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Title: Moxon's Mechanick exercises, volume 2 (of 2)
        The doctrine of handy-works applied to the art of printing

Author: Joseph Moxon

Annotator: Theodore Low De Vinne


        
Release date: July 1, 2026 [eBook #78991]

Language: English

Original publication: New York: The Typothetæ of the city of New York, 1896

Other information and formats: www.gutenberg.org/ebooks/78991

Credits: deaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)


*** START OF THE PROJECT GUTENBERG EBOOK MOXON'S MECHANICK EXERCISES, VOLUME 2 (OF 2) ***




Transcriber’s Note.


This is volume 2 of a 2 volume edition. Volume 1 can also be read at
Project Gutenberg.

Each volume contains additional matter unique to that volume but
pertinent to both.

Please note that while this is not a fascsimile of the published
volume, it remains a "warts and all" version in accordance with the
printer’s note in volume 1:--

    _“Typographic peculiarities have been followed, even to the
    copying of gross faults, like doublets, that will be readily
    corrected by the reader. The object of the reprint is not
    merely to present the thought of the author, but to illustrate
    the typographic style of his time with its usual defects.”_




                                 MOXON'S
                           MECHANICK EXERCISES

                           Or, the Doctrine of

                              Handy-works.

                          Applied to the Art of

                                Printing.

                           The Second VOLUMNE.

                 By _Joseph Moxon_, Member of the Royal
                Society, and _Hydrographer_ to the King’s
                         Most Excellent Majesty.

                                 LONDON.

               Printed for _Joseph Moxon_ on the West-side
                    of _Fleet-ditch_, at the Sign of
                            _Atlas_. 1683.




[Illustration]

The Compositers Trade.




PREFACE.


_In a strict sence, a good_ Compositer _need be no more than an English
Scholler, or indeed scarce so much; for if he knows but his Letters and
Characters he shall meet with in his_ Printed _or_ Written Copy, _and
have otherwise a good natural capacity, he may be a better_ Compositer
_than another Man whose Education has adorn’d him with_ Latin, Greek,
Hebrew, _and other Languages, and shall want a good natural Genius:
For by the Laws of_ Printing, _a_ Compositer _is strictly to follow
his_ Copy, _viz. to observe and do just so much and no more than his_
Copy _will bear him out for; so that his_ Copy _is to be his Rule and
Authority: But the carelesness of some good Authors, and the ignorance
of other Authors, has forc’d_ Printers _to introduce a Custom, which
among them is look’d upon as a task and duty incumbent on the_
Compositer, _viz. to discern and amend the bad_ Spelling _and_ Pointing
_of his_ Copy, _if it be English; But if it be in any Forrain Language,
the Author is wholy left to his own Skill and Judgement in_ Spelling
_and_ Pointing, _&c. his_ Copy, _and_ Correcting _the_ Prooves, _unless
they be_ Latine, Greek _or_ Hebrew, _for to those Languages there is
generally a_ Corrector _belongs to the_ Printing-House: _And how well
other Forrain Languages are_ Corrected _by the Author, we may perceive
by the English that is_ Printed _in Forrain Countries_.

_Therefore upon consideration of these accidental circumstances that
attend_ Copy, _it is necessary that a_ Compositer _be a good English
Schollar at least; and that he know the present traditional_ Spelling
_of all English Words, and that he have so much Sence and Reason, as
to_ Point _his Sentences properly: when to begin a Word with a_ Capital
Letter, _when (to render the Sence of the Author more intelligent to
the Reader) to_ Set _some Words or Sentences in_ Italick _or_ English
Letters, _&c. But of this more at large in_ ¶. 6.

_Thus much of his qualifications: Now to his Taask._

_The_ Master-Printer _gives him his_ Copy, _and directs him to his
standing Place or_ Case, _and orders him_ Letter _to Work withal_.

_If his_ Case _want_ Papering, _as all_ New Cases _do, and many times
old, He must_ Paper _his_ Case.


§. 22. ¶. 1. _Of_ Papering _and_ Laying _the_ CASE.

The _Composster_ sends the Boy to the _Master-Printer_, or to him that
attends the Warehouse, for _Half a Quire_, or a _Quire_, or so much
as he guesses he shall want, of good strong _Wast-Paper_, and cuts it
into so many several Scantlins as the number of each Scantlin of his
_Boxes_ in his _Case_ are; but he cuts his _Papers_ so large, as each
_Paper_ may ly double in its _Box_, and have enough besides to fold
almost half way towards the middle of each _Paper_, and also enough to
turn up again against the sides of each _Box_, about the thickness of a
_Pica_, or an _English_, above the bottom of the _Box_; and its _Paper_
on all its sides, except the upper side of the _Box_, which, as near
as he can, he leaves no turning up of _Paper_ to, because the tendency
the whole _Case_ has downwards by its a-slope position, the _Letter_
in each _Box_ tends also downwards, and therefore is not so apt to get
between the _Paper_ and that side of the _Box_, as between the _Paper_
and the other sides of each _Box_: But yet that upper side, and all
the other sides of the _Box_, he _Papers_ so smooth and tight, that he
leaves no wrinckles in the turnings up against the sides of the _Box_;
but if there be any, drives them carefully into the corners of the
_Box_, lest his _Letter_, especially if it be Small, should get into
the openings of those Wrinckles, and in time work their way under the
_Paper_.

Having _Paper’d_ his _Case_, he considers how the rest of the _Cases_
in that _House_ ly, _viz._ into what _Boxes_ the several _Letters_ are
to be disposed; for they are not in every _Printing-House_ disposed
alike, and accordingly he applies himself to fill his _Case_ with
_Letter_.

If a _Fount_ of _New Letter_ be brought home from the _Founders_,
the _Compositer_ has no more to do, but to fill each _Box_ in his
_Case_ with so many of each sort as each _Box_ will hold, and fall
to _Composing_ till he has emptied his _Case_; which the same way he
fills again, and _Composes_ on again till the whole _Fount_ be _Set
up_: But when he has no longer any _New Letter_ to work upon, he must
_Destribute_ some former _Set Forms_ to fill his _Case_ withal.

And before I shew you the Rules and Method of _Destributing_ and
_Composing_, it will be necessary I say somewhat of the _Case_, and
_Laying_ it.

By the _Case_ is meant, in _Printers_ common diolect, a _Pair of
Cases_, viz. the _Upper_ and the _Lower-Case_: They are described with
the most common way of _Laying_ them, in Plate 2. A the _Upper Case_, B
the _Lower Case_. The _Upper Case_ is devided into Ninety eight _Boxes_
all of equal size; but the _Lower Case_ is devided into but Fifty six
_Boxes_, and those of four different sizes (as you may see in the
Figure) by the Frame and Black streight Lines representing the several
Partitions. The manner how the several sorts of _Letters_ are disposed
in the several _Boxes_, is called, _Laying of the Case_, where in the
_Upper Case_ you see _Capital_ A Ly in the uppermost _Box_ on the
Left-hand, B C D E F G succeeding it in that Row to the Right hand, as
far as the broad Partition in the middle of the _Case_; under _Capital_
A lies _Capital_ H, I K L M N O orderly succeeding it to the right
hand, as far as the great Partition in the middle of the _Case_: But
the Figure being plain, I refer you to it.

The _Lower Case_ is not devided according to an orderly succession of
the _Alphabet_, in Ranks; for those _Letters_ that are most used are
laid in the biggest _Boxes_, about the middle of the _Case_, That the
_Compositers_ hand may have the quicker access to them. See the Figure.


¶. 2. _Of_ Rincing a Form of Letter, _in order to_ Destributing _it_.

After the _Press-man_ has _Wash’d a Form_, he brings it to the
_Rincing-Trough_, and rears it a little a-slope on one of the ends of
the _Chase_, either against a convenient place of the _Frame_ of the
_Rincing-Trough_, or towards the Wall; for so plac’d, the _Face of the
Letter_ runs less hazzard of receiving dammage, and the _Form_ stands
in a proper position for the _Compositer_ to rear a _Letter-board_
against the backside of it.

The _Compositer_ therefore brings a _Letter-board_, and puts the
Face of it against the back-side of the _Form_, and draws _Form_ and
_Letter-board_ toward him, leaning them against his Knee till he can
conveniently grasp about the middle of the sides of the _Chase_ and
_Letter-board_ between his Fingers under the _Board_, and his Thumb
upon the _Chase_ and _Furniture_: And if the _Form_ be not too heavy,
in this position he lifts it up to the _Rincing Trough_; but if it be
too heavy, as most commonly it is, He lifts it up in this position till
he brings the upper edge of one of the long sides of the _Letter-board_
to rest between his Belly and Stomach, and then sets _Letter board
Form_ and all in the _Rincing-Trough_, letting the hither side of the
_Board_ rest upon the hither Ledge of the _Rincing-Trough_; that the
_Form_ may tilt downwards.

When it is on the _Rincing Trough_, he gets the _Mallet_ and
_Shooting-stick_, and holding the _Mallet_ in his Right hand,
and the _Shooting-stick_ in his Left, he places the Foot of the
_Shooting-stick_ (that is the thin end of it) against the narrow ends
of each _Quoin_, and knocking with the _Mallet_ upon the _Head_ of the
_Shooting-stick_ as gently as he can to drive them back, he loosens
every _Quoin_; and this is call’d _Opening of the Quoins, Unlocking of
the Quoins, Opening of the Form, and Unlocking of the Form_.

But in the _Unlocking of the Form_, he observes these three
Circumstances:

_First_, He begins at the _Foot-Quoins_ of a _Quarter_, and loosens
them; then with his Fingers and Thumb he puts them up again pretty
stiff; yet not so stiff, but that he can again with his Fingers and
Thumb loosen them.

The Reason why he opens the _Foot-Quoins_ first, is, because the
_Letter_ is less subject to _Squabble_ between _Line_ and _Line_ (that
is _Head_ and _Foot_, the length of the _Page_) than it is between side
and side (the breadth of the _Page_): For all the _Letters_ of a _Line_
being of the same _Body_, are all of the same size in their parallel
bounds; and the two sides of the _Letter_ being generally considerably
broader than the Thickness of the _Letter_, are held by their breadth
and flatness faster and closer together in a motion towards the _Head_
or _Foot_ of the _Page_, than they are a-thwart the _Lines_, there
being generally many thin _Letters_ and _Spaces_ in a _Line_, whose
thickness is very little considerable to their _Body_ or parallel
bounds: So that if the _Form_ be loose, those Thin _Letters_ and
_Spaces_ not having a Thickness proportionable to their _Body_ to keep
them in their proper Square, their Thin Edges twist them about, and
one _Letter_ very seldom twists alone, but forces many others (perhaps
in some _Lines_ above and below it, and on each side of it) out of its
square position.

But the _Foot-Quoin_ being thrust up again with the Fingers, that the
_Lines_ may joyn again after they were knock’d open with the _Mallet_
and _Shooting-stick_, make the Thin _Letters_ in the _Lines_ less
subject to _Squabble_ (as not having the room to twist about) because
_Opening_ the _Foot-Quoins_ afterwards with the Fingers, offers less
violence than the smart knock of a _Mallet_.

_Secondly_, He holds the _Shooting-stick_ much aslant to the
_Letter-board_, so as the Foot of it touch not the Face of the
_Letter-board_, lest with knocking upon the _Shooting-stick_ (it being
hard Wood, and the grain running downwards) the Foot should batter and
spoil the Face of the _Letter-board_.

_Thirdly_, He _Unlocks_ the outermost, _viz._ the broadest _Quoins_
first, and then with his Fingers thrusts them pretty close up again,
unless the _Form_ he _Unlock_ be a great _Letter_, for then he
observes not this Circumstance so nicely; then the other _Quoin_, or
(according to the bigness of the _Form_) _Quoins_.

Having _Unlock’d_ the _Foot Quoins_, he _Unlocks_ the _Side Quoins_ in
the same manner and order; and being provided with a Pail, or a great
Pan full of fair Water, and a _Wooden Dish_; he takes a Dish full of
fair Water, or more, if the _Form_ require it, and throws it upon the
_Form_, till he have so well wetted it, that the Water may sink between
the _Letters_ in the _Form_, to hold and keep every _Letter_ contiguous
to its next.

Then he _Opens_ the _Quoins_ pretty loose, the _Foot Quoins_ first, and
in _Opening_ them he considers the _Body_ of the _Letter_, whether it
be Great or Small, and accordingly he _Opens_ them; for at the _Foot_
he _Opens_ them about the thickness of the _Body_ of the _Letter_: But
on the _Sides_ not above half the _Body_.

By _Opening_, you must now understand removing the _Quoins_, till they
stand loose, or distant from the _Furniture_, the _Body_, or half the
_Body_ of the _Letter_.

He _Opens_ but one _Quarter_ at a time, _viz._ one of the hithermost
_Quarters_, till he have well _Rinc’d_ that, which when he has done,
with his Fingers he thrusts the _Quoins_ of that _Quarter_ stiff up
again, aswell that it may be the less subject to _Squabble_ or _Break_,
as that the Water may the better be squeezed out from between the
_Letter_; when he comes to _Destribute_ it.

Having thus _Opened_ the _Quoins_, He also _Opens_ the _Furniture_,
viz. the _Head sticks_, and the _Inner Side-sticks_ and
_Gutter-sticks_, if the _Form_ have any, to make himself the more room
to _Open_ the _Letter_: The Balls of the three first Fingers of each
Hand he places near the ends of the _Head-stick_, and _Opens_ it by
taking as good hold as he can of so much of it as stands above the
_Cross_ of the _Chase_, drawing the _Head-stick_ towards him about
half the _Body_ of the _Letter_. And in the like manner he _Opens_ the
inner _Side-sticks_, but draws them towards him about a quarter of the
_Body_ of the _Letter_. Yet sometimes this Office is not perform’d
with the three Fore-fingers of each Hand, but with the two Thumbs;
and this is when the _Quarter_ of _Letter_ stands between the _Head_
or _Side-sticks_, and then he places his two Thumbs near the ends of
the _Sticks_, as before he did his Fingers, and thrusts the _Sticks_,
_Letter_ and all, from him.

And having _Opened_ the _Quoins_ and _Furniture_ of one _Quarter_,
he also _Opens_ the _Letter_, that it may receive the Water more
plentifully: He _Opens_ the _Letter_, by fixing the Balls of his
Fingers of both his Hands upon the _Face_, and so thrusting and
joggling it from him, and drawing it towards him from _Head_ to _Foot_,
and from _Side_ to _Side_, and then throws a good Dish full or two of
Water upon it, and with the Balls of his Fingers still rubs upon the
_Face_ of the _Letter_, that by shaking and joggling the _Letter_,
the Water (e’re it sink through the _Letter_) may the better _Rince_
away that _Ly_ that by the _Press-mans_ washing soak’d into it: And
this joggling the _Letter_, and throwing on fresh Water he continues
till the Water that spurts out from between the _Letters_ by this
joggling, be as clear as it was when it was thrown on, and then, and
not till then, he knows his _Quarter_ is well _Rinc’d_: Then with his
two Thumbs, one placed on the side of the _Foot-stick_ and the other
on the side of the _Side-stick_, as near as he can, he thrusts both at
once towards their opposite _Cross_, and so thrusts the _Letter_ and
_Furniture_ close up again: And that the _Letter_ may not be in danger
of _Squabbling_ or _Breaking_, he thrusts the _Quoins_ loosly up again
also.

As he _Open’d_ and _Rinc’d_ this first _Quarter_, he _Opens_ and
_Rinces_ the others.

The reason why he _Opens_ and _Rinces_ the hithermost _Quarter_ first,
is, because the Water that descends from the hithermost _Quarters_ does
in a degree help to Rince the nethermost also.

Having thus _Rinced_ the whole _Form_, and with his Fingers shut it up
again, he lets it stand a little while to drain; then grasping the two
ends of the _Letter-board_ a little beyond the middle, with his Fingers
underneath, and the Thumb-balls of his two Hands upon it, he sets one
side of the _Letter-board_ against the bottom of his Stomach, and
carries _Letter-board_, _Form_, and all to the _Destributing Frame_.

Then he falls to _Stripping_ of one _Quarter_ first: Taking the
_Quoins_ quite out, and laying them upon the _Face_ of the _Letter_,
either on the same or another _Quarter_ (if he _Strips_ but one
_Quarter_ at once) with their ends standing the same way they stood
in the _Chase_, and in the same order of succession; then he removes
the _Side_ and _Foot-sticks_ to their respective sides, close to the
inside of the _Chase_, and again removes the _Quoins_, laying them in
the same order he laid them upon the _Face_ of the _Letter_, upon the
upper sides of the _Side_ and _Foot-sticks_, and _Chase_; then, as I
told you before, how he _Opened_ the Inner _Side-sticks_, just so again
he not only opens them, but by the _Side_ and _Head-sticks_ he draws
or slides the _Letter_ from the _Crosses_, that he easily takes them
out if he pleases; or if he have room enough to come at the _Letter_
without, he lets them stay in.

Thus the first _Quarter_ is _Stript_, and so the other _Quarters_
successively, in order to be _Destributed_.

[Illustration:_Plate 23._]


¶ 3. _Of_ Destributing.

The _Compositer_ seeks among the _Furniture_ for a _Riglet_, a little
longer (about a _Pica_ or _English_) than the _Line_ of the _Page_ he
is to _Destribute_; or else he cuts a _Riglet_ to that length (this
_Riglet_ is called a _Destributing-stick_) and coming to his _Stript
Form_, or _Quarter_ of the _Form_ he is to _Destribute_, he places one
flat side of the _Riglet_ against the Head of the _Page_, and claps the
Balls of his two Fore-fingers behind it, and the inner Joints (next
his Fore-fingers) of his middle Fingers he claps against the ends of
so many _Lines_ as he intends to _Take up_, supposing it _Pica_, about
Seven; and presses them pretty close to the sides of the _Lines_: Then
with the ends of the Balls of his two Thumbs he parts that number of
_Lines_ from the rest of the _Page_, by pressing gently towards his
_Riglet_ or _Destributing-stick_ upon the _Face_ of the _Letter_ of
the farthest _Line_, which, if the Joints of his middle Fingers press
pretty hard towards each other at first, easily part, and he may open
that number of _Lines_ so far from the rest of the _Page_, that he may
get the Balls of his Thumbs far enough upon the shank of the _Letter_:
So that the pressing the _Lines_ yet a little harder between the Joints
of his middle Fingers, and pinching with his Thumbs the _Letter_ hard
against the _Riglet_, with a quick jerk he rears that _Taking-up_ upon
his _Destributing-stick_. See _Plate 23. at_ A.

Having it upon his _Destributing-stick_ between both his Hands, with
the _Face_ of the _Letter_ from him, he disingages his middle Fingers,
and with his fore Fingers and Thumbs holding the _Riglet_, and now
the Top of his _Taking-up_ pretty loosly between them, he turns (as
on two moving Axises) the ends of the _Lines_ that were towards his
Right Hand, and guides them to the Thumb-ball of his Left Hand: Thus
the _Face_ of the _Letter_ is turn’d towards him; then bowing the inner
Joynt of the middle Finger of his Left Hand (which before prest the
left side of the _Line_) under the middle of the _Riglet_ he takes the
weight of the _Taking-up_ upon it, which yet he eases as he lifts,
by mounting the now Right Hand end of the _Lines_ a little above an
Horizontal level, and depressing the Left Hand ends a little below; so
that now he he has his _Taking up_ in his Hand, with the _Face_ of his
_Letter_ towards him, and the _Notches_ upwards, he goes with it to his
_Case_, and places himself against the middle of it. See _Plate 23. at_
B.

Then clapping the Ball (or if he will take off more than the length
of the Ball) of his middle Finger of his Right Hand, of the second
Joint of that Finger, against the bottom of the uppermost _Line_ of
his _Taking up_ towards his Right Hand, and his fore Finger about the
middle of the shank of the _Letter_, he slides or draws towards him
about an Inch or an Inch and an half of that _Line_ upon the Ball of
his Thumb, which is placed at the _Face_ of the _Letter_ to receive it:
And as it comes off the _Taking up_, he with his aforesaid two Fingers
and Thumb disposes it so among his Fingers that he gathers the Ball of
his fourth Finger under the bottom of the _Letter_, and then he brings
what he has taken off towards his Sight to read; then with a sleight
thrusting the Ball of his Thumb outwards, and drawing inwards the
Balls of his fore and middle Fingers, he spreads and _Squabbles_ the
shanks of the _Letters_ between his Fingers askew; and remembring what
_Letters_ he read, he nimbly addresses his Hand with a continued motion
to every respective _Box_, which his Fingers, as they pass by, lets a
_Letter_ drop into, till his _Taking off_ be quite _Destributed_.

Having _Destributed_ that _Taking off_ he makes another _Taking off_
as before, and so continues his _Takings off_ till his whole _Taking
up_ be Distributed: And thus he _Takes up_ and _Destributes_ till his
_Case_ is full.

If the _Form_ were not well _Rinc’d_, the shanks of of the _Letters_
will be more or less slippery, and with long _Destributing_ will make
the Balls of the Fingers and Thumb supple, by the wetness of the
_Letter_ and sharpness of the _Ly_; and consequently the grain of the
skin will be made clumsie, and those Joints feeble; so that they will
not so well fasten upon the sides of the Shank to command the _Letter_,
and draw it askew, or be so nimble at disposing them into their several
_Boxes_.

This happens most if they work upon small _Letter_, and that old, and
the _Ly_ old too, for then the _Ly_ will have much _Inck_ mingled in
it: And the _Compositer_ will have much ado to _Rince_ his _Form_ so
clean but that the _Letter_ will be slippery, and consequently not
spread, as aforesaid. But against it they may use a remedy, which is,
to have a piece of Allom about the bigness of a Hasel-nut, lye in one
of the _Boxes_ of the _Case_; for by feeling that now and then, the
dilated pores of their Fingers are again contracted, and fit to do
their office: For by the greasiness of the _Letter_, the grain of the
Skin of the Fingers were so dilated, that the _Compositer_ could not so
actively draw the Shanks of the _Letters_ askew, as aforesaid.

The _Compositer_, if conveniences suit, chuses to _Destribute_ his
_Letter_ over Night, that he may have a _dry Case_ (as he calls it)
to work at in the Morning, because Wet _Letters_ are not so ready and
pleasant to pick up as Dry; and besides are apt to make the Fingers
sore, especially if the _Ly_ be not so well _Rinc’d_ from the _Letter_
as it should be. In the Winter, when he _Destributes_ in the Day time,
he commonly brings the _Lower Case_, when full of _Letter_, to the Fire
to dry, rearing the farther side of the _Case_ a little upwards: And
when it is well dryed, he sets it again upon the _Frame_.

[Illustration: _Plate 24_]


¶ 4. _Of_ Composing.

The _Compositer_ now addresses himself to _Composing_: And looking
a little over his _Copy_, to see how it pleases him, for he runs
different fortunes, either of good or bad _Copy_, viz. well or ill
writ, if it be a _Written Copy_, or much _Italick_, _Latin_ or _Greek_,
or _Marginal Notes_, or few _Breaks_, _&c._ for this he likes not in
his _Copy_: But a _Printed Copy_, or a fair Written Hand, and full of
_Breaks_ pleases him well, and is by _Compositers_ call’d _Good Copy_,
_Light_, _Easie Work_; when the former they call _Bad_, _Heavy_, _Hard
Work_: And if a Price be already made for a whole Book, the Good and
Bad is done at the same Price.

