5457 1297 K 5185 | 1320 K 5277 | 1343 K 5369 | 1366 K 5461 1298 L 5189 | 1321 L 5281 | 1344 L 5373 | 1367 L 5465 1299 M 5193 | 1322 M 5285 | 1345 M 5377 | 1368 M 5469 1300 N 5197 | 1323 N 5289 | 1346 N 5381 | 1369 N 5473 1301 O 5201 | 1324 O 5293 | 1347 O 5385 | 1370 O 5477 1302 P 5205 | 1325 P 5297 | 1348 P 5389 | 1371 P 5481 1303 Q 5209 | 1326 Q 5301 | 1349 Q 5393 | 1372 Q 5485 1304 R 5213 | 1327 R 5305 | 1350 R 5397 | 1373 R 5489 1305 S 5217 | 1328 S 5309 | 1351 S 5401 | 1374 S 5493 1306 T 5221 | 1329 T 5313 | 1352 T 5405 | 1375 T 5497 1307 U 5225 | 1330 U 5317 | 1353 U 5409 | 1376 U 5501 1308 X 5229 | 1331 X 5321 | 1354 X 5413 | 1377 X 5505 1309 Y 5233 | 1332 Y 5325 | 1355 Y 5417 | 1378 Y 5509 1310 Z 5237 | 1333 Z 5329 | 1356 Z 5421 | 1379 Z 5513 -----------------+-----------------+-----------------+----------------- 1380 61 A 5517 | 1403 62 A 5609 | 1426 63 A 5701 | 1449 64 A 5793 1381 B 5521 | 1404 B 5613 | 1427 B 5705 | 1450 B 5797 1382 C 5525 | 1405 C 5617 | 1428 C 5709 | 1451 C 5801 1383 D 5529 | 1406 D 5621 | 1429 D 5713 | 1452 D 5805 1384 E 5533 | 1407 E 5625 | 1430 E 5717 | 1453 E 5809 1385 F 5537 | 1408 F 5629 | 1431 F 5721 | 1454 F 5813 1386 G 5541 | 1409 G 5633 | 1432 G 5725 | 1455 G 5817 1387 H 5545 | 1410 H 5637 | 1433 H 5729 | 1456 H 5821 1388 I 5549 | 1411 I 5641 | 1434 I 5733 | 1457 I 5825 1389 K 5553 | 1412 K 5645 | 1435 K 5737 | 1458 K 5829 1390 L 5557 | 1413 L 5649 | 1436 L 5741 | 1459 L 5833 1391 M 5561 | 1414 M 5653 | 1437 M 5745 | 1460 M 5837 1392 N 5565 | 1415 N 5657 | 1438 N 5749 | 1461 N 5841 1393 O 5569 | 1416 O 5661 | 1439 O 5753 | 1462 O 5845 1394 P 5573 | 1417 P 5665 | 1440 P 5757 | 1463 P 5849 1395 Q 5577 | 1418 Q 5669 | 1441 Q 5761 | 1464 Q 5853 1396 R 5581 | 1419 R 5673 | 1442 R 5765 | 1465 R 5857 1397 S 5585 | 1420 S 5677 | 1443 S 5769 | 1466 S 5861 1398 T 5589 | 1421 T 5681 | 1444 T 5773 | 1467 T 5865 1399 U 5593 | 1422 U 5685 | 1445 U 5777 | 1468 U 5869 1400 X 5597 | 1423 X 5689 | 1446 X 5781 | 1469 X 5873 1401 Y 5601 | 1424 Y 5693 | 1447 Y 5785 | 1470 Y 5877 1402 Z 5605 | 1425 Z 5697 | 1448 Z 5789 | 1471 Z 5881 -----------------+-----------------+-----------------+-----------------

-----------------+-----------------+-----------------+----------------- 1472 65 A 5885 | 1495 66 A 5977 | 1518 67 A 6069 | 1541 68 A 6161 1473 B 5889 | 1496 B 5981 | 1519 B 6073 | 1542 B 6165 1474 C 5893 | 1497 C 5985 | 1520 C 6077 | 1543 C 6169 1475 D 5897 | 1498 D 5989 | 1521 D 6081 | 1544 D 6173 1476 E 5901 | 1499 E 5993 | 1522 E 6085 | 1545 E 6177 1477 F 5905 | 1500 F 5997 | 1523 F 6089 | 1546 F 6181 1478 G 5909 | 1501 G 6001 | 1524 G 6093 | 1547 G 6185 1479 H 5913 | 1502 H 6005 | 1525 H 6097 | 1548 H 6189 1480 I 5917 | 1503 I 6009 | 1526 I 6101 | 1549 I 6193 1481 K 5921 | 1504 K 6013 | 1527 K 6105 | 1550 K 6197 1482 L 5925 | 1505 L 6017 | 1528 L 6109 | 1551 L 6201 1483 M 5929 | 1506 M 6021 | 1529 M 6113 | 1552 M 6205 1484 N 5933 | 1507 N 6025 | 1530 N 6117 | 1553 N 6209 1485 O 5937 | 1508 O 6029 | 1531 O 6121 | 1554 O 6213 1486 P 5941 | 1509 P 6033 | 1532 P 6125 | 1555 P 6217 1487 Q 5945 | 1510 Q 6037 | 1533 Q 6129 | 1556 Q 6221 1488 R 5949 | 1511 R 6041 | 1534 R 6133 | 1557 R 6225 1489 S 5953 | 1512 S 6045 | 1535 S 6137 | 1558 S 6229 1490 T 5957 | 1513 T 6049 | 1536 T 6141 | 1559 T 6233 1491 U 5961 | 1514 U 6053 | 1537 U 6145 | 1560 U 6237 1492 X 5965 | 1515 X 6057 | 1538 X 6149 | 1561 X 6241 1493 Y 5969 | 1516 Y 6061 | 1539 Y 6153 | 1562 Y 6245 1494 Z 5973 | 1517 Z 6065 | 1540 Z 6157 | 1563 Z 6249 -----------------+-----------------+-----------------+----------------- 1564 69 A 6253 | 1587 70 A 6345 | 1610 71 A 6437 | 1633 72 A 6529 1565 B 6257 | 1588 B 6349 | 1611 B 6441 | 1634 B 6533 1566 C 6261 | 1589 C 6353 | 1612 C 6445 | 1635 C 6537 1567 D 6265 | 1590 D 6357 | 1613 D 6449 | 1636 D 6541 1568 E 6269 | 1591 E 6361 | 1614 E 6453 | 1637 E 6545 1569 F 6273 | 1592 F 6365 | 1615 F 6457 | 1638 F 6549 1570 G 6277 | 1593 G 6369 | 1616 G 6461 | 1639 G 6553 1571 H 6281 | 1594 H 6373 | 1617 H 6465 | 1640 H 6557 1572 I 6285 | 1595 I 6377 | 1618 I 6469 | 1641 I 6561 1573 K 6289 | 1596 K 6381 | 1619 K 6473 | 1642 K 6565 1574 L 6293 | 1597 L 6385 | 1620 L 6477 | 1643 L 6569 1575 M 6297 | 1598 M 6389 | 1621 M 6481 | 1644 M 6573 1576 N 6301 | 1599 N 6393 | 1622 N 6485 | 1645 N 6577 1577 O 6305 | 1600 O 6397 | 1623 O 6489 | 1646 O 6581 1578 P 6309 | 1601 P 6401 | 1624 P 6493 | 1647 P 6585 1579 Q 6313 | 1602 Q 6405 | 1625 Q 6497 | 1648 Q 6589 1580 R 6317 | 1603 R 6409 | 1626 R 6501 | 1649 R 6593 1581 S 6321 | 1604 S 6413 | 1627 S 6505 | 1650 S 6597 1582 T 6325 | 1605 T 6417 | 1628 T 6509 | 1651 T 6601 1583 U 6329 | 1606 U 6421 | 1629 U 6513 | 1652 U 6605 1584 X 6333 | 1607 X 6425 | 1630 X 6517 | 1653 X 6609 1585 Y 6337 | 1608 Y 6429 | 1631 Y 6521 | 1654 Y 6613 1586 Z 6341 | 1609 Z 6433 | 1632 Z 6525 | 1655 Z 6617 -----------------+-----------------+-----------------+-----------------

SHEET OF QUARTO, AND HALF SHEET OF OCTAVO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+-----------------+----------------+ No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol. -----------------+-----------------+----------------+ | 23 2 A 177 | 46 3 A 361 1 B 1 | 24 B 185 | 47 B 369 2 C 9 | 25 C 193 | 48 C 377 3 D 17 | 26 D 201 | 49 D 385 4 E 25 | 27 E 209 | 50 E 393 5 F 33 | 28 F 217 | 51 F 401 6 G 41 | 29 G 225 | 52 G 409 7 H 49 | 30 H 233 | 53 H 417 8 I 57 | 31 I 241 | 54 I 425 9 K 65 | 32 K 249 | 55 K 433 10 L 73 | 33 L 257 | 56 L 441 11 M 81 | 34 M 265 | 57 M 449 12 N 89 | 35 N 273 | 58 N 457 13 O 97 | 36 O 281 | 59 O 465 14 P 105 | 37 P 289 | 60 P 473 15 Q 113 | 38 Q 297 | 61 Q 481 16 R 121 | 39 R 305 | 62 R 489 17 S 129 | 40 S 313 | 63 S 497 18 T 137 | 41 T 321 | 64 T 505 19 U 145 | 42 U 329 | 65 U 513 20 X 153 | 43 X 337 | 66 X 521 21 Y 161 | 44 Y 345 | 67 Y 529 22 Z 169 | 45 Z 353 | 68 Z 537 -----------------+-----------------+----------------- 69 4 A 545 | 92 5 A 729 | 115 6 A 913 70 B 553 | 93 B 737 | 116 B 921 71 C 561 | 94 C 745 | 117 C 929 72 D 569 | 95 D 753 | 118 D 937 73 E 577 | 96 E 761 | 119 E 945 74 F 585 | 97 F 769 | 120 F 953 75 G 593 | 98 G 777 | 121 G 961 76 H 601 | 99 H 785 | 122 H 969 77 I 609 | 100 I 793 | 123 I 977 78 K 617 | 101 K 801 | 124 K 985 79 L 625 | 102 L 809 | 125 L 993 80 M 633 | 103 M 817 | 126 M 1001 81 N 641 | 104 N 825 | 127 N 1009 82 O 649 | 105 O 833 | 128 O 1017 83 P 657 | 106 P 841 | 129 P 1025 84 Q 665 | 107 Q 849 | 130 Q 1033 85 R 673 | 108 R 857 | 131 R 1041 86 S 681 | 109 S 865 | 132 S 1049 87 T 689 | 110 T 873 | 133 T 1057 88 U 697 | 111 U 881 | 134 U 1065 89 X 705 | 112 X 889 | 135 X 1073 90 Y 713 | 113 Y 897 | 136 Y 1081 91 Z 721 | 114 Z 905 | 137 Z 1089 -----------------+-----------------+-----------------

SHEET OF OCTAVO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+-----------------+-----------------+----------------- No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol. -----------------+-----------------+-----------------+----------------- | 23 2 A 353 | 46 3 A 721 | 69 4 A 1089 1 B 1 | 24 B 369 | 47 B 737 | 70 B 1105 2 C 17 | 25 C 385 | 48 C 753 | 71 C 1121 3 D 33 | 26 D 401 | 49 D 769 | 72 D 1137 4 E 49 | 27 E 417 | 50 E 785 | 73 E 1153 5 F 65 | 28 F 433 | 51 F 801 | 74 F 1169 6 G 81 | 29 G 449 | 52 G 817 | 75 G 1185 7 H 97 | 30 H 465 | 53 H 833 | 76 H 1201 8 I 113 | 31 I 481 | 54 I 849 | 77 I 1217 9 K 129 | 32 K 497 | 55 K 865 | 78 K 1233 10 L 145 | 33 L 513 | 56 L 881 | 79 L 1249 11 M 161 | 34 M 529 | 57 M 897 | 80 M 1265 12 N 177 | 35 N 545 | 58 N 913 | 81 N 1281 13 O 193 | 36 O 561 | 59 O 929 | 82 O 1297 14 P 209 | 37 P 577 | 60 P 945 | 83 P 1313 15 Q 225 | 38 Q 593 | 61 Q 961 | 84 Q 1329 16 R 241 | 39 R 609 | 62 R 977 | 85 R 1345 17 S 257 | 40 S 625 | 63 S 993 | 86 S 1361 18 T 273 | 41 T 641 | 64 T 1009 | 87 T 1377 19 U 289 | 42 U 657 | 65 U 1025 | 88 U 1393 20 X 305 | 43 X 673 | 66 X 1041 | 89 X 1409 21 Y 321 | 44 Y 689 | 67 Y 1057 | 90 Y 1425 22 Z 337 | 45 Z 705 | 68 Z 1073 | 91 Z 1441 -----------------+-----------------+-----------------+-----------------

HALF SHEET OF 12MO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+-----------------+----------------- No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol. -----------------+-----------------+----------------- | 23 2 A 265 | 46 3 A 541 1 B 1 | 24 B 277 | 47 B 553 2 C 13 | 25 C 289 | 48 C 565 3 D 25 | 26 D 301 | 49 D 577 4 E 37 | 27 E 313 | 50 E 589 5 F 49 | 28 F 325 | 51 F 601 6 G 61 | 29 G 337 | 52 G 613 7 H 73 | 30 H 349 | 53 H 625 8 I 85 | 31 I 361 | 54 I 637 9 K 97 | 32 K 373 | 55 K 649 10 L 109 | 33 L 385 | 56 L 661 11 M 121 | 34 M 397 | 57 M 673 12 N 133 | 35 N 409 | 58 N 685 13 O 145 | 36 O 421 | 59 O 697 14 P 157 | 37 P 433 | 60 P 709 15 Q 169 | 38 Q 445 | 61 Q 721 16 R 181 | 39 R 457 | 62 R 733 17 S 193 | 40 S 469 | 63 S 745 18 T 205 | 41 T 481 | 64 T 757 19 U 217 | 42 U 493 | 65 U 769 20 X 229 | 43 X 505 | 66 X 781 21 Y 241 | 44 Y 517 | 67 Y 793 22 Z 253 | 45 Z 529 | 68 Z 805 -----------------+-----------------+-----------------

SHEET OF 12MO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+-----------------+----------------- No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol. -----------------+-----------------+----------------- | 23 2 A 529 | 46 3 A 1081 1 B 1 | 24 B 553 | 47 B 1105 2 C 25 | 25 C 577 | 48 C 1129 3 D 49 | 26 D 601 | 49 D 1153 4 E 73 | 27 E 625 | 50 E 1177 5 F 97 | 28 F 649 | 51 F 1201 6 G 121 | 29 G 673 | 52 G 1225 7 H 145 | 30 H 697 | 53 H 1249 8 I 169 | 31 I 721 | 54 I 1273 9 K 193 | 32 K 745 | 55 K 1297 10 L 217 | 33 L 769 | 56 L 1321 11 M 241 | 34 M 793 | 57 M 1345 12 N 265 | 35 N 817 | 58 N 1369 13 O 289 | 36 O 841 | 59 O 1393 14 P 313 | 37 P 865 | 60 P 1417 15 Q 337 | 38 Q 889 | 61 Q 1441 16 R 361 | 39 R 913 | 62 R 1465 17 S 385 | 40 S 937 | 63 S 1489 18 T 409 | 41 T 961 | 64 T 1513 19 U 433 | 42 U 985 | 65 U 1537 20 X 457 | 43 X 1009 | 66 X 1561 21 Y 481 | 44 Y 1033 | 67 Y 1585 22 Z 505 | 45 Z 1057 | 68 Z 1609 -----------------+-----------------+-----------------

SHEET OF 16MO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+----------------- No. Sig. Fol.| No. Sig. Fol. -----------------+----------------- | 23 2 A 705 1 B 1 | 24 B 737 2 C 33 | 25 C 769 3 D 65 | 26 D 801 4 E 97 | 27 E 833 5 F 129 | 28 F 865 6 G 161 | 29 G 897 7 H 193 | 30 H 929 8 I 225 | 31 I 961 9 K 257 | 32 K 993 10 L 289 | 33 L 1025 11 M 321 | 34 M 1057 12 N 353 | 35 N 1089 13 O 385 | 36 O 1121 14 P 417 | 37 P 1153 15 Q 449 | 38 Q 1185 16 R 481 | 39 R 1217 17 S 513 | 40 S 1249 18 T 545 | 41 T 1281 19 U 577 | 42 U 1313 20 X 609 | 43 X 1345 21 Y 641 | 44 Y 1377 22 Z 673 | 45 Z 1409 -----------------+-----------------

HALF SHEET OF 18MO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+----------------- No. Sig. Fol.| No. Sig. Fol. -----------------+----------------- | 23 2 A 397 1 B 1 | 24 B 415 2 C 19 | 25 C 433 3 D 37 | 26 D 451 4 E 55 | 27 E 469 5 F 73 | 28 F 487 6 G 91 | 29 G 505 7 H 109 | 30 H 523 8 I 127 | 31 I 541 9 K 145 | 32 K 559 10 L 163 | 33 L 577 11 M 181 | 34 M 595 12 N 199 | 35 N 613 13 O 217 | 36 O 631 14 P 235 | 37 P 649 15 Q 253 | 38 Q 667 16 R 271 | 39 R 685 17 S 289 | 40 S 703 18 T 307 | 41 T 721 19 U 325 | 42 U 739 20 X 343 | 43 X 757 21 Y 361 | 44 Y 775 22 Z 379 | 45 Z 793 -----------------+-----------------

SHEET OF 18MO.