If the _Measure_ be already made, that is, if he was already upon that
_Work_ before, and his _Composing-stick_ be set to the _Measure_ of
that _Work_, he needs not, or must not alter his _Composing-stick_:
But if his _Measure_ be not made, he must unskrew the _Skrew_ of his
_Composing-stick_, and slide the _Cheeks_ nearer to, or farther off the
_Head_ of his _Composing-stick_, till he have exactly fitted his given
_Measure_.

If it be a _Printed Copy_ he is to Work on, and his Work must run
_Line for Line_ with his _Copy_, he then without more ado, _Sets_ or
_Composes_ the fullest _Line_ he finds in his _Copy_, and slides up the
_Cheeks_ of his _Composing-stick_, and pinches that _Line_ between the
_Cheeks_ and the _Head_, till it stands as stiff or hard in the _Stick_
as he intends to _Justifie_ all the rest of his _Lines_: Then screws up
the _Composing-stick_.

_Justifying_ (in _Compositers_ Language) is the stiff or loose filling
of his _Stick_, for if it be fill’d very stiff with _Letters_ or
_Spaces_, they say it is _hard Justified_, if loosly, they say it is
_loose Justified_.

Having the _Measure_ fitted, he places the _Galley_ on his _Upper
Case_ on the Right Hand, for those _Boxes_ are seldomest used, because
in them are placed only the _Latin sorts_, or sometimes the _Small
Capitals_, _Astronomical Signs_, &c.

He places his _Galley_ so, that the Left Hand corner of the bottom of
its Frame stands lower upon the _Case_ than any of the other Corners,
for in that position the _Letters_ at the end of every _Line_ stand
safest from falling, as leaning towards the rest of the _Page_.

Some _Compositers_ use _Visorums_, as is described in _Plate 2._ at
i. 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 _Scaboard_ tyed together at one end, they clasp
both the _Copy_ and _Visorum_ between these two _Scaboards_, which two
_Scaboards_ 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 _Compositer_ moves it downward.

After this preparation, the _Compositer_ falls to _Composing_. But
first reads so much of his _Copy_ as he thinks he can retain in his
memory till he have _Composed_ it, as commonly is five or six words,
or sometimes a longer Sentence. And having read, he falls a Spelling
in his mind; yet so, that his Thoughts run no faster than his Fingers:
For as he spells A, he takes up A out of the A _Box_, as he names n in
his thoughts, he takes up n out of the n _Box_, as he names d in his
thoughts he takes up d out of the d _Box_; which three _Letters_ set
together make a Word, viz. And; so that after the d he sets a _Space_:
Then he goes on to the next _Word_, and so _Composes_ on, _Setting_
a _Space_ after every _Word_ till the _Words_ come to the end of the
_Line_, for then he sets no _Space_.

When he _Composes_ the _Letters_ he holds the _Composing-stick_ in
his Left Hand, placing the Second Joynt of his Thumb over the moving
_Cheek_ of the _Stick_, and the end of the Ball of his Thumb reaches
down to the bottom of the _Cheek_ and _Stick_; so that with the end
of the Ball of his Thumb he gently presses the _Letter_ close to the
_Cheek_, and keeps the _Letters_ tight and square together, as he
places them in the _Stick_ successively. _See Plate 24. at_ A.

And as his Eyes are very quick in reading his _Copy_, and in shifting
its Visual Ray to the several _Boxes_ he is to have a _Letter_ out of,
so is his choice what _Letter_ to take up very sudden; for though the
_Box_ be full of _Letters_, yet in an instant he resolves and pitches
his Fingers upon that one, which for its posture and position his Fancy
reckons lyes most commodious for his immediate seizing. For position,
he generally chuses that which lies uppermost, because it is readiest
at Hand to snatch up: And for posture, that which lies with its _Face_
towards his Right Hand, because catching at the _Letter_ near the
_Face_-end of the _Shank_, he by an accustomed sleight, in his Fingers
while it is coming to the _Stick_, disposes it so, that as the bottom
of the Shank goes directly forwards, towards the bottom of the _Stick_,
so the _Notch_ of the _Letter_ shall also be placed upwards.

Most _Compositers_ use a _Composing-Rule_, which is only a piece of a
_Brass-Rule_ cut to the length of the _Measure_, with a small Ear left
at either end, to take it out by when the _Line_ is full, and to lay it
upon the _Compos’d Line_, to _Set_ successively a succession of _Lines_
upon, till the _Stick_ be full.

This _Rule_ is very commodious to Work with, because the _Letter_
slides easier and smoother down to the _Back_ of the _Stick_, than it
will upon a _Line_ of _Letters_: Besides, the _Letters Compos’d_ on it
stand streighter and truer in _Line_, and are less subject to _Hang_,
than those _Compos’d_ on a _Line of Matter_; unless with a _Riglet_ (as
that they many times do) they rub pretty strongly along the _Line_ they
have _Compos’d_, which is a labour more than needs, and the loss of
some time to make the Work more unpleasant.

Having _Composed_ one _Line_, if it ends with a _Word_ or a _Syllable_
and a _Division_, and just fill the _Measure_, it needs no more
_Justifying_; but if the _Line_ conclude not as aforesaid, then he puts
a _Space_ more between every Word, or so many Words as will fill up the
_Measure_ pretty stiff, viz. _Justifie_ the _Line_. But if the _Line_
be not yet _Justified_, he puts another _Space_ between every Word, or
between several Words, till the _Line_ be _Justified_: So that here
is now three _Spaces_, and strictly, good Workmanship will not allow
more, unless the _Measure_ be so short, that by reason of few _Words_
in a _Line_, necessity compells him to put more _Spaces_ between the
_Words_. This often happens in _Marginal Notes_, where the _White_
between _Words_ is often as great or greater than between _Line_ and
_Line_.

These wide _Whites_ are by _Compositers_ (in way of Scandal) call’d
_Pidgeon-holes_, and are by none accounted good Workmanship, unless in
such cases of necessity, as aforesaid.

And as _Lines_ may be too much _Spaced-out_, so may they be too close
_Set_: It maybe accounted too close _Set_ when only a _Thin-space_
is set between Words, especially if no _Capital Letter_ follows the
_Thin-space_ or _Point_ go before it. _Thin-spaces_ being intended and
_Cast_ only that the _Compositer_ may _Justifie_ his _Lines_ the Truer,
and not to serve for convenient distinction between Words; yet do some
_Compositers_ too often commit this error, rather than put themselves
to the trouble of _Spacing_ out a _Line_, where many _Spaces_ must be
used to _Space_ it out.

A good _Compositer_ takes care not to _Set_ too Close, or too Wide;
for if he _Set_ too Close, and should happen to leave out a Word or
two, it will give him a great deal of trouble to get those Words in;
Nay perhaps when he comes to a _Break_ he drives out a _Line_, for
which _Line_ perchance he may be forc’d to _Over-run_ all the _Pages_
that are _Set_ forwards upon that _Matter_. And if he _Sets_ too Wide,
and he chance to _Set_ a Word or two twice over, he may be forc’d to
make _Pidgeon-holes_ e’re he come to a _Break_, and then perhaps his
_Break_ is got in too, and his _Page_ a _Line_ too short, and he forc’d
to _Over-run_ several _Pages_ e’re he can drive that _Line_ out. As I
shall farther shew you when I come to the ¶ of _Correcting_.

In _Justifying_ his _Line_ he takes great care that it do not _Hang_:
It is an unproper Term, yet grown into Use, for when the _Letter_
stands askew, and not directly Square, they say it _Hangs_. New
_Letter_ is most subject to _Hang_, especially if not very smoothly
_Drest_; Because the least Bur, or sharpness of its Angles, may catch
in the Burs or Angles of the _Letters_ that stand next them, and so
make them stand aslope, and one _Letter_ standing aslope is very
subject to make all the other _Letters_ in that _Line_ stand aslope
too. Therefore if he find his _Letter Hang_, while his _Line_ is yet
_loose_, viz. Unjustified, he gently with the Ball of the Thumb of his
Left Hand, thrusts the top of the shank of the _Line_ where it _Hangs_,
moving the _Letter_ somewhat from him, towards the farther end of
the _Stick_, and with the Balls of the two Fore-fingers of his Right
Hand pats upon the _Face_ of the _Letter_, till he have got them into
an upright position. He moves or drives the top of the Shank of the
_Letter_ from him, because generally the placing the Ball of his Thumb
on the top of the shank of the _Letter_ when he _Composes_ (as was
shewn before) is subject to draw the _Letter_ askew towards him, but
that his care commonly prevents it: Yet if by chance the _Line_ should
_Hang_ from him, then he with the Ball of his Thumb as aforesaid, draws
the _Letter_ towards him, to set it upright.

Here is now one _Line Compos’d_: And as he _Compos’d_ that _Line_,
so he _Composes Line_ upon _Line_ till his _Stick_ be full: When his
_Stick_ is full, he _Empties_ thus; He lays his _Stick_ down upon his
_Lower Case_, with the bottom of his _Stick_ against the hither _Ledge_
of the _Case_, and the _Face_ of the _Letter_ upwards; being provided
of a _Riglet_ just the Length of his _Line_, he lays his _Riglet_
against his last _Line_, and places the Balls of his two Fore-fingers
behind the _Riglet_, near the middle of it, if the _Line_ be not too
long, and then only as near the middle as he can to command it with
his Fore-fingers; and he places the Balls of his Thumbs against the
first _Line_ in his _Stick_ as far below the _Face_ of the _Letter_ as
he can, and he places first the Joints of his middle-fingers against
the Sides of the _Letter_ at the two ends of the _Line_, so as I
shewed you he did when he was _Taking up_ his _Letter_ to Destribute
it; and in this posture pinching the _Letter_ between his Thumbs and
his Fore-fingers, and and squeezing his two middle fingers towards
each other, he leans the _Letter_ in the _Stick_ almost flat upon the
_Riglet_: But if his _Lines_ were _Hard Justified_, he cannot perhaps
with the first leaning the _Letter_ back get them clear out of the
_Stick_, therefore he again wriggles the _Stick_ of _Letter_ forwards
and backwards, till he gets them quite out. _See Plate 24. at_ B.

Having gotten them out, and in this posture fast between his Thumbs and
Fingers, and the _Letter_ leaning almost flat upon his _Riglet_, he
directs both his hands together to his _Galley_, and nimbly claps that
_Stick_ of _Letter_ down into the _Galley_, placing the first _Line_
close and upright against the lower ledge of the _Galley_, and the
begining of his _Lines_ close and upright against the left hand _Ledge_
of the _Galley_, and then disingages his Fingers and Thumbs, and leaves
his _Riglet_ standing in its place till he have occasion to use it in
like manner for the next _Stick_ of _Letter_.

As he _Set_ this _Stick_ of _Letter_, so he _Sets_ on till his _Page_
is _Out_, Remembring after the last _Line_ of every _Page_ to set a
_Direction_: That is, he _Sets_ a _Line_ of _Quadrats_ and at the end
of it the first word of the next _Page_, or if the Word be very long
and the _Line_ very short, two _Syllables_, or sometimes but one of
that _Word_. And if it be the _First Page_, viz. the first _Page_ of
that _Sheet_, he _Sets_ a _Signature_ about the middle of the _Line_,
or rather a small matter nearer the end than the middle is, (because
when the _Sheets_ are wrought off and gather’d, they _Collation_
something quicker: The _Collationer_ not being forced to prick up with
his _Bodkin_ the corners of the _Sheet_ so high to see the _Signature_:
which in a long train of work saves time.

If it be the _First Page_ of the first _Sheet_ of a _Book_ the
_Signature_ is A, if the first of the second _Sheet_ B, if the first
of the third C, and so successively till he come to W, which is always
skipt, because the _Latin Alphabet_ has not that _Letter_ in it; but
next V follows X Y Z, so that if the _Book_ contain above three and
twenty _Sheets_, the _Signature_ of the four and twentieth _Sheet_ must
be A a, if five and twenty B b; till in like manner he run through the
_Second Alphabet_, and comes to the third, fourth, _&c._ still as he
begins a new _Alphabet_ adding an a.

To the second _Page_, or any other _Even Page_, he _Sets_ no
_Signature_, but to the Third which is an _Odd Page_ he does, viz. A 2.
The _Figure_ of 2 is no part of the _Signature_, but is only an adjunct
to shew the _Book-binder_ the Second _Leaf_ of that _Sheet_, that he
may the surer _Fold_ the _Sheet_ right.

If it be a _Folio Sheet_ he cannot set A 3 in a single _Sheet_, because
it has but two _Odd Pages_ in it; but if they be _Quir’d Sheets_, that
is, two, three, or four _Sheets Quir’d_ together, he must set A 3 in a
_Folio_, though not in the First, but Third _Sheet_ of that _Quire_.
But no wise _Compositer_, except he work on _Printed Copy_ that runs
_Sheet_ for _Sheet_, will be willing to _Compose_ more _Sheets_ to a
_Quire_ than he shall have a _Fount_ of _Letter_ large enough to set
out, unless he will take upon him the trouble of _Counting off_ his
_Copy_: because he cannot _Impose_ till he has _Set_ to the last _Page_
of that _Quire_; all the other _Sheets_ being _Quired_ within the first
_Sheet_, and the last _Page_ of the _Quire_ comes in the first _Sheet_.
But when he _Composes Quir’d Work_, the _Signature_ of the first _Page_
is A, the _Signature_ of the _Sheet Quir’d_ next within the first
_Sheet_ is A 2, the first _Page_ of the next _Quir’d-Sheet_ A 3: So
that the _Signatures_ of all the _Sheets_ in the first _Quire_ is A, A
2, A 3, _&c._ according to the number of _Sheets Quired_ together. The
second _Quire_ begins B, B 2, B 3, _&c._ The Third _Sheet_ C, _&c._
according to the number of _Quires_. This is called _Printing_ in
_Quires_. Now to return.

If the _Form_ be _Quarto_, he _Sets_ under the Fifth _Page Signature_
3. If _Octavo_, he sets also under the Fifth _Page Signature_ 3.
and under the Seventh _Page Signature_ 4. If _Twelves_, he sets
also under the Fifth _Page Signature_ 3, and under the Seventh _Page
Signature 4_, and under the Ninth _Page Signature_ 5, and under the
Eleventh _Page Signature_ 6. The Rule is, that all _Odd Pages_ should
have a _Signature_, if they stand on the _Out-side_ of the _Sheet_;
and the reason for the Rule is, that the _Gatherer_, _Collater_ and
_Bookbinder_ may the readier lay _Sheets_ right, if they be turned
wrong. This Rule is not among _Compositers_ so well observed as it
ought to be: For in _Quarto’s_ they not only leave the _Signature_ 4
out, but rarely put in _Signature_ 3.


¶ 5. _Some Circumstances a good_ Compositer _considers and observes in_
Composing.

A good _Compositer_ is ambitious as well to make the meaning of his
_Author_ intelligent to the _Reader_, as to make his Work shew graceful
to the Eye, and pleasant in Reading: Therefore if his _Copy_ be Written
in a Language he understands, he reads his _Copy_ with consideration;
that so he may get himself into the meaning of the _Author_, and
consequently considers how to order his Work the better both in the
_Title Page_, and in the matter of the _Book_: As how to make his
_Indenting_, _Pointing_, _Breaking_, _Italicking_, _&c._ the better
sympathize with the _Authors_ Genius, and also with the capacity of the
Reader.

Nor does a _Compositer_ the least shew his skill in the well ordering
and humouring of a _Title Page_, which, because it is the first _Page_
of a _Book_, we shall begin the _Compositers_ Considerations at.

He, as aforesaid, judiciously reads his _Title Page_, and considers
what _Word_ or _Words_ have the greatest Emphasis in it. If many
_Words_ precede the Emphasis, he considers whether it be best to make
one or two _Lines_, or more of them, by electing a _Body_ bigger or
less to _Set_ the precedent _Matter_ in, and whether any of these
_Lines_ ought to be _Indented_, either at one end or both, viz. _Set_
in the middle of the _Line_. And what Words of Emphasis come in that
precedent _Matter_; that he may _Set_ them either in _Capitals_,
_Roman_, _Italick_, or _English_; and at last bring the great Emphasis,
which is generally the _Title_ or _Name_ of the _Book_ in a _Line_ by
it self, and just fill it if he can; which he has some helps to do, by
the great _Bodied Letters_ of the _Lower Case_, or else by _Capitals_,
_Roman_, _Italick_ or _English_, of a proper _Body_, which best pleases
his fancy, or is in present mode.

If this _Word_ of great Emphasis be _Set_ in the _Lower Case_, yet he
_Sets_ the first _Letter_ a _Capital_, and he _Sets_ no _Space_ between
_Letter_ and _Letter_, but between _Word_ and _Word_ he does, if
there happens more than one _Word_ in that _Line_: But if that _Word_
be _Set_ in _Capitals_, he chuses to _Set_ a _Space_ between every
_Letter_, and sometimes he _Sets_ two _Spaces_, yet that is rather to
drive out the _Line_.

If he _Sets_ but one _Space_ between the _Letters_ in a _Word_, he
_Sets_ three _Spaces_ between _Word_ and _Word_: And if he _Set_ two
_Spaces_ between _Letter_ and _Letter_, he _Sets_ four _Spaces_ betwen
_Word_ and _Word_, as well to give a graceful appearance to the Eye,
as to make a Visible and proportionable distinction between _Word_ and
_Word_.

He also considers what _Whites_ to _Set_ between his _Lines_; as either
a _Line_ of _Quadrats_, and of what _Body_; or (if his _Title Page_
be large) but a _Scaboard_: and at last _Justifies_ his _Page_ in
_Length_, either by adding more _Whites_ (where they may be proper)
if his _Page_ be too short, or by taking out or diminishing _Whites_
if the _Page_ be too long: And this he does by altering the _Body_ of
_Whites_, for if a _White-line_ be _English_, he may take it out, and
in its room put in _Pica_, _Long-primmer_ or _Brevier_, according as he
finds he has _Run out_; yet this he does with Consideration, where more
or less _White_ is properest.

But the mode of ordering _Titles_ varies; as may be seen by comparing
the _Title Pages_ of every twenty years: Therefore a Lasting Rule
cannot be given for the ordering them: only what has been said in
general concerning Emphasis, and in particular to humour the Eye, the
_Compositer_ has a constant regard to.

When he is to Work upon a continued Series of _Matter_, he _Sets_ the
_Title_ of the _Chapter_ or _Section_ in a bigger _Body_ and different
Character than his _Matter_ is _Set_ in; as if the _Matter_ be _Set_
in _English Roman_, he _Sets_ the _Title_ in _Great Primer_ or _Double
Pica Italick_, but the _Words_ of _Emphasis_ he will _Set_ in _Roman_,
and varies the Character for them as well in the _Title_, as he does in
the _Matter_.

If his _Title_ be short, he _Sets_ it in the middle of the _Line_, by
_Setting Quadrats_ on both sides: If his _Title_ be long, he _Sets_
the middle _Line_ in the middle: If it make three or more _Lines_, he
_Indents_ the first with an m _Quadrat_, and the other with two m
_Quadrats_. Before his _Title_ he sets a _White-line_, viz. a _Line_
of _Quadrats_, and so he does after it; but with regard to what the
bigness of the _Body_ of the _Letter_ the _Title_ is _Set_ in, _Runs
out_; for these _Whites_ must be set of such _Bodies_ (bigger or
less) as will make the difference of the _Body_ the _Title_ is _Set_
in, a just number of _Lines_ with those of the _Body_ the _Matter_
is _Set_ in, because the length of the _Page_, as aforesaid, must be
_Justified_. And he always forecasts to put rather more than less
_White_ before the _Title_ than after it; because the _Title_ has
relation to the _Matter_ of the _Chapter_ or _Section_ it is _Set_
to, and therefore ought not to be so distinct, as from the precedent
_Chapter_ or _Section_.

After his _Title_, he begins his _Chapter_ or _Section_ with a
_Two-lin’d Letter_, or _Three_ or _Four-lin’d Letter_, but _Indents_ it
not. He begins his _Chapter_ or _Section_ with the first _Line_ in the
_Stick_, unless his _Stick_ be very Deep, or his _Two_ or _Three-lin’d
Letter_ small, because it may else reach above the top of the _Stick_,
and so hinder him from filling up _Lines_ to the _Body_ of the _Two_ or
_Three-lin’d Letter_.

After the _Two_ or _Three-lin’d Letter_, he _Sets_ a _Capital Letter_
of the _Body_ his _Matter_ is of, and _Indents_ all, those _Lines_ that
are to fill up the _Great Letter_ with an n _Quadrat_.

He cannot use his _Composing-Rule_ (mentioned in the foregoing part
of this ¶) till he have filled up _Lines_ to the _Body_ of the said
_Great Letter_; because his _Composing-Rule_ is too long to go between
the _Great Letter_ and the _Head_ of the _Stick_: but then he uses
the end of a _Riglet_ to rub along the _Lines_ he has _Composed_
to smoothen them, and so _Set_ on till he has filled up the whole
_Body_ of the _Great Letter_, and most times somewhat above it; which
_Letter_ he afterwards _Justifies_ with _Small Bodied Quadrats_,
or with _Scaboards_ or _Cards_, or with any or all of them till
the _Great-letter_ stands even with the number of _Lines_ that it
_Indents_, and afterwards uses his _Composing Rule_, and _Sets_ the
succeeding _Lines_ to their full Length.

If it be a great _Wooden Letter_, he begins his _Chapter_ or _Section_
with, it is most times too _Deep_ for the height of the _Cheeks_ of his
_Stick_; therefore he _Justifies_ his _Stick-full_ just to the breadth
of the _Wooden Letter_ with _Quadrats_ or _Quotations_, and _Sets_ on
between those _Quadrats_ or _Quotations_ and the _Head_ of his _Stick_,
as I shewed before, till his _Stick_ be full of _Lines_; which _Lines_
he _Empties_, leaving the _Quadrats_ or _Quotations_ in his _Stick_, to
serve, as before, for the succeeding _Stick_ or _Sticks_, till he have
_Composed Lines_ enough for the _Depth_ of the _Wooden Letter_.

As he _Sets_ on, he considers how to _Point_ his Work, viz. when to
_Set_ , where ; where : and where . where to make ( ) where [ ] ? !
and when a _Break_. But the Rules for these having been taught in many
School-books, I need say nothing to them here, but refer you to them.

And as he considers how to _Point_, so he considers what proper Names,
either of Persons or Places, he meets with in his _Copy_, as also what
Words of great Emphasis, and what Words of smaller Emphasis, what
Obsolete Words, and what Foreign, _&c._

When he meets with proper Names of Persons or Places he _Sets_ them in
_Italick_, if the Series of his _Matter_ be _Set_ in _Roman_; or in
_Roman_ if the Series of his _Matter_ be Set in _Italick_, and _Sets_
the first Letter with a _Capital_, or as the Person or Place he finds
the purpose of the Author to dignifie, all _Capitals_; but then, if
conveniently he can, he will _Set_ a _Space_ between every _Letter_,
and two or three before and after that Name, to make it shew more
Graceful and Stately. For _Capitals_ express Dignity where-ever they
are _Set_, and Space and Distance also implies stateliness.

_Words_ of great Emphasis are also _Set_ in _Italick_, and sometimes
begin with a _Capital Letter_: If the Emphasis bear hard upon the Word
to be exprest as well as the Thing to be exprest, it ought to begin
with a _Capital_. I shall bring for instance an Observation I made
above forty years ago on the Word _that_, viz. that that Word may be
reitterated five times, and make good Sense: If it be set thus it will
seem nonsense, that that that that that; but if it be _Set_ thus, that
that That that that Man would have stand at the beginning of the _Line_
should stand at the end; it will, by toning and laying Emphasis on the
middlemost That become good Sense. Now all the thats ought to be _Set_
in _Italick_, and the middlemost That ought to begin with a _Capital_,
because it is both the Thing and Word.

Words of a smaller Emphasis may be _Set_ in the running Character,
viz. _Roman_, if it be the Series of the _Matter_; or _Italick_, if
_Italick_, but begun with a _Capital_: Instance in the last Sentence,
That which expresses both the Thing and Word, _&c._ Here Thing and Word
both bear Emphasis, though not very great, and therefore ought to be
dignified more than those Words that precede or follow those Words. Yet
I know some Authors are now so nice to mark both the Word Thing and the
Word Word in _Italick_.

After a . though not at the end of a _Break_ he begins with a _Capital_.

When in _Composing_ he comes near a _Break_, he for some _Lines_ before
he comes to it considers whether that _Break_ will end with some
reasonable _White_; If he finds it will, he is pleas’d, but if he finds
he shall have but a little single _Word_ in his _Break_, he either
_Sets_ wide to drive a Word or two more into the _Break-line_, or else
he _Sets_ close to get in that little Word, because a _Line_ with only
a little Word in it, shews almost like a _White-line_, which unless it
be properly plac’d, is not pleasing to a curious Eye.

Nor do good _Compositers_ account it good Workmanship to begin a _Page_
with a _Break-line_, unless it be a very short _Break_, and cannot be
gotten in in the foregoing _Page_; but if it be a long _Break_, he will
let it be the _Direction-line_ of the fore-going _Page_, and _Set_ his
_Direction_ at the end of it.

_Indenting_ after a _Break_ (unless it be the end of a _Chapter_ or
_Section_) is an m _Quadrat_, (more or less is not proper) _Set_ at the
beginning of the _Line_: But when Verses are _Indented_, two, three or
four m _Quadrats_ are used, according to the number of the Feet of the
Verses, but most times according to the fancy of the Author.

_English_ obsolete Words he _Sets_ in the _English_ Character, the
first _Letter_, if the dignity of the Word require it, as aforesaid,
with a _Capital_.

Foreign Languages he meets with in his _Copy_, if the _Master Printer_
have them in his House, he _Sets_ them in the proper Character; if not,
the Author must write them in the common Character, and the _Compositer
Sets_ them as they are written.

That I may be the less unintelligent to the Reader, I will inform him
that in _Printers_ Dialect (as in this last Paragraph it is used)
_Language_ is understood _Letter_: For the _Compositer_ does say, I
shall use a Word or two of _Greek Letter_, or _Hebrew Letter_, or
_Saxon Letter_, _&c._ but I shall use a word or two of _Greek_, a Word
or two of _Hebrew_, _Saxon_, _&c._ so that the Word _Letter_, is in
_Compositers_ Dialect, understood by naming the Language.

If _Indentures_ instead of _Marginal Notes_ come in a number of
_Lines_, he _Indents_ his _Stick_, as I shewed you he did for a
_Wooden Letter_, leaving a convenient _White_ between his _Matter_ and
_Indenture_, and then again _Indents_ his _Stick_ to _Set_ the _Matter_
that comes in those _Indentures_, allowing a reasonable _White_ between
the Top and the Bottom of his _Indenture_, and then _Justifies_ it up
to an exact number of _Lines_, as he did the _Wooden Letter_.

If _Marginal Notes_ come down the side (or sides, If the _Page_ have
two Columns) he chuses to _Set_ them in on the _Stone_, rather than in
his _Galley_; because both his _Page_ and _Notes_ stand safer, being
cloathed with the _Furniture_, than they do when they stand Naked in
the _Galley_. Therefore I shall say nothing of _Marginal Notes_ till I
come to _Imposing_.

Some other Circumstances (according as variety of Work does happen) a
_Compositer_ may meet with; but by what has been said upon this and
several other Trades, the Ingenious (as they occur) may easily consider
how they are to be performed.

Nor (as afore was hinted) is a _Compositer_ bound to all these
Circumstances and Punctilio’s, because, in a strict sense, the Author
is to discharge him of them in his _Copy_: Yet it is necessary the
_Compositers_ Judgment should know where the Author has been deficient,
that so his care may not suffer such Work to go out of his Hands as may
bring Scandal upon himself, and Scandal and prejudice upon the _Master
Printer_.


¶ 6. _Of Tying up a_ Page.

We may remember the _Compositer_ has yet a _Page_ in his _Galley_:
This _Page_ must be _Tyed up_ with a _Packthred Cord_, courser or
finer according to the bigness of his _Letter_ and _Page_: For _Small
Letter_, which rarely is used to great _Pages_, he chuses a fine
_Packthred_, strong and limber; but for _great Letter_ and _great
Pages_ a stronger that will better endure hard pulling at: Wherefore
he seeks a _Cord_ for his purpose, or else takes so much off the whole
_Quoil_ as will serve his turn, and taking the end on’t in his Right
Hand, lays that end about an Inch within the _Direction-line_, and a
little lower than the middle of the _Shank_ of the _Letter_, and holds
that end there close with the two Fore-fingers of his Left Hand, then
he slides his Right Hand along the _Cord_, straining it as stiff as
he can along the right side of the _Page_, and turns it about the
_Head_ of the _Page_ as close down to the _Ledge_ of the _Galley_ as
he can, and so slides his Hand over the _Cord_ till he draws it about
all the sides of the _Page_: and when he comes to the first end of the
_Cord_, he doubles up that end so as it stand above the _Face_ of the
_Letter_, and whips the _Cord_ over that end, that the end may not
slip; then he twists part of the remaining _Cord_ about his Right Hand,
and grasping his Left Hand Fingers about the _Direction_ Corner of the
_Page_, as well to hold the end of the _Cord_ from slipping, as to keep
the _Page_ tight in its position, with his Right Hand he pulls the
_Cord_ as hard down the side of the _Page_ as he can; and keeping the
_Cord_ straining, whips it again about the _Head_ and other sides of
the _Page_, and so again about all the sides of the _Page_, keeping it
still straining; and always as he comes to the Right Hand side of the
_Page_, pulling hard, and taking care that it slip not: Having whipt
the _Cord_ twice about the _Page_, he holding two of his Left Hand
Fingers against the _Direction_-corner upon the _Cord_, that it slip
not, with the Ball of his Thumb of his Right Hand, and the Balls of his
Fingers to assist, thrusts against the opposite diagonal corner of the
_Page_, and removes it a little from the _Ledges_ of the _Galley_, that
he may with the Nail of the Thumb of his Right Hand have room to thrust
the _Cord_ whipt about the _Page_, lower down upon the _Shank_ of the
_Letter_, (to make room for succeeding whippings of the Cord, and then
thrusts or draws the _Page_ close to the _Ledges_ of the _Galley_
again; then whips the _Cord_ again about the _Page_ (as before) till he
has whipt it four or five times about the _Page_, taking care that the
several whippings lye parallel to each other, not lapping over any of
the former whippings.

Having whipt the _Cord_ four or five times about the _Page_, he with
his _Bodkin_ or the corner of a _Brass Rule_ (which lies best at hand)
fastens the _Cord_, by thrusting a noose of it between the several
whippings and the Right Hand side of the _Page_, close up to the
_Direction-line_, then draws the lower part of that Noose close up to
the very corner of the _Direction-line_, that it may be the better
fastned between the _Page_ and the Whippings: Then, if his _Cord_
be not of a just length, he cuts it off from the rest of the Quoil,
leaving so much length to it as that the end of it may stand upright an
Inch or two above the _Face_ of the _Letter_; the reason will shew it
self when we come to _Imposing_. Then he removes the _Page_ pretty far
from the _Ledges_ of the _Galley_, to see if the Whippings lye about
the middle of the _Shank_ of the _Letter_; if they lye too high, as
most commonly they do, he thrusts them lower with the Nail or Nails of
his Thumbs. Then (if the _Page_ be not too broad) he places his Fore
or Middle Finger, or both, of his Right Hand on the Right Hand Side of
the _Page_, and his Thumb on the Left; and bowing his other Finger or
Fingers under the _Head_ of the _Page_, he rears up the _Handle-end_ of
his _Galley_ with his Left Hand almost upright, and so discharges the
_Galley_ of the _Page_, by delivering it upright into his Right Hand.
Having his _Page_ upright in his Right Hand, at the _Head_, he claps
the Fingers of his _Left Hand_ about the _Foot_ of the _Page_, upon the
ends of the _Lines_ on the Right Hand Side of the _Page_, and his Thumb
on the Left Hand side of the _Page_, with the Palm of his Hands towards
the _Face_ of the _Letter_, and such Fingers as he can spare bowed
under the Foot of the _Page_, turning the _Page_ with the _Face_ of the
_Letter_ from him, and letting it rest upon the inside of his Fingers,
under the Right Hand Side of the _Page_, and so goes with it to the
_Correcting-stone_.

But if the _Correcting-stone_ be full of _Forms_ or other _Letter_,
as many times it is, then before he begins to _Tye_ up his _Page_ he
provides a _Sheet_ of _Waste Paper_, supposing it a _Quarto Page_, and
doubles that Sheet in four, and while he has the _Page_ upright in that
Hand (as aforesaid) he takes that doubled Sheet into the Palm of his
_Left Hand_, and claps it against the bottom of the _Page_, and turning
his Left Hand outward, receives the _Page_ flat upon the Paper on the
Palm of his Hand: Then with his Right Hand grasps the Sides of the
_Page_ and the Sides of the Paper, which turn up again above the bottom
of the _Page_, and sets it on a _Letter Board_, or some other board in
a convenient place under his _Case_. He places that _Page_ on the Left
Hand the Board with the Foot of the _Page_ towards him, that the other
_Pages_ that are in like manner set on the Board afterwards, may stand
by it in an orderly succession against he comes to _Impose_ them.

If it be a large _Folio Page_, or a _Broad-side_ he has _Tyed up_,
he cannot take that into his Hands, because it is too broad for
his Grasp; therefore he carries his _Galley_, _Page_ and all to the
_Correcting-stone_, and turns the Handle of the _Galley_ towards
him, and taking hold of the Handle with his Right Hand, he places
his Thumb and Ball of his Thumb on his Left Hand, against the inside
the _Head-ledge_ of the _Galley_, to hold it and keep it steady, and
by the _Handle_ draws the _Slice_ with the _Page_ upon it, out of
the _Galley_, letting the _Slice_ rest upon the _Correcting-stone_:
Then he thrusts the _Head-end_ of the _Slice_ so far upon the
_Correcting-stone_, that the _Foot_ of the _Page_ may stand an Inch
or two within the outer edge of the _Correcting-stone_; and placing
his Left Hand against the _Foot_ of the _Page_, in the same posture he
last plac’d it against the _Head-ledge_ of the _Galley_, he draws the
_Slice_ from under the bottom of the _Page_, and leaves it upon the
_Correcting-stone_. _See Plate 25. at_ A.

[Illustration: _Plate 25._]


¶ 7. _Of_ Imposing.

_Imposing_ is the placing of the _Pages_ that belong to a _Sheet_, with
the _Chase_ and _Furniture_ about them, in such an order as when the
_Sheet_ is wrought off at the _Press_, all the _Pages_ may be Folded
into an orderly succession.

There are four _Volumns_ in use that are differently _Imposed_, viz.
_Folio_, _Quarto_, _Octavo_ and _Twelves_.

The manner of _Imposing_ these _Sheets_ will be plainer represented
in a Table than by many words; therefore in _Plates 26_, _27_, _28_.
I have given you Drafts of each _Volumn_, both _First_ and _Second
Form_, viz. _White Paper_ and _Reteration_; as you may see noted
over each _Form_ in the Plates. For Example, the two _Forms_ in the
_Folio Sheet_: In the _First Form_ you may see 1 on the Left Hand
and 4 on the Right, which shews that the _First Page_ must stand on
the _Correcting-stone_ on that Hand, and the _Fourth_ on the Right
Hand, with the _Foots_ of the _Pages_ towards you; and so for all the
other _Forms_. The number of the _Page_ belonging to each _Sheet_ is
marked in what place it is to stand on the _Stone_ in the _Chase_, and
the Figures of those Numbers are placed with their _Head_ and _Foot_
upwards and downwards, as the _Heads_ and _Foots_ of the _Pages_ must
stand in the _Chase_.

[Illustration: _Plate 26._]

The places of these _Pages_ for all _Volumns_ the _Compositer_ has
always in his memory, yet has he a help if he remember the places of
but the first half of the number of _Pages_ of each _Volumn_: For if
he knows the place of the first _Page_, the _Page_ that stands next
it must be that number which makes one more than the number of all
the _Pages_ in the _Sheet_. For Example, in the _Folio_; next the
_First Page_ stands the _Fourth Page_, 1 and 4 added makes 5, viz. one
more than the number of _Pages_ in the whole _Sheet_. _See Plate 26._
Again, In the _Twelves Volumn_ next the _First Page_ stands the _Twenty
Fourth_, 1 and 24 added makes 25: Next 2 stands 23, which added makes
25, _viz._ one more than the number of _Pages_ in the whole _Sheet_.
This is a help, and a certain Rule for placing the _Pages_ of any
Volumn, if he knows but by memory the places of the first half number.
_See Plate 27._ Thus you will find an _Even_ and an _Odd Page_ stand
together.

[Illustration: _Plate 27_]

The other _Volumns_, viz. _Sixteens_, _Twenty-fours_, _Thirty-two’s_,
are but the _Octavo’s_ and _Twelves_ doubled, or twice doubled and
_Imposed_ in _Half-Sheets_. For Example, The _Sixteens_ is two
_Octavo’s Imposed_ on each side the _Short Cross_; the _Twenty-fours_
is two _Twelves Imposed_ on each side the _Long Cross_, and a
_Thirty-two’s_ is four _Octavo’s Imposed_ in each _Quarter_ of the
_Chase_. And thus they double a Volumn as oft as they think fit. But
as was said before, they are _Imposed_ on each side the _Cross_, or
in each _Quarter_ of the _Chase_, as the Volumn that is doubled or
re-doubled is _Imposed_ in the whole _Chase_.

In _Half-sheets_, all the _Pages_ belonging to the _White Paper_ and
_Reteration_ are _Imposed_ in one _Chase_, and are plac’d, as you see
by the Drafts (in _Plate 28_.) of _Half-sheet Forms_. So that when a
_Sheet_ of _Paper_ is Printed on both sides with the same _Form_, that
_Sheet_ cut in two in the _Short Cross_, if _Quarto_ or _Octavo_, and
in the _Short_ and _Long Cross_, if _Twelves_, and folded as _Octavo_
or _Twelves_; the _Pages_ (I say) of each _Half-sheet_ shall follow in
an orderly succession.

[Illustration: _Plate 28._]

Having premised thus much, he takes up the _Pages_ he set by on Papers
in an orderly succession when he _Tyed_ them up, grasping the edges
of the Papers that stick up on both sides the _Page_ tight, that so
the bottom of the Paper may stand the stronger against the bottom of
the _Letter_, to keep it from falling out; and bringing it thus to
the _Correcting-stone_, he gets the two last Fingers of his Right
Hand under the _Head_ of the _Page_, but not under the Paper sticking
up about the _Head_ of the _Page_, keeping his other two Fingers and
Thumb on the sides of the _Page_, and slips or slides his Left Hand,
so as the Palm of it may turn towards the bottom of the _Page_; and
rearing the _Page_ up on end on his Right Hand, he discharges his
Left to take away the Paper behind the _Page_; then he grasps his Left
Hand about the _Foot-end_ of the _Page_ in the same posture that his
Right Hand grasps the _Head-end_. And having the _Page_ thus between
his Hands with the bottom of the _Letter_ towards him, he directs both
his Hands to the place on the _Stone_ where the _Page_ must stand, and
claps it down on the _Stone_ so nimbly, that the whole bottom of the
_Page_ comes all at once to the Face of the _Stone_, lest otherwise
he endanger the _Breaking_, _Squabbling_, or _Hanging_, _&c._ of the
_Page_. And thus he sets down all the _Pages_ of the _Form_: which
having plac’d in order and rank, as before I have shew’d in the Drafts
of each respective Volumn, he lays the _Chase_ about them; and (if
he have not a _Form_ already _Drest_) seeks out _Inner Side_ and
_Head-sticks_ of such a thickness, as with the _Cross_ may make a
_Margin_ between the adjoyning _Pages_ convenient to the Volumn and
size of the Paper.

If his _Side_ or _Head-sticks_ be a little too thin, and and he cannot
find any to his intended thickness, he puts a _Scaboard_ or two between
the _Head_ or _Side-stick_ and the _Cross_, as well to have more
_Margin_ as to commode the _Press-man_ (if occasion be) when he makes
_Register_, as I shall further shew when I come to the Section of the
_Press-man_.

Then he seeks outer _Side_ and _Foot-sticks_, his _Side-sticks_ of
the exact length of the _Page_, or a _Scaboard_ shorter, or he cuts
them to that length, that the _Foot-stick_ Bear not against the end of
the _Side-stick_, because then the _Letter_ will not _Rise_; for the
_Foot-stick_ must be a little longer than the breadth of the _Page_,
that it may shoot beyond the end of the _Side-stick_.

Then he fits the _Chase_ and _Furniture_ at _Side_ and _Foot_, with
_Fore_ and _Hind Quoins_, and takes off the _Cords_ from the _Pages_,
as shall be shew’d by and by.

But if _Marginal Notes_ come down the Side or or Sides of the _Pages_
(for if there be two _Columns_ in a _Page_, the _Marginal Notes_ may
come down both sides) then, before he fits his _Foot-sticks_ he sets
a _Scaboard_ the length of the _Page_, against the side of the _Page_
the _Notes_ come on, and a row of _Quotations_ almost down the length
of the _Page_, or sometimes but one or two in a place at convenient
distances, to keep the _Letter_ of the Side of the _Page_ upright,
according as he finds his particular _Notes_ stand near or far asunder,
and afterwards fits his _Foot-stick_. Then he _Sets_ his _Notes_,
commonly between the _Cheeks_ of his _Stick_, which for that purpose
are fitted to the _Measure_ of the _Quotation_: And having _Set_ them,
he places them in the proper places where they must come in, and with
_Quotation Quadrats_ of proper _Bodies_, _Justifies_ them up, feeling
(at last) carefully and cautiously at the _Foot_, that they be neither
too soft nor too hard _Justified_ to the length of the _Page_.

Now if he have a _Chase_, or _Form_, or _Furniture_ already _Drest_
(these several phrases are used, though they all signifie the same
thing.) If he have (I say) a _Form Drest_, that is, if he or other
Workmen have been Working on the same _Work_, i. e. _Book_, before
he uses one of the _Wrought-off Forms_, and having it on a
_Letter-board_, _Rinc’d_, as was shew’d in ¶ 2. of this Section, he
places it on a Bench or Joint-stool, on that Hand that stands most
commodious with that end of the _Stone_ he _Imposes_ on, and so as
there may be a corresponding position, with the _Form Wrought off_ and
that _Imposing_, viz. that the _First Page_ (and consequently all the
rest) of the _Wrought off Form_ stands on the same Hand with the _First
Page_ of that _Form_ that is _Imposing_.

Then taking out and laying the _Quoins_ in their proper places, as I
shew’d when he _Stript_ the _Form_, at the latter end of ¶ 2. he a
little wriggles the _Chase_ from one Side to the other, and forward
and backwards to Loosen it, and the _Cross_ or _Crosses_ from the
close pinching of the _Letter_ and _Furniture_: then takes it off the
_Chase_, and lays it about those _Pages_ he is _Imposing_: Then with
his two fore-fingers and Thumbs he takes away the _Inner Side-stick_
and the _Head-stick_ at once, and at once removes them to the
responding _Quarter_ of the _Form Imposing_, into the responding places
from whence he took them in the _Wrought off Form_. And as he does by
the _Inner Side-sticks_, so he does by the outer _Side-sticks_, and by
the _Quoins_; placing them in their respective proper places between
the _Furniture_ and _Chase_, or so many of the foremost _Quoins_,
as will go in before the _Cords_ are unwhipt from the _Pages_. Thus
the _Wrought off Form_ is _Stript_ and _Naked_; and stands by to
_Destribute_.

Having thus translated the whole _Furniture_ of the _Wrought off Form_
to the _Form Imposing_, he finds the end of the _Cord_ that he left
sticking up above the _Face_ of the _Letter_ (which perhaps by this
time is got between the _Furniture_ and the _Page_) and laying the Ball
of his left Thumb, on the _Face_ of the _Letter_ at the _Direction_
corner of the _Page_, to keep it from _Rising_, he takes the aforesaid
end of the _Cord_, between the Fore-finger and Thumb of his Right
Hand, and pulls gently to loosen the Noose that fastned the _Cord_
when he _Tyed_ up the _Page_, till he draws the Noose out, and after
it successively all the several Whippings; which done, he places the
Balls of his Thumbs, one against the middle of the _Side-stick_, and
the other against the middle of the _Foot-stick_, and at once thrusts
the _Page_ close against the _Inner-Side_ and _Head-stick_, and so
makes room to get in all the _Quoins_. But if there be more than one
_Page_ in a _Quarter_, as in _Octavo’s_ and _Twelves_, then he unties
all the _Pages_ of that _Quarter_, beginning with the _Inner Pages_
first, before he can put in the _Quoins_. Then again, thrusting hard
with his Thumbs, against the outer Sides of the Side and _Foot-sticks_
of the several _Quarters_, to thrust the _Letter_ up tight and Square,
he looks over the _Form_ as nicely as he can, to see what _Letter_
or _Letters_ may _Rise_ in the _Form_, (that is, stand higher than
the rest) and with the Balls of his Fingers of both his Hands, (the
_Quoins_ being close and hard thrust up) pats upon the _Face_ of the
_Letter_ to beat them down: But this is not enough to smoothen the
_Form_, but only to smoothen it so as the edges of the _Dressing-block_
(when it comes to smoothen it quite) may not job against them. Then he
takes the _Dressing-block_, described Section 9. ¶ 3. in his left Hand,
and lays the smooth side of it upon the _Face_ of the _Letter_,
at the bottom of the _Quarter_ next him; or he takes the _Shooting
stick_, or sometimes the lower part of the clutched Fist of his right
Hand, and knocks either with the Head of the _Shooting-stick_ (or his
Fist, as aforesaid) gently upon the upper Side of the _Dressing-block_,
with quick knocks, removing the _Dressing-block_ in a lineal rank
upwards, and knocking still quick upon it, as it goes along and comes
down again with the _Dressing-block_, in another lineal rank parallel
to the first: Then in the same order goes up again and down again,
till he have run over the whole _Form_, still knocking with quick
knocks upon the _Dressing-block_, that so he may be sure to press down
every _Rising Letter_ in the whole _Form_, if he see any _Spaces_ or
_Quadrats_ stick up, he thrusts them down with his _Bodkin_.