Key to Column Headers-- No. = No. of Sheets Sig. = Signature Fol. = Folio

-----------------+-----------------+----------------- No. Sig. Fol.| No. Sig. Fol.| No. Sig. Fol. -----------------+-----------------+----------------- | 2 A 265 | 16 3 A 541 1 B 1 | B 277 | B 553 C 13 | 9 C 289 | C 565 D 25 | D 301 | 17 D 577 2 E 37 | E 313 | E 589 F 49 | 10 F 325 | F 601 G 61 | G 337 | 18 G 613 3 H 73 | H 349 | H 625 I 85 | 11 I 361 | I 637 K 97 | K 373 | 19 K 649 4 L 109 | L 385 | L 661 M 121 | 12 M 397 | M 673 N 133 | N 409 | 20 N 685 5 O 145 | O 421 | O 697 P 157 | 13 P 433 | P 709 Q 169 | Q 445 | 21 Q 721 6 R 181 | R 457 | R 733 S 193 | 14 S 469 | S 745 T 205 | T 481 | 22 T 757 7 U 217 | U 493 | U 769 X 229 | 15 X 505 | X 781 y 241 | Y 517 | 23 Y 793 8 Z 253 | Z 529 | Z 805 -----------------+-----------------+-----------------

I have extended these tables of Signatures and folios to 18mo., which is a size that has been much in use of late years; and in the table of 18mo. I have given it as usually imposed, as three half sheets of 12mo. with three signatures; the first signature in each sheet is with a capital letter, the intermediate signatures are small capitals.

SIXTEENMO.

--A sheet of paper folded into sixteen leaves or thirty-two pages is termed a sixteens or sixteenmo.

SIXTY-FOURMO.

--A sheet of paper folded into sixty-four leaves or one hundred and twenty-eight pages is termed sixty-fours or sixty-fourmo.

SLICE.

--The false bottom of a large galley, made to slide out, for the purpose of keeping a quarto or a folio page upon it, without disturbing it, as being safer than transferring it to a page paper. See GALLEY.

SLICE is also the name of an iron implement used in the ink block to transfer the ink from the tub or other receptacle, and to scrape it together in a mass, clear of the balls when ink is taken with them; it has an iron pin through it near the bottom of the handle, so that if it falls flat on the ink block, it will rest on this pin, which prevents the handle from being smeared with ink.

SLIPS.

--In printing encyclopædias, dictionaries of arts or sciences, and similar works, which frequently undergo great alterations in the proofs, they are occasionally pulled on slips of paper, of the length and half the breadth of a demy leaf of paper. This is done on account of the facility of adding new subject matter, or taking some away, without having to overrun and to re-make up the sheet, after it has been imposed in pages.

SLUR--When from any cause at press, the impression on the paper is smeared, it is said to Slur.

This may arise from many causes--if the tympan joints are loose, it will be produced by the least lateral movement of the tympan after it is turned down--if the ear of the frisket touches the inside of the cheek in running in, it will cause it--if the press runs close, so that the inner tympan touches the face of the platen, it is very likely to slur; and I have often observed this in wooden presses that had been altered to obtain the additional power, for the platen was brought so low and near to the face of the letter in the form, as not to allow room to run in clear. In presses where the tympans are large, if the slur pin does not act, that corner of the tympan will come in contact with the form first, and cause a slur, particularly if the tympans are in any way rickety, or twisted by drawing on the parchment. Where the winter has been justified with cards, to produce a greater spring in the pull, it has been known to produce slurring. The first step towards curing this defect is to ascertain from what cause it arises; and then it is not difficult: but it has often caused great trouble to discover the cause.

The following are my old Pressman’s directions “To prevent Slurring and Maculing;” and though it will be perceived that some of them apply only to wooden presses, yet the whole may be useful.

“1. Keep the face of the inner tympan and platen clean and dry.

“2. Be sure that the parchments are tight both on the inner and outer tympans; also that the tympans are not rickety, nor the joints slack.

“3. Guide cramps are a great preventive to slurring and maculing.

“4. The tenons in the head and winter must exactly fit the mortises in the cheeks.

“5. The short bolts must be screwed tightly up, to fix the nut or box firmly in the head, and must not have the least play.

“6. The garter must fit the spindle and hose, and the spindle must fit the hose, as exactly as possible.

“7. The hose must work perpendicularly, and steady in the shelves.

“8. The platen must be tightly and properly tied, or otherwise fixed, so that it shall come down upon the face of all the types in the form at the same moment.

“9. The wheel must be well justified on the spit.

“10. The railing of the inner tympan must not rub against the platen, in running in or out.

“11. The shanks of the points must not be so far over the outer part of the tympan as to rub against the cheeks of the press.

“12. If a clumsy smith has made the joints of the frisket so thick as to cause the tympan to rub against the face of the platen, he must alter them at his own expense.

“13. The shelves must be quite steady.

“14. The press stone must be worked down with hard pulling until it becomes a fixture.

“15. The frisket must be quite even, and fall flat on the form; and the paper which is pasted on it must not bag.

“16. Fix the winter as solid as possible.

“17. Let the tympans fall easily on the form, neither driving them from you, nor pulling them to you in letting them down; neither let the platen touch them till they are quite run in, nor run them out till the platen is quite clear of them.

“Exclusively of the aforesaid, there may be many other causes of slurring, which the pressman can only discover by close attention. I have often found cork bearers a great preventive.

“I have heard many complaints of the middle pages of a twelves form maculing at a two-pull press; but this is not always the fault of the press. The cause frequently is owing to blankets being in the tympan which have been used for folios, quartos, octavos, &c. &c.; and instead of its being a macule, it is nothing more than that part of the blanket which had covered the short cross of other work, and in the twelves form caused a deep and ugly impression, looking like a macule: this evil can only be remedied by new blankets, or confining the use of them to 12mo. forms.”

SLUR PIN.

--A flat-headed screw, that goes through the off side of the outer tympan, near the head band, so as to rest on the chase or furniture. Its use is to prevent the off corner of the tympan from coming down on the types before the other parts, which when it happens causes slurring.

SMALL CAPITALS.

--Capitals of a smaller size than the regular capitals of a fount, but cast on the same body; thus the small capitals of Double Pica are about the same height as English capitals. They bear off more from each other, and are stouter, in proportion to their size, than the capitals of the same fount. They are used for running titles; for heads of chapters; for emphatic words; and for subordinate lines in titles and jobs. Till of late years small capitals were only cast in England to founts of Roman letter; the type founders cast them now occasionally to Italic letter, and they form a useful sort.

Moxon does not mention small capitals; nor are they in the plan of the cases of Roman letter which he gives in his work. See SORTS.

SMALL NUMBERS.

--Under 1500 laid on, is accounted a small number. See GREAT NUMBERS; and see LAY ON.--M. We now look on all numbers under 500 to be small numbers.

SMALL PICA.

--The name of a type, one size larger than Long Primer and one smaller than Pica. It is half the body of Double Pica in depth. Moxon does not enumerate it in his Table of the sizes of each body; but, after giving the names of the different types, he says, “These are the bodies most of use in England; but the Dutch have several other bodies: which because there is little and almost no perceivable difference from some of these mentioned, I think they are not worth naming. Yet we have one body more which is sometimes used in England; that is a Small Pica, but I account it no great discretion in a master printer to provide it: because it differs so little from the Pica, that unless the workmen be carefuller than they sometimes are, it may be mingled with the Pica, and so the beauty of both founts may be spoiled.” See TYPES.

This was published in 1683, and opinion has changed so much respecting this size, that at the present day there are perhaps more works printed with it than with any other size.

SMOUT.

Workmen when they are out of constant work, do sometimes accept of a day or two’s work, or a week’s work at another printing house: this by-work they call Smouting.--M. In fact we only term it smouting when the business of a house is slack, or, in other words, when work is insufficient to employ fully the workmen regularly employed, and they go to some other house for temporary employment, till such time as there is sufficient for them in their own house, when they return.

SOAKING PULL. See EASY PULL.--M.

SOCKETS FOR THE GALLOWS. See GALLOWS SOCKETS.

SOFT INK.

Ink or varnish moderately boiled.--M. It is now generally termed Weak Ink.

The varnish of soft or weak ink is not so strong as that for fine ink; it does not require so much time and labour to distribute it on the balls and rollers, and it more readily covers the face of the type: on these accounts, as well as the expense, it is used for common work, as it enables the pressman to make more riddance; it is also used for machine printing, as the rollers passing rapidly over the forms with their own weight only, are found not competent to coat the face of the type with strong ink.

SOFT PULL. See EASY PULL.--M.

SOLACE. See ANCIENT CUSTOMS.--M.

SOLID DIG. See BAD WORK.

SOLID MATTER.

Matter that is composed without any leads between the lines, is termed solid matter; in the scale of prices of 1810 it is designated ‘without space lines.’ Previously to that time it was paid the same price as leaded matter, but then there was an advance allowed on it. See SCALE.

SOP THE BALLS.

When a pressman has taken too much ink, he is said to sop the balls.--M.

SORTS.

The letters that lie in every box of the case are separately called Sorts in Printers and Founders language; thus, a is a sort, b is a sort, c is a sort, &c.--M.

In houses that have more founts than one of the same sized letter, it would preserve uniformity in the appearance of their work, if the following sorts were all of the same fount in the same sized type, particularly in lists of names, indexes, and articles that run on sorts, as by that means all the sorts in the office might be brought into use, when necessary, which would frequently be of great advantage, both for the convenience of the printer and the appearance of the work: under the present plan, where every fount varies in its proportions and appearance, the printer, in the before-mentioned cases, is put to a great inconvenience and expense, or else has to spoil the appearance of his work by mixing the founts. The adoption of this plan would also be of advantage to the type founder.

Capitals and small capitals.

Figures and fractions.

Metal rules and braces.

Points-- , ; : . ! ? ( [ and references * † ‡ § ‖ ¶.

Superiors, and the pound £.

The following additional sorts would also be found useful, and conduce to the more regular appearance of printing.

Accented capitals and small capitals.

Capital and small capital Ç ç.

Points to superiors-- , ; : . ’

The Spanish ñ.

SOUNDINGS.

When a pressman has got near the bottom of his heap, and, rapping his knuckles on it, the boards of the horse sound nearly as if he had struck the wood, he says, he is in soundings.

SPACE LINES,

generally called Leads by printers. Thin pieces of type metal, cast to different thicknesses, and different lengths, quadrat high, to put between the lines of matter to make it more open; they are also used to branch out titles, small jobs, and parts of a work where necessary.

SPACE RULES.

Fine lines, cast type high, in short thin pieces, to answer the purpose of brass rule in table work where a number of short pieces of a precise length are required. Two of them are generally equal to a pearl body.

SPACING.

The adjustment of the distance between the words in a line, so that there shall not be any glaring disproportion; also extending a word or a line of capitals by putting spaces between the letters. See COMPOSING.

SPANISH.

Ñ has a peculiar nasal sound, like the French gn: the English have no sound like it, except in the last four letters of the word minion, which bear some resemblance to the last three of the word riñon, in Spanish: as niño, piña.

The note of interrogation is not only used at the conclusion of an interrogatory, but also placed, inverted, at the beginning, in order to warn the reader, unless the preceding words convey a sufficient warning; as ¿ Que es lo que vm. acostumbra? preguntó al enfermo.

The note of admiration is also inverted at the beginning of ejaculations, when the preceding words are not sufficient to prepare the reader; as ¡ Pastas dulces y viandas suculentas! exclamó suspenso y admirado el doctor.--M‘Henry’s Grammar.

SPANISH. [Query, Span-hitch.]

A slight kind of pull at a common wood-press.--Hansard.

SPECIMEN PAGE.

When a new work is put in hand, a specimen page, that is, a page of the proposed size and letter, is composed, and pulled in a neat manner on paper similar to that which is meant to be used. This is to show the effect of the work when printed. It sometimes occurs, that two or three pages are required, of different sizes, and of different letter, before the author or publisher decides in what way the work shall be done. These are called Specimen Pages.

If the work be not proceeded with, these specimen pages are charged by the master printer to his employer; if it goes on, they are included in the general charge.

SPELLING. See ORTHOGRAPHY.

SPINDLE.

The screw to which the bar of the press is affixed, and which produces the pressure on the platen.

The upper part of the spindle is round, on which a screw is cut, that works in the nut fixed in the head; the next part lower is square, with a square hole in it to receive the end of the bar; the lower part is round and tapering and goes through the hose, to which it is attached by the garter, the spindle having a groove cut round it, into which the two semicircular ends of the garter enter and encircle it, by which contrivance the platen is raised on the return of the bar; the lowest end of the spindle is called the toe, which is hardened steel, and works in the stud of the platen.

SPIRIT.

See DEVIL.--M. Every chapel is haunted by a spirit, called Ralph. When any man resists the decision of the chapel, and it is determined to enforce it, Ralph, or the spirit, is said to walk; and whatever mischief is done to the resisting party to enforce submission, which is always performed secretly, is invariably imputed to Ralph, or the spirit. See CHAPEL.

SPIT.

The iron spindle on which the drum or wheel and the rounce are fixed, to run the carriage in and out with. It is square in the middle part, where the wheel is fixed, and has a square end for the rounce to fit on: it works in two pieces of iron, screwed to the outsides of the frame of the wooden ribs.

SPONGE.

Sponge is used both by compositors and pressmen--by compositors, to wet matter that is tied up previous to distributing it--to wet matter that is not tied up, to prevent it going into pie--and in correcting to wet matter, particularly if it be small letter, when it is necessary to transpose it: by pressmen, to wet their tympans with.

SPOTTISWOODE PRESS.

This is a beautiful contrivance, and was, as I understand, the invention of Andrew Spottiswoode, Esq., who has several of them in action in his extensive establishment. It is moved by steam, and prints two forms at the same time, which pass alternately under the platen, producing at its average rate of working seven hundred impressions of each form in the hour.

The frisket is attached to the tympan at the bottom near the tympan joints, so that when the tympan is lifted from the form by the machinery they open at the upper end, contrary to the usual way in presses worked by manual labour, and the printed sheet is left by the tympan resting on the frisket, where the paper was previously laid on.

I believe this is the first successful application of steam, as a motive power, to printing presses with a platen and a perpendicular pressure. I heard the late Alexander Tilloch, Esq., say that he intended to apply it to the presses with which the Star newspaper was printed, but he never carried it into effect; and Mr. Koenig came to England solely for this purpose; but after some years passed in making experiments, assisted by English capital, he was completely foiled in the attempt, and afterwards worked upon Mr. Nicholson’s plan, and produced a machine to print with cylinders.--See MACHINE.

SPRING OF A FORM.

When a form has a great quantity of furniture in it, and is locked up very tight, it frequently springs up in the middle, so as to endanger its bursting upward; it is then said, the form springs, or it is termed the spring of the form.

In this case it is advisable to examine the furniture, for some pieces may not be planed square by the joiner, and to change them for others of the same size that appear perfect, and do not lock up very tight; tighten the quoins gradually, and frequently plane down while you are locking up; these measures will generally remedy the evil.

SPUR.

The point that pricks the hole in the paper at press, to make register with.

SQUABBLE.

A page or form is squabbled when the letters of one or more lines are got into any of the adjacent lines; or that the letter or letters are twisted about out of their square position.--M.

STACK OF BOOKS. See PILE OF BOOKS.

STACK OF PAPER.

When paper is received into the warehouse from the stationer, it is piled up in tiers of four, five, six, or eight bundles in each tier, and is called a stack of paper, or a pile of paper.

The warehouseman in piling his paper considers the height of his room, that he may not take up more of the floor than is absolutely necessary, to enable him to stow as much as possible: thus, if he receive one hundred reams, and has height, he will make a stack of six in preference to two or four or five. He crosses the joinings of the bundles in each tier to bind them together, as a bricklayer does in building a square pillar; and I have always found the stack strengthened by laying on every third or fourth tier a number of stout wrappers spread over the bundles.

Paper should never be stacked without interposing something between the bottom of it and the floor, to prevent any water that might accidentally be spilled coming in contact with it, which would certainly mildew and spoil it if it were not perceived at the first; and even then it would require a great deal of trouble to prevent it: where there are not regular stages made, some short pieces of old poling laid a little distance from each other upon the floor will answer very well.

STAGE.

A platform raised a few inches from the floor, to pile books or paper upon, for the purpose of preserving the bottom of the pile from injury, in case of water being spilt in the warehouse.

Where there are no regular stages in a warehouse, substitutes, which answer the purpose very well, may be easily provided, by taking an old paper board, or any pieces of board, and putting three pieces of an old pole under each of them on which to pile the books.

STAINING OF PAPER.

The master printers of the metropolis, till within a few years, dined together annually at some good coffee house or tea gardens in the vicinity of London; and one of the regular toasts after dinner was, “The well-staining of Paper.”

STAMPS.

3 & 4 W. 4. c. 97. s. 12. It is among other things enacted, That * * * * “if any Person shall fraudulently use, join, fix, or place for, with, or upon any Vellum, Parchment, or Paper any Stamp, Mark, or Impression which shall have been cut, torn, or gotten off or removed from any other Vellum, Parchment, or Paper; * * * * then and in every such Case every Person so offending, and every Person knowingly and wilfully aiding, abetting, or assisting any Person in committing any such Offence, and being thereof lawfully convicted, shall be adjudged guilty of Felony, and shall be liable, at the Discretion of the Court, to be transported beyond the Seas for Life, or for any term not less than seven Years, or to be imprisoned for any Term not exceeding four Years nor less than two Years.”

STAND STILL.

A compositor is said to stand still, if he be out of copy, or out of letter: a pressman, if he has not a form to lay on, or is prevented working by any other cause. A compositor says he is standing still for copy, or for letter--a pressman says he is standing still for a form, &c.

STANHOPE PRESS.

The merits of the Stanhope press, and its superiority, are so well established in the minds of printers, from long experience of its valuable properties, that any additional praise from me would be an act of supererogation; I shall therefore confine myself to giving engravings of it, and a rather full description.

Figs. 1. and 2. are elevations, fig. 3. a plan, and fig. 4. a section. A A is a massive frame of cast iron, formed in one piece: this is the body of the press, in the upper part of which a nut is fixed for the reception of the screw b, and its point operates upon the upper end of a slider, d, which is fitted into a dovetail groove formed between two vertical bars, e, e, of the frame. The slider has the platen, D D, firmly attached to the lower end of it; and being accurately fitted between the guides e, e, the platen must rise and fall parallel to itself when the screw, b, is turned. The weight of the platen and slider are counterbalanced by a heavy weight, E, behind the press, which is suspended from a lever, F, and this acts upon the slider to lift it up, and keep it always bearing against the point of the screw. At G G are two projecting pieces, cast all in one with the main frame, to support the carriage when the pull is made; to these the rails, H H, are screwed, and placed truly horizontal for the carriage, I, to run upon them, when it is carried under the press to receive the impression, or drawn out to remove the printed sheet. The carriage is moved by the rounce or handle K, with a spit and leather girths, very similar to the wooden press. Upon the spit, or axle of the handle K, a wheel, L, is fixed, and round this leather girths are passed, one extending to the back of the carriage to draw it in, and the other, which passes round the wheel in an opposite direction, to draw it out. By this means, when the handle is turned one way it draws out the carriage, and by reversing the motion it is carried in. There is likewise a check strap, f, from the wheel down to the wooden base, M M, of the frame, and this limits the motion of the wheel, and consequently the excursion of the carriage. The principal improvement of Earl Stanhope’s press consists in the manner of giving motion to the screw, b, of it, which is not done simply by a bar or lever attached to the screw, but by a second lever; e. gr. the screw, b, has a short lever, g, fixed upon the upper end of it, and this communicates by an iron bar, or link, h, to another lever, i, of rather shorter radius, which is fixed upon the upper end of a second spindle, l, and to this the bar or handle, k, is fixed. Now when the workman pulls this handle, he turns round the spindle, l, and by the connexion of the rod, h, the screw, b, turns with it, and causes the platen to descend and produce the pressure. But it is not simply this alone, for the power of the lever, k, is transmitted to the screw in a ratio proportioned to the effect required at the different parts of the pull; thus at first, when the pressman takes the bar, k, it lies in a direction parallel to the frame, or across the press, and the short lever, i, (being nearly perpendicular thereto,) is also nearly at right angles to the connecting rod h; but the lever, g, of the screw makes a considerable angle with the rod, which therefore acts upon a shorter radius to turn the screw; because the real power exerted by any action upon a lever, is not to be considered as acting with the full length of the lever between its centres, but with the distance in a perpendicular drawn from the line in which the action is applied to the centre of the lever. Therefore, when the pressman first takes the handle, k, the lever, i, acts with its full length upon a shorter length of leverage, g, on the screw, which will consequently be turned more rapidly than if the bar itself was attached to it; but on continuing the pull, the situation of the levers change, that of the screw, g, continually increasing in its acting length, because it comes nearer to a perpendicular with the connecting rod, and at the same time the lever, i, diminishes its acting length, because, by the obliquity of the lever, the rod, h, approaches the centre, and the perpendicular distance diminishes; the bar or handle also comes to a more favourable position for the man to pull, because he draws nearly at right angles to its length. All these causes combined have the best effect in producing an immense pressure, without loss of time; because, in the first instance, the lever acts with an increased motion upon the screw, and brings the platen down very quickly upon the paper, but by that time the levers have assumed such a position as to exert a more powerful action upon each other, and this action continues to increase as the bar is drawn forwards, until the lever, i, and the connecting rod are brought nearly into a straight line, and then the power is immensely great, and capable of producing any requisite pressure which the parts of the press will sustain without yielding. The handle is sometimes made to come to rest against a stop, which prevents it moving further, and therefore regulates the degree of pressure given upon the work; but to give the means of increasing or diminishing this pressure for different kinds of work, the stop is made moveable to a small extent. Another plan is adopted by some makers of the Stanhope press, viz. to have a screw adjustment at the end of the connecting rod, h, by which it can be shortened; it is done by fitting the centre pin which unites it to the lever, g, in a bearing piece, which slides in a groove formed in the rod, and is regulated by the screw. This shortening of the connecting rod produces a greater or less descent of the platen, when the handle is brought to the stop.

The carriage of the press is represented with wheels, m, m, beneath, to take off the friction of moving upon the ribs, HH. These wheels are shown at fig. 4., which is a section of the screw and the platen, with the carriage beneath it: their axles, n, are fitted to springs, p, and these are adjustable by means of screws, r, so that the carriage will be borne up to any required height. This is so regulated, that when the carriage is run into the press, its lower surface shall bear lightly upon the solid cheeks, G, which are part of the body of the press, and these support it when the pressure is applied, the same as the winter of the old press: but the wheels by their springs act to bear up great part of the weight of the carriage with the types upon it, and diminish the friction, yet do not destroy the contact of the carriage upon the ribs, because this would not give the carriage that solidity of bearing which is requisite for resisting the pull. This is only at the time when the carriage is run into the press, because as it runs out, the ribs on which the wheels run rise higher, and therefore the wheels support the whole weight. The manner in which the wheels run in rebates or recesses in the edges of the ribs is shown at fig. 1. The carriage is made of cast iron, in the form of a box, with several cross partitions, which are all cast in one piece, and although made of thin metal, are exceedingly strong: the upper surface is made truly flat, by turning it in a lathe. The same of the platen, which is likewise a shallow box: the slider, d, has a plate formed on the lower end of it, which is fixed by four screws upon the top of the platen, and thus they are united. At the four angles of the carriage, pieces of iron are screwed on, to form bearings for the quoins or wedges which are driven in to fasten the form of types upon it in the true position for printing. The tympan, P, (fig. 2.) is attached to the carriage by joints, with an iron bracket or stop to catch it when it is thrown back: the frisket, R, is joined to the tympan, and when opened out, rests against a frame suspended from the ceiling. The register points are the same as in the wooden press, and all the operations of working are exactly the same. The iron frame, A, of the press is screwed down upon the wooden base, M, by bolts, which pass through feet, s s, projecting from the lower part of the iron frame. Another wooden beam is fixed into the former at right angles, so as to form a cross, which lies upon the floor. The ribs, H, for the carriage to run upon are supported from the wooden base by an iron bracket, T.

The advantages of the iron presses in working are very considerable, both in saving labour and time. The first arises from the beautiful contrivance of the levers, the power of the press being almost incalculable at the moment of producing the impression; and this is not attended with a correspondent loss of time, as is the case in all other mechanical powers, because the power is only exerted at the moment of pressure, being before that adapted to bring down the platen as quickly as possible. This great power of the press admits of a saving of time, by printing the whole sheet of paper at one pull, the platen being made sufficiently large for that purpose; whereas, in the old press, the platen is only half the size of the sheet. In the Stanhope press, the whole surface is printed at once, with far less power upon the handle than the old press. This arises not only from the levers, but from the iron framing of the press, which will not admit of any yielding, as the wood always does, and indeed is intended to do, the head being packed up with elastic substances, such as scaleboard, pasteboard, and the felt of an old hat. In this case much power is lost, for in an elastic press the pressure is gained by screwing or straining the parts up to a certain degree of tension, and the effort to return produces the pressure: now in this case, the handle will make a considerable effort to return, which, though it is in reality giving back to the workman a portion of the power he exerted on the press, is only an additional labour, as it obliges him to bear the strain a longer time than he otherwise would. The iron presses have very little elasticity, and those who use them find it advantageous to diminish the thickness of the blankets in the tympan; the lever has then very little tendency to return; in fact, if the pull be so justified as that, when the bar is pulled home, the end of the lever, i, that is attached to the connecting rod, h, passes in a small degree the centre of the second spindle, l, the pressure is past its maximum power, the press bar has no tendency to return, and the pressman can rest upon his pull in fine work, without any exertion.

STATIONERS’ COMPANY. See DONATIONS.

STEM.

--The straight flat strokes of a straight letter is called stem.--M.

STEREOTYPE.

--The surface of a page of types cast in one piece, of type metal, about the eighth of an inch thick, and turned in a lathe at the back of the plate, so that the whole of the plates of a volume shall be of one uniform thickness.

When they are required to be printed they are mounted on what are called Risers: these risers, with the thickness of the stereotype plate, are precisely the same height as the types, so that when a form is composed of stereotype plates and types, the pressure shall be equal on both.--See RISERS.

The spaces and quadrats are cast higher than for the common process; and when the form is ready, the face of it is oiled with a brush, then burnt plaster of Paris (gypsum) mixed with water to the consistence of cream is poured upon it; when the plaster is sufficiently hardened it is taken off from the types and forms a matrix in which to cast a facsimile of the types; this matrix is then placed in an oven to dry, and made hot, when it is secured in a frame and immersed in a caldron of melted metal, where it remains some time; when it is taken out, and cool, it goes to a person styled the Picker, to remove any superfluous metal, and to remedy any defects; it is then, generally, turned at the back to a specific thickness, and to remove any inequalities; after this it is ready for press. For the details of the process I refer the reader to “An Essay on the Origin and Progress of Stereotype Printing: including a Description of the various Processes. By Thomas Hodgson, Newcastle: printed by and for S. Hodgson, &c. 1820.”

This process was first practised by William Ged, of Edinburgh, who commenced in the year 1725. After much perseverance he formed an engagement with the University of Cambridge to print Bibles and Prayer-books; but the plan received so much opposition from the workmen, in making errors and batters, that it was discontinued, and the plates were ultimately sent to Mr. Caslon’s foundery to be melted down. Mr. Hansard, in his Typographia says,--“But a remnant escaped from Caslon’s cormorant crucible; and I have the opportunity of here presenting my readers with an opposite view of a pair of the very malefactors; and challenge any other to dispute the palm of venerable antiquity with them: they have been rather roughly treated, but besides the purpose for which they are here exhibited, will serve to show the style of type, typography, and stereotype of those days.”

Mr. Tilloch had a page of Ged’s casting given to him by Mr. Murray, of Fleet Street, bookseller, which I have seen: there is also a plate of Ged’s casting, at the Royal Institution, containing fourteen pages of a Common Prayer, presented by Mr. Frederick Kanmacher, of Apothecaries Hall, from which I had impressions printed.--See “Biographical Memoirs of William Ged. By John Nichols.” 8vo. London, 1781. “Dissertation upon English Typographical Founders and Founderies, by Edward Rowe Mores, A. M. and A. S. S.”

STEREOTYPE-PLATE RISERS. See RISERS.

STET.

When a word has been struck out, in reading a proof, and it is afterwards decided that it shall remain, then it is usual to make dots under the word which has had the pen run through it and write the word stet opposite to it in the margin, which is the third person singular, imperative mood, of the neuter verb sto, to stand, to endure, or abide.--See CORRECTING.

STICK.

The composing stick, commonly so called.--M. See COMPOSING STICK.

STICKFULL.

When a compositor has arranged as many lines in his composing stick as it will contain, it is termed a stickfull.--M.

STIFF JUSTIFYING. See HARD JUSTIFYING.

STOLEN PROPERTY.

The Act of the 25th of Geo. II. c. 36. s. 1. inflicted a penalty of fifty pounds upon any person who should print or publish any advertisement offering a reward for the recovery of any property that had been stolen and no questions asked; this section has been repealed by the Act of the 7 & 8 Geo. IV. c. 27., one of Mr. Peel’s Acts; and by another of Mr. Peel’s Acts, of the 7 & 8 Geo. IV. c. 29. s. 59., it is re-enacted, with some verbal alterations and the addition of the words “or lost,” as may be perceived by the following extract, which it is of importance for printers to be acquainted with.

s. 59. “That if any Person shall publicly advertise a Reward for the Return of any Property whatsoever, which shall have been stolen or lost, and shall in such Advertisement use any Words purporting that no Questions will be asked, or shall make use of any Words in any public Advertisements purporting that a Reward will be given or paid for any Property which shall have been stolen or lost, without seizing or making any Enquiry after the Person producing such Property, or shall promise or offer in any such public Advertisement to return to any Pawnbroker or other Person who may have bought or advanced Money by Way of Loan upon any Property stolen or lost, the Money so paid or advanced, or any other Sum of Money or Reward for the Return of such Property, or if any Person shall print or publish any such Advertisement, in any of the above Cases, every such Person shall forfeit the Sum of Fifty Pounds for every such Offence, to any Person who will sue for the same by Action of Debt, to be recovered with full Costs of Suit.”

s. 69. By this section it is enacted, “That it shall be lawful for the King’s Majesty to extend his Royal Mercy to any Person imprisoned by virtue of this Act, although he shall be imprisoned for Nonpayment of Money to some Party other than the Crown.”

STOPS. See POINTS.

STRAHAN, ANDREW. See DONATIONS.

STRAHAN, WILLIAM. See DONATIONS.

STRIP A FORM.

Taking the furniture away from the pages.--M.

STROKES.

Strokes are fat, lean, fine, hair.--M. The hair strokes of letters are now termed ceriphs by the founders.

STRONG INK.

Ink made with a powerfully binding varnish, so as to prevent the separation of the colouring matter and the spread of the varnish in the paper. It is usually made with superior colouring materials, and more care taken in grinding it than with common ink. See ENGRAVINGS ON WOOD; FINE PRESSWORK; and for more details I refer the reader to my treatise on the Preparation of Printing Ink.

STUD.

A piece of hardened steel, a little hollowed at the top, on which the toe of the spindle works. It is square on the outside, and fitted into the cup of the platen, but so as to be taken out, when it wants altering or repairing.

SUMMER.

In a press, a piece of wood nailed across the wooden ribs on the under side, close to the winter, to keep them steady in their place.