Then to _Lock_ up the _Form_, he takes the _Shooting-stick_ in his
Left Hand and the _Mallet_ in his Right, and placing the _Foot_ of the
_Shooting-stick_ against the small _Quoin_ between the _Side stick_
and the _Chase_, drives that a little gently up, and then removes the
_Shooting-stick_ to the next _Quoin_, and so to the third _Quoin_
(if there be so many) between the _Side-stick_ and the _Chase_;
Then removes his knocking to the thick end of the _Foot-stick_, and
afterwards knocks the _Foot Quoins_ gently up: Then knocks pretty
strongly with the _Shooting-stick_ against the thick end of the _Side
stick_, and _Drives_ the _Quoins_ yet harder up: Then to the thick end
of the _Foot stick_, and and _Drives_ those _Quoins_ also harder up.
Then at last knocking again, against the thick ends of the _Side_ and
_Foot-sticks_, he knocks up the _Quoins_ so hard, as that he thinks the
_Form_ may _Rise_: To try if it will, he draws the hither Side of the
long Side of the _Chase_, about an Inch or two over the edge of the
_Stone_; and putting his two hands under the _Chase_, Dances the _Form_
three or four times so as it may just _Rise_ off the _Face_ of the
_Stone_: but not so high as that any loose _Letters_ or _Spaces_ may
drop out, if there be any in; but only so high as he may see if there
be any in or no. If he finds there are many in that do not _Rise_ with
the _Form_, he says the _Form Dances_, wherefore he looks carefully
upon his _Pages_ of _Letter_, to find out the Cause: For generally,
either the _Letter Hangs_ or the _Lines_, are ill _Justified_: or else
it is not _Hard_ enough _Lockt up_.

If he finds by his Eye the _Letter Hangs_: he must _Un-lock_ and
_Loosen_ the _Form_, or that _Quarter_ that _Hangs_ pretty _Loose_,
that the _Letter_ may be set to Right; which he does with patting upon
the _Face_ of the _Letter_ where it _Hangs_, with the _Balls_ of the
_Fingers_ of both his _Hands_, to twist or turn them into a Square
Position.

If it be only a _Single Letter_ or two that drops, he thrusts the end
of his _Bodkin_ between every _Letter_ of that Word, till he comes to
a _Space_: and then perhaps by forcing those _Letters_ closer, he may
have room to put in another _Space_ or a _Thin Space_; which if he
cannot do, and he finds the _Space_ stand _Loose_ in the _Form_; he
with the _Point_ of his _Bodkin_ picks the _Space_ up and bows it a
little; which bowing makes the _Letters_ on each side the _Space_ keep
their parallel distance; For by its Spring it thrusts the _Letters_
that were closed with the end of the _Bodkin_ to their adjunct
_Letters_, that needed no closing. Or sometimes he chews a small bit
of _Paper_, and with the _Point_ of his _Bodkin_ forces that in on one
side of the _Space_: and so fills up the Vacancy between the _Space_
and the _Letter_. But both these ways are meer present Helps, and (in
plain terms) accounted Botches, as being an Argument that his _Lines_
were not well _Justified_ in his _Stick_.

If he finds the _Form_ or any part of it, was not hard enough _Lockt_
up, he _Locks_ all, or part harder up, as was shew’d before.

But now his _Form Rises_; Wherefore he draws the Long _Side_ of the
_Chase_ (as before) a little over the edge of the _Correcting-Stone_,
and putting two or three of his Fingers into the Vacancy between the
_Quoins_, or else into the Vacancy at the ends of the _Chase_; he rears
the _Form_ upon the farther _Side_ of the _Chase_, and removing his
right Hand to the Short end of the _Chase_, grasps it near the upper
corner, and then discharges his left Hand also; and removes it to the
diagonal corner of the _Chase_; and so slides the long _Side_ of the
_Chase_ off the hither Edge of the _Correcting-Stone_: Then slipping
his Hands to the bottom of the _Chase_, about two or three Inches
within the corners, with the insides of his Hands towards the _Face_
of the _Letter_, and leaning the upper _Side_ of the _Chase_ against
the upper part of his Breast, and clutching the Brawn of the inside
of the upper Joynt of his Arm over the upper corners of the _Chase_,
he carries the _Form_ so before him to the _Press_, and lays it upon
the _Stone_, for the _Press-man_ to make a _Proof_ of. The _Proof_
being made, the _Press-man_ brings the _Proof_, and layes it on the
_Compositers Case_: and he brings the _Form_ again and layes it on the
_Correcting-Stone_, and rubs it over with the _Ly-Brush_, as shall be
shew’d in proper place. And the _Compositer_ gives the _Correcter_ the
_Proof_ and his _Copy_ to _Correct_ it by: which being _Corrected_, the
_Correcter_ gives it again to the _Compositer_ to _Correct_ the _Form_
by.


¶ 8. _Of_ Correcting.

If there be but few _Faults_, and those easie ones, the _Compositer
Gathers_ the _Corrections_ in his _Stick_, beginning at the bottom
of every _Page_, and so ascending upwards: Because when he is
_Correcting_, the _Corrections_ of the top of the _Page_ stand then
first in the _Stick_, and therefore are readiest to his Hand. But if
there be many _Faults_ he brings the _Lower-Case_ to the _Correcting
Stone_, and takes his _Corrections_ as he uses them.

Then with the _Mallet_ and _Shooting-stick_ he _Unlocks_ the _Form_, as
was shew’d in ¶ 3 of this Section. But keeps the _Quoins_ pretty tight
up, to secure the _Letter_ from _Squabbling_ or _Hanging_.

Then he Folds his _Proof_ so oft double, till all the _Pages_, except
that he intends to _Correct_ first are Folded out of Sight, and he
also Folds down the Left Hand _Margin_ of that _Page_ under the
_Proof_, and then lays that Folded Side of the _Page_ along, and close
to the same _Page_ in the _Mettle_: So that the _Head-line_ in the
_Proof_ lye in the same range with the _Head-line_ on the _Mettle_,
and the _Foot-line_ even with the _Foot-line_ on the _Mettal_, and
consequently all the _Lines_ of that _Page_ both on the _Proof_ and
_Mettal_ agree, and stand in a mutual range.

Now therefore he looks in the _Proof_, to see where the _Correcter_ has
markt a _Fault_, and having found it in the _Proof_, he runs along that
_Line_ with his Eye to the same _Line_ on the _Mettle_, which he easily
does, because the _Line_ of _Mettle_ stands in the same range with that
in the _Proof_, and finding the _Fault_ in the _Mettle_ also, he having
now his _Bodkin_ in his right Hand, with the _Blade_ of it between his
Fore-finger and Thumb, within half an Inch or three quarters of the
_Point_, and the middle of the _Bodkin_ within his clutched Hand to
guide and command it, he sticks the _Point_ of his _Bodkin_ into the
_Neck_ of the _Letter_, viz. between the _Beard_ and the _Face_, and
lifts it with the _Point_ of the _Bodkin_ so high up above the _Face_
of the other _Letters_, that he can lay hold of it with the Fore-finger
and Thumb of his left Hand to take it quite out.

I must a little digress, to paraphrase on the posture he holds the
_Bodkin_ in: For in the sticking his _Bodkin_ into the _Letter_, he
holds the _Blade_ of it, so that it may make as small an angle with the
_Face_ of the _Letter_ in the _Form_ as he can, viz. as flat towards
the _Face_ of the _Letter_ as he can, without touching the _Face_ of
any of the adjacent _Letters_ with the _Blade_ of the _Bodkin_; For if
he touches the _Face_ though lightly, yet it may more or less _Batter_
and spoil the _Face_ of those _Letters_ it touches, and so he creates
himself a fresh trouble to mend them.

The reason why he holds the _Blade_ of the _Bodkin_ as flat to the
_Form_ as he can, is, Because a small Horizontalish entrance of the
_Point_ of the _Bodkin_ into the _Neck_ of the _Letter_, will raise
the _Letter_ up above the _Face_ of the _Form_, the _Blade_ of the
_Bodkin_ being fastned in the little Hole it makes in the _Neck_ of the
_Letter_: But if he should stick the Point of the _Bodkin_ straight or
straightish down upon any part of the _Letter_, it would indeed make
an Hole, but not fasten in the _Mettle_, to draw it up; for the weight
of the _Letter_ would make it slip off the round and smooth _Point_ of
the _Bodkin_. Besides the pressing the _Point_ of the _Bodkin_ with
his right Hand against the side of the next _Letter_ on his left Hand,
keeps the _Point_ of the _Bodkin_ fast in the little Hole it makes in
the _Neck_ of the _Letter_, and therefore though the _Bodkin_ have but
a little entrance, yet it has hold enough to draw it up by. Now to
return.

Having taken the Fault out, he puts the _Letter_ that the _Correcter_
markt in the _Margin_ of the _Proof_ in the room of it. Suppose an o
were markt and n dasht out, therefore when he has taken the n out he
puts an o in the room: These two _Letters_ being of equal thickness,
gives him no trouble to _Justifie_ the _Line_ again after the Fault is
_Corrected_; but if they had been of unequal thicknesses, as suppose an
m to come out, and an n to be put in; in this case he puts in a _Space_
between two words (where he finds most convenient) to _Justifie_ the
_Line_ again: Or suppose an n to come out, and an m to be put in; now
he must take out a _Space_ where he finds most convenient to make
room for the m, as being thicker by a _Space_ than an n. Thus as he
_Corrects_ he still has a care to keep his _Lines_ true _Justified_;
which he tries by pressing the Balls of his two middle Fingers pretty
hard against the ends of three _Lines_, to make them rise a little
above the _Face_ of the _Form_, whereof the _Line_ he examines is the
middlemost; for if that _Line_ is not hard enough _Justified_, he will
between the Balls of his Fingers find it hollow, or it will not _Rise_
with the other two: And if it be too hard _Justified_, he will find the
Balls of his Fingers _Bear_ only or hardest against that _Line_, and
the _Line_ on each side it will not _Rise_.

If there be a long _word_ or more left out, he cannot expert to _Get_
that in into that _Line_, wherefore he must now _Over-run_; that is,
he must put so much of the fore-part of the _Line_ into the _Line_
above it, or so much of the hinder part of the _Line_ into the next
_Line_ under it, as will make room for what is _Left out_: Therefore
he considers how _Wide_ he has _Set_, that so by _Over-runing_ the
fewer _Lines_ backwards or forwards, or both, (as he finds his help)
he may take out so many _Spaces_, or other _Whites_ as will amount to
the _Thickness_ of what he has _Left out_: Thus if he have _Set wide_,
he may perhaps _Get_ a small _Word_ or a _Syllable_ into the foregoing
_Line_; and perhaps another small _Word_ or _Syllable_ in the following
_Line_, which if his _Leaving out_ is not much, may _Get_ it in: But if
he _Left out_ much, he must _Over-run_ many _Lines_, either backwards
or forwards, or both, till he come to a _Break_: And if when he comes
at a _Break_ it be not _Gotten in_; he _Drives_ out a _Line_. In this
case if he cannot _Get in a Line_, by _Getting in_ the _Words_ of that
_Break_ (as I just now shew’d you how he _Gets-in_ what was left out
in the _Proof_) or by making less _White_ to the _Title_ of a _Section_
or _Chapter_ (if any happen in that _Page_) he must _Over-run_ the next
_Page_ backwards or forwards, till that _Line Comes in_: Thus sometimes
he _Over-runs_ all the succeeding _Pages_ of the _Sheet_, and at last
perhaps _Drives_ out a _Line_ to _Come in_ in the next _Sheet_.

If he have _Set_ a word or small sentence twice, he must take that
out, and _Drive-out_ his _Matter_. If he be near a _Break_, and the
_White_ of that _Break_ not very long, he may perhaps _Drive it Out_
at the _Break_ by putting in part of the next _Line_ to fill up almost
so much as he took out; but not quite so much, unless his _Matter_
was at first so _Wide Set_ that he can _Space_ out no more, or unless
the _Break-line_ he comes to have so much _White_ in it that he fears
_Getting-in_ that _Line_: If either of these inconveniences happen, he
_Drives-out_ as much as he can backwards in the _Matter_; that is, he
takes out so much as he thinks he cannot _Drive-out_ when he is at the
_Break_: He takes it out at the beginning of the _Line_, and puts it
in at the latter end of the _Line_ before it: But first he takes out
almost so much of the beginning of his Second upper _Line_, to make
room for it: I say almost so much, because he intends to _Space-out_
the rest if it were not too _Wide Set_ at first. And thus he runs on
from _Line_ to _Line_, still taking out less and less at the beginning
of every former _Line_, and putting it into the _Line_ above that,
that he may _Space-out_ his _Matter_ as he _Over-runs_, till his
_Double-Setting_ is _Driven-out_.

But if he have _Set_ a _Line_ or _Lines_ twice, and cannot _Drive_
it or them _Out_ at a _Break_ or _Breaks_; or that he cannot _Set_
more _Whites_ at the beginning of a _Section_ or _Chapter_, he must
_Over-run_ the next _Page_ or more, or the whole _Sheet_ till it be
_Driven-out_: And if in _Over-runing_ the whole _Sheet_ it be not
_Driven-out_, he must _Set_ so many _Lines_, of the following _Matter_
as will make up the last _Page_.

Many times either for _Getting-in_ or _Driving-out_, the _Compositer_
will chuse to _Over-run_ in his _Stick_, and then he _Wets_ the _Page_
he is to _Over-run_, with the _Spunge_ (that the _Letter_ may the
better stick together) and he separates so much of the former part of
the _Page_ as he intends to _Over-run_, from the rest of the _Page_,
and places himself before the _Notches_ of the _Letter_, and takes up
about an Inch and an half or two Inches of the first Separated _Line_,
and brings it to the _Stick_; and as it it is coming along he turns the
_Notches_ upwards, and places that _Taking up_ in the _Stick_. When
he _Takes-up_, he places the Inside of the first Joynt of his middle
Finger of his right Hand against the beginning of that _Line_, and the
Ball of his Thumb against the other end of that _Taking-up_, and the
Ball of his Fore-finger behind the _Taking-up_, about the middle of it,
and so pinching it lightly brings it to his _Stick_, as aforesaid. And
having thus by several _Takings-up_, gotten a _Line_ into his _Stick_,
he looks it over to see what _Spaces_ or other _White_ he can take
out or put in, according as he has either _Left-out_ or _Set-twice_,
and then he _Justifies_ the _Line_ again, as was shew’d in ¶ 5. of
this Section. And thus he _Over-runs Line_ after _Line_, till he has
_Gotten-in_ or _Drove-out_ his _Leaving-out_, or his Twice _Set Matter_.

If the _Compositer_ is not firmly resolv’d to keep himself strictly to
the Rules of good Workmanship, he is now tempted to make _Botches_;
viz. _Pidgeon-holes_, _Thin-Spaces_, no _Space_ before a _Capital_,
_Short_ &s, _Abbreviations_ or _Titled Letters_, _Abbreviate Words_,
&c. And if Botching is in any Case excusable, it is in this; for with
too great _Spacing-out_ or too _Close Setting_, he many times may save
himself a great deal of Labour, besides the vexation of mind, and other
accidental mischiefs that attend _Over-running_.

It sometimes chances that a _Compositer_, by having two or more
_Pages_ in his _Sheet_ with the same _Direction-line_, or by mistaking
the right place of his _Page_ when he set it by on a Paper under
his _Case_, as was shew’d ¶ 7. of this Section, or by some other
accident that may happen; I say it sometimes happens (but seldom
through too much care) that he _Transposes_ two _Pages_, or more,
in his _Sheet_: In this case he _Unlocks_ that _Quarter_, or those
_Quarters_ the _Pages_ are in, and loosning the _Cross_ or _Crosses_
from those _Pages_ and their _Furniture_, takes the rest off the
_Correcting-stone_ with their _Furniture_ about them: And if it be
a _Folio_ or _Quarto_ he does not wet the _Pages_, because those
_Forms_ have _Furniture_ about every side of the _Page_, which will
keep up the _Letter_ from falling down; But he only places the Balls
of his two Thumbs against the outside of the _Furniture_, about the
middle of the _Head_ and _Foot_ of the _Page_, and the insides of his
two middle Fingers, assisted by his Fourth and Little Fingers, in a
parallel position to his middle Fingers, (to strengthen them against
the _Furniture_) about the middle of the _Sides_ of the _Page_, letting
the length of his Fingers reach as far from each corner of the _Page_
towards the middle of it as he can, and so by a steady pressing the
Balls of his Thumbs and the Balls of his Fingers on each Hand towards
each other, he draws, or as he sees most convenience, thrusts the whole
_Page_ out of its wrong place, and sets it by on the _Stone_, till
in the same manner he removes the other _Transpos’d Page_ into the
place of the first remov’d _Page_: And thus if there be more than two
_Transpos’d Pages_ in the _Sheet_, he removes them all, and _Sets_ the
right _Pages_ in their right places.

But if it be an _Octavo_ or _Twelves_, or any other _Form_ that has
_Gutter-sticks_ between two _Pages_, he must Wet those _Pages_ he
leaves on the _Stone_, because when he removes one _Page_, by the help
of the _Gutter-stick_, one side of the other _Page_ will stand _Naked_;
and consequently with the Shaking, Joggling, or Trembling of the
_Stone_ or Floor, the _Letters_ on that side will be in great hazard of
falling down, especially if the _Face_ of the _Stone_ happens not to be
truly Horizontal: I say, happens not to be truly Horizontal, because
the _Stone_ is seldom laid with any caution, but only by guess.

Having placed the _Pages_ in their right places, he again lays the
_Chase_ about them, and _Locks_ them up again, as was shew’d in ¶ 7.
of this Section: Then he carries the _Form_ to the _Press_, and lays
it on the _Stone_ for a _Second Proof_, and sometimes for a _Third
Proof_; which having _Corrected_, he at last brings the _Form_ to the
_Press_, and again lays it on the _Stone_ Right, viz. in _Folio’s_ and
_Octavo’s_ with the _Foot_ of the _First_ or _Third Page_ (which he
easily knows by their _Signatures_) towards him, and the side of it
next the _Plattin_: And in _Quarto’s_ and _Twelves_, with the _Foot_ of
the _First_ or _Third Page_ next the _Tympan_.

After all this _Correcting_ a _Revise_ is made, and if any _Faults_ are
found in any _Quarter_ of it, or in all the _Quarters_, he calls to the
_Press-man_ to _Unlock_ that _Quarter_, or the whole _Form_, that he
may _Correct_ those _Faults_: For when the _Form_ is on the _Press_ it
is not the _Compositers_ task to _Un-lock_ the _Form_: Neither would a
good _Press-man_ be content he should make a knocking on his _Press_,
especially if the _Press-man_ have _Made-ready_ his _Form_, as shall be
shewed in the next Section.


¶ 9. _Of_ Counting _or_ Casting off Copy.

_Counting_ or _Casting off Copy_ (for both Phrases are indifferently
us’d) is to examine and find how much either of _Printed Copy_ will
_Come-in_ into any intended number of _Sheets_ of a different _Body_
or _Measure_ from the _Copy_; or how much _Written Copy_ will make an
intended number of _Sheets_ of any assigned _Body_ and _Measure_.

The Rule and Method of _Counting off_ either _Printed_ or _Written
Copy_ is the same, only _Written Copy_ is more difficult, because
subject to be irregularly Writ: Therefore if I shew you how the
_Compositer Casts off Written Copy_, I do at the same time inform you
how to _Count off Printed Copy_.

The _Compositer_ therefore first considers what _Bodied Letter_ his
Work is to be wrought on: then he carefully peruses the _Copy_,
considering with himself whether it be evenly Written or unevenly
Written, _viz._ whether it be throughout of an equal siz’d Hand, or
whether part be close Written and part wide Written; if it be an equal
siz’d Hand, that is, equally close Written in general, as well between
_Letter_ and _Letter_, _Word_ and _Word_, as between _Line_ and _Line_,
he has scarce more trouble to _Count it off_ than _Printed Copy_.

Wherefore, the _Measure_ being given, he _Composes_ one _Line_ in his
_Measure_: The _Matter_ he _Composes_ he chuses out of that part of his
_Copy_ that in his Judgement he admits is most indifferently Written,
between Wide and Close, as being such as his whole _Copy_, one part
with another, will likeliest _Come-in_ alike with. This _Line_ being
_Compos’d_, he considers how much of his _Copy_ it takes up, _viz._
whether it runs _Line_ for _Line_, or whether two _Lines_ of his _Copy_
make one _Line_ in his _Stick_; or whether a _Line_ and an half, or
a quarter, or half quarter of his _Copy_, _&c._ make one _Line_ in
his Stick; or whether a _Line_ of his _Copy_ make two _Lines_ in his
_Stick_, or a _Line_ and a half, or a quarter, or half a quarter,
_&c._ and accordingly calculates what just number of _Lines_ will make
another just number of _Lines_ in his _Stick_. For Example.

If his _Copy_ and _Measure_ run _Line_ for _Line_, then consequently
10, 20, 30 _Lines_ of the _Copy_ will make 10, 20, 30 _Lines_ in the
_Measure_; and accordingly he counts what number of _Lines_ in his
_Copy_ will make a _Page_; and by that, what number of _Lines_ will
make two _Pages_, four _Pages_, eight _Pages_, and consequently so many
_Pages_ and _Sheets_ as he is to _Count off_.

If two _Lines_ of _Copy_ make one _Line_ in the _Stick_, then
consequently ten _Lines_ in the _Copy_ will make five _Lines_ in the
_Stick_; twenty _Lines_ in the _Copy_ ten _Lines_ in the Stick, _&c._

If a Line and a half of the _Copy_ make one _Line_ in the _Stick_, then
fifteen _Lines_ of _Copy_ makes ten _Lines_ in the _Stick_, thirty
makes twenty, _&c._

But a pair of _Compasses_ makes the best expedition in _Counting off of
Copy_, and (by my experience) I have found the surest way. I _Compose_
one _Line_ as aforesaid; if the _Line_ I _Compos’d Gets-in_ part of the
next _Line_, viz. the second _Line_ of the _Copy_, I place one Foot of
a pair of _Compasses_ at the beginning of the _First Line_, and open
the other Foot to what was _Got-in_ of the _Second Line_, and turn the
_Compasses_ about upon the Foot in the Second _Line_, till the other
Foot reach the _Third Line_ of the _Copy_; then turn about the Foot in
the _Third Line_ of the _Copy_ till the other Foot falls in the _Fourth
Line_ of the _Copy_; and so from the _Fourth_, to the _Fifth_, _Sixth_,
_&c._ till the _Compasses_ end with a _Line_ in the _Copy_, or near
the end of a _Line_, remembring as I go along, how oft I turn’d the
_Compasses_ about. Suppose, for Example, seven times: Then I number
the _Lines_ of _Copy_, beginning with the first _Line_ and ending with
the last _Line_, that the Points of the _Compasses_ were turn’d over,
and find them Eight, Nine, Ten, _&c._ and say Eight, Nine, Ten, _&c._
_Lines_ of the _Copy_, makes Seven _Lines_ of the _Measure_.

As now I have shew’d you how I _Count off Copy_ if it come in more than
_Line_ for _Line_, so I shall shew you how I proceed if a Line in the
_Copy Drive out_ in the _Measure_.

It is but placing one Foot of a pair of _Compasses_ at the farther end
of the first _Line_, and opening the other Foot to the place where the
_Compos’d Line_ ended, and by turning about the _Compasses_, as before,
to the Second, Third, Fourth _Lines_, _&c._ till they end in the
beginning of a _Line_ in the _Copy_; for then (as before) counting the
number of _Lines_, beginning with the first, and ending with the last;
Suppose Eight, Nine, Ten, _&c._ I say Eight, Nine, Ten, _&c._ _Lines_
of the _Copy_ makes so many _Lines_ as is the number of times the Feet
of the _Compasses_ were turned about, between the first _Line_ and the
last _Line_.