In Moxon’s time a summer was for a different purpose; viz. to prevent the cheeks of the press from springing open; the winter was dovetailed into the cheeks, to answer this purpose: after describing the winter, he adds--

“But yet I think it very convenient to have a Summer also, the more firmly and surer to keep the cheeks together; this Summer is only a Rail Tennanted, and let into Mortesses made in the inside of the Cheeks, and Screwed to them with long Screws, similar to those used for Bed-Posts; its depth four Inches and an half, and its breadth eight Inches, viz. the breadth of the Cheeks.”

SUNDAY, PUBLIC MEETING ON. See PUBLIC MEETINGS.

SUPERIORS.

Superiors are small letters and figures, upon the upper part of the shank of the body, so that they range with the top of the letter to which they belong; as, ^{abcdefgh}, ^{1234567890}; they are generally used as references to notes, and occasionally in abbreviated words; as M^r, Master; M^{rs}, Mistress; D^o, Ditto; N^o, (Numero,) for Number, and in many other instances; also in contracted words, in the printed Records. See RECORDS. REFERENCES. It would be a convenience if the type founders would cast the , ; : and . to them, as it has not a good appearance, when a point is necessary, to see a comma or any other point used that has been cast for the regular body; it is too large, and does not range in line.

SUPERNUMERARIES. See NEWSPAPERS.

SWASH LETTERS.

In the seventeenth century Italick capitals, in which some of the letters had their terminations projecting considerably beyond the shank, were in use: this projection was called a swash; as--

SWEDISH.

The Swedish Alphabet consists of twenty-eight letters.

+--------------------------------------------------------------------+ | Name and Figure. Power. | +-----+---------------+----------------------------------------------+ | A | ~A a~ | sounds like the English a in psalm. | | B | ~B b~ | be | | C | ~C c~ | ce | | D | ~D d~ | de | | E | ~E e~ | has a sound between the slender a and the e, | | | | or as it is commonly pronounced in the article | | | | the, de. | | F | ~F f~ | f | | G | ~G g~ | ge | | H | ~H h~ | ho | | I | ~I i j~ | sounds like the English ee in bee, bi. | | J | | longt i (i. e. long i) | | K | ~K k~ | ko | | L | ~L l~ | l | | M | ~M m~ | m | | N | ~N n~ | n | | O | ~O o~ | (the Greek ω) sounds nearest to the narrow oo | | | | in rood. | | P | ~P p~ | pe | | Q | ~Q q~ | koo | | R | ~R r~ | err | | S | ~S s~ | s | | T | ~T t~ | te | | U | ~U u~ | sounds like the English u in ruin. | | V | ~V v~ | ve | | W | ~W w~ | | | X | ~X x~ | ex | | Y | ~Y y~ | sounds like the French u in une, syn, | | | | sight. | | Z | ~Z z~ | satah | | Å | ~Å å~ | sounds like the English o in long, lång. | | Ä | ~Ä* ä~ | sounds like the English a in name, nämna. | | Ö | ~Ö* ö~ | sounds like the French eu in feu; bröd, | | | | bread, or nearest to i before r, as in | | | | thirsty, törstig. | +--------------------------------------------------------------------+

The order they here stand in is that of the Swedish Alphabet.

* These letters in the Roman characters are Ä and Ö.

The Swedish language has no diphthongs. When two vowels occur together, they must both be heard, as bēēdiga, brōār.--Brunnmark’s Swedish Grammar. London, 1805.

SWEEPINGS.

When the boys sweep the composing room in a morning, all the letters and spaces that are on the floor in each frame are carefully gathered up and placed on the bulk belonging to it, and it is the customary rule for the compositor to distribute them the first thing; what are swept together from the middle of the room are collected from the dust before it is taken away, and put in some appointed place for the person who has the care of the materials to distribute.

SWIFT. See FIRE EATER.

SYMBOLS, CHEMICAL. See FORMULÆ.

SYRIAC.

Under this appellation are classed three different alphabets.

Key to Column Headers-- U - Unconnected. F - Final. M - Medial. I - Initial. PL - Powers of the Letters. NV - Numerical Value.

+--------+----------+-----------------------+------+------+ | Order | Names |Figures of the Letters.| | | | of the | of the +-----+-----+-----+-----+ PL | NV | |Letters.| Letters. | U | F | M | I | | | +--------+----------+-----+-----+-----+-----+------+------+ | 1. | Olaph | ܐ‎ | ܐ‎ | ܐ‎ | ܐ‎ | A. | 1. | | 2. | Beth | ܒ‎ | ܒ‎ | ܒ‎ | ܒ‎ | B. | 2. | | 3. | Gomal | ܓ‎ | ܓ‎ | ܓ‎ | ܓ‎ | G. | 3. | | 4. | Dolath | ܕ‎ | ܕ‎ | ܕ‎ | ܕ‎ | D. | 4. | | 5. | He | ܗ‎ | ܗ‎ | ܗ‎ | ܗ‎ | H. | 5. | | 6. | Vau | ܘ‎ | ܘ‎ | ܘ‎ | ܘ‎ | V. | 6. | | 7. | Zaïn | ܙ‎ | ܙ‎ | ܙ‎ | ܙ‎ | Z. | 7. | | 8. | Cheth | ܚ‎ | ܚ‎ | ܚ‎ | ܚ‎ | Ch. | 8. | | 9. | Teth | ܛ‎ | ܛ‎ | ܛ‎ | ܛ‎ | T. | 9. | | 10. | Jud | ܝ‎ | ܝ‎ | ܝ‎ | ܝ‎ | I. | 10. | | 11. | Coph | ܟ‎ | ܟ‎ | ܟ‎ | ܟ‎ | C. | 20. | | 12. | Lomad | ܠ‎ | ܠ‎ | ܠ‎ | ܠ‎ | L. | 30. | | 13. | Mim | ܡ‎ | ܡ‎ | ܡ‎ | ܡ‎ | M. | 40. | | 14. | Nun | ܢ‎ | ܢ‎ | ܢ‎ | ܢ‎ | N. | 50. | | 15. | Semchat | ܣ‎ | ܣ‎ | ܣ‎ | ܣ‎ | S. | 60. | | 16. | Ngae | ܥ | ܥ | ܥ | ܥ | A. | 70. | | 17. | Pe | ܦ‎ | ܦ‎ | ܦ‎ | ܦ‎ | P. | 80. | | 18. | Tzode | ܨ‎ | ܨ‎ | ܨ‎ | ܨ‎ | Tz. | 90. | | 19. | Koph | ܩ‎ | ܩ‎ | ܩ‎ | ܩ‎ | K. | 100. | | 20. | Risch | ܪ‎ | ܪ‎ | ܪ‎ | ܪ‎ | R. | 200. | | 21. | Schin | ܫ‎ | ܫ‎ | ܫ‎ | ܫ‎ | Sch | 300. | | 22. | Thau | ܬ‎ | ܬ‎ | ܬ‎ | ܬ‎ | T. | 400. | +--------+----------+-----+-----+-----+-----+------+------+

The first and most ancient of these, called Estranghelo, is formed with square rectangular characters; another alphabet, a little smaller, has letters slightly differing from the first, for greater facility in writing; the third is that known generally by the name of Syriac, and is the only one existing in type in England. The Syriac reads from right to left.

Olaph, when followed by Lomad, is written obliquely, as ܐܰܠܗܳܐܳ‎. But when Lomad is followed by Olaph, it is written in the beginning of words thus, ܠܐܳ‎ not; in the middle thus, ܓܷܠܿܓ‎ he is bewailed; and at the end thus, ܓܰܠܠ‎ it rolls.

The pronunciation of the letters is the same as in Hebrew and Chaldee; yet it may be observed, (1.) that Olaph, in certain cases, takes the sound of Jud, as, ܐܳܐܰܪ‎ ojar air, ܡܠܵܐܐܵ‎ mlojo fulness, ܣܐܷܵܡ‎ sojem placing; (2.) that Vau initial is to be pronounced ܠܷܗܲܕ‎ as the consonant v, but when medial or final, as the vowel u; (3.) that initial Jud with Chebhozo is pronounced as i, as, ܝܻܠܷܦ‎ ileph he learned; (4.) that Ngae followed by He has the sound of ܐܷ‎, as, ܠܷܗܲܕ‎ ehadh he remembered; and (5.) that the aspirated sibilant Schin has no peculiar point by which it may be distinguished from the simple sibilant Sin.

The numbers are expressed by the same letters as in Hebrew, excepting that ܝܗ‎ denotes 15, ܩ‎ 20, and ܢ‎ 50. A point above the line is used to convert the tens into hundreds, as ܝܿ‎ 100, ܟܿ‎ 200, ܠܿ‎ 300, &c., although the four first hundreds may be expressed also by the four last letters of the alphabet. An oblique line, slanting to the right, under the first nine letters, serves to denote thousands, as ܐ݈‎ ‎1000, ܒ݈‎ 2000; and a similar line, but transverse, designates the tens of thousands, as ܐ̱‎ 10,000, ‎ܒ̱‎ 20,000.

The vowels are five in number, which are represented either by figures or by points, according as the ancient or modern system is followed, but very frequently both are met with together. The simple vowels are--

A E I O U ‎ ‏ܐܰ‎ ‏ܐܷ‎ ‏ܐܻ‎ ‏ܐܳ‎ ‏ܐܘܶ‎

and both figures and points are joined with consonants in the following manner:--

Petocho ‏ܒܰ‎ or ‏ܒܲ‎ ba.

Rebhozo ‏ܒܷ‎ or ‏ܒܸ‎ or ‏ܒֽܸ‎ be.

Chebhozo ‏ܒܻ‎ or ‏ܒܹ‎ bi.

Zekopho ‏ܒܳ‎ or ‏ܒܵ‎ bo.

Ozozo ‏ܒܘܽ‎ or ‏ܒܘܿ‎ or ‏ܒܘܼ‎ bu.

Formerly the marks for the vowels E and I were only written below the line, as ‏ܒܷ‎ be and ‏ܒܻ‎ bi; and the vowels A, O, and U, were only written above, as ‏ܒܰ‎ ba, ‏ܒܳ‎ bo, ‏ܒܽ‎ bu; but now they are placed sometimes above and sometimes below, as may be most convenient in writing. The points never change their places.

Zekopho does not give precisely the sound of o, but an obscure sound between o and a, as we find in 1 Cor. xvi. 22. ‏ܡܓܳܪܰܢ ‎ܐܳܬܐ‎ Maran-atha, and in Mark xiv. 36. ‏ܐܰܒܳܐ‎ Abba.

Ozozo is never written without Vau (‏ܘ‎), except in ‏ܒܽܠ‎ all, and ‎‎‏ܡܷܓܛܾܠ‎ because of.

When the point Ozozo is above the line, it denotes Kibbutz; but when below the line, Shurek.

The diphthongs are formed by the combination of the vowels with the points, of which these are the most used, ‏ܓܰܘ‎ au, ‏ܓܰܝ‎ ai, ‎‏ܓܳܝ‎ oi, ‎‏‎ܘܳ‎ ou.

The vowel marks are not always annexed to the letters to which they belong, but sometimes to the preceding or subsequent letter, and sometimes omitted altogether, so that grammatical analogy must always be attended to by the reader, as, for example, in the word ‏ܒܰܢܝܓܳ‎ of a son, the point ‏ܒܰ‎ does not belong to the ‏ܒ‎ over which it is placed, but to the ‎‏ܢ‎ following.

Three letters (‏ܐ ܘ ܝ‎) become quiescent under certain circumstances. Olaph, with the vowels Petocho, Rebhozo, and Zekopho in the middle and at the end of a word; with Chebhozo only at the end. Vau always with Ozozo, and in foreign names also with Zekopho. Lastly, Jud with Rebhozo and Chebhozo.

Olaph never allows of sheva before it, but brings its own vowel into its place, and in that case becomes quiescent.

The vowels are doubtful as respects their quantity, and at one time are short, and at another long; the difference is to be traced from analogy.

There are also two points, called Kuschoï and Ruchoch, used for showing the peculiar power of certain letters, and generally distinguished in manuscripts by a difference in the colour of the ink. Kuschoï is a point placed above the six letters ‏ܒ݁ ܓ݁ ܕ݁ ܟ݁ ‎ܦ݁ ܬ݁‎ begadcephat. It answers to the dagesh in Hebrew, and takes away the aspiration properly belonging to those letters; thus ‏ܒ݁‎ is equivalent to b, ‏ܓ݁‎ to g, ‎‏ܕ݁‎ to d, ‏ܟ݁‎ to k, ‎‏ܦ݁‎ to p, ‏ܬ݁‎ to t, also to bb, gg, dd, kk, pp, tt. Ruchoch is a point placed below the six letters ‏ܒ݂ ܓ݂ ܕ݂ ܟ݂ ܦ݂ ܬ݂‎ begadcephat; it shows that the letters are to be aspirated, and answers to the Hebrew raphe; thus ‏ܒ݂‎ is equivalent to bh, ‏ܓ݂‎ to gh, ‏ܕ݂‎ to dh, ‏ܟ݂‎ to the Greek χ, ‏ܦ݂‎ to φ, ‏ܬ݂‎ to θ. These points are rarely expressed, unless where there is an ambiguity to be explained.

Besides those before spoken of, certain lines or points are also employed, having a use partly in orthography, and partly in etymology. To orthography belong--

1. A small transverse line written above combined numbers, or contracted words, as ‏ܝ̅ܗ‎ 15, ‏ܬܫܟ̅ܘ‎ for ‏ܬܫܟܘܽܝܛܐܵ‎ praise.

2. A similar small line, called virgula occultans, under certain letters, which, when indicated thus, are of no value, and to be passed over in reading, so as scarcely to be heard in pronunciation. Thus ‏ܩܳܪܐ ܐ̱ܙܵܐ‎ is not pronounced kore ano, but koreno; and ‎‏ܐܳܡܪ ܐ̱ܙܵܐ‎ not omar ano, but omarno. Olaph, Dolath, He, Lomad, Nun, and Risch, are the letters most subject to its influence.

3. A diacritical point, changed in its situation in order to avoid an ambiguity in reading. The following may be taken as cases of this sort:--

‎‏ܒܝܿܫܐ‎ בַיְשָׁא‎ miserable. ‏ܒܝܼܫܐ‎ בִישָׁא‎ evil.

‎‏ܒܿܟܝܐ‎ בָכְּיָּא‎ weeping (part.). ‏ܒܼܟܝܐ‎ בֶכְיָא‎ weeping (subs.).

‎‏ܕܟܙܿܐ‎ דְיָנָא‎ a judge. ‏ܕܟܙܼܐ‎ דִינָא‎ judgment.

The following belong to etymology:--

1. Two points are used to distinguish the numbers of nouns, because there is often no variation of case or of termination, or mutation of letters, to distinguish the singular from the plural. These two points are called Ribbui, multitude, and are placed over the letter, similarly to the Hebrew tzeri, in this manner ‏ܒ̈‎. But if Risch (‏ܪ‎), which always has a point above it, to distinguish it from the Dolath (‏ܕ‎), should occur in the word, then the single point of Risch coalesces with the double point thus, ‏ܩܲܩܪ̈ܐ‎. In the verbs, the double point indicates the feminine third person plural of the preterites.

2. A point is placed beneath the line in all the persons of the preterite (excepting the first person singular, where it is placed above), and besides this, the third person singular has another at the left side.

3. The present active participle has a point above the line, but when Vau is in the middle of the word, the point is placed below.

4. The infinitive and imperative often have a point placed beneath them, but this is not regular.

5. The second and third persons of the future have a point below the line, but the first person has the point above.

6. The imperatives of all the passives require the virgula under the second vowel.

There are no accents expressed in Syriac. The stress in pronunciation ought to be laid on the last or penultimate syllables; and in this respect the analogy of the Chaldee is to be attended to.

In the derivation of words from the Hebrew, letters may frequently undergo mutation with others of the same class, or of the same organ, and also sibilants with linguals.

The servile letters are eleven in number, as in Hebrew, and are the same, saving that Dolath is servile, and on the other hand Schin is radical.

The preceding observations are extracted from Gaspar Waser’s Grammatica Syra, Leyden, 1619, and from Jacob Alting’s Synopsis Institutionum Chaldæarum et Syrarum, Frankfort-on-the-Main, 1717.

Syriac in the British Founderies.

Double Pica. V. & J. Figgins; cut under the direction and partly at the expense of the late Claudius Buchanan.

English. Caslon; cut for Walton’s Polyglot, 1657. V. & J. Figgins; cut under the same circumstances as the Double Pica. Oxford.

Long Primer. Caslon. Fry, to Thorowgood and Besley. V. & J. Figgins; cut under the same circumstances as the Double Pica.

Brevier. V. & J. Figgins; cut under the same circumstances as the Double Pica.

Nonpareil. Fry, to Thorowgood and Besley; cut for Bagster’s Polyglot.

T.

TABLE WORK.

Figure work, &c., composed with column rules, consisting of five columns or more. It is paid double the price of common matter at case.

TABULAR.

Figure work, &c., composed with column rules, consisting of three or four columns. It is paid one and a half the price of common matter.

TAIL PIECES.

Ornaments placed in a short page to fill up the vacancy. The same observations apply to Tail Pieces as to HEAD PIECES, which see; as also FAC.

TAKE INK.

Dabbing a ball upon the ink block for it to receive a small quantity of ink to distribute on the two balls.--M. It is equally termed Taking Ink when rollers are used.

TAKING DOWN.

Taking the sheets from the poles with a peel when they are dry.

TAKE-OFF. See ANCIENT CUSTOMS; also FLY. Boys are employed in machine printing to take away the sheets as they are printed, and to lay them straight and even; this is also styled Taking-off, and the boys taking-off boys.

TAKE UP.

To take letters up with a composing rule to distribute.--M. When a compositor is distributing, he places his composing rule against the head of the matter he means to take up, and putting the sides of his two third fingers, near the ends, to the ends of the rule, and the sides of his fingers against the sides of the matter, with his fore fingers at the extreme end, round the corners of the matter he intends to take up, and the ends of his thumbs against the back of the rule, he thus grasps it, and then generally tries if it will lift, when by a sudden lifting of the bottom end of the matter, and turning up of the rule with his thumbs, he raises it from the board to a perpendicular direction, resting on the rule; and turning it with the face of the letter to him, with one part of the rule resting on the third finger of his left hand, and the other end against the ball of his thumb, while the sides of the matter are guarded by his thumb and forefinger, when the measure is not too wide, he begins to distribute.

In like manner he takes up matter to move from one galley to another, when he is making up; except that he places his rule against the foot of the matter, and when he grasps it he does not raise it perpendicularly, but lifts it to him under his hands, his forefinger being against the rule, and his thumbs grasping the head of the matter.

A stranger to the business would be surprised to see the number of lines of types that an expert compositor will lift in this manner.

TAKE UP A SHEET. See ANCIENT CUSTOMS.--M. It appears that in Moxon’s time the compositor had a copy of each work he was engaged on, or received what was termed copy money in lieu of it. This custom is abolished; and no workman is permitted to take a copy of any thing that is printed in the house as a matter of right.

TAKING COPY.

A compositor receiving copy from the overseer, or other person who has the charge of it, to compose; if in a companionship, the clicker receives it, and gives it out to the companions.

TAKING OFF.

Part of a page taken up to distribute.--M. Obsolete.

TALEEK. See PERSIAN.

TAMUL.

THE TAMUL ALPHABET.

+-------------+---+----+----+----+----+----+---+----+----+----+----+----+ | | a | ā | i | ī | u | ū | e | ē | ei | o | ō | ou | +-------------+---+----+----+----+----+----+---+----+----+----+----+----+ | |அ | ஆ | இ | ஈ | உ | ஊ | எ | ஏ | ஐ | ஒ | ஓ | ஔ| +-------------+---+----+----+----+----+----+---+----+----+----+----+----+ |ka | க | கா | கி | கீ | கு | கூ |கெ |கே | கை |கொ | கோ|கௌ| |nga | ங | | | | | | | | | | | | |cha | ச | | | | சு | சூ | | | | | | | |nya | ஞ | | | |[#] |[#] | | | | | | | |Cerebral ḍa | ட | | டி | டீ | டு | டூ | | | | | | | |Cerebral ṇa | ண|ணா |ணி | ணீ |ணு |ணூ | | |ணெஇ|ணொ|ணோ| | |ta | த | தா | | | | | | | | | | | |na | ந | | | | | | | | | | | | |pa | ப | | | | பு | பூ | | | | | | | |ma | ம | | | | மு | மூ | | | | | | | |ya | ய | | | | யு | யூ | | | | | | | |ra | ர | | | | ரு | ரூ | | | | | | | |la | ல | | | | லு | லூ | | |லை | | | | |va | வ | | | | வு | வூ | | | | | | | |Cerebral ṛa | ழ | | | | ழு | ழூ | | | | | | | |Cerebral ḷa | ள | | | | ளு | ளூ| | |ளை | | | | |Cerebral rra | ற | றா | | | று | றூ | | | |றொ |றோ | | |na | ன |னா | | | னு | னூ| | |னை |னொ|னோ | | +-------------+---+----+----+----+----+----+---+----+----+----+----+----+

க--As a medial, this letter has, when single, the sound of gh; when double, of kk. As an initial also it represents gh in certain words derived from the Sanscrit.

ச--This letter has, when single, the sound of s, sh, and the French g in âge; when double, it has the sound of ch. In words of Sanscrit origin, it represents the ja and cha of the Sanscrit alphabet.

த--This letter, when combined with [#], has the sound of the French n in Ange.

ட--This letter has, when single, the sound of d; when double, of tt, with a strong cerebral articulation.

த--As a medial, this letter has, when single, the sound of d; when double of tt. As an initial, also, it represents d in certain words of Sanscrit origin.

ந--This is the initial n. It is medial only before த.

ப--As a medial, this letter has, when single, the sound of b; when double, of pp. And in certain words of Sanscrit origin it has, as an initial also, the sound of b.

ழ--This letter is articulated somewhat like the hard ṛ of the Hindustani alphabet. It may be said to possess generally as a medial, the sound of r, and as a final, that of l, with a cerebral articulation.

ற--This letter has, when single, the sound of rr; and, when double, the sound of a double tt.

The word “soul,” is used metaphorically in Tamul for a vowel; the word “body,” for a consonant; and the compound word “soul and body,” for a syllable. In the same metaphorical language, a consonant is termed “a dead letter.”

It will be seen, in the foregoing scheme, that when the short vowel a is employed to give utterance, or (to adopt the metaphor of the Tamul grammarians) animation to the consonants, no additional character is required; it being considered to be inherent in each consonant, as essential to its original articulation. The removal of this originally inherent vowel is usually denoted by a dot or a small circle placed over the consonant, as ன் (n), ர் (r).

In the elegant dialect, a character written thus ஃ, and termed āyadam, is used in addition to the ordinary letters of the alphabet. It is not, strictly speaking, either a vowel or a consonant; but it has the power of a consonant; it is pronounced gutturally, and it lengthens the preceding syllable if short by nature: as இஃது (ighdu) “this,” instead of இது (idu).

இ before the cerebrals, viz. ட, ண, ழ, ள, ற, has an obscure sound, best expressed by a short u, and may be considered as nearly lost.

ஈ before the cerebrals, possesses nearly the sound of long u, though a practised ear distinguishes a peculiarity in its utterance.

In Tamul, a measure of time, termed māttirei, which is described as occupying the period of the twinkling of an eye, or the snap of a finger, is assigned to the letters in the manner following; viz. to a consonant is assigned half a measure; to a short vowel, one measure; and to a long vowel, two measures.

The character [#] is the consonant s of the Grandonic alphabet.

Cardinal Numbers.

Figures.

௧ 1 ௨ 2 ௩ 3 ௪ 4 ௫ 5 ௬ 6 ௭ 7 ௮ 8 ௯ 9 ௰ 10 ௰௧ 11 ௰௨ 12 ௰௩ 13 ௰௪ 14 ௰௫ 15 ௰௬ 16 ௰௭ 17 ௰௮ 18 ௰௯ 19 ௨௰ 20 ௨௰௧ 21 ௨௰௨ 22 ௨௰௩ 23 ௨௰௪ 24 ௨௰௫ 25 ௨௰௬ 26 ௨௰௭ 27 ௨௰௮ 28 ௨௰௯ 29 ௩௰ 30 ௩௰௧ 31, &c. ௪௰ 40 ௫௰ 50 ௬௰ 60 ௭௰ 70 ௮௰ 80 ௯௰ 90 ௱ 100 ௱௧ 101, &c. ௨௱ 200 ௩௱ 300 ௯௱ 900 ௲ or [#] 1,000 ௲௧ or [#] 1,001, &c. ௲௱ or [#] 1,100, &c. ௨௲ 2,000 ௰௲ 10,000 ௨௰௲ 20,000 ௱௲ 1,00,000 ௨௱௲ 2,00,000 ௨௱௱௲ 20,00,000 ௱௱௲ 100,00,000, or 10,000,000

It will be observed that, in many instances, the letters of the alphabet are employed, as in Greek and Latin, to express numerical value.

From “Rudiments of Tamŭl Grammar.” By Robert Anderson, Assistant Professor of Oriental Languages at the East India Company’s College. 4to. 1821.

Tamul in British Founderies.

English. Fry; to Thorowgood and Besley; for the College of Madras. Oxford.

Pica. Fry; to Thorowgood and Besley.

TAYLOR AND MARTINEAU’S PRESS.

This is an iron press, the frame of which forms two upright cheeks and the head. The power is not obtained by a screw, but by a cylinder with a knee-joint in the middle, which is bent when not pulling; this allows the platen to rise from the form, which is accomplished by a weight behind, that counter-balances the platen. The pull is effected by a bar, in the usual manner, that brings the knee-joint straight, depresses the platen, and produces the impression. The power is regulated by a screw through the head, that acts upon the cylinder.

TEASE WOOL, or HAIR.

Teasing the hard and almost matted knots in the wool, or hair, with which the balls are stuffed.--M. Wool only is now used for stuffing balls, which is combed with strong wool combs, previous to knocking up balls. It appears by this extract, that hair was used for this purpose as well as wool in the seventeenth century.

TESTAMENT.

For the allowance of the duty on paper used in the printing of Testaments, see PAPER.

THEFT.

For the penalty for printing advertisements with “_No Questions Asked_,” see STOLEN PROPERTY.

THICK SPACE.

A space, three of which are equal to the body of the letter to which it belongs; it is the thickest space that is cast, the next in thickness being the en quadrat.

THIN SPACE

ought, by a strict orderly and methodical measure, to be made of the thickness of the seventh part of the body, though Founders make them indifferently thicker or thinner.--M. Six thin spaces are now equal to the body.

THIRTY-SIXMO.

A sheet of paper folded into thirty-six leaves, seventy-two pages, is termed thirty-sixmo.

THIRTY-TWOMO.

A sheet of paper folded into thirty-two leaves, sixty-four pages, is termed thirty-twomo.

THROW.

Both compositors and pressmen, when they gamble in the office, or take a chance for any advantage arising in work, generally throw for it; that is, they take nine em quadrats, usually English, and, shaking them well together in the hollow of both their hands, throw them upon the imposing stone, or press stone, and he who throws most nicks upward in three times is the winner. They choose quadrats with three deep nicks in each, when such a fount is in the office, as being most easily distinguished.

THUMB PIECE. See EAR OF THE FRISKET.

TIGHTENING THE QUOINS.

This is necessary, particularly in summer time, as also with forms that are placed contiguous to the fire in winter, to prevent the matter from falling out. Examining the forms occasionally that have been some time in chase should not be neglected; for if they have been imposed when the furniture was wet, the matter is very likely to fall out, from the gutters and other pieces shrinking. The quoins are generally tightened with an old cross bar, with the fire poker, or the claw end of a sheep’s foot, as being heavier and more efficacious than a piece of light furniture; but the best method, after securing them in this manner, is to lay them upon the imposing stone, plane them down, and then lock them up afresh in a regular manner. See FALLING OUT.

TILL, or SHELF.

A mahogany shelf, in wooden presses, divided in two longitudinally, that clasps the hose, and causes it and the spindle to come down perpendicularly without any play. It is dovetailed at both ends, and fits into the cheeks, with block wedges underneath to keep it up in its situation; the dovetails also keep the cheeks together, and answer the same purpose that the summer formerly did. The opening that the hose works in is lined with brass, and is made to fit it accurately.

TITHES COMMUTATION.

6 & 7 Will. 4. c. 71. “An Act for the Commutation of Tithes in England and Wales.”

s. 91. “And be it enacted, That no Advertisement inserted by Direction of the Commissioners or any Assistant Commissioner, or by any Tithe Owner or Land Owner, in the London Gazette, or in any Newspaper, for the Purpose of carrying into effect any Provision of this Act, and no Agreement, Award, or Power of Attorney made or confirmed or used under this Act, shall be chargeable with any Stamp Duty.”

TOE OF THE SPINDLE.

The very bottom of the spindle.--M. It is of hardened steel, and works in the platen stud.

TOKEN.

Ten quires of paper.--M. It is now ten quires eighteen sheets, or half a ream of perfect paper, and contains 258 sheets. All paper for book work is given out in tokens to wet, the quires in each token are placed the same way, and the tokens arranged one upon the other, back and fore edge, for the person who has to wet the paper to take away. It has become a practice in many houses, for the warehouseman to give out the paper in tokens alternately of ten quires and a half and eleven quires; this in my opinion should never be done, for I have known many serious mistakes arise from it; for instance, in a book that is a long number, a pressman who is working a sheet, will borrow a token of paper from another sheet, or three or five, or more, on account of being in better condition, or for some other cause; he takes the tokens indiscriminately as they arise, and they are replaced in the same manner; and not unfrequently ten quires and a half are returned for eleven quires borrowed; the consequence is, that one signature has an overplus number and the other is deficient, and has to be reprinted at the expense of the master printer: these mistakes would not occur if the paper were given out in regular tokens of ten quires eighteen sheets.

TOKEN SHEET.

In wetting paper the last sheet of each token is doubled down, so that the corner projects, when there is a pile of paper wetted; this projecting sheet marks the division of the pile into tokens, and is styled the token sheet.

TOPS.

In piling the printed sheets of a work away, after they have been dried and taken from the poles, the warehouseman takes a few sheets of each signature, and lays them at the top of the pile; these are called Tops, and enable him, with little trouble, to deliver a copy as far as it is printed, when required, which frequently occurs in the progress of a work, without having to take down all the piles.

TOWNS, ANCIENT NAMES OF. See NAMES.

TRAFALGAR.

The name of a type, the next size larger than Two Line Double Pica, and smaller than Canon. It is a size that has been introduced of late years.

TRANSPOSE.

In imposing, to place the pages in a wrong order, when it is said the pages are transposed: in composing, if letters, or words, or lines, do not follow in their proper order, they are said to be transposed.--M. We use the word also when we correct the arrangement, and put the pages or the matter in their proper order, by saying we have transposed the pages, the words, or the lines.

TRANSPOSITION OF PAGES.

Many sizes, after the white paper in a half sheet has been worked off, require some of the pages to be transposed, before the reiteration is worked; for those sizes, see IMPOSING.

TREADING PELT.

Trampling on the pelt, to make it soft and pliable, after it has been soaked in the pelt pot, and to get rid of the superfluous moisture, previous to knocking-up. This is usually done when the pressmen are at work, and by him who is beating.

This is an inconvenient process when a man is working at half press; but it may be dispensed with; for a pelt well curried will answer equally well: it appears as if treading was the ancient practice, before the currying iron was introduced.

TURN FOR A LETTER.

It often happens that when matter runs upon sorts, especially in capitals, or some other sorts seldom used, that the compositor wants that sort the matter runs on; wherefore he is loth to distribute letter for that sort; or perhaps his case is otherwise full. Wherefore, instead of that letter or sort, he turns a letter of the same thickness, with the foot of the shank upwards, and the face downwards; which turned letter being easy to be seen, he afterwards, when he can accommodate himself with the right sort, takes out, and puts the right letter in its room. It is also a word used jocosely in the chapel, when any of the workmen complain of want of money, or any thing else, it shall by another workman be answered, Turn for it; viz. Make shift for it.--M.

TWENTY-FOURMO.

A sheet of paper folded into twenty-four leaves, forty-eight pages, is termed twenty-fourmo.

TWENTYMO.

A sheet of paper folded into twenty leaves, forty pages, is termed twentymo.

TWO LINE DOUBLE PICA.

The name of a type equal to four Small Picas, or to two Double Picas; the next size larger than Two Line Great Primer, and smaller than Trafalgar. It is not enumerated by Moxon in his list. See TYPES.

TWO LINE ENGLISH.

The name of a type, the next size larger than Two Line Pica, and smaller than Two Line Great Primer. It is equal to two English bodies. See TYPES.