_Another way Arithmetically perform’d._

Suppose it be requir’d to know how many _Sheets_ 127 _Pages_ of
_Written Copy_ will make? I count the number of _Letters_ contained
in an ordinary _Written Line_ of _Copy_, such a _Line_ as I guess is
likely to _Run_ _Line_ for _Line_ with the generality of the rest of
the _Copy_: And (for Example) I find 43 _Letters_ in that _Line_: Then
I count the number of _Lines_ in an whole _Page_, and find 35 _Lines_,
I Multiply 43 by 35, the Product is 1505 for the number of _Letters_
in an whole _Page_: Then I multiply 1505 by 127, the number of _Pages_
in the whole _Written Copy_; the Product is 191135, the number of
_Letters_ in the whole _Written Copy_.

If it be now required to know how many _Sheets_ in _Quarto_, of
the _English Body_ this _Written Copy_ will make, agreeable to any
_Measure_ already _Printed_? As for Example, the length of a _Page_
given is 33 _Lines_, and in one _Line_ is contained 47 _Letters_: I
multiply 47, the number of _Letters_ in one _Line_, by 33, the number
of _Lines_ in a _Page_, the Product is 1551. With this Product I divide
191135, the number of _Letters_ in the whole _Written Copy_, and the
Product gives 123, that is, 123 _Pages_ in _Quarto_, which divided
by 8, the number of _Pages_ in one _Sheet_, gives 15 _Sheets_ and 3
_Pages_.

If it be required to know how many _Sheets_ it will make of _Pica_ in
an _Octavo_, or of _Long Primer_ or _Brevier_ in _Twelves_, _&c._ the
manner of Working is the same: For Multiplying the number of _Letters_
in one _Line_ by the number of _Lines_ in one _Page_, and Deviding the
number of _Letters_ in the whole Work (suppose, as in the foregoing
Operation by 191135) by the number of _Letters_ in one _Page_, the
Product gives the number of _Pages_ in the Quotient: And then at
last Deviding the number of _Pages_ by 16 if an _Octavo_, or 24 if
_Twelves_, _&c._ you have in the Quotient the number of _Sheets_, and
in the Remain (if any be) the number of _Pages_.

These two last ways are the surest Rules for _Counting off Copy_: But
yet the _Compositer_ has several Considerations upon his _Copy_ before
he dares conclude he has truly and exactly _Counted off_.

For first, a strict regard must be had to the _Breaks_ that come in
the _Copy_: For long _Breaks_ in the _Copy_ are generally likely to be
_Got-in_, and consequently a _Line_ is _Got-in_: But short _Breaks_
often _Drive-out_ a _Line_. Therefore though the _Compositer_ has
already in general _Cast off_ his _Copy_, yet he more particularly
considers his _Breaks_; and indeed they serve as so many Regulators to
him, to keep him within the bounds of his _Counted off Copy_: For every
_Break_ he examines by the number of _Lines_ from the last _Break_,
by the length of the _Break_, and by the close or wide Writing of his
_Copy_, whether it will be _Got-in_ or _Drove-out_, and accordingly
marks it in his _Copy_, before he reckons he has done _Counting off_.

A _Break_ to be _Got-in_ he marks thus [, and adjoyns in Numerical
Figures, the number of _Lines_ the _Matter_ between the last _Break_
and it will make. A _Break_ to be _Drove-out_ he marks thus - - -, and
(as aforesaid) adjoyns Numerical Figures to remember him what number of
_Lines_ he accounted that _Matter_ to make from the last _Break_.

If _Chapters_, _Sections_ or _Paragraphs_ happens in the _Copy_, the
_Compositer_ takes room enough to set them and their Titles gracefully
in; and marks in Numerical Figures what number of _Lines_ he assigns
for it.

If as he _Counts off_ his _Copy_ he finds _Abreviated Words_, he tells
the _Abreviated Words_ to the full number of _Letters_ that spells the
Word at length, because in _Composing_ he _Sets_ those Words at length:
And should he not consider it in his _Counting off_, he would in
_Composing_ find his _Matter Run out_ from his _Copy_.

Scarce any _Copy_ is so regularly Written (as hath several times before
been hinted) but that some places are Wider, and other places Closer
Written, than the generality of the _Copy_, wherefore he considers both
these accidents in his _Copy_, and accordingly allows for them.

If it happens that much _Italick_ comes in the _Copy_, as sometimes
two or three _Lines_, or more, or half a _Page_, an whole _Page_,
or several _Pages_; the _Compositer_ considers _Italick_ is thinner
than _Roman_, and consequently _Gets-in_ more than _Roman_ does, and
therefore in his _Counting off_ will allow accordingly for it.

The proportion that I allow for it is as 9 to 10, or which is all
one, as 45 _Roman Letters_ is to 50 _Italick Letters_: So that if a
_Measure_ holds 45 _Roman Letters_, the same _Measure_ will hold 50
_Italick Letters_.

As _Italick_ is thinner than _Roman_, so the _English Face_ is thicker
than the _Roman_; wherefore if he meets with the _English Face_, he
considers that accordingly.

I find the proportion to be as 40 to 43, _viz._ 40 _English Faced
Letters_ fill the same _Measure_ that 43 _Roman_ does; and consequently
for every 40 _Lines_ to be _Set_ in _English_ he must _Count off_ 43
_Lines_; and so proportionaply for more or less.

But yet I shall not deliver these my Observations on the _Italick_ and
_English_ to hold thus in all _Italicks_ and _Englishes_, nor all
_Romans_ of the same _Body_ to be of an equal Thickness, because some
are _Cut_ Thicker or Thinner on the _Face_: And besides, sometimes
_Letter Cast_, though in the same _Matrices_, are by the _Founder Cast_
Thicker or Thinner, and consequently in either Circumstance _Drive-out_
or _Get-in_: Wherefore a _Compositer_ will consider what _Fount_ of
_Letter_ it is he Works on, and accordingly _Count off_ his _Copy_.


¶ 10. _Of_ Papering up _of_ Pages.

_Papering up_ of _Pages_, or _Papering_ up of _Letter_, are two phrases
indifferently used for the same meaning. Though this Operation seems so
sleight and trivial that it may be thought not worth mentioning, yet it
being a task incumbent on the _Compositer_, it becomes mine too to shew
how it is performed.

It is thus: When a _Book_ is finisht, and the _Compositer_ is to
_Work_ on other _Letter_ afterwards; the _Wrought off Letter_ is to be
_Papered up_. The _Press-man_ therefore having _Washt_ the _Wrought-off
Forms_, the _Compositer Rinces_ them, as was shewed in Section 22. ¶
3. He _Rinces_ the _Letter_ as well as if it were _Rinced_ for present
use, or rather better: for else the _Inck_ that is desolved among the
_Ly_ would, with long standing by, harden between the _Letter_, and
make the _Letter_ stick so fast together that when it comes afterwards
to be _Destributed_, the _Compositer_ shall not without great
difficulty and trouble get them asunder. This sticking together of the
_Letter_ is call’d _Baking_ of the _Letter_. And _Compositers_ in this
Case say, _The Letter is Bak’d_.

The _Compositer_ having _Stript_ the _Form_, whips _Cords_ as tight as
he can about every _Page_, not to _Tye_ them up for good and all, but
aswell to keep up the _Letter_ on the sides of the _Pages_ that it fall
not down, while it stands by for some dayes on the _Letter-board_ to
_Dry_, as to keep the _Letter_ tight together that he may the better
with his Hands take an whole _Page_ at once off the _Letter-board_.

When it is _Dry_, if the _Pages_ are not too broad for his Grasp, he
places his Body against a side of the _Pages_, and the Balls of his
two Thumbs against the side of a _Page_, one indifferently between the
middle and _Head_ of the _Page_, and the other between the middle and
_Foot_ of the _Page_, and with the three Fore-fingers of each Hand
placed on the other side of the _Page_, grasps the _Page_ between them
and his Thumbs; and to keep his Hands the steddier, stretches the
insides of his Little-fingers one against the _Head_ the other against
the _Foot_ of the _Page_: And having the _Page_ thus Steddy between
his Hands close prest on all the sides of the _Page_, he with a quick
motion nimbly rears one side of the _Page_ upright, and receives the
weight of it either on the Balls of his Thumbs or on the Balls of his
Fingers, as best likes him; and so carries it to his _Galley_ and
_Tyes_ it firmly up; as was shewed ¶ 6. of this Section.

As he took and _Tyed_ up this one _Page_, so he takes and Tyes up all
the _Pages_. But if a _Page_ be too big for his Grasp, he underlays the
_Slice_ of a _Galley_ till it lye within a Scaboard so high as the edge
of the _Letter-board_, and getting some one to hold the _Slice_ steddy
against the edge of the _Letter-board_ he slides the _Page_, with the
_Head_ or _Foot_ forwards upon the _Slice_, and so carries the _Page_
to the _Galley_ and _Tyes_ it up, as aforesaid.

He sends the Boy to the Warehouse-keeper for so much Paper as he
finds he shall want; and if the _Pages_ are small, he layes a single
Sheet down on the _Correcting-Stone_ or on a _Letter-board_, and
sets a _Page_ down on that Sheet of Paper, so as the farther Side of
the _Page_ may stand towards one end of the Sheet; and so far on the
Sheet, as that the end of it may lap over the _Face_ of the _Letter_,
and about half way down the _Shank_ of the _Letter_, on the hither
side the _Page_: And smoothing the Paper tight over the _Face_ of the
_Letter_, and half way down the _Shank_ on the hither Side, and quite
down the _Shank_ at the _Head_ and _Foot_ of the _Page_, he folds the
loose Paper that hangs over the ends of the _Page_, from each corner
of the _Page_, to end in an Angle in the middle of the loose Paper,
and then folds the other end of the Sheet of Paper tight over the
Paper that covers the _Face_ of the _Letter_; and also folds the loose
Paper at the ends of the _Page_ down into Angles, as he did the former
loose ends: Then rearing his _Page_ over the further side, lays the
_Face_ downwards, still smoothing the Paper tight, and folding in the
un-folded corners, to meet in the same Angles with the former folded
Angles in the middle of the loose Paper: And thus so long as he has
Paper to spare he turns his _Page_, wrapping it at least twice, or if
he can thrice about in Paper, folding and doubling down the Loose Paper
into Angles as before: And at last turns up those Angles or Lappets
either over the _Face_ or Bottom of the _Letter_, and turns the _Page_
upon those folded Lappets, that its weight may press and keep them
close under the _Page_.

If the Pages are large, so as one _Sheet_ will not compass them twice
or thrice about, to be strong enough to bear the _Letter_, which
generally sinks downwards into the middle of a _Page_, he lays two, or
sometimes three Sheets under the _Page_: And as he wrapt up the first
Lay of Sheets, adds more to lengthen them out, that they may wrap at
least three or four times about the great _Page_.

Having thus _Paper’d up_ the _Pages_, and folded the Lappets under
them, he writes upon the upper side what _Letter_ it is, _viz._
_Long-Primer Roman_, _Long-Primer Italick_, _Pica Roman_, _Pica
Italick_, _Pica English_, _English Roman_, _Italick_, _&c._ and sets
them by for the _Master-Printer_ to dispose of.


§. 23. _Of the_ Correcter, _and his Office_.

A _Correcter_ should (besides the _English_ Tongue) be well skilled in
Languages, especially in those that are used to be Printed with us,
_viz._ the _Latin_, _Greek_, _Hebrew_, _Syriack_, _Caldæ_, _French_,
_Spanish_, _Italian_, _High Dutch_, _Saxon_, _Low Dutch_, _Welch_,
_&c._ neither ought my innumerating only these be a stint to his skill
in the number of them, for many times several other Languages may
happen to be Printed, of which the Author has perhaps no more skill
than the bare knowledge of the Words and their Pronunciations, so that
the Orthography (if the _Correcter_ have no knowledge of the Language)
may not only be false to its Native Pronunciation, but the Words
altered into other Words by a little wrong Spelling, and consequently
the Sense made ridiculous, the purpose of it controvertible, and the
meaning of the Author irretrievably lost to all that shall read it in
After times.

He ought to be very knowing in Derivations and Etymologies of Words,
very sagacious in _Pointing_, skilful in the _Compositers_ whole Task
and Obligation, and endowed with a quick Eye to espy the smallest
_Fault_.

But I shall say no more of his Qualifications; but suppose him endowed
with all necessary accomplishments for that Office.

The _Compositer_ either carries him a _Proof_, or sends the Boy with it
to his Appartment, which is commonly some little Closet adjoyning to
the _Composing-room_; And the _Master-Printer_ appoints him some one
that is well skill’d in true and quick Reading, to Read the _Copy_ to
him, whom I shall call the _Reader_.

This _Reader_, as I said, Reads the _Copy_ to him, and the _Correcter_
gives attention; and at the same time carefully and vigilantly examines
the _Proof_, and considers the _Pointing_, _Italicking_, _Capitalling_,
or any error that may through mistake, or want of Judgement be
committed by the _Compositer_.

  If he finds one _Letter Set_ instead of another, as
  in this Word tho for the, he dashes out the wrong
  _Letter_ thus thø, and Writes the _Letter_    e/
  it should be on the Right Hand _Margin_
  of the _Page_, right against the same _Line_,
  and makes a Dash behind it, as you may
  see in the _Margin_.

  If two or three, or more Words in the
  same _Line_ have _Faults_ in them, as in these
  Words, [Illustration]; where first                   a/ c/ r/ o/
  an o is _Set_ instead of a, e instead of c,
  t instead of r, and c instead of o: These
  he marks in an orderly succession towards
  the Right Hand, against the same _Line_,
  as you may see in the _Margin_.

  But if one word be _Set_ instead of another,
  as Scoff instead of Smile, here he
  marks Scoff out thus [Illustration], and writes      Smile /
  Smile, as in the _Margin_.

  If a _Word_ or _Words_, or _Letter_, or _Point_
  be _Left out_ he makes this mark ʌ where
  it is _Left out_ for a mark of Insertion, and
  Writes in the _Margin_ what must come in.

  If a _Space_ be _Left out_ he makes the former
  mark of Insertion where it should
  come in, and makes this mark [Illustration] in the
  Margin.      [Illustration]/

  If a whole Sentence be _Left out_, too
  long to be Writ in the _Margin_, he makes
  the mark of _Insertion_ where it is _Left out_,
  and only Writes (Out) in the _Margin_. If            (Out)
  the Sentence _Left out_ be not very long,
  he Writes it under the _Page_, or on the
  Left Hand _Margin_ of the _Page_: But if
  it be too large to be Writ in the
  _Margin_, or under the _Page_, he
  Writes in the _Margin_, See the Copy.                (See the Copy)

  If a Word or Sentence be _Set_
  twice, as Him Him, he marks out
  one Him thus [Illustration], and makes
  this mark [Illustration] in the _Margin_,            [Illustration] /
  for _Deleo_,to take out.

  If a _Letter_ be turned thus [Illustration], he      [Illustration] /
  dashes it out as you see, and makes
  this mark in the _Margin_.

  If Words are _Transposed_, that is,
  if one Word stand in another
  Words place, as, no I love Swearing,
  and it should be, I love no
  Swearing; he marks this _Fault_
  thus, [Illustration], and
  makes this mark [Illustration] in the _Margin_.      [Illustration] /
  The like mark he makes
  in _Matter_ and _Margin_ if two _Letters_
  are _Transpos’d_.

  If a _Space_ or an m or n _Quadrat_,
  _&c._ stick up, and _Print Black_, as
  between these[Illustration]words, he marks
  in the _Margin_ thus.                                |

  If a _Word_ be _Set_ in _Roman Letter_
  instead of _Italick_ or _English Letter_,
  he dashes the Word underneath
  ~thus~, and Writes _Ital._ or
  _Eng._ in the _Margin_.                              Ital/ Eng/

  In like manner, if a single _Let-_
  or more _Letters_ be Set in _Roman
  Letter_, and it should be _Italick_ or
  _English Letter_; or if in _English_ or
  _Italick_, and it should be _Roman Letter_,
  he dashes the _Letter_ or _Letters_
  ~thus~ underneath, and writes _Ital._           Ital/ Rom/ Eng/
  _Rom._ or _Eng._ in the _Margin_: Or if
  _Lower-Case Letters_ be _Set_ instead of
  _Capitals_, he dashes them underneath,
  and Writes _Capt._ in the _Margin_.                  Capt./

Having Read the _Matter_ of the _Proof_ he examines again if the _Form_
be right _Impos’d_, for though he before turn’d the _Pages_ in the
_Proof_ as he read them according to their orderly places, yet he will
scarce trust to that alone, but again examines them on purpose, and
distinctly, which he does not only by the _Direction Word_, but by
examining the whole Sentence the _Direction_ comes in, both at the end
of the _Page_, and the beginning of the next _Page_.

He examines that all the _Signatures_ are right, and all the _Titles_
and _Folio’s_.

If the Work be large _Forms_ and small _Letter_, he has a second, and
sometimes a third _Proof_, which he Reads as the first.

After the Second or Third _Proof_ he has a _Revise_, which is also a
_Proof-sheet_: He examines in this _Revise_, _Fault_ by _Fault_, if all
the _Faults_ he markt in the last _Proof_ were carefully mended by the
_Compositer_; if not, he marks them in the _Revise_.

Thus you see it behoves him to be very careful as well as skilful; and
indeed it is his own interest to be both: For if by his neglect an
_Heap_ be spoiled, he is obliged to make Reparation.




Advertisement to AUTHORS.


_Although I have in the precedent_ Exercises _shew’d the
Accomplishments of a good_ Compositer, _yet will not a curious Author
trust either to his Care or Abilities in_ Pointing, Italicking,
Capitalling, Breaking, &c. _Therefore it behoves an Author to examine
his_ Copy _very well e’re he deliver it to the_ Printer, _and to Point
it, and mark it so as the_ Compositer _may know what Words to_ Set _in_
Italick, English, Capitals, &c.

_For his_ Italick _Words he draws a line under them ~thus~: For_
English _Words he draws two lines under them ~thus~; and for_
Capitals _a line of Pricks ~thus~, or else draws a line with Red
Inck_.

_If his_ Copy, _or any part of it, be Written in any Foreign Language,
he is strictly to spell that Foreign Language right: Because the_
Compositer, _as I said in the Preface to this_ [Illustration], _takes no notice of
any thing therein but the very_ Letters, Points _and_ Characters _he
finds in his_ Copy.

_If an Author have not (through haste in Writing) made_ Breaks _in
proper places; when he comes to peruse his_ Copy _he may find cause to
make several_ Breaks _where he made none: In such a case he makes a_
Crotchet [ _thus, at the Word he would have begin his new Paragraph_.

_Thus in all particulars he takes care to deliver his_ Copy _perfect:
For then he may expect to have his Book perfectly Printed. For by no
means he ought to hope to mend it in the_ Proof, _the_ Compositer _not
being obliged to it: And it cannot reasonably be expected he should be
so good Natured to take so much pains to mend such Alterations as the
second Dictates of an Author may make, unless he be very well paid for
it over and above what he agreed for with the_ Master-Printer.

       *       *       *       *       *

The next _Exercises_ (God willing) shall be the _Press-mans_ Trade,
The Office of the _Ware-house-keeper_, The _Customs_ of the _Chapel_,
And a _Dictionary_ to explain the hard Words and Phrases used in the
whole Practice of _Typography_: Which will be the Conclusion of this
Second Volume.




_ADVERTISEMENT._


There is now coming forth a small Book, intituled _Enneades
Arithmeticæ_; the Numbring Nines, or _Pythagoras_ his Table, extended
to all Whole Numbers under 10000. And the Numbring Rods of the Right
Honourable _John_ Lord _Nepeer_, enlarged with 9999 Fixt Columns or
Rods, of Single, Double, Triple and Quadruple Figures, and with a new
sort of Double and Movable Rods, for the much more sure, plain and
easie performance of Multiplication, Division, and Extraction of Roots.
The whole being very useful for most Persons, of whatsoever Calling and
Employment, in all Arts and Sciences: All having frequent Occasions
of Accompts, Numbring, Measuring, Surveying, Gauging, Weighing,
Demonstrating, _&c._ The Divine Wisdom having from the Beginning
_Disposed all things in Measure, Number and Weight_, Sap. 11. 21.

Printed for _Joseph Moxon_, at the Sign of _Atlas_ in _Ludgate-street_.
Where also these Numbring Rods, (commonly call’d _Napier’s_ Bones) are
made and sold.




[Illustration]

The Press-mans Trade.




PREFACE.


_The_ Printing-Press _that a_ Press-man _works at, is a Machine
invented upon mature consideration of Mechanick Powers, deducted
from Geometrick Principles; and therefore a_ Press-man _indowed
with a competency of the Inventers Genius, will not only find great
satisfaction in the contemplation of the harmonious design and Make
of a_ Press, _but as often as any Member, or part of it is out of
order, he will know how to remedy any deficiency in it. This alone
will intitle him to be an Understanding_ Press-man: _But his care and
serious industry in the Physical and Manual performance of his Task,
must give him the Reputation of a good and curious Work-man_.


§. 24. ¶. 1. _Of the_ Press-mans _Trade_.

An understanding _Press-man_ therefore knows not only how to direct a
Printers Joyner to Set up and Fasten a _Press_ when it is made, but
also how to give a strange Joyner and Smith instructions how to make a
_Press_, and all its parts, in a Symetrical proportion to any unwonted
size, if in a strange place he shall have occasion to use it.

I have already at large insisted upon the dimensions of every
particular Member of an ordinary siz’d _Press_ in § 10, 11. But in
those Sections did omit shewing you how the _Press_ is Set up and
Fastned; yet promised to do it when I came to the _Press-mans_ Trade:
It being not only a care incumbent upon him, but a Curiosity he would
assume to himself to direct and see the Joyner set and fasten it in a
Steddy and practical position. We will suppose a strange Joyner, and
not a Printers Joyner (as here in _London_ he may be furnisht with) who
generally by their constant conversation in Printers work, do or ought
to know as much of Setting up a _Press_ as the _Press-man_ himself.

The Joyner therefore having set together the Frame, _viz._ the
_Cheeks_, _Feet_, _Cap_, _Head_, _Till_, _Winter_, _Hind-Posts_,
_Ribs_, _Carriage_, _&c._ The _Press-man_ directs, and sees him
perform as follows by and by. For I should have told you that before
the _Head_ is put into its place, the _Press-man_ besmears the whole
Tennanted ends and Tennants well with Soap or Grease, and also the
Mortesses the _Head_ slides in, and so much of the _Cheeks_ as the ends
of the _Head_ work against, that the _Head_ may the easier work up and
down.

He also before the _Carriage_ is laid on the _Ribs_, besmears the two
edges of the _Plank_ and the under side of the _Coffin_ well with Soap
or Grease; and the like he does by the inside of the _Wooden Ribs_,
that they may slide the easier beside each other.

Now to return to the Joyner. The _Press-man_, I say, directs and sees
him perform as follows.

1. To place the _Feet_ upon an Horizontal Level Floor, as I shewed
in the First Volume, Numb. 7. § 7. when I spoke of the Level that
Carpenters use.

2. To erect the _Cheeks_ perpendicularly upright, as I shewed _Vol._ 1.
_Numb._ 7. § 8. when I treated of the _Plumb-line_.

3. To place the _Stays_ or _Braces_ so as the _Press_ may be kept in
the most Steddy and Stable position, as well to give a check to the
force of the hardest _Pull_ he makes, as to the hardest Knock the _Bar_
shall make against the farther _Cheek_, if by chance (as sometimes it
does) it slip out of the _Press-mans_ Hand.