TWO LINE GREAT PRIMER.

The name of a type, the next size larger than Two Line English, and smaller than Two Line Double Pica. It is not enumerated in Moxon’s list of the sizes of types. See TYPES.

TWO LINE LETTERS.

Capitals that are equal to two bodies of any specific sized type. There are Two Line Pearl, Two Line Nonpareil, &c., increasing regularly to a Two Line Great Primer. They are used for lines in titles and jobs, being so cast that the face covers the whole of the square of the shank: they do not take so much room in depth as the regular capitals of the same sized face, and are more convenient where the matter is crowded; the face of the letter having also a stronger stem, gives an additional variety in the effect. See FULL-FACED LETTER.

TWO LINE PICA.

The name of a type, equal to two Picas; the next size larger than Double Pica, and smaller than Two Line English. Moxon does not enumerate this size in his list. See TYPES.

TYMPAN.

A frame covered with parchment, on which the sheet of paper to be printed is placed. This is the outer tympan; the inner tympan fits into it, and between the parchments of the two the blankets are placed, all which being run in receive the pressure of the platen, which produces the impression on the paper.

Mr. T. C. Hansard took out a patent, for “Improvements on, and Additions to, Printing Presses, and various Processes relative to Printing;” in his description of them he says,--“My first Improvement is the Dividing-Tympans, which are capable of being added to any Printing Press, for the purpose of printing double-sized sheets of paper, and then dividing or cutting such double-sized paper to the ordinary size of single sheets of paper. These Tympans consist of, first, the outer Tympan, of dimensions according to the size of the Press or Work required: the additions to which are, a plate of Iron, Steel, Brass, or other sufficient substance, about seven eighths of an inch in width; the back side of which is level, but the front side is raised in the middle, the centre part being about one fourth of an inch in thickness, and the two sides about one eighth of an inch only; along the middle or thicker part are cuts or openings, for the purpose of admitting the knife hereinafter described, leaving small parts of the plate uncut. On each side of the same, along the centre of the thinner part, is a row of small holes, at about half inch distances. This plate is fixed across the middle of the outer Tympan, to each side, being countersunk into the same.--2ndly. The inner Tympans are formed of two parts, having each part three sides, and moving on pivots attached to the outer Tympan; these inner Tympans, when shut down, are fastened in the common manner by hooks and eyes or buttons, each part when opened to adjust the blankets will incline back on the pivots. These Tympans I cover with black Linen of the most fine and even texture, rolled and hot calendered: taking a sufficient length in one piece to cover the one half of both Tympans, then folding it in the middle, and laying each fold along the side-rebate of the Plate over the holes, I then firmly attach it thereto by strong sewing through the holes; I then turn one part of the fold of the linen over the outer, and the other part over the inner Tympans, and sew, or otherwise fasten, the same around the iron work, or sides and ends of the Tympans, in the closest and neatest manner, letting the hooks, eyes, or buttons, and pivots, through the linen, and keeping clear the openings for the point screws by carrying the linen on the inside, in the same manner as in putting on common parchment; the same operation then takes place for the other half of the Tympans. I then take pieces of Velvet, Velveteen, or other uniform soft substance, which I attach, with the pile or softest side outwards, to the linen already described as being fastened to the Tympans, by sewing or pasting it to the outside of the outer Tympan, to receive the Tympan-sheet, and by this means to give a beautiful and regular impression of the Type: which mode of covering Tympans I also apply to common Presses.

“The Divider or Knife is made of a plate of Iron or Steel, about three-fourths of an inch wide, turned down at a right angle on one side, about one-fourth of an inch in width, and in length sufficient for the width of the sheet of paper intended to be cut, and this must be fixed so as to be exactly corresponding to the openings in the Plate before described; the part so turned down is cut into angular teeth, about a quarter of an inch from point to point, each tooth having two chisel-like edges, formed by being filed and dressed on the outside of the part so turned down; on the inside of the angle the teeth are to be finished all along fair and smooth. One or more of the teeth are then to be filed out at intervals, corresponding with the parts of the Plate left uncut. The Pivots or Joints of the Tympans and Frisket being accurately adjusted, the Knife is then fixed to the Frisket (at each end by screw or other connection) so that when the Frisket is turned down on the Tympans the Knife shall freely enter the Plate at the openings before described. The Plate and Knife now occupying the usual place of Point Screws and Points, those necessary articles are removed to the centre of each half of the Tympans above and below the Plate. If wished, the positions of the Plate and Knife may be reversed, by fixing the Plate to the Frisket, and Knife to the Tympan, or a Plate both on Frisket and Tympan, and Knife to the Forme, or Table of the Press, but not with equal certainty of operation. All these parts being properly adjusted, the mode of application is as follows:--For making ready a Forme or Sheet, the Tympan-sheet is drawn on the Tympan, as in the ordinary mode, and the Frisket pasted and cut out; but for working the first side of the Paper, the Knife must be displaced (or, which is sometimes preferable, two Friskets used, to be exchanged, one having the Knife, and one without). The whole of the paper being worked on one side without the Knife, the Knife is then replaced, or the Friskets exchanged, and the Reiteration proceeded with; the sheet will then be divided exactly along the centre, excepting at the parts where the portions of the Plate have been left uncut, and the teeth filed out of the Knife, as before described; which uncut parts answer the important purpose of keeping the double-sheet adhering as one, for the Pressman who may be pulling, to draw it off the Tympans over to the Bank, where it is finally parted by the other man who is beating, while looking over his heap, when six or seven sheets are accumulated, by means of a gentle pressure with each hand at each end of the heap. The white paper, or first side, is worked with four points, placed opposite to each other in the middle fold of each half of the double sheet, but for the Reiteration the two lower points are taken off, and the sheet kept in register by the two upper ones only. For cutting the sheet into more parts than two, I extend the same principle by placing knives and plates in various positions, or at right angles with each other.”

TYMPAN CLOTH.

A fine and even linen cloth, about an inch or two larger on every side than the paper worked on: this cloth is wetted, and the water wrung out again, so that it remains only moist: it is laid on the tympan instead of a tympan sheet, the under sides of the corners pasted to the tympan, and worked upon as a tympan sheet for the reiteration. It is used to save paper, and it is repeatedly washed to clear it of the ink that sets off on it.--M. It is not used now, but set-off sheets are substituted for it.

TYMPAN HOOKS.

Small hooks fixed on the upper side of the outer tympan, which assist in keeping the inner tympan in its place.

There are four of them, two on the off side and two on the near side, screwed to the tympan, but not so tight as to prevent them turning round on the screws as centres; there are four eyes screwed on the inner tympan, opposite to them, and the hooks turn into these eyes and draw the sides of the tympans together, and assist in tightening the parchment of the inner tympan, and prevent its moving. In iron presses, instead of eyes, buttons are used on the inner tympan, and the hooks turn round them under the heads, and produce the same effect.

TYMPAN JOINTS.

The joints by which the outer tympan is attached to the carriage, on which it works. They are riveted to the bottom end of the tympan by one of the sides, and the other side has an upright notch cut in it: at the back of the hind part of the coffin are fixed two projecting screws, at the same distance from each other as the notches in the joints; these screws have a square plate or washer on each of them, and a flat-headed female screw; the tympan joints are slipped over these screws by the notches, so that they bestride each screw, and are confined by the female screw and washer. The tympan can thus be adjusted to any height, by loosening the screws and sliding the joints up or down. The pin that connects the two parts of the joints is stout, and made to slip out when necessary. These joints should be particularly well made, and have no play; if they have, it will cause maculing and doubles in the work.

TYMPAN SHEET.

A sheet of paper pasted on the tympan at the corners, as a standing mark to lay all the other sheets exactly even upon, while the white paper is working.--M. It is now also used for the reiteration. When a pressman has laid a form on the press stone, and fixed it in its situation, he takes a sheet of its own paper, or a sheet of some other paper of the same size, and folds it exactly, so that the folds shall be his guide for laying it on the form; he then lays a sheet of waste paper on the form to preserve his tympan sheet clean, and places it truly on the form over the other, by means of the folds falling on the middle of the crosses and feeling the types through it with his fingers, so that the margin at both sides of the sheet shall be precisely equal, as also at both ends; he wets his tympan slightly, to take out the indentions made by the types of a preceding form, and generally rubs a very small quantity of paste on the parchment, being careful that there are no lumps; he then turns the tympan down upon the form, runs in the carriage, and gives it a slight pull, to cause it to adhere to the tympan; he then pastes the four corners down, but tears off a piece of the near bottom corner, to prevent him catching hold of it, in the quick taking the printed sheet off the tympan, when working.

TYPES.

The letters, marks, and signs, cast in metal, the larger sizes of wood, with which printing is executed.

The forms and proportions of types in the Roman character have undergone every change that the most capricious fancy could suggest. We have types of beautiful shapes and symmetrical proportions, but our type founders have diverged, for the sake of variety, gradually to a fatter face till the lines have become so thick that the letter has hardly any white in its interior, and when printed is nearly all black, with the outline only to guide us in knowing what it is; and on the contrary they have gradually gone to the other extreme, and produced what are called skeleton letters, which are formed of a fine uniform line; we have antique, the line being also of uniform thickness, but strong and heavy; we have letters with the strong lines and the fine lines reversed; we have tall narrow letters, and we have letters which look as if they had been pressed down, till they were considerably broader than they were high; we have letters drawn in perspective, with their edges towards us, as if they were marching away; and as for Italic, we have it now inclining to the left as well as to the right. The Modern Gothic or Black letter has not escaped this rage for change and variety, and we have forms introduced into it which would have puzzled our ancestors to know what they were meant for when the Modern Gothic was the standard character.

These changes and varieties have not been introduced as improvements either in the forms or proportions of the letters, but to produce variety and what is styled effect.

The scale of sizes of the respective types can only be looked at and received as an approximation to truth, as the letter founders themselves acknowledge; in fact there is no precise standard, for they cast according to the orders they receive from their customers: the following scale is a proof of this; Mr. Hansard, in his Typographia, gives the number of lines of each size in a foot as cast in the foundery of Messrs. Caslon and Livermore, which does not agree with the one I now give, which was supplied to me by Mr. Livermore in 1839, at my request, avowedly to publish, each fount having been measured to insure correctness; it was submitted to Mr. Caslon personally in August 1841, before printing, and revised, so that every precaution has been taken to prevent a mistake. The scale of the foundery of Messrs. V. and J. Figgins, as also that of Messrs. Thorowgood and Besley, were kindly furnished me by the respective houses. I have also given Moxon’s scale of sizes, which is the oldest that has been published, and which will show the variations in the depth of body which types have undergone. He prefaces it by saying, “And that the reader may the better understand the sizes of these several Bodies, I shall give him this Table following; wherein is set down the number of each Body that is contained in one Foot”--See NICKS.

Number of lines of the different sized types contained in one foot.

+---------------------+------+-------+---------+-----------+-----------+ | |Moxon,|Caslon,|V. and J.|Thorowgood |Alexander | | |1683. |1841. |Figgins, |and Besley,|Wilson and | | | | |1841. |1841. |Sons, 1841.| +---------------------+------+-------+---------+-----------+-----------+ |Diamond | | 204 | 205 | 210 | 204 | |Pearl | 184 | 178 | 180 | 184 | 178 | |Ruby | | 166 | 165 | 163 | 166 | |Nonpareil | 150 | 144 | 144 | 144 | 144 | |Emerald | | | 128 | | 128 | |Minion | | 122 | 122 | 122 | 122 | |Brevier | 112 | 111 | 107 | 112 | 111 | |Bourgeois | | 102 | 101½ | 103 | 102 | |Long Primer | 92 | 89 | 90 | 92 | 89 | |Small Pica | | 83 | 82 | 82 | 83 | |Pica | 75 | 72 | 72½ | 72 | 72 | |English | 66 | 64 | 64 | 64½ | 64 | |Great Primer | 50 | 51 | 51 | 52 | 51 | |Paragon | | 44½ | 44½ | | 44½ | |Double Pica | 38 | 41½ | 41½ | 41 | 41½ | |Two Line Pica | | 36 | 36 | 36 | 36 | |Two Line English | 33 | 32 | 32 | 32½ | 32 | |Two Line Great Primer| | 25½ | 25½ | 26 | 25½ | |Two Line Double Pica | | 20¾ | 20¾ | 20½ | 20¾ | |Trafalgar | | 20 | 20 | | 20 | |Canon | 17½ | 18 | 18 | 18 | 18 | +---------------------+------+-------+---------+-----------+-----------+

It thus appears that in 1683, the date of Moxon’s work, there were only ten sizes of types with specific names, while at the present time we have twenty-one; the following are our additional sizes--Diamond, Ruby, Emerald, Minion, Bourgeois, Small Pica, Paragon, Two Line Pica, Two Line Great Primer, Two Line Double Pica, and Trafalgar.

Canon is the largest size with a specific name; all above Canon are designated according to the number of Picas in the depth of the body; thus the next size larger is Five Line Pica, then Six Line Pica, and so on indefinitely. Twenty-four Line Pica is about the largest letter that is cast in metal, those above that size are generally cut in wood, as also any peculiar shaped letters. The German letter founders cast the face of letters in metal to a much larger size, and mount them on wood.

Minion used to be half an English; it has ceased to be so, and Emerald has taken its place, for English is now equal to two Emeralds: this latter is a size that was introduced about two years ago.

By an examination of the preceding table the relative proportions of the different sizes to each other will be ascertained; but to facilitate the reference they are here brought under one view.

Diamond = Half Bourgeois, also = ¼ Great Primer = ⅛ Two Line Great Primer.

Pearl = Half Long Primer, also = ¼ Paragon.

Ruby = Half Small Pica, also = ¼ Double Pica = ⅛ Two Line Double Pica.

Nonpareil = Half Pica.

Emerald = Half English.

Bourgeois = Half Great Primer, also = 2 Diamonds.

Long Primer = Half Paragon, also = 2 Pearls.

Small Pica = Half Double Pica, also = 2 Rubies.

Pica = 2 Nonpareils.

English = 2 Emeralds.

Great Primer = 2 Bourgeois, also = 4 Diamonds.

Paragon = 2 Long Primers, also = 4 Pearls.

Double Pica = 2 Small Picas, also = 4 Rubies.

Two Line Pica = 2 Picas, also = 4 Nonpareils.

Two Line English = 2 English, also = 4 Emeralds.

Two Line Great Primer = 2 Great Primers, also = 4 Bourgeois = 8 Diamonds.

Two Line Double Pica = 2 Double Picas, also = 4 Small Picas = 8 Rubies.

Canon = 2 Two Line Picas, also = 4 Picas = 8 Nonpareils.

It thus appears that Minion, Brevier, and Trafalgar, may be classed as irregular bodied letters, for they bear no specific regular proportion to any other size.

Minion was formerly half an English, but it has varied in the depth of its body from that proportion; some of the letter founders have introduced a new size between Minion and Nonpareil, and called it Emerald, and made this new type half an English; I think it would have been a preferable measure to have restored Minion to its original place.

This want of uniformity in the depth of body of the respective sizes is much to be regretted, as it causes serious inconvenience in a printing office, and might be avoided by the several letter founders agreeing among themselves and deciding what should be the standard for each size, and firmly refuse to cast a new fount to any other size, reserving the present variations for imperfections only, till the founts in use were worn out and discarded; we should thus gradually approach to uniformity; and whatever variations there might be in the face of the letter, still the quadrats and the spaces might be used to any fount of the same sized letter, without any risk of injuring the appearance of the work, and this would frequently be found of great advantage in poetry, figure work, and in light open matter.

This evil is not confined to England, but exists to a great extent in both France and Germany, and Fournier, an eminent letter founder who wrote on the subject, describes the evil, and explains the remedy which he invented and adopted, in his “Manuel Typographique,” published at Paris, in two volumes 12mo. 1764, of which the following is a translation.

“This article requires a particular explanation, because it is novel and obscure. I have placed it here in order to show the new proportions which I have given to the body of the characters, by the defined measures which I call Typographical Points.

“The last regulation of the Library, made in 1725, fixed the height to paper at ten and a half geometric lines. This rule is as easy to practise as it is to give; but such was not the case when it was desirable by this regulation to establish some rules in order to fix the strength of the body of the characters. At the time when this regulation was made, apparently no person was found competent to give correct ideas on that point, which was very important, as it would operate to correct abuse, and to give order and precision where there had never been any before. In default of proper information, a master printer gave as a rule the characters which he found in his own printing office, with all their imperfections. The law which was then obtained, not being founded on any principles, has consequently remained unexecuted, which is the reason why the characters have never had fixed and accurate sizes, and that this disorder still remains as great as it was formerly.