This consideration may direct him to place one _Brace_ against the
end of the _Cap_ that hangs over the hither _Cheek_, and in a range
parallel with the fore and hind side of the _Cap_: For the more a
_Brace_ stands aslope to the two parrallel sides, the less it resists
a force offered to the end of them, _viz._ the hither end of the _Cap_,
which is one main _Stay_ to the whole _Press_.

If he place another _Brace_ against the hinder corner of the farther
end of the _Cap_, it will resist the _Spring_ of the _Bar_, if it slip
out of the _Press-mans_ Hand.

And if he places two other _Braces_, one against the hither corner
of the hind-side of the _Cap_, and the other against the farther
corner of the fore-side of the _Cap_, the _Press_ will be sufficiently
_Braced-up_, if the Room will afford convenience to place the farther
end of the _Braces_ against.

By convenience I mean a firm solidity to place the end of the _Braces_
against, be it either a Stone-wall, Brick-wall, or some principal Post,
or a Girder, _&c._ that will not start or tremble at the force of a
_Pull_.

The _Braces_ ought to be straight, and of Substance strong enough
proportionable to their Length: And if convenience will allow it to
be fixed in such a position that they stand in the same straight Line
with the upper Surface of the _Cap_, viz. that the farther end of the
_Brace_ neither dips lower or mounts higher than the upper side of
the _Cap_. Neither ought the _Brace_, though thus posited, to stand
aslope or askew, _viz._ make unequal angles with the side of the _Cap_
it is fastned to, but it ought to stand Square, and make right angles
with the respective side of the _Cap_; because in those Positions the
_Braces_ best resists the force of continued _Pulls_.

But though this be by the Rules of Architecture, the strongest,
firmest, and most concise method for _Bracing-up_ a _Press_, yet will
not the Room the _Press_ is to stand in always admit of convenience to
place the _Braces_ thus: Therefore the _Press-man_ ought to consider
the conveniences of the Room, both for the places to fit the _Braces_
to, and the positions to set the _Braces_ in; placing his _Braces_ as
correspondent as he can to these Rules.

If he doubt the crazy make of the _Winter_, he will cause two _Battens_
of three or four Inches broad, and a full Inch thick, to be nailed
close to the outer sides of the Feet of the _Press_, which will both
strengthen the _Winter_, and keep the lower part of the _Cheeks_ from
flying out, and also hinder the _Press_ from working into a twisting
Position.

And though I am loath to name the _Under-laying_ of the _Feet_, because
at the best it is but a _Botch_, and Subjects the whole _Press_ to an
unstable position yet because by accident it may happen, the aforesaid
_Battens_ will also keep these Underlays from working out.

Joyners that Work to Printers have got a Custom to place a strong Piece
of Timber between the middle of the _Cap_ and the Ceiling or Roof of
the Room, which can do no service there, unless they intend to support
the Roof: For the weight of the _Press_ alone will keep it close to
the Floor, and the strength of Stuff between the Mortesses in the
_Cheeks_ and the ends of them, are intended to be made strong enough
to resist the Rising of the _Head_: For should that strength of Stuff
start, neither their strong Piece of Timber, nor the strength of the
Roof, would resist the Rising of the _Head_: but _Head_ and _Cap_, and
Timber and Roof too, would all start together, as by experience I have
seen. For indeed the strength of Stuff between the Mortesses that the
Tennants of the _Head_ works in, and the upper ends of the _Cheeks_,
and the Strength of Stuff between the Mortesses that the Tennants of
the _Winter_ lyes in, and the lower ends of the _Cheeks_ resist the
whole strength of the working of the _Spindle_ out of its _Nut_. So
that the _Cap_ suffers no pressure upwards or the _Feet_ downwards,
unless the force of the _Spindle_ break the strength of Stuff between
the _Head_ and the upper ends of the _Cheeks_, or the strength of Stuff
between the _Winter_ and the lower ends of the _Cheeks_.

The _Press_ being thus far fastned, the _Carriage_ is laid on; and if
the Joyner performed his Work well in making the Wooden-work, it will
at first lye exactly Horizontal; if not, it must be mended where it
is amiss before the _Press-man_ can _Lay_ the _Stone_; and before the
_Stay_ of the _Carriage_ can be fitted under the end of the _Ribs_.


¶ 2. _Of_ Laying _or_ Bedding _the_ Stone.

We will suppose the Wooden _Ribs_ to lye on the _Winter_ exactly, flat
and Horizontal, therefore the _Press-man_ now _Lays_ the _Stone_: If
the _Stone_ be a good thick Marble Stone, and all the way of an equal
thickness between the _Face_ and the Bottom, he may _Bed_ or _Lay_ it
upon so many large _Sheets_ of Brown Paper as will raise the _Face_
about a _Brevier_ above the Superficies of the _Coffin_, and the
_Stone_ will do good service.

Or he may _Bed_ or _Lay_ it on Bran; which indeed the _Press-man_ most
commonly does, if the _Stone_ be qualified as aforesaid.

The manner how he lays it on Bran is thus,

He grasps an handful of Bran and lays it down at the hither corner of
the _Coffin_ on his Left Hand, and it will form it self into a small
Hillock; then he takes another handful of Bran, and lays that down in
the same manner near the first, towards the further side, and so a
third, _&c._ towards the further side, till he have filled the whole
breadth of the _Coffin_. Then he in like manner lays another row of
Hillocks, beginning at the hither side of the _Coffin_; and so a third
and fourth row, _&c._ till the length of the _Coffin_ is filled as
well as the breadth: Then with a _Riglet_ he drives the tops of these
Hillocks into the Valleys between them, to spread the Bran into an
equal thickness in the whole _Coffin_. Which done, he lays the _Stone_
upon it.

But in this case he considers to lay so much Bran thus into the
_Coffin_ as may make the _Face_ of the _Stone_ rise about a _Great
Primer_ higher than the Superficies of the _Coffin_: For else he must
take all his Bran out again, and new-lay his Hillocks, making them
bigger or less, till he have fitted the _Face_ of the _Stone_, to lye
about a _Great Primer_, as aforesaid, higher than the Superficies of
the _Coffin_.

But if it be a thin _Stone_, or a _Purbeck_ or _Portland Stone_, it
is great odds if it be thus _Laid_, but it breaks with the first
_Pull_: Therefore these _Stones_ are generally _Laid_ or _Bedded_ with
Plaister of _Paris_, which before it hardens, will of it self run into
an Horizontal position.

This Plaister of _Paris_ is tempered with fair Water to the consistence
of Batter for Pancakes, or somewhat thicker, and such a quantity is
put into the _Coffin_ as may raise the _Face_ of the _Stone_ about a
Scaboard higher than the Superficies of the _Coffin_.

The different matter the _Stone_ is _Laid_ on is the reason why the
_Face_ is _Laid_ of different heights above the Superficies of the
_Coffin_: For by the force of a _Pull_ about a dozen Sheets of Brown
Paper may be squeez’d closer by a _Brevier Body_, which brings the
_Face_ of the _Stone_ into the same Level with the Superficies of the
_Coffin_. And Bran squeezes much more. But Plaister of _Paris_ not at
all.

When he _Lays_ the _Stone_ on Bran, or on Plaister of Paris, he and
his Companions slings the _Stone_ in two strong Packthreds, placing
one towards either end of the _Stone_; and each of them taking an end
of each String in each of their Hands, with the _Face_ of the _Stone_
upwards, and brought as near as they can into an Horizontal Position,
they with great care and caution let it into the _Coffin_, and as near
as they can, so as the whole bottom of the _Stone_ touch the _Bedding_
all at once; lest by raking the _Bedding_ with any part of the bottom
of the _Stone_ first, the Horizontal form of the _Bedding_ be broken.

Having laid the _Stone_ down, they draw the Packthred from under it:
And by squeezing a little Water out of a Spunge upon about the middle
of the _Face_ of the _Stone_, try whether the _Stone_ lye truly
Horizontal, which they know by the standing of the Water: For if the
Water delate it self equally about the middle of the _Stone_, the
_Stone_ lies Horizontal: But if it have a propensitude to one side more
than another, the declivety is on that side, and the _Stone_ must be
new _Laid_.

Having laid it Horizontal, they _Justifie_ it up with the _Justifiers_
I mentioned in § 11. ¶ 17.


¶ 3. _Of_ Setting _the_ Rounce.

The _Rounce_ being well _Set_ does not only ease a _Press-man_ in his
Labour, but contributes much to Riddance in a train of Work.

In the old-fashioned _Presses_ used here in _England_, the _Press-man_
finds often great trouble and loss of Time in _Setting_ the _Rounce_:
Because the _Girts_ being nailed to the _Carriage-board_ behind, and
to the Frame of the _Coffin_ before, he cannot alter the position of
the _Rounce_ without un-nailing and nailing the _Girts_ again, both
before and behind. Nay, and sometimes though he thinks he has been
very careful in _Winding_ the _Girts_ off or on the _Barrel_ of the
_Rounce_, as he finds occasion requires; Yet by straining either of
the _Girts_ too hard, or not hard enough, or by an accidental slip
of either of the _Girts_, or by stirring the _Rounce_ out of a Set
position, when he thinks he has _Set_ the _Rounce_, he has it to do
again. Besides, The _Carriage-board_, _Frame_ of the _Coffin_, and the
_Rounce-barrel_, all suffer tearing to pieces by often drawing out and
driving in o Nails.

But in these new-fashioned _Presses_ all these inconveniences are
avoided, for the _Press-man_, without nailing or un-nailing, _Sets_
the _Rounce_ to what Position he will, only by lifting up the Iron
_Clicker_ that stops the wheel: For then _Winding_ off so much _Girt_,
and _Winding_ up so much _Girt_ at the opposite end of the _Carriage_,
his _Rounce_ is _Set_, without hope or Hazzard.

He _Sets_ the _Rounce_ to such a position, that when the fore-end of
the _Tympan_ will just lye down and rise free, without touching the
fore-edge of the _Plattin_, then a line drawn or imagined from the Axis
of the _Handle_ of the _Rounce_, to a Perpedicular or _Plumb-line_, let
fall from the Axis of the _Spindle_ of the _Rounce_, these two lines
shall make an angle of about 45 degrees, which is half the Elevation
between an Horizontal line, or Line of Level, and a Perpendicular, or
Plumb-line.


¶ 4. _Of_ Hanging _the_ Plattin.

When the _Press-man Hangs_ the _Plattin_, he lays a _Form_ upon the
_Press_, and about a Quire of Paper doubled upon it (this Quire of
_Paper_ thus doubled is called the _Cards_) then layes the _Plattin_
upon the _Cards_, and so _Runs_ the _Carriage_ and _Plattin_ in,
till the middle of the _Plattin_ lye just under the _Toe_ of the
_Spindle_: Then he puts the _Pan_ of the _Plattin_ in its place, and
in part Justifies the _Head_, as shall be shewed in the next ¶. And he
un-screws the _Hose-screws_, till the Spuares at the ends of the _Hose_
come down to about a quarter of an Inch of the Square of the Socket
they are fitted into in the ends of the _Garter_, and when the _Toe_ of
the _Spindle_ is fitted into the _Nut_ in the _Pan_ of the _Plattin_,
he examines by straining a Pack-thred against the two foresides of the
_Cheeks_ of the _Press_, whether the fore-edge of the _Plattin_ is set
in a parallel Range with the fore-sides of the _Cheeks_: If it be not,
he twists the ends till the edge of the _Plattin_ stands parallel with
the Pack-thred, and consequently with the _Cheeks_.

Then with the _Bar_ he _Pulls_ the _Spindle_ hard down upon the
_Plattin_, and Sets the edges of a _Paper-board_ between the _Bar_ and
the farther _Cheek_ of the _Press_, to keep the _Bar_ from starting
back.

And having provided fine Whip-cord, he knots a Noose on one end and
puts it over one of the _Hooks_ of the _Plattin_, lashing the Whip-cord
also upon the farthermost _Notch_ of the _Hose-hook_, and again upon
the _Plattin-hook_, and again upon the _Hose-hook_, and again upon the
_Plattin-hook_: So that here is now three Lashes of whip-cord upon the
_Plattin-hook_, and upon the farthermost _Notch_ of the _Hose-hook_.
Wherefore he Lashes his fourth Lashing of whip-cord now upon the second
_Notch_, viz. the middlemost _Notch_ of the _Hose-hook_, reiterating
these Lashes on the middlemost _Notch_ and _Plattin-hook_ also three
times. And thus in like manner Lashes also three Lashes upon the third
and last _Notch_ of the _Hose-hook_ and also of the _Plattin-hook_,
observing to draw every Lashing of an equal strength.

Then he begins to whip about these Lashings to draw them close
together: He begins, I say, at at the bottom of the Lashings, _viz._
close above the _Plattin-hook_, and draws his whippings very tight and
hard, and contiguous above one another, till he have whipt so near the
top of the Lashings, _viz._ near the _Hose-hooks_ that he finds the
Lashings (which now spread wide asunder because the _Notches_ of the
_Hose-hooks_ stands far asunder) will yield no longer to to his whiping
and pulling: So that now he fastens his whip-cord with two or three
hard knots, and cuts it from the Coyl.

In like manner he begins at the opposite diagonal corner of the
_Plattin_, and lashes and whips that: And also the two other corners
of the _Plattin_ as he did the first, carefully observing to draw all
his lashings and whippings of an equal strength, lest any corner of the
_Plattin_ either mount or dip.

If he finds he strained the whip-cord not hard enough; or (when he is
in his train of work) that the _Plattin-cords_ with long working work
loose; or that the _Toe_ of the _Spindle_ and the _Nut_ it works in,
have worn one another; he by turning the _Screws_ at the upper ends of
the _Hose_, draws up the _Nut_ of the _Plattin_ closer to the _Toe_ of
the _Spindle_, and by consequence strains the _Plattin-cords_ tighter
up; which is also a great convenience in these new-fashioned _Presses_:
For, for any of these aforesaid accidents the _Press-man_ that works
at our _English-Presses_ must new _Hang_ his _Plattin_: When (as
aforesaid) in these new _Presses_ he only turns about a _Screw_.


¶ 5. _Of_ Justifying _the_ Head.

_Justifying_ the _Head_ is to put into the Mortesses in the _Cheeks_
between the upper sides of the Tennants of the _Head_, and the upper
sides of the Mortesses in the _Cheeks_, an equal and convenient
thickness of (either) square pieces of Felt, Pastboards, or Scaboards
(some or all of them) that when the _Press-man Pulls_, the Tennants of
the _Head_ shall have an equal Horizontal level Check.

In _Justifying_ the _Head_, the _Pull_ is to be made _Longer_ or
_Shorter_.

If the _Press-man_ be tall and strong and his work be _Light_, that is,
a small _Form_ and great _Letter_, which needs not so strong a _Pull_
as a Large _Form_ and small _Letter_, he covets to have a _Short-pull_;
that is, that the _Spindle_ shall give an _Impression_ by that time
the _Bar_ comes but about half way to the hither _Cheek_ (in Printers
Language _Down_.)

But if the _Press-man_ be low, and not very strong, he will require a
_Longer Pull_, especially if the work be _Heavy_, viz. a Large _Form_
and small _Letter_: Because the heighth of the _Bar_ is generally made
to lye at the command of a reasonable Tall man, and therefore a Low man
cannot Pull the Handle of the _Bar_ at so great a force at Arms-end as
a Tall man; but will require the swinging of his whole Body backwards
to add force to the _Pull_: So that if the _Pull_ be not _Longer_,
he cannot fall enough backwards to get the _Handle_ of the _Bar_
within his command and force. And therefore a Low man and _Heavy Work_
requires a long and _Soaking Pull_.

A long or a _Soaking_ or _Easie Pull_, is when the _Form_ feels the
force of the _Spindle_ by degrees, till the _Bar_ comes almost to the
hither _Cheek_ of the _Press_, and this is also call’d a _Soft Pull_;
because it comes Soft and Soakingly and easily down: And for the
contrary reason the _Short Pull_ is call’d an _Hard Pull_, because it
is suddenly perform’d.

That which makes a _Hard Pull_, is putting into the Mortesses in
the _Cheeks_ solid Blocks of Wood, which will scarce Squeeze by the
Strength of a _Pull_: And that which causes a _Soft Pull_ is putting
in pieces of Felt or Pastboard (as aforesaid) which being Soft will
Squeeze and retain their Spring for a considerable time, yet will at
length grow hard with Working, and then the _Pull_ grows _Longer_;
which the _Press-man_ mends, by putting in another Felt or Pastboard
into each Mortess.

The _Head_ cannot be conveniently and well _Justifyed_ soon after
the laying of the _Stone_, if it be _Laid_ on Bran, because though
the Force of the _Spindle_ will at the immediate time of the _Pull_
Squeeze the Bran in the _Coffin_ close, yet so soon as the force of
the _Spindle_ is off the Bran, all its dry parts, by their several
irregular positions, will like so many Springs, at the same moment
of time endeavour to recover their Natural tendency, and heaves the
_Stone_ upwards again: So that generally for a day or two Working the
_Stone_ will not lye Solid, though at length through the often and
constant Squeezing the Bran it will. But if the _Stone_ be _Laid_ on
Brown Paper, or Plaister of Paris, it quickly finds a Solid Foundation.

When the _Press-man Justifies_ the _Head_, he unscrews the _Female
Screws_ of the _Head Screws_, that the weight of the _Head_ may draw it
down, to make room to put the _Justifyers_ into the Mortesses in the
_Cheeks_; and when he has put in so many as he thinks convenient, he
_Screws_ up the _Head_ again as hard as he can. Then lays the _Cards_
on the _Form_, on the _Press_, and _Runs in_ the _Carriage_ under the
_Plattin_, and _Pulls_ hard upon it, while his _Companion Screws_ up
the _Head_ as hard and tight as he can, that the _Carriage, Tympan_,
&c. may _Run_ the freelier under the _Plattin_.


¶ 6. _Of_ Oyling _the Iron Work of the_ Press.

The _Ribs_, the _Tympan Joynts_, the _Frisket Joynts_, the _Garters_,
both ends of the _Rounce-Spindle_, the _Nut_ and _Spindle_, and the
_Toe_ of the _Spindle_, are all to be well Oyl’d; that they may all
perform their several offices the easier, lightlier and nimbler; both
_Upper_ and _Under hand_.

All but the _Nut_ and _Spindle_, and _Toe_ of the _Spindle_, are Oyl’d
with a Feather dipt in a spoonful, or little Pot, or Oyster-shell,
_&c._ of Sallad Oyl; and that feather dabb’d upon so much of the _Ribs_
as he can come at, at either end of the _Press_: For then by _Running_
the _Carriage_ three or four times quick _Out_ and _In_, it desperses
the Oyl equally the whole length of the _Ribs_, and at the same time
Oyls the _Cramp-Irons._

And for Oyling the _Joynts_, he commonly takes out the _Pins_ and Oyls
them, and puts them in again; and with the edge of a Feather dabs a
little Oyl between the Crevices of the _Joynts_.

He thrusts the Feather in between the _Spindle_ of the _Rounce_ and its
_Collers_.

To Oyl the _Nut_ and _Spindle_, he pours a good quantity of Oyl in at
the _Hole_ in the _Head_, and with a Cork stops the hole again to keep
out dust and filth: Then drawing the _Bar_ quick to and fro about half
a score times, he works the Oyl equally about the _Nut_ and _Spindle_.

To Oyl the _Toe_ of the _Spindle_, he pours about a Spoonful of Oyl
into the _Plattin-pan_.


¶ 7. _Of_ Making Register, _and_ Making Ready _a_ Form.

A curious _Press-man_ will take care that against the _Compositer_
brings a _Form_ to the _Press_ his _Press-stone_ be wip’d very clean;
for if any (though small) hard extuberant matter lye on it, the
_Letter_ that lyes on that extuberant matter will, with _Pulling_,
quickly _Rise_, and not only Print harder than the rest of the _Form_,
but bear the force of the _Plattin_ off of the _Letters_ adjacent to
it. And therefore many times a _Press-man_ will receive the _Form_ from
the _Compositer_ when he has only Set the _Form_ on the side of its
_Chase_ upon the _Press-stone_, that he may be the Surer the _Face_ of
the _Stone_ is clean when he layes the _Form_ down; as also that he may
carefully examine that the backside of the _Form_ is clean before he
goes about to make _Register_, or otherwise make ready his _Form_.

_Making Register_ is to _Quoin_ up a _Form_ and otherwise alter
_Whites_ (if need be) between the _Crosses_ and _Pages_: So as that
when a second _Form_ of the same _Volumne_, _Measure_ and _Whites_, is
plac’d in the same position, all the Sides of each _Page_ shall fall
exactly upon all the Sides of the _Pages_ of the first _Form_.

The first process a _Press-man_ makes towards this Operation, is the
chusing and placing of his _Points_: For to large Paper he chuses
_Short Shanked Points_, and to small Paper _Long Shanked Points_, and
proportionable to intermediate sizes of Paper: For his _Points_ ought
to be placed so as that when he is in his Train of work, they prick the
_Point-holes_ within the grasp of the hollow between his hand, Thumb,
and Fore-finger; because when he shall Work the _Reteration_ he may
the better manage and Command the sheet he lays on the _Tympan_ and
_Points_.

Nor will he place his _Points_ too near the edge of the _Paper_,
because when he Works the _Reteration_, he would be forc’d to carry
his furthermost _Point-hole_ the further from him, which in a long
train of Work loses Time: For the _Laying Sheets_ quickly on their
_Point-holes_ adds much to riddance. So also the less distance between
the further and hither _Point-hole_ makes more riddance than if they
are far distant; because he must draw his Body so much the further back
to place that _Hole_ on its _Point_. Therefore he places the hither
_Point_ farther into the Paper than the farther _Point_, if it be
_Folio_, _Quarto_ or _Octavo_, but to _Twelves_ equally distant from
both edges of the Paper.

By placing the _Points_ unequally from the edges of the Paper, as in
_Folio’s_, _Quarto’s_ and _Octavo’s_ (as aforesaid) he also secures
himself the more from a _Turn’d Heap_ when he works the _Reteration_;
because without very much altering the _Quoins_, he shall not be able
to make _Register_: And _Press-men_ (especially if they Work upon the
same sort of Work) seldom or never remove the _Quoins_ on the further
side the _Carriage_, nor on the right hand end of the _Carriage_, but
let them lye as gages for the next _Form_: For thrusting the _Chase_
close against these _Quoins_, the _Register_ is almost (if not quite)
made: The _Compositer_ having before, according to his Task, chosen the
_Chases_ exactly of an equal size, and made strait and equal _Whites_
between the _Crosses_, &c.

Having chosen his _Points_, he places them so that they may both
stand in a straight line parallel with the top and bottom sides of
the _Tympan_; which to know, he strains a Packthred cross the whole
_Tympan_, laying it at once upon the middle of the _Heads_ of both the
_Point-Screws_, (for we will suppose the Joyner hath made the Mortesses
into which the _Point Screws_ are Let, parrallel with both the ends of
the _Tympan_) then if both the _Points_ stand in that straight line
they are parrallel, if not, he moves one or both of them upwards or
downwards till they do, and then _Screws_ them fast.

Then he layes the _Tympan_ down upon the _Form_, holding the
_Frisket-end_ of it in his Left-hand, about an Inch or an Inch and a
half above the _Face_ of the _Letter_, and Sinks his Body downwards
till he can see between the _Form_ and _Tympan_, and with the Ball of
the middle finger of his Right-hand presses a little gently upon the
_Tympan_ just over the _Point-ends_ of each _Point_ successively, to
see if the _Points_ fall in or near the middle of the _Slits_ in the
_Short-Cross_. If they fall exactly in the middle of those _Slits_,
the _Form_ lyes right between the middle of both the ends: If they fall
not exactly in the middle of both these _Slits_, he moves the _Form_
between the ends of the _Carriage_, till they do, and then _Quoins_ up
the two ends of the _Chase_.