“In article lix. of this Regulation, it is given, as a fit body, that Petit-canon is equal to two Saint-Augustins; Gros-parangon is equal to a Cicero and a Petit-romain, &c., but the size that the Saint-Augustin, the Cicero, or the Petit-romain ought to have is not given, in order to make together the Petit-canon or Gros-parangon. Consequently this law can always be evaded, and it is evaded whenever any one wishes, without being liable to any penalty, because one person might make a body of Saint-Augustin more slender than another, and the Petit-canon might be cast to this double thickness, by which means the law would be fulfilled. Another person might make the body of Saint-Augustin more or less strong, and from two of these bodies he will cast a Petit-canon: here again the law is fulfilled, although in a spirit opposed to that of the Regulation. Thus confusion is perpetuated, until at length it gives one some trouble to make the distinction of the two bodies, of which the larger is weak and the smaller strong. It happens then that the characters of the same body vary more or less, and when two such are found in a printing office, the workmen mix the spaces and quadrats together, which spoils the founts.

“The Regulation has provided for this default, it will be said, when it ordains that there should be sent to the founders a certain number of letters of each body, in order that they might agree under pain of fine. But these letters which are thus proposed at hazard, and which are never given, would not have remedied the evil which it is wished to avoid. These pretended rules, instead of causing order and precision, on the contrary augment the confusion, by multiplying the parts without necessity. From thence it comes that the bodies of Petit-canon, Gros-parangon, Gros-romain, Cicero, Philosophie, Gaillarde, Mignone, are found, according to the Regulation, without double bodies, on which two-line letters can be made, of which nevertheless none of the bodies can do without. Here then are seven or eight bodies without names, useless for every other purpose, and with which the printing office is overloaded. Moreover, these combinations of the body of a Cicero and a Petit-romain to make a Gros-parangon, of a Petit-texte and Petit-romain to make a Gros-romain, of a Petit-texte and a Nonpareille to make a Saint-Augustin, truly proclaim little experience and capacity on the part of those who proposed them. The defect has been perceived, but no one has tried to find a remedy, and that because the printers, who are alone consulted in this affair, are not type founders sufficient to make proper experiments, and to give rules to a part of the trade which they do not exercise, and of which often they know only the name.

“This then is what engaged me to disentangle this chaos, and to give to these matters an order which they have never before had. I think I have had the happiness to succeed in it, with an exactness and precision which leaves nothing to be desired, by the invention of Typographical Points. It is nothing more than the division of the bodies of characters by equal and determinate degrees, which I call Points. By this means, the degrees of distance and the affinity of the bodies may be known exactly. They can be combined together in the same manner as numerical signs; and as two and two make four, add two, it will become six, double all this, you will have twelve, &c., in the like manner a Nonpareille, which is equal to six points, added to another Nonpareille will make together a Cicero, which has twelve points, add again a Nonpareille, you will have eighteen points or a Gros-romain, double all this, and it will make thirty-six points, or a Trismegiste, which has that number; and in like manner the others, as may be seen by a reference to the Table of Proportions which follows.

“In order to combine the bodies, it will be sufficient to know the number of Typographical Points of which they are composed. These points or given sizes should be invariable, so that they may serve as guides in the printing office, as the foot, inch, and line are used in geometry. For this purpose, I have fixed these points at the exact sizes they ought to have, in the scale which is at the head of the Table of Proportions; and that their exactness may be relied upon invariably, I have contrived an instrument which I call Prototype.

“The invention of these points is the first service which I rendered to printing, in 1737. Obliged then to commence a long, painful, and laborious career by the graving of all the punches necessary to form the establishment of my foundery, I found no rule established which could guide me in fixing the body of the characters which I had to make, and I was thus under the necessity of forming them for myself.

“The table exhibits at the top a fixed and definite scale, which I divide into two inches, the inches into twelve lines, and the line into six of these typographical points; the total is 144 points. The first small divisions are of two points, which is the exact distance which there is from a Petit-texte to a Petit-romain, or from that to a Cicero, &c. The scale contains in the whole twelve bodies of Cicero. It is necessary to measure by this gauge the number of points which I assign to each of the bodies. These measures, taken truly for each body separately, and verified on the Prototype, will form altogether a general correspondence for all the bodies of characters.”

“Of Height to Paper. The height of the characters called height to paper, that is to say, from the foot to the face which leaves its impression on the paper, is fixed by regulations of the book trade, and noted down by them, on the 28th February 1723, at ten and a half geometric lines. This law was established for rendering all the French characters conformable in their parts, in order that, passing from one printing office to another, by the death of the proprietor or otherwise, there might be no disparity among them. This law, however, though wise and good, is but partially executed, many printers having adhered to the height of the characters which they found already in their offices. Some countries, as Flanders, the Lyonnois, and others, which have the characters much higher by the ordonnance of the Porte, have preserved them thus, so that from these causes we see the characters varying from ten and a quarter to eleven lines and a half high. Those who have preserved them in this last way are among the dupes, because the characters which are according to the ordonnance cost a hundred pistoles, while those that have more metal in them are worth eleven hundred francs, because being one eleventh higher are one eleventh heavier.

“The officers of the chambres syndicals have neglected this part of the regulation; thus nothing is more common than to see in every printing office, the characters some a little too high and some a little too low. This makes it necessary to put the highest upon the tympans of the press within the places where the lines are too low. Sometimes many folds of paper are put under these low types upon the stone of the press, in order to raise the low parts up to the level of the high ones. This confusion does not originate with the founder, who is obliged to conform to the will of those for whom he works. Three parts of the French printers, at least, have their printing offices regulated according to the measure of ten lines and a half; and though there may be little inequalities which leave some of the characters a little too high and some a little too low, yet when there is only this slight difference, perhaps being sometimes but the thickness of a paper, the inequality is very inconsiderable. To avoid this confusion, and to make the founderies preserve one standard to regulate the height, and preserve it always the same, rests with the master. There are two ways: the first is a thin plate of copper or iron on which is made a notch of ten lines and a half high, and the other, which is in greater use and more convenient, is making a form of justification.”

The French have varied from Fournier’s standard, and have introduced fresh sizes since he published his work; when Fertel wrote, in 1723, he gave a list of nineteen sizes, but at the present time they have twenty-five; they are also changing their names, and now designate them by numbers, as will be perceived by the following list, which is copied from the specimen book of De la Tarbe, of Paris, 1835, to which I have affixed the number of points assigned to them by Fournier.

+-------------------------------+----------+ | |Fournier’s| | | Points, | | | 1737. | +-------------------------------+----------+ | Cinq, ou Parisienne | 5 | | Six, ou Nonpareille | 6 | | Six et demi | | | Sept, ou Mignonne | 7 | | Sept et demi, ou Petit-Texte | 8 | | Huit, ou Gaillarde | 9 | | Neuf, ou Petit-Romain | 10 | | Dix, ou Philosophie | 11 | | Onze, ou Cicero | 12 | | Treize, ou Saint-Augustin | 14 | | Quatorze, ou Gros-Texte | 16 | | Seize, ou Gros-Romain | 18 | | Dix-huit, ou Petit-Parangon | 20 | | Vingt, ou Gros-Parangon | 22 | | Vingt-deux, ou Palestine | 24 | | Vingt-six, ou Petit-Canon | 28 | | Trente-trois, ou Trismégiste | 36 | | Quarante, ou Gros-Canon | 44 | | Cinquante six, ou Double-Canon| 56 | +-------------------------------+----------+

Soixante-six, ou Deux Points de Trismégiste.

Quatre-vingt, ou Deux Points de Gros-Canon.

Quatre-vingt-huit, ou Huit Cicéro.

Cent dix, ou Dix Cicéro.

Cent-trente-deux, ou Douze Cicéro.

Cent-soixante-cinq, Quinze Cicéro.

The German letter founders vary still more than the English or the French, for there is no standard body in Germany, every printing office has its varieties; the height is equally very different, but generally much higher than the French types. The German scale is formed by dividing their Petit, a size between our Brevier and Bourgeois, into four lines, so that each additional number is one fourth of their Petit. The names of many of the sizes also vary in different parts of Germany. The list that I give, with the number of lines to each size, I was favoured with by Mr. Edward Hænel, of Magdeburg, an eminent printer of extensive business; I have other lists, of letter founders, in different parts of Germany, but I do not think it necessary to insert more than one.

The German letter founders have types for printing maps, with which they form the line of the sea coast, with all its irregularities, its promontories, its bays, &c., the boundary lines, and the rivers. I had a map, printed in this manner, sent to me from Germany, which is very clever, and shows great ingenuity in the execution.

The names of German types, with the number of lines in each size.

1. Diamant | 2 || 12. Doppelcicero | 12 | 2. Perl | 2½ || 13. Doppelmittel | 14 | 3. Nonpareille | 3 || 14. Kleine Canon | 16 | 4. Colonell | 3½ || 15. Grobe Canon | 20 | 5. Petit | 4 || 16. Kleine Missal | 26 | 6. Burgeois | 5 || 17. Grobe Missal | 32 | 7. Corpus | 5 || 18. Kleine Sabon | 38 | 8. Cicero | 6 || 19. Grobe Sabon | 42 | 9. Mittel | 7 || 20. Real | 48 | 10. Tertia | 8 || 21. Imperial | 54 | 11. Text | 10 || | |

Dutch names of types. From Smith’s Printer’s Grammar. 1755.

Nonpareil. Paragon. Brevier. Dubbelde Dessendiaan. Burgeois. Dubbelde Mediaan. Garmond. Dubbelde Augustyn. Dessendiaan. Kanon. Mediaan. Groote Kanon Augustyn. Parys Romeyn. Text.

Italian Names. English Names.

Occhio di Mosca Pearl. Nompariglia Nonpareil. Minione Minion. Testino Brevier. Gagliarda Bourgeois. Garamone Long Primer. Filosofia Small Pica. Lettura Pica. Silvio English. Testo Great Primer. Parangone Paragon. Due Linee Filosofia Double Pica. Canone French Canon.

The Italian types are of a rather less body than the corresponding English types, but I have not been able to ascertain the precise degree of variation. I was favoured with this list by Mr. And. Pons, a printer at Parma, who originally belonged to the establishment of the celebrated printer Bodoni.

The Foreign Monthly Review for June, 1839, states that a type founder of Clermont, named Colson, has obtained a patent for a new material for printing types, which is harder, capable of more resistance, and yet less expensive than the ordinary composition of lead and antimony. It is well known, that types cast from the latter soon become worn, especially since the introduction of machine-printing. Colson asserts that the material is so hard that the types themselves will serve for punches in striking matrices, and that it will last ten years, without being more worn than the usual composition is in one year.

TYPE FOUNDERS. See LETTER FOUNDERS.

U.

ULTIMATE.

The last syllable of a word.

UNDERHAND.

A phrase used by pressmen for the light and easy, or heavy and hard, running in of the carriage. Thus they say, The press goes light and easy under hand, or it goes heavy or hard under hand.--M.

UNDERLAYS.

Pieces of paper pasted on the bottom of an engraving on wood, to raise it to the proper height to print with types, &c. If an engraving be hollow on the face of it, then a small underlay under the hollow part will raise that part by means of the pressure in printing it at press, and prevent the necessity of using too many overlays.

UNEVEN PAGE.

The same as ODD PAGE, which see. Smith uses the term.

UNLOCK THE FORM.

To loosen the quoins for the purpose of correcting; and also for laying-up; or for any other purpose.

UPPER HAND.

When the spindle goes soft and easy, the pressmen say, it goes well over hand or above hand. But the contrary if it goes hard and heavy.--M.

V.

VANTAGE.

When a white page or more happens in a sheet, the compositor calls that VANTAGE: so does the pressman, when a form of one pull comes to the press.--M. At the present day it is termed Fat, which see.

VARNISH.

With which ink is made.--M.

VESPER, or PLAIN CHANT MUSIC.

The Gregorian Plain Chant is governed by two clefs, the Ut clef, and the Fa clef; which correspond to the tenor and base clefs in modern music.

The use of these clefs is to point out the progression of tones and semi-tones, and to determine the key or tone of the chant, which is commonly contained in a staff of four lines; but as it frequently happens that the music exceeds that compass, the clefs necessarily change their places on the staff to give a greater scope to the chant; therefore on whatsoever line of the staff the Ut clef is placed, that line is called Ut, the rest of the notes following in the same progression. The same rule applies to the Fa clef,

The bars which nearly cross the staff, are used to separate the notes sung to each word; the bars which entirely cross the staff are used over some period in the reading; the double bar is placed at the end of a strain or verse.

The diamond shaped note is half the length of the square note; the notes with the tails are double the length, or equal in time to two square notes, (but these must not be mistaken for notes which, having tails, are only meant to tie them to other notes higher or lower on the staff.) A dot placed after a note increases its value one half. Sharps are not used in plain chant. Flats and naturals have the same power as in modern music.

In the following example, the bars are used to divide the melody into equal portions.

Stabat mater--in G major.

The same in modern notation.

Since the decease of Mr. Hughes, the punches, matrixes, &c. of the above founts of music types (and that mentioned at page 490) have been purchased by Mr. C. Hancock, of Middle Row, Holborn, by whom they have been considerably improved, and by whom the profession are supplied.

VISORUM.

Some compositors use visorums. Therefore pricking the point of the visorum, most commonly upon the border or frame of the case on the left hand about the & box, they fold the leaf of copy they compose by, so as the bottom of it may rest upon the square shoulder near the bottom of the visorum; then with two pieces of scaleboard tied together at one end, they clasp both the copy and visorum between these two scaleboards, which two scaleboards pinch the copy and visorum fast enough to keep the copy in its place, and at the same time also serves for an index to direct the eye to every line, as the compositor moves it downward.--M.

This article is not used now; though it appears to me, from Moxon’s account, to be both useful and convenient.

W.

WASH.

If a workman is in the habit of telling improbable tales, or of asserting falsehoods, as the chapel does not allow the lie direct to be given, neither do any choose to get into a personal quarrel by doing it, it is usual, in order to express the general disbelief, to wash him, as it is termed; that is, each person with a piece of furniture, or some other substance, will strike repeatedly and quickly upon the front of his frame, upon the ledge of his lower case, or upon his bulk; and this being done by every person in the room, where there are a great number employed, it raises such a loud drumming as is deafening, more particularly when they give what they call a “good” wash: this is customary both in the composing room and the press room. For the old manner of doing this, see ANCIENT CUSTOMS.

WASH THE FORM.

If a form gets foul in working, the pressmen will take it off the press and brush it over with lye, and after that rinse it with clean water, to remove the foulness. He also washes the form when the given number is all printed.--M.

WASTE.

The surplus sheets of a work.

After a work has been finished at press and dried, it is gathered, collated, the gatherings folded and pressed, and then booked, if it contain more gatherings than one; and when the regular number of copies has been made up, the surplus sheets, which vary in number, are tied up in a bundle, and termed Waste: out of this waste deficient sheets are supplied, and damaged sheets exchanged. It is always delivered to the publisher with the last copies of the work.

WAYZ GOOSE.

A stubble goose.--Bailey. Called Way Goose, and so spelt by Moxon. See ANCIENT CUSTOMS.

July is the month in which the different offices in the metropolis generally have each their Way Goose, or annual dinner, and Saturday is the day commonly chosen.

WEAK INK. See SOFT INK.--M.

In common work, where despatch is requisite, weak ink is used; it distributes with more facility than strong ink, and enables the pressmen to make a greater riddance. It receives its name from the varnish not being made so tenacious as that for better ink.

WEIGHTS AND MEASURES.

5 & 6 W. 4. c. 63. § 31.--“And be it enacted, That from and after the First Day of January One thousand eight hundred and thirty-six, if any Person or Persons shall print, or if the Clerk of any Market or other Person shall make any Return, Price List, Price Current, or any Journal or other Paper containing Price List or Price Current, in which the Denomination of Weights and Measures quoted or referred to shall denote or imply a greater or less Weight or Measure than is denoted or implied by the same Denomination of the Imperial Weights and Measures under and according to the Provisions of this Act, such Person or Persons or Clerk of the Market shall forfeit and pay any Sum not exceeding Ten Shillings for every Copy of such Return, Price List, Price Current, Journal or other Paper which he or they shall publish.”

WELSH.