Then laying the _Tympan_ flat down upon the _Form_, he layes the
_Blankets_ in it: (They are call’d the _Blankets_ though generally it
is but one _Blanket_ doubled:) Then he puts the _Iron-Pins_, fastned
through the hither side of the Inner _Tympan_ into the Holes made
through the hither side of the outer _Tympan_ for Gages: And turning
about the Tongues of the _Iron-Buttons_, that are fitted into the outer
Side of the outer _Tympan_ over the upper Side of the _Inner-Tympan_,
he _Screws_ the _Button_ fast down. He also _Screws_ down the
_Iron-Button_ at the end of the _Tympan_. These _Buttons_ thus Screwed
down are to keep the _Inner-Tympan_ fast in, that it Spring not upwards.

Then he Folds a sheet of the Paper he is to Work long-ways, and
broad-ways, and lays the long Crease of it upon the middle of the
_Long-Cross_; and the Short Crease over the middle of the _Gutters_
of the _Short-Cross_, if the _Short-Cross_ lye in the middle of the
_Form_, (for in _Twelves_ it does not, but then he guesses at the
middle;) then wetting his _Tympan_ (as shall in proper place be shewed)
he turns it down upon the Paper, and _Running in_ the _Carriage_,
_Pulls_ that Sheet, which with the force of the _Pull_ now the _Tympan_
is wet, will stick to the _Tympan_; and turning up the _Tympan_ again
sees how well the Sheet was laid; that is, how even it was Laid: For
if it was laid even on the _Form_, the _Margin_ about the out sides of
all the outer _Pages_ will be equal; But if the Sheet be not laid even,
he lifts it up Side by Side till he have loosen’d it from the _Tympan_,
and removes it by his discretion till it be laid even: And then _Pulls_
again upon it to fasten it to the _Tympan_. This Sheet is call’d the
_Tympan-sheet_.

Then he lays another Sheet even upon the _Tympan-sheet_, for a Register
Sheet, and a Waste Sheet over that to keep it clean from any filth
the _Face_ of the _Letter_ may have contracted and imprint upon it,
and _Pulls_ these two Sheets. Then he _Runs out_ the _Carriage_,
and takes up the _Tympan_, and takes off the two Sheets, laying the
waste Sheet by: But turns the other Side of the _Register-Sheet_ the
proper way his Volumne requires, _viz._ end-ways if it be _Octavo_ or
_Folio_; or Side-ways if _Twelves_ or _Quarto_, _&c._ as at large you
see in the Section of _Imposing_. And laying the _Point-holes_ in the
_Register-Sheet_ over the _Points_, lays his waste Sheet on again,
_Runs-in_ the _Carriage_, and _Pulls_ upon that the Second side of the
_Register-sheet_, to try how well the Impression of the Sides of all
the _Pages_ agree, and lye upon the Impression in the first _Pull’d_
Side. If he finds they agree perfectly well, _Register_ is made. But
if the Impression of the last _Pull’d_ Side of the _Register-sheet_
stand be-hither the Impression of the first _Pull’d_ side, either
the whole length of the Sheet or part, he observes how much it
stands be-hither: If the thickness of a _Scaboard_, a _Nomparell_, a
_Long-Primmer_, &c. he loosens the _Quoin_ or _Quoins_ on the farther
side of the _Carriage_, and opens one or both of them, _viz._ removes
them backwards till they stand a _Scaboard_, a _Nomparell_, a _Long
Primmer_, &c. off the sides of their respective Corners: Then _Knocks_
up one or both the opposite _Quoins_, till he have removed the _Chase_,
and the _Chase_ by consequence has forc’d the opened _Quoin_ or
_Quoins_ close against their Corners. Or if the Impression of the last
_Pulled Side_, stands within the Impression of the first _Pulled Side_;
he observes how much also; and Loosning the hither _Quoin_ or _Quoins_,
and _Knocking up_ the opposite as before, makes _Register_, for the
Sides of the Sheet.

Then he observes how the _Register_ of the _Head_ and _Foot_ agrees.
And if he finds it agrees on both sides the _Short Cross_, he has good
_Register_; supposing the _Compositer_ has performed his Office, _viz._
made all his _Pages_ of an equal Length, &c.

If the Impression of the Last _Pulled Sheet_, lye without the
Impression of the first _Pulled Sheet_, towards the upper or lower
end of the _Tympan_, he opens the _Quoins_ at the respective end, and
_Knocks-up_ the opposite till he have made _Register_: Which to try
he _Pulls_ another clean _Register-sheet_ as before. And if he finds
_Register_ agree on all the Sides of the _Form_ the Task is performed:
If not, he mends as aforesaid till it do.

But it sometimes happens that the _Compositer_ has not made an exact
equal _White_ between all the sides of the _Crosses_: In this case,
altering the _Quoins_ will not make good _Register_; wherefore the
_Press-man_ observes which side has too much or too little _White_; and
unlocking the _Form_ takes out or puts in such a number of _Scaboards_
as he thinks will make good _Register_: which he tryes by _Pulling_ a
Sheet, and if need be, mending as before, till he have _Pull’d_ a Sheet
with good _Register_.

Although the _Press-man_ have made _Register_, yet he must further
_Make Ready_ the _Form_ before he can go to Work upon it. Under this
phrase of _Making Ready the Form_ is comprehended many Considerations,
leading to several various Operations; For first, The _Frisket_ must
be _Cut_: which to perform, the _Press-man_ fits the _Match-Joynts_
of the _Frisket_ into the _Match-Joynts_ of the _Tympan_, and pins
them in with the _Frisket-pins_: And having _Beaten_ the _Form_,
turns down the _Frisket_ and _Tympan_ on the _Form_. And having also
Rubbed the _Blankets_ to soften them, lays them smooth and even in the
_Outer-Tympan_, and _Pins_ the _Inner Tympan_ in upon them, as was
shewed in the beginning of this ¶, and _Pulls_ as before, and as shall
farther be shewed in ¶ 15. upon the bare _Frisket_.

Then he _Runs out_ the _Carriage_, and takes up the _Tympan_ and
_Frisket_ together off the _Form_ and lays them on the _Gallows_; Then
takes the _Frisket-pins_ out again, and takes off the _Frisket_: And
laying it flat on a _Paper-board_, with the point of a Pen-knife cuts
through the _Frisket_ about all the Sides of each _Page_, allowing to
each _Page_ he thus cuts out of the _Friket_ about a _Nomparil Margin_
on all the sides of the cut cut _Pages_: Then he puts and pins his
_Frisket_ again on the _Tympan_, as before.

_2dly_, He takes care that the _Tympan_ be well _Wet_; which he does
by squeezing Water out of a _Spunge_ on the backside of it, till it be
well Wet all over, and well soak’d and limber.

_3dly_, That the _Form_ be well and fast _Lock’d up_.

_4thly_, That no _Letters_ or _Spaces_ lye in the _White-lines_ of the
_Form_; which may happen if the _Compositer_ have _Corrected_ any thing
since the _Form_ was laid on the _Press_, and the _Compositer_ through
oversight pickt them not all up.

_5thly_, If any _Wooden Letters_ or other _Cuts_ be in the _Form_, that
they be exactly _Letter-high_: If not, (for it seldom happens they are)
he must make them so; If they are too _Low_, (as they generally be) he
_Under-lays_ them: But first He examines how much they are too _Low_,
by laying one Card or one Scaboard or two Scaboards, or a Scaboard and
a Card, _&c._ upon the Face of the _Wooden Cut_, and gently feeling
with the Balls of the Fingers of his right Hand if the intended
_Under-lay_, viz. the Scaboard, Card, _&c._ lye exactly even with the
_Face_ of the _Letter_, If it do not, he tries thicker or thinner
_Under-lays_ till he have evened the _Under-lay_ with the _Face_ of
the _Letter_: For then the Balls of his Fingers will go smoothly and
equally over the _Under-lay_ and the _Face_ of the _Letter_, as if they
were one and the same Superficies.

Having evened his _Under-lay_, he _Unlocks_ that _Quarter_ it is in,
and takes the _Wooden Cut_ out of the _Form_, and cutting a Scaboard or
Card or what it wants a little smaller than the bottom of his _Wooden
Cut_, he lays it into the place he took the _Wooden Cut_ out of, or
else he Pasts the _Under-lay_ on the bottom of the _Wooden Cut_, and
puts the _Wooden Cut_ into its place again upon the _Under-lay_. But
yet he trusts not to his Judgment altogether for the thickness of the
_Underlay_: But _Locking up_ the _Form_ again, _Pulls_ the _Cards_ upon
it to sink it as low as it will go, and _Beats_ and _Pulls_ a Sheet to
see how it pleases him. If it be too low, which he finds by the Pale
Printing of it, he _Underlays_ it a little more, and again trys by
Printing till it pleases him. But by no means he lets the _Cut_ stand
too high, though but a small matter, For then it will Print too _Hard_
and too _Black_, and deface the beauty and fairness of the _Cut_; So
that it may better stand about half a Card too low, than in the least
too high.

If the _Wooden Cut_ be too high, he causes a Joyner to Plain off some
at the bottom.

_6thly_, If a _White Page_ or _Pages_ happen in a _Form_, and he uses
a _New-drawn Frisket_, then he does not _Cut out_ that _Page_: But if
he Work with an _Old Frisket_, and that _Page_ is already _Cut out_,
he Sews, or sometimes Pastes on a Scaboard, if the _Page_ be not too
broad, or a strong Pasteboard to the _Sides_ and _Crosses_, to cover
the _White-page_ in the _Form_, that it Print not Black.

If the sides of the _Pages_ adjacent to the _White-page_ Print _Hard_,
as most commonly they do, because the _White-page_ is generally lower
than _Letter_ high, so that the force of the _Spindle_ squeezes the
yielding _Paper_, _Tympan_ and _Blankets_ below the Plain of the
_Face_ of the _Letter_; and besides the force of the _Spindle_ falling
upon the center of the _Plattin_, and the Plain of the _Plattin_ not
finding resistance to entertain it equally, presses lower down upon the
low _White-page_, than upon the _Face_ of the _Letter_; so that the
_Press-man_ either _Underlays_ the _White-page_, as he does _Wooden
Cuts_, or else he fits a _Bearer_ on the _Frisket_.

The _Bearer_ is a _Riglet_ of a convenient thickness: and this
convenient thickness the _Press-man_ finds as I shewed you how he
found the thickness of his _Under-lays_ for _Wooden Cuts_; only
with this difference, that as then he made his _Wooden Cut_ exactly
_Letter-high_, so now he maks his _Bearer_ and the _Furniture_ his
_Bearer_ bears on _Letter-high_: Wherefore he Pasts one side of his
_Bearer_, and lays it as he would have it on the _Furniture_, with the
Pasted side upwards; and laying his _Tympan_ and _Frisket_ down upon
the _Form_, with his Fingers presses on the outside the _Inner-Tympan
Frisket_ and all, upon the place where the _Beares_ lies; So that with
the Paste the _Bearer_ sticks to the side of the _Frisket_, which he
takes up again: and if he thinks the Paste not strong enough to hold it
till the _Form_ is wrought off, he sews it to the _Frisket_ by pricking
his Needle on both sides the _Bearer_, and lashing the Thred over it so
often till he thinks it fast enough sew’d on.

_7thly_, He examines whether the _Frisket_ _Bites_ not: That is,
whether no part of it Print upon any of the sides of any of the
_Pages_: if they do he cuts away so much and about a _Nomparel_ more
off the _Frisket_ where it _Bites_.

_8thly._ He examines if the _Beards_ of the _Letter_ Print at the Feet
of the _Pages_: If they do, He considers whether the too short or too
far _Running_ in of the _Carriage_ causes it. Or whether it be only the
_Beard_ of a short _Page_ that Prints; If it be the _Beard_ of a short
_Page_ that Prints, he remedies it with an _Under-lay_ as I shewed he
did in the _White Page_.

If the _Carriage_ be _Run_ in too short, and the _Feet_ of the _Pages_
stand towards the _Plattin_, the _Hind-side_ of the _Plattin_ will
press strong upon the _Feet_ of those _Pages_: And if the _Carriage_
be _Run_ in too far, the _Feet_ of the _Pages_ that stand towards the
hinder _Rail_ of the _Tympan_ will most feell the force of _Plattin_,
and according to a greater or less proportion of that force, and to
the softness or yielding of the _Paper_, _Tympan_, and _Blankets_, and
all other _Springs_ in the _Press_, mentioned in §. 11. ¶ 1. of this
_Volumne_, the _Feet_ of the _Pages_ and _Beard_ of the _Letter_ will
more or less Print _Hard_.

Wherefore in this case he _Runs_ the _Carriage_ under the _Plattin_,
till the farther Edge of the _Plattin_ just cover the _Feet_ of those
_Pages_, and with a piece of Chalk makes a White stroke over the
_Board_ of the hither side of the _Carriage_ behind, and the upper side
of the _Rail_ of the _Ribs_: Then he _Runs_ in the _Carriage_ again,
till the Foreside of the _Plattin_ just cover the _Feet_ of the _Pages_
next the _Hind Rail_ of the _Tympan_, and makes another mark with Chalk
on the _Rail_ of the _Ribs_ to joyn with the mark he first made on the
_Board_ of the _Carriage_. Then he _Runs_ out the _Carriage_, and lays
the _Tympan_ down on the _Form_; and _Runs_ in the _Carriage_ again
till he joyn the mark or line he made first on the _Carriage-board_ and
_Rail_ of the _Ribs_, and makes a mark with Chalk on the farther _Rail_
of the _Tympan_ just range with the Foreside of the _Plattin_. This
mark on the _Tympan_ shews him how far he must _Run_ the _Carriage_ in
against the Fore-edge of the _Plattin_ for the _First Pull_. Then he
_Runs_ in the _Carriage_ farther, till he joyn the same Mark or Line
on the _Carriage-board_ to the second Mark he made on the _Rail_ of the
_Ribs_, and makes another Mark on the further _Rail_ of the _Tympan_
just range with the Fore-side of the _Plattin_, for the Mark he is no
_Run_ the _Carriage_ in to against the Fore-edge of the _Plattin_, for
his _Second Pull_.

_9thly_, He Examines if the _Catch_ of the _Bar_ will hold the _Bar_
when the _Spindle_ makes a small Spring, _viz._ When the _Bar_ flies
but a little way back from the pressure of the _Form_: If it will not,
he knocks up the _Catch_ a little higher till it will, and then Screws
the _Screw_ on the _Shank_, and consequently the _Catch_ close and firm
against the _Cheek_ of the _Press_.

But if the _Catch_ stand too high, so that it will not without a great
Spring, (_viz._ when the _Bar_ is _Pull’d_ hard from the farther
_Cheek_) fly up; He then knocks upon the top of the _Catch_ to sink it
lower; And when it is well fitted Screws it up again, as before.

If the _Catch_ of the _Bar_ stand too Low, it will not hold the _Bar_;
But it will _Come down_ again of it self when he is in his train of
Work: For if, as it often happens, he lets the _Bar_ fly harder than
ordinary back, or if it slip out of his Hand, it will knock hard
against the _Cheek_, and Spring back again.

If the _Catch_ of the _Bar_ stand but a little too High, the Violence
of the _Bars_ flying back to make it stick on the _Catch_ will soon
Loosen the Square of the _Bar_ in the _Eye_ of the _Spindle_; and
indeed subject the whole _Press_ to an unstable condition.

This is another ease and convenience these New-fashioned _Presses_
gives the _Press-man_: For in the Old make of the _Press_, when the
_Catch_ of the _Bar_ holds too hard, or too soft, he is troubled to
Raise or Sink the _Catch_ with the thickness of _Scaboards_, which
being indevisable, does not without trouble or luck justen it to an
exact Heighth. And besides, These _Under-lays_ being but put under the
_Catch_ upon the _Wooden Bearer_ without any Fastning, are very subject
to work out by the constant disturbance the motion of the several Parts
of the _Press_ (when at work) gives it: Or else (which is worse) he
many times is forced to batter the _Cheek_ of the _Press_, with drawing
and driving of Nails out and in it, to fit on another _Catch_ bigger
or lesser, whereas here with a softer or an harder knock of the Hammer
(as aforesaid) he Raises or Sinks the _Catch_, and afterwards Screws it
firmly up.

_10thly_, He considers whether the _Stay_ of the _Frisket_ stands
neither too forwards or too backwards. The _Stay_ may stand too
forwards, though when it is leisurely turn’d up it stays the _Frisket_:
Because, when the _Press-man_ is in a Train of Work, though he
generally throws the _Frisket_ quick up with an accustomed, and as he
intends, equal strength; yet if his guess at strength in throwing it
up varies, and it comes (though but a little) harder up, the _Batten_
fastned on the _Cap_, and the Perpendicular _Batten_ fastned to the
aforesaid _Batten_ (as is described in §. 11. ¶ 21. of this Volumne)
will by their shaking cause a Spring, which will throw the _Frisket_
back again upon the _Tympan_: Nay, though (as sometimes it happens) a
solid Wall serves to do the Office of a _Stay_ for the _Frisket_; yet
with a little too hard throwing it up, the _Frisket_ it self will so
shake and tremble (its Frame being made of thin Iron) from end to end,
that e’re it recover rest, its own Motion will by the quick running of
a Spring through it beat it back again.

If the _Stay_ stand too backward, then after he has given the _Frisket_
a Touch to bring it down, it will be too long e’re it come down, and so
hinder his Riddance.

Therefore he places the _Stay_ so, that the _Frisket_ may stand but
a little beyond a Perpendicular backwards, that with a near-guess’d
strength in the tossing it up it may just Stand, and not come back; For
then with a small Touch behind, it will again quickly come down upon
the _Tympan_.

_11thly_, He considers the Scituation of the _Foot-step_, and that he
places so as may best suit with his own Stature; For a Tall man may
allow the _Foot-step_ to stand farther off and lower than a Short,
because his Legs reach farther under the _Carriage_, and can tread hard
to add strength to his _Pull_; when a Short man must strain his Legs to
feel the _Foot-step_, and consequently diminish the force of his _Pull_.

_12thly_, He fits the _Gallows_, so that the _Tympan_ may stand as
much towards an upright as he can: Because it is the sooner clapt
down upon the _Form_ and lifted up again. But yet he will not place
it so upright, but that the White Sheets of Paper he lays on it may
lye securely from sliding downwards: And for _Reteration_ Sheets their
lying upon the _Points_ secures them.

In these New-fashioned _Presses_ there is no trouble to place the
_Gallows_, so as it may mount the _Tympan_ to any Position: For
sliding the _Male-duftails_ made on the _Feet_ of the _Gallows_ through
the _Female Duftails_ fastned on the _Planck_ of the _Carriage_,
performs this great trouble that in our English _Presses_ requires
Un-nailing the Studs of the _Gallows_ and Nailing them again; and many
times tearing them and the _Carriage-Planck_ to pieces: And that so oft
as the fancy of the _Press-man_ alters, or another Work-man comes to
Work at that _Press_.

_13thly_, Few _Press-men_ will Set the range of the _Paper Bench_ to
stand at right angles with the _Plank_ of the _Carriage_: But draws
the farther end of the _Paper Bench_ so as the hither side may make
an Angle of about 75 Degrees (more or less) with the hither side
of the _Carriage_: The reason is, if the hither side of the _Paper
Bench_ stand at right Angles with the hither side of the _Carriage_,
he must carry his Hand farther when he _Lays out Sheets_ which would
hinder riddance: Besides his _Companion_ has a nearer access to it, to
look over the _Heap_; which he frequently does, to see the constant
Complexion of the Work.

_14thly_, The _Press-man_ brings his _Heap_ and Sets it on the hither
end of the _Paper Bench_ as near the _Tympan_ as he can, yet not to
touch it, lest it stop the _Tympan_ in a train of Work: and he places
an end of the _Heap_ towards him. Then taking off the _Paper-board_
that cover’d it when it was Prest, he lays the long sides of it
parallel to the sides of the _Paper Bench_: Then he takes the uppermost
Sheet (which as you may Remember is a Waste-sheet) and lays it on
the empty _Paper-board_; And taking Three or Four or Five Quires off
his _Heap_ in both his Hands, he lifts it a pretty height above his
Head, and claps it as hard as he can down upon the rest of the _Heap_,
to loosen the Sheets that with Pressing stick close together: And
not thinking them yet loose enough, he thrusts them long-ways and
side-ways, heaving and huffing them till he think he has pretty well
loosen’d or hollow’d that quantity of Paper.

Then with the nail of his Right Hand Thumb, sloaping from his
Thumbward, he draws or slides forwards the upper Sheet, and two or
three more commonly follows gradually with it, over the hither edge the
_Heap_, to prepare those Sheets ready for him to snatch off the _Heap_.

_15thly_, He considers if the _Face_ of the _Tympan_ be moist enough,
for a _Tympan-sheet_ to stick to, for though he Wet the back-side of it
before to supple it, yet if the _Tympan_ be strong, the Water will not
soak quite through to moisten the _Face_, So that he wets the Spunge in
fair Water, and besprinkles the upper side or _Face_ of the _Tympan_
all over: And squeezing the Water that is left in the Spunge well out
again, rubs it quickly and gently all over the _Face_ of the _Tympan_,
to drink up or lick off the body of Water that he besprinkles on, and
only leaves moisture on the _Face_ of the _Tympan_ to hold the Sheet.

Here accrews now a benefit by the make of these New-fashioned _Presses_
to the Master _Printer_: For these _Presses_ having a _Gutter_ fastned
to the _Hind-rail_ of the _Carriage_ (as was described in § 10. ¶ 9. of
this Volumne) to receive the Water that falls from the _Tympan_, and to
convey it beyond the farther side of the _Press_, secures the _Blank_
of the _Carriage_ from Wet and moisture, and consequently from that
cause of Rotting.

Then he takes a Sheet of Paper off the _Heap_ for a _Tympan-sheet_,
and Folds it exactly into four quarters, and lays the Creases of the
Sheet exactly upon the middle of the _Short_ and _Long Crosses_, if
the Volumn of the _Form_ allows them both to be in their respective
middles of the _Chase_; if not, he lays the Creases exactly against the
Notches in the _Chase_ that are made for them respectively: And if his
_Frisket_ be Blackt with former Work, he lays a Sheet of Waste-Paper
upon the Creast-sheet: Then lays the _Tympan_ down on the _Form_, and
_Pulls_ on these two Sheets, and takes up his _Tympan_ again, and lays
by the Waste-Sheet; but the Creast-Sheet he lays on the _Tympan_. But
first presses the _Tympan_ downwards, from under the Shank of each
_Point_ successively, puts the two opposite sides of the Sheet under
the _Shancks_ of the _Points_, and the _Holes_ the _Points_ prickt with
_Pulling_ exactly under the bottom Revits of the _Points_: Then taking
a little Paste on the Ball of one of his fingers, a little besmears the
under corners of that Sheet, and claps them down close on the _Tympan_,
that the Sheet may stick: But the bottom corner of that side the Sheet
that is next to him, he besmears within the Matter of the Sheet, _viz._
within the Impression the _Form_ made. For when he has fastned that
corner down, he tears off the _Margin_, (by guess) in a straight line
athwart the very corner, that it may not lye in his way to catch at as
he _Takes off Sheets_, when he is in his train of Work.