The Welsh alphabet, as now popularly used, contains twenty-eight letters: a, b, c, ch, d, dd, e, f, ff, g, ng, h, i, l, ll, m, n, o, p, ph, rh, r, s, t, th, u, w, y.

J, q, x, and z, are not properly Welsh letters, nor are they wanted in words purely Welsh.

K and v occur frequently in old Welsh, but are now generally disused; the place of the former is supplied by c, which always has the hard sound, and that of the latter by f.

In addition to the common accented letters, the Welsh requires ŵ and ŷ to be accented likewise; as, gŵr, a man; tŷ, a house.

Of the twenty-one Welsh consonants twelve are immutable, namely, ch, dd, f, ff, ng, k, l, n, ph, r, s, th; the remaining nine, b, c, d, g, ll, m, p, rh, t, are mutable. These are divisible into three classes of three letters each. The first, containing c, t, p, is susceptible of three kinds of modification, viz. the obtuse, the liquid, and the aspirate; the second class, comprising g, d, b, is affected by two kinds, the obtuse and the liquid; and the third, comprising ll, m, rh, is susceptible of the obtuse form only.

The following table will show at one view the various changes of the mutable initial consonants:--

+------------------+----------------+----------+----------+ |Primitive Letters.| Obtuse. | Liquid. | Aspirate.| +------------------+----------------+----------+----------+ | {c | g | ngh | ch | |CLASS I. {t | d | nh | th | | {p | b | mh | ph | | | | | | | {g |initial omitted.| ng | | |CLASS II. {d | dd or dh | n | | | {b | f | m | | | | | | | | {ll | l | | | |CLASS III. {m | f | | | | {rh | r | | | +------------------+----------------+----------+----------+

The following examples may be given to show more clearly the nature of these mutations:--1. Câr, a kinsman; 2. Gwâs, a servant.

Primitive. Câr agos, a near kinsman. Obtuse. Ei gâr, his kinsman. Liquid. Fy nghâr, my kinsman. Aspirate. Ei châr, her kinsman.

Gwâs ffyddlon, a faithful servant. Ei wâs, his servant. Fy ngwâs, my servant.

The obtuse sound is assumed after--

1. All verbs, except of the infinitive mood, and interjections.

2. All personal pronouns; the possessives DY, thy; MAU, mine; TAU, thine; and EI (masc.) his; but not when fem.; the relatives PA, which; PWY, who; and À, that.

3. Adjectives and formative adverbs, and interjections.

4. The duals DAU and DWY, two.

5. All prepositions, except YN, in, and TUA, towards.

6. Pronominal prepositions.

7. The article Y, the, if the object be feminine.

8. The participial sign YN.

9. The disjunctive sign NEU, or.

The liquid sound is assumed after--

1. The possessive pronoun MY or FY, my.

2. The word YN when used as the English preposition in.

The aspirate sound is assumed after--

1. The possessive pronoun EI (fem.) her.

2. The adverbs TRA, over; and NI, and NA, not.

3. The conjunctions A, and; NO, than; NEU, or; and ONI, unless.

4. The preposition Â, with.

5. The numerals TRI, three; and CHWE, six.

All vowel initials take h before them, after EI (fem.) her; EIN, our; and EU, their.

Welsh substantives do not vary in their terminations, but the cases are distinguished by prepositions changing their initial letters, if mutable, according to their dependance on the preceding word; as, N. tŷ, a house; G. dodrefn fy nhŷ, the furniture of my house; A. prynodd dŷ, he bought a house; Ab. allan o’i thŷ, out of her house.

DEG, ten, and PYMTHEG, fifteen, before BLYNEDD, years, not only change the initial of the following word into its corresponding liquid, but likewise suffer a variation themselves; thus, for DEG BLYNEDD and PYMTHEG BLYNEDD we find DENG MLYNEDD and PYMTHENG MLYNEDD; and for PUMP BLYNEDD we read PUM MLYNEDD, five years.

Authorities.--Dr. Pughe’s Welsh Grammar, 2d edit. Denbigh, 1832.--Rev. W. Gambold’s Welsh Grammar, 3d edit. Bala, 1833.--Dr. Prichard on the Celtic Languages, London, 1831.

WELL.

On the bottom side of the two cross bearers in the middle of a frame, on which the inner ends of the lower cases rest, there is frequently a bottom nailed of thin deal; this, when the ends of the cases are close together, forms a receptacle in which the compositor puts copy and other articles, and it is named a Well. To obtain access to it he slides one of the cases a little away from the other.

WETTING PAPER.

In quoting my old pressman’s observations again, it will be perceived that he is speaking of the practice when pelt balls were in use.

“When a pressman is engaged to work in a strange office, if there be no balls for him, he puts an old and a new pelt into the pelt pot, and, while his pelts are soaking, he inquires whether he has to wet paper or not; if he has to wet it, he does it in a large trough lined with lead, containing clean water. He holds the middle of the back of each quire in one hand, and the fore edge with the other hand, and draws it quickly through the water, the back first; lays it on a clean wrapper (which is laid on a clean paper board); opens part of the quire, leaves that part on the board, and draws the remainder of the quire, and all the other quires in the same proportion, through the water as often as necessary, till he has wet all the heap; then he places another paper board on the top of the heap, and puts sufficient weight on it; in this state it continues till the paper is all properly damped, by the moisture becoming diffused through the whole heap, except it be for fine work, when he turns the paper as often as he thinks necessary, pressing it at each turning; and common work would look better if the paper were turned.

“Paper for different works being of various qualities, it is impossible to form a regular judgment of how many dips in each quire all sorts of paper require; therefore the wetter must be cautious in examining, while wetting, whether each sort is of a soft, or spongy, middling, hard, or harsh nature; also to consider whether it be for a light or a heavy form, and dip each sort accordingly.”

In large establishments the pressmen do not wet the paper, but there is one or more persons appointed to that duty solely, who also turn it and press it, so that it is delivered to the pressmen to print, more uniformly in good condition, than where they wet it. See TOKEN. TOKEN SHEET.

WHEEL.

Also called girt wheel, and drum; a cylinder of elm wood, with two flat broad grooves turned in it, on which the two girts wind and unwind alternately, as the carriage is run in and out. It is fixed on the spit, and one end of each girt is nailed to it; the other ends are fastened, the one that runs the carriage in to the end of the coffin, and the other to the fore end of the plank. The diameter of the wheel varies according to the size of the press.

WHITE LINE.

A line of quadrats.--M. So it is usually understood at present; yet it frequently happens that quadrats are not in sufficient quantity to use for white lines, even for the bottoms of the pages; reglet of a proper thickness is then substituted for quadrats, and sometimes leads, but these should never be used for this purpose--for a volume or a pamphlet may be wanted in a great hurry in the same measure, and then an inconvenience may arise from the leads being blocked up in an unnecessary manner.

WHITE PAGE.

A page that no matter comes in.--M.

WHITE PAPER.

Although the first form be printed off, yet pressmen erroneously call that heap white paper, till the reiteration be printed.--M. This application of the term is now wearing away; and generally speaking, it is only used for paper not printed upon; when the pressmen are printing the first form of a sheet or the first side of a half sheet, they say they are working the white paper.

WHITE PAPER REGISTER.

Pulling an impression without ink, or with a sheet of waste paper between the form and the paper for the work, for the purpose of ascertaining that the furniture is right. This is a good old custom, and it is a pity that it is now so seldom practised, as it would prevent those mistakes of wrong furniture which occasionally occur in the white paper form, and when this happens, which I have known at different times, the only remedy is, either to cancel what has been printed, or to alter the reiteration form to make it register with that which is printed, to the disfigurement of the book when it is bound.

WHOLE PRESS. See FULL PRESS.--M.

WIDE SPACING,

is when en quadrats, or two thick spaces, are used between the words.

WILKINS, BEATA. See DONATIONS.

WINTER.

A solid piece of wood, generally elm, similar to the head of a press, mortised into the cheeks below the carriage and the long ribs, and on which they rest.

I would recommend, contrary to the general practice, that in wooden presses the winter should lie solid in the mortises of the cheeks, and have no spring; and that all the spring should be in the head, which would not affect the perpendicular descent of the platen. This method of constructing a press would be found advantageous in all cases; but more particularly in one-pull presses, in which the platens are large:--

For it must be obvious, where an uniform impression is meant to be obtained from types, by means of the perpendicular descent of a body with a plane surface, that this surface and the surface of the types should be parallel to each other, and that every variation from these parallels must affect the equality of the pressure.

It being a necessary consequence, that the surface of the types should be horizontal; it will be equally clear, that every departure from this horizontal line will destroy the parallelism of the two surfaces, and prevent an equal pressure on all their parts.

One part of the carriage of a press lies on the winter, the other end resting on, and confined to, the forestay, which is fixed to the floor, and cannot give way; the coffin, in which is the press stone, lies on the carriage; and on the press stone the types are placed. Now, when great pressure is applied to the types, to produce an impression, it causes the winter to give way, which immediately disturbs the horizontal plane of the types, and destroys the parallel between them and the face of the platen, and causes an unequal pressure, besides straining the cords of the platen, the platen itself, and all the parts connected with it, to the injury of the workmanship, and of the whole machine; all which would be avoided by the winter being laid solid in the mortises of the cheeks, and the carriage and ribs justified by a level. It would also be attended with another advantage,--not being so liable to slur in running in; the inner tympan not being so close to the platen.

This principle is equally applicable to iron presses, as well as to wooden ones; and will tend to preserve them a longer time in good condition.

WOODEN RIBS.

That part of the frame in a wooden press on which the long ribs are fastened; in the middle they lie on the winter where the under resistance to the pressure is, and are kept in their place by the summer; and at the fore end they are supported by the fore stay; it is necessary that they should be perfectly level.

WOOL CARDS.

Made with strong wire; one of which is fastened to two pieces of wood that go across the wool hole, and the other has two open handles fixed to the back of it, for the purpose of carding the wool with which the balls are stuffed.

WOOL HOLE.

A place boxed off sometimes under a stair case, or in any situation where the dust will not affect the press room, or other departments of the business--in which the wool is carded wherewith to make the balls.

The wool is kept in the box, over which two pieces of wood are stretched across and fastened down, lowest in the front; on these one of the cards is fixed. In the act of carding the wool the dust and refuse fall into the box, and are thus prevented from being trampled about.

WOOL HOLE. The workhouse. When a compositor or pressman is reduced by age or illness to take refuge in the workhouse, it is said he is in the Wool Hole.

WORKED, or WORKED-OFF.

When a job, or the sheet of a work is printed, it is said to be Worked, or Worked-off. See OFF.

WORK WITH A FIGURE.

In printing offices where there are a number of presses employed, it is usual to distinguish them by numbers; as 1st press, 2d press, &c.; and the pressmen put a figure into each form they work, corresponding to the number of their press, for the purpose of ascertaining readily at which press a sheet was printed in case of bad workmanship, or any accident; and in general pressmen are subject to a fine if they work without a figure, or with a wrong one: but when the same press works both the forms of a sheet, it is not necessary to have a figure in more than one form.

The figure used to be placed regularly in a white line at the bottom of an even page, about four ems from the fore edge: it was placed in an even page that it might not mislead the bookbinder; and always in a full page that did not finish a paragraph.

WORKING IN POCKET. See COMPANIONSHIP.

WORKING ON LINES. See COMPANIONSHIP.

WORKING ON TIME. See COMPANIONSHIP.

WRIGHT, THOMAS. See DONATIONS.

SCANDINAVIAN PRESS.

A new press has just been introduced to public notice (August 1841), under the patronage of Count Rosen, a Swedish nobleman, but being too late for insertion in the alphabetical order, I give a notice of it at the end. There are two of these presses now at work in the extensive establishment of Messrs. William Clowes and Sons, under the name of “The Scandinavian Self-inking Press,” invented by Mr. C. A. Holm, of Stockholm, who has taken out a patent for it. It is a press with a platen which descends perpendicularly, and at its regular rate of working produces 550 impressions in an hour, which I have ascertained by personal inspection. It requires two boys to each press to lay on and take off the paper, and to turn down and raise the tympan, and one superintendent is fully competent to attend to two presses. By dispensing with woollen blankets in the tympans and substituting paper, it produces fine impressions, as the specimens published of large and finely executed engravings on wood testify. There is a contrivance which causes a rest or pause when the pressure is at its maximum, and gives time for the ink to be firmly attached to the paper. The motive power may be either hand labour or steam, those in use at Messrs. Clowes’s establishment are worked by steam; they do not occupy more room than any other press that will print paper of the same dimensions, and are very simple in their construction. The inking apparatus is so arranged that the distributing rollers have three or four different motions, the object and effect of which are to produce a perfectly equal and uniform distribution of the ink. They are manufactured by Messrs. Braithwaite, Milner, and Co., engineers, in the New Road.

THE END.

LONDON: Printed by A. SPOTTISWOODE, New-Street-Square.

TRANSCRIBER’S NOTE

The word ‘Spaces’ in case diagrams has been abbreviated to ‘Sp.’ to save column space.

Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.

Some hyphens in words have been silently removed, some added, when a predominant preference was found in the original book.

Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.

Pg 24: Alphabet Table, Sgie numerical value; ‘40’ replaced by ‘10’. Pg 34: ‘up the rythm’ replaced by ‘up the rhythm’. Pg 85: ‘tranverse portions’ replaced by ‘transverse portions’. Pg 96: ‘ and fractious’ replaced by ‘ and fractions’. Pg 159: Table row ‘168 49 59’ replaced by ‘168 49 50’. Pg 230: ‘in order to their’ replaced by ‘in order to assist their’. Pg 240: Table row: Peroxide of iron; ‘2F’ replaced by ‘2Fe’. Pg 299: ‘called ἐπίσημον’ replaced by ‘called στίγμα’. Pg 312: ‘or short (בֳ‎) בָ‎ ŏ’; possibly, should be ‘or short (בָ‎) בֳ‎ ŏ’. Pg 314: ‘These seven letters ﬡ‎ ﬢ‎ ﬣ‎ ﬥ‎ ﬦ‎ ﬧ‎ ﬨ‎ are’ should really be ‘These eight letters ﬡ‎ ﬢ‎ ﬣ‎ ﬤ‎ ﬥ‎ ﬦ‎ ﬧ‎ ﬨ‎ are’. Pg 337: Inner Form block: ‘[*]’ replaced by ‘[4*]’. Pg 413: ‘o upon any’ replaced by ‘or upon any’. Pg 423: ‘arbitary order’ replaced by ‘arbitrary order’. Pg 438: ‘the placing the’ replaced by ‘the placing of the’. Pg 461: ‘and he likwise’ replaced by ‘and he likewise’. Pg 476: ‘way of the chace’ replaced by ‘way of the chase’. Pg 491: ‘Opsloe, now Christiana’ replaced by ‘Opsloe, now Christiania’. Pg 497: ‘Monsalbanus’ replaced by ‘Mons Albanus’. Pg 497: ‘Monsdolorosus’ replaced by ‘Mons Dolorosus’. Pg 531: ‘and Newspaerps in’ replaced by ‘and Newspapers in’. Pg 596: ‘which contaitn the’ replaced by ‘which contain the’. Pg 611: Table row ‘| 0 3 7½ | 0 3 7½ |’ replaced by ‘| 0 3 7¼ | 0 3 7½ |’. Pg 612: Table row ‘| 0 3 2¼ | 0 3 8¾ |’ replaced by ‘| 0 3 8¼ | 0 3 8¾ |’. Pg 717: ‘sh as shame’ replaced by ‘sh as in shame’. Pg 718: ‘ма́рморъ, marble, mramor’ replaced by ‘мра́моръ, marble, mramor’. Pg 718: ‘ше́рсшь, wool, schārste’ replaced by ‘ше́рсть, wool, schārste’. Pg 719: ‘Hard а, о, у, ы. Soft я, е, ю, и, і, э, ѣ’ replaced by ‘Hard а, о, у, э, ы. Soft я, е, ю, и, ѣ’. Pg 719: ‘г, к, х,’ replaced by ‘г, к, or х’. Pg 732: ‘changes in D’ replaced by ‘changes into D’. Pg 749: ‘and not exceeeding’ replaced by ‘and not exceeding’. Pg 787: All four columns in the Syriac Alphabet table are shown as identical; some characters in fact have a different glyph from the first column, but there is no Unicode codepoint for them. Pg 792: The section heading ‘TAMUL’ was missing and has been inserted. Pg 810: ‘after that rince’ replaced by ‘after that rinse’. Pg 810: ‘always delvered’ replaced by ‘always delivered’.

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