This Sheet is called the _Tympan-sheet_; and is only as a standing
mark to lay all the other Sheets exactly even upon, while he Works upon
_White-paper_.

The _Press-man_ does now suppose he has _Made Ready_: Yet for assurance
he will try his _Register_ once more, lest some of the _Quoins_ should
have slipt. How he made _Register_ I shewed you before, wherefore if
his _Register_ be not good, he mends it as I there shewed. But we will
suppose it now good, wherefore he gently _Knocks_ up all the _Quoins_
in the corners, with an equal force to fasten them.

Though I have in Numerical order set down these Operations,
Circumstances and Confederations in this ¶: yet does not the
_Press-man_ oblige himself to observe them in this or any other orderly
succession: Because it often happens that some of these Operations may
more readily be performed out of this or any other prescribed Order.


¶ 8. _Of_ Drawing _the_ Tympans _and_ Frisket.

_Drawing_ the _Tympans_ or _Frisket_ is the Covering and Pasting on
of Vellom, Forrels or Parchment upon the _Frames_. To each _Tympan_
and _Frisket_ is chose a Skin large enough to cover and lap about the
Frames.

These Skins the _Press-man_ rumples up together, and puts them into
a Pail of fair Water to soak; and if he thinks they do not soak fast
enough, he takes them and rubs them between his Hands, as Women wash
Cloaths, to supple them, that the Water may Soak the faster in. And
being throughly Soakt he wrings the Water as well out as he can.

Then the Boy having provided a Brush and about a Pint of Paste, made
of fine Wheaten Flower, well boiled in fair Water to the consistency
of Hasty-pudding, he spreads the Skin flat upon a Table; and first
Pastes the under Side of the _Tympan_; then lays it on the middle of
the Skin, and rearing each side successively up, Pastes the Skin also
from the insides the _Tympan_ to the outer edges of the Skin, and
lays the _Tympan_ down flat again: Then he Pastes all the other sides
of the _Tympan_, and wraps the Skin about the two long Sides first,
Cutting the Sides of the Skin away so much, till he leaves only enough
to reach almost quite through the under-sides of the _Tympan_ again:
Then drawing and straining the Skin tighter, he drives in the points
of two-penny or three-penny Nails about six Inches distant from one
another, to keep the Skin from starting as it Dries.

Having thus Drawn the sides, he with the Point of a Pen-knife cuts
square holes in the Skin, just where the _Iron-Joynts_ fall, for the
Joynts to fall into, and Draws and Strains the ends of the _Tympan_ as
he did the Sides; wrapping the ends of the Skin under the under-sides
of the _Tympan_, and where Wood is, drives in the points of Nails, as
before.

Then setting it by to dry; when it is dry, he draws the Nails.

As he Drew this _Tympan_, so he Draws the other: and the _Frisket_
also: only, because he cannot drive in Nails, (the _Frisket_ being all
made of Iron) he doubles the Skin over the sides of the _Frisket_, and
being well Pasted, as aforesaid; he Sews the sides that Lap over down
upon the whole Skin, to keep it from starting while it drys: And he
Pastes a Sheet or two Thick of Paper all over the inside of it; as
well to strengthen as to thicken it.

[Illustration: _Plate 29._]


¶ 9. _Of Wetting Paper._

Paper is commonly _Wet_ in a Tray full of fair Water. The _Press-man_
places the length of the Tray before him; his dry _Heap_ on the Left
Hand the Tray, and a _Paper-Board_ with its Breadth before him on his
Right Hand of the Tray: He lays first a Waste Sheet of Paper on the
_Paper-board_, lest the Board might Soyl or foul the first Sheet of
the _Heap_. Then he takes up the first _Token_, and lays it in such a
position that the backs of the Quires lye towards his Right Hand, that
he may the readier catch at the Back of each Quire with his Right Hand,
when he is to _Wet_ it: And he lays that _Token_ athwart, or somewhat
Crossing the rest of the _Heap_, that he may the easier know when he
has _Wet_ that _Token_.

Then taking the first Quire of the _Heap_ with the back of it in his
Right Hand, and edge of the Quire in his Left, he lays the Quire down
upon the Waste Sheet, so, as that the back of the Quire lye upon the
middle crease of the Waste Sheet, and consequently one half of the
Quire already laid even down upon one half of the Waste Sheet. If the
Paper be Strong, he opens about half the Quire, and turns it over dry
upon the other half of the Waste Sheet: But if the Paper be Weak and
Spungy, he opens the whole Quire, and lays that down Dry.

The reason why he lays the first Laying-down Dry, is, because it lying
under the rest of the _Heap_ will sufficiently imbibe the moisture
that Soaks from it: And the reason why he leaves but half a Quire Dry
for strong Paper, and an whole for Spungy, is, Because Spungy Paper
Soaks in moisture faster than Strong.

Having laid down his Dry Laying, he takes another Quire off the Dry
_Heap_, with the back of the Quire in his Right Hand, and the edge of
the Quire in his Left, (as before,) and closing his Hand a little,
that the Quire may bow a little downwards between his Hands, he Dips
the back of the Quire into his Left Hand side of the Tray of Water:
And discharging his Left Hand of the Quire, Draws the Quire through
the Water with his Right; but as the Quire comes out at the Right Hand
side of the Tray, he nimbly catches the edge of the Quire again in his
Left Hand, and brings it to the _Heap_, but by lifting up his Left Hand
bears the under side of the Quire off the Dry Paper, laid down before,
lest the Dry Sheet should stick to the Wet, before he have plac’d the
Quire in an even position, and so perhaps wrinkles a Sheet or two, or
else put a Dry Sheet or two out of their even position, on the sides or
ends.

But this Drawing the Quire through the Water he performs either nimbly
or slowly: If the Paper be Weak and Spungy, he performs it quickly; if
Strong and Stubborn, slowly.

To place this Quire in an even position, he lays the back of the
Quire exactly upon the opening crease of the former Quire, and then
lets the side of the Quire in his Left Hand fall flat down upon the
_Heap_; and discharging his Right Hand, brings it to the edge of the
Quire; and with the assistance of his Left Hand Thumb (still in its
first position) opens or divides either a third or half of the whole
Quire, according to the quality of the Paper, (as was said before,) and
spreading the Fingers of his Right Hand as much as he can through the
length of the Quire, turns over his opened division of the Quire upon
his Right Hand side of the _Heap_.

The reason why he spreads the Fingers of his Right Hand as much as he
can through the Length of the Quire; is, because the outside Half Sheet
is Wet, and consequently quickly Limber, so that if the Paper be Weak,
it would fall Down before the rest of his Opening, and double into
wrinkles, which thus spreading his Fingers prevents.

In the same manner he Wets all the Quires of his Dry _Heap_. _See Plate
29._

But having Wet his first _Token_, he doubles down a great corner of
the upper Sheet of it on his Right Hand, so as the farther corner may
lye a little towards the Left Hand of the crease in the middle of
the _Heap_, and so as the hither corner may Hang out on the hither
side of the _Heap_ about an Inch and an half: This Sheet is called
the _Token-Sheet_, as being a mark for the _Press-man_ when he is at
Work to know how many _Tokens_ of that _Heap_ is _Wrought-off_, and
consequently to know how many is to Work.

When he has Wet the first _Token_, he removes the next uppermost Dry
_Token_ askew on the Dry _Heap_, and successively all the rest, as I
shewed in the beginning of this ¶.

Having Wet the whole _Heap_, he lays a Waste Sheet of Paper upon it,
that the _Paper-Board_ to be laid on, Soyl not the last Sheet of the
_Heap_: Then three or four times takes up as much Water as he can
in the hollow of his Hand, and throws and sprinkles it all over the
Waste-sheet that it may moisten and Soak downwards into the un-wet
upper part of the last Division of the Quire.

The Paper being thus Wet, he takes up the whole _Heap_ upon the
_Paper-board_, and sets it by in a convenient place of the Room,
and lays another _Paper-board_ upon it: And upon the middle of the
_Paper-board_, sets about Half an Hundred Weight, and lets it stand by
to press, commonly till next Morning: For _Press-men_ generally Wet
their Paper after they have left Work at Night.

The manner how Paper is _Set out_, shall be shewed when I come to the
Office of the _Warehouse-keeper_.


¶ 10. _Of_ Knocking up _the_ Balls.

_Ball Leathers_ (as I said before in § 11. ¶ 21.) are either _Pelts_ or
_Sheep-skins_: If _Pelts_, they are chosen such as have a strong Grain,
and the Grease well Wrought out of them: They are either Wet or Dry
before they come to the _Press-mans_ use: If Wet, he having before-hand
provided a round Board, of about Nine inches and an half Diameter:
Supposing the _Ball-stocks_ to be six Inches diameter, lays the Round
Board upon the whole _Pelt_, and cuts by the out-side of the Board so
many round pieces as he can out of the _Pelt_, reserving two for his
present Use.

And hanging the rest up (commonly upon the _Braces_ of the _Press_) to
dry, that they may not Stink or Mould before he have occasion to use
them.

But if his _Pelts_ are Dry, he lays them to Soak (by choice in
Chamber-ly) but I never heard, or by my experience could find why it is
preferred before Fair Water: For the purpose of Soaking them is only to
supple them.

If he Work with Leather, It is chosen with a Strong and close grain:
Wherefore by experience it is found that the Neck-piece, and indeed all
along the back of the Skin is best; but it is commonly subject to be
greasie, which gives the _Press-man_ sometimes a great deal of trouble,
to make his _Balls Take_. He also lays the _Ball Leathers_ in _Soak_ to
supple them.

When they (either _Pelts_ or _Leathers_) are well _Soaked_, he Rubs
them well with both his Hands, and then twists and wrings them (as
Women do Cloaths) to get the Water out again.

When they are well wrung, he Sits down upon a Seat about fourteen or
fifteen Inches high, commonly a _Heap_ of _White Paper_, if it stand
conveniently for him; but not upon a _Printed Heap_, least his Weight
pressing it cause the un-dryed _Inck_ to _Set-off_: He sits down, I
say, and lays the _Ball-stock_ upon his a little opened Thighs near
his Knees, that with closing his Thighs he may hold it in a Steddy
position, and with the Handle of the _Ball-stock_ towards his Belly.
Then taking the _Ball-Leather_, he laps or Folds about three quarters
of an Inch of one part of it over so much of it towards his Left Hand
into a Plaight, and laying the edges of that Plaight towards him, an
Inch above the edge of the _Ball-stock_, he with the Head of the
_Sheeps-foot_ drives a _Ball-nail_ into the middle of the Plaight, a
little more than half an Inch above the the edge of the _Ball-stock_:
But he Drives the _Ball-nail_ not quite up to the Head, but leaves
about almost a quarter of an Inch of the Nail out; that with the _Claw_
of the _Sheeps-foot_ he may Draw the Nail again when occasion serves.

Having driven the first Nail, he turns about the _Ball-stock_, till the
opposite side, and as near as he can guess, point of the edge of the
_Ball-stock_ lyes directly upwards between his Thighs, (as before,)
and then taking as near as he can guess the opposite edge of the
_Ball-leather_ between his Fore-fingers and Thumb of his Left Hand, he
holds the edge of the _Ball-leather_ upright, and having his Wooll or
Hair _Teized_, lying by him on his right Hand on the Floor, he grasps
at once as near as he can guess, so much as may just serve to fill his
_Ball-leather_ and the hollow of the _Ball stock_; which bringing to
the hollow of the _Ball-stock_, he draws the _Ball-leather_ over it;
and lapping the edges of the _Ball-leather_ over, as before, makes
another Plaight, and Drives another Nail, as before: So that here is
now the two opposite Sides of the Leather Nailed on. Then he takes up
the _Ball_ by the Handle in his Left Hand, and observes whether the
Wooll tend more to one than the other open half: If it do, he thrusts
it with the ends of his Fingers of his Right Hand into the middle, or
else over to the other Half, till the Wooll lyes equally on both the
Halfs.

If he have put too much or too little Wooll into the _Ball_, he either
takes some out, or adds more to, as the respective Half may require.
Then lays it down again between his Thighs, as before, and lays another
Plaight in the middle of the _Ball-leather_ on one of the open Halves,
and as near as he can guess, between the middle of the two opposite
Nails; and Nails that Plaight down to the _Ball-stock_, as before.

[Illustration: _Plate 30_]

In the like manner he Nails down the other open sides, (now Quarters,)
and then again takes a View how the Wooll is disposed into the middle
of the _Ball_; and where he finds it tend most to any of the open
Quarters, he Drives the Wooll with the ends of his fingers, as before,
or sometimes when the _Balls_ have been Wrought with, and blackt with
_Inck_, with the _Head_ of the _Sheeps-foot_ into the middle, and then
Nails down as before all the open Quarters as near as he can guess;
between the middle of his former driven Nails, and then again, takes
another View as before, to see how the whole _Ball_ pleases him.

If he finds any of the Plaights laid too near one another, he draws
that Nail, and alters that Plaight, to lay it as near as he can by
guess, in the middle between the next two Plaights.

Then he considers if his _Ball_ be round: If it be not, he thrusts the
Wooll from the bunching-out side, towards the wanting side, either with
the ends of his Fingers, or the Balls of one of his Hands; while the
Wooll is yet loose in the _Ball-stock_: For when the _Ball_ has been
Wrought withal, it will grow so hard, that the Wooll will not move out
of its place.

Having _Knockt up_ one _Ball_ well, he _Knocks up_ the other, as the
first.

The _Balls_ are well _Knockt up_, when the Wooll is equally dispersed
about all the Sides, and the middle smoothly covered with the
_Leather_, viz. not rising in Hillocks, or falling into Dales, not
having too much Wooll in them, for that will subject them to soon
hardning, and quickly be uneasie for the _Press-man_ to Work with; or
too little, for that will make the _Leathers_, as the Wooll settles
with Working soon flap, and wrap over it self into Wrinkles. So that
he cannot so well destribute his _Balls_: But the _Balls_ ought to be
indifferently plump, to feel like an Hard stuft Bed-pillow, or a strong
Spunge a little moistned with Water.

Having Knockt up the _Balls_, and Rub’d out the _Inck_, as shall be
shewed in the next ¶, he trys if his _Balls_ will _Take_, that is, he
Dabs the top of one of them three or four times lightly upon the hither
part of the _Inck-block_; If he finds the _Inck_ sticks to it equally
all about, and that so much as has toucht the _Inck-block_ is Black,
it _Takes_: But if scarce any of the _Leather_ is Black, or that it
be Black and White in Splotches, then the _Balls_ does not _Take_:
Wherefore he considers whether his _Ball_ be too Wet, or else Greasie,
for each of these inconveniences will hinder the _Taking_ of the _Ball_.

If it be too Wet, he burns half a Sheet or an whole Sheet of Waste
Paper, and waves his _Ball_ to and fro over the flame of it; but so
quick and cautiously that he neither shrinks the _Leather_ or Dryes it
too much: In Winter time when a fire is at Hand, he dryes it gently by
the fire.

If it be Greasie, he with the edge of the _Ball-knife_ scrapes off
the thick Oyl, that Works down out of the _Nut_ and _Spindle_ of
the _Press_, or else with the point of his Knife takes a convenient
quaintity of Oyl out of the _Plattin-pan_, or for want of either
takes fresh Sallad Oyl and smears and spreads it well all over the
whole _Ball-leather_; and then holding the _Ball-knife_ in his Right
Hand, with its edge a little sloping downwards that it cut not the
_Ball-leather_, and the handle of the _Ball-Stock_ in his Left Hand,
he joyns the bottom of the _Ball-leather_, viz. as near the outer
edge of the _Leather_ as he can, for the _Ball Nails_ to the edge
of the _Ball-knife_, and turning the _Ball_ about by its Handle,
presses it hard against the sloapt edge of the _Ball-knife_, and at
once drives the laid on Oyl and Grease too before the sloapt edge of
the _Ball-knife_; but he keeps the Handle of the _Ball-Stock_, and
consequently the whole _Ball_ too, constantly turning, that the whole
circumference of the _Ball_ may be _Scraped_: And as the _Ball_ has
performed a Revolution against the sloapt edge of the _Ball-knife_, he
draws gradually his Left Hand a little backish, that the sloapt edge
of the _Ball-knife_ may by several Spiral revolutions of the _Ball_,
scrape up to the very top of the _Ball_, and carries before it the Oyl
and Grease thither: Which having there, he gathers up upon the _Blade_
of his _Ball-knife_ and disposes of it, as of so much Dirt and Filth.

After a due process of either of these Operations respectively, his
_Ball_ will _Take_, and he again dabs gently the top of his _Ball_
three or four times on the _Inck-block_ (as before) and finding it
_Take_, he takes the Handle of it into the clutched Fingers of his Left
Hand, holding the _Ball-stock_ just a little above the circle of his
Fore-finger and Thumb, and grasps the Handle of the other _Ball-stock_
into his Right Hand, with the circle of his Finger and Thumb upwards,
and the now bottom of his Right Hand downwards, but not resting upon
the _Ball-stock_; and trys if that _Ball_ will _Take_, by dabbing the
Leather of it three or four times upon the other _Ball_; If it do not
_Take_ with dabbing, he twists the _Balls_ in either Hand close and
hard, contrary to one another, to besmear the upper with the under
_Ball_. If after this, the upper _Ball_ do not _Take_, he considers the
cause, and remedies it, as he did the first _Ball_.


¶ 11. _Of_ Rubbing out Inck.

Before the _Press-man_ goes to Work, he Rubs out his _Inck_.

If the _Inck_ have lain long on the _Inck-block_ since it was _Rubbed
out_, the Superficies of it generally is dryed and hardened into a Film
or Skin, wherefore the _Press-man_ carefully takes this Film quite off
with the _Slice_ before he disturb the Body of the _Inck_: For should
any, though never so little of it, mingle into the _Inck_, when the
_Ball_ happens to take up that little particle of Filin, and delivers
it again upon the _Face_ of the _Letter_, it will be a _Pick_, and
Print black, and deface the Work: And if it get between the _Face_ of
two or more _Letters_, or the _Hollows_ of them, it will obliterate all
it covers. And if it be _Pull’d_ upon, and the _Press-man_ not careful
to over-look his Work, it may run through the whole _Heap_.

Wherefore having carefully skinned off the Film with the edge of the
_Slice_, he scrapes his _Slice_ clean with the _Ball-knife_, lest
some small parts of the Film should yet stick to, or remain on the
_Slice_: And then with the _Slice_ brings the body of _Inck_ into the
middle of the Plain of the _Inck-block_, and searches the sides of
the _Inck-block_, by thrusting the edge of the _Slice_ forwards along
them and all the angles of the _Inck-block_, and so scrapes off all
the _Inck_ as clean as he can, and gathers it to the whole mass of
_Inck_: Then with the _Slice_ he turns the whole mass about half a
score times over and over to mingle it well together, lest some part
of it should be more consolidated than the rest: And to mingle it yet
better, he then falls to _Rubbing_ it with the _Brayer_, grasping
the Handle of it in his Right Hand, he begins to _Rub_ with all his
strength at the hithermost side-boundings of the Body of _Inck_, and
keeping _Rubbing_ through the almost whole length of the _Inck-block_,
he gradually proceeds to the farther side of the Body of _Inck_. In
this manner of _Rubbing_ he bears hardest upon the farther edge of the
_Brayer_, because the hither sides of the _Inck-block_ are not fenced
in with Rails about them; and should he _Rub_ with the bottom of the
_Brayer_ flat upon the _Inck-block_, he might draw too great a body of
_Inck_ to the unfenced sides; so that the _Inck_ would be subject to
run off: This _Rubbing_ is only to spread the _Inck_ pretty equally
over the superfices of the _Inck-block_: Wherefore he now begins a
circular _Rubbing_, observing in the circulation of the _Brayer_ that
he always a little mounts the part of the edge of the bottom, which in
its progress is ready to approach a prominent body of _Inck_, that it
may somewhat slide over it, that the _Inck_ be not lickt up high on the
sides of the _Brayer_.

Then with the Handle of the _Slice_ in his Left Hand and the Handle
of the _Brayer_ in his Right, he joyns the bottom edge of the
_Slice_ to the side of the _Brayer_, holding the flat of the _Slice_
Horizontal, and the bottom of the _Brayer_ perpendicular both over the
_Inck-block_, and keeping his _Brayer_ and _Slice_ in this position,
by turning the _Handle_ of the _Brayer_ in his Right Hand, held pretty
stiff against the edge of the _Slice_, he scrapes off all the _Inck_
that the side of the _Brayer_ has lickt up: And setting down his
_Brayer_, he takes the _Slice_ in his Right Hand and lays what _Inck_
he scrapes off the side of the _Brayer_ again upon the _Inck-Block_,
and _Slices_ the whole mass of _Inck_ into the farthermost corner of
the _Inck-block_.

This _Rubbing_ of the _Inck_ may serve when the _Inck-block_ had _Inck_
on it before.

But if no _Inck_ were on the _Inck-block_ before, then he lays new
_Inck_ on the _Inck-block_: Wherefore he considers what Work he Works
on: whether it be small or great _Letter_: If it be small _Letter_, or
curious Work, the _Inck_ must be _Strong_ he Works with: But if it be
great _Letter_ or sleight Work, he makes _Soft Inck_ serve, or at least
mingles but a little _Hard Inck_ with it.

If the _Inck_ be too _Hard_, as sometimes in very frosty Weather it
will be, then, though his Work be curious, yet he must _Rub_ in a
little _Soft Inck_ to soften it; because it will not else _Destribute_
well upon the _Balls_; especially if the _Leathers_ be a little too
Wet, or a little Greasie: Besides, it may and many times does pull and
tear the Grain off the Skin; which not only spoils the Skin, but fills
the _Form_ full of _Picks_.

Sometimes when he finds the _Inck_ too pale, he _Rubs_ in _Blacking_,
but he first joults the bottom of the _Blacking Tub_ three or four
times against the ground, that if by chance any dirt or filth have
gotten into it, it may sink to the bottom of the _Tub_.

But when he either mingles _Strong_ and _Weak Inck_ together, or else
puts in _Blacking_, he applies himself again first to _Rubbing_ with
the _Brayer_, the length-way of the _Inck-block_, as before, and then
to a circular _Rubbing_, as before; and to cleansing his _Brayer_, as
before; and this long-ways _Rubbing_, circular _Rubbing_, and cleansing
his _Brayer_, he reiterates so oft, till he judge the whole mass of
Inck sufficiently _Rubbed_ and mingled, and the _Blacking_ perfectly
imbibed by the _Inck_: And then he _Slices_ the whole mass of _Inck_ to
the farthermost corner of the _Inck-block_, as before.


¶ 12. _Of_ Destributing _the_ Balls.

I shewed you in ¶ 10 of this § how he dabb’d the _Ball_ on the
_Inck-block_, to try if it would _Take_: And I shewed you in what
Posture he handled the _Balls_ when he tryed if the other _Ball_ would
_Take_: Therefore for _Taking Inck_ and Handling the _Balls_ I (to
avoid tautology) refer you to that ¶.

Having now _Taken Inck_, and gotten the _Balls_ in his Hands, in that
posture, he Works them side-ways upon one another to and from him,
and with a craft (acquired by use) in the Handling of the _Balls_, all
the while keeps the Handles, and consequently the whole _Ball-stocks_
(both) turning round in his Hands and in a motion contrary to each
other, _viz._ His under _Ball_ moving from the Left Hand to the Right,
and his upper _Ball_ moving from his Right Hand to to the Left; and
by and by in a second motion contrary to the first, _viz._ his under
_Ball_ moving from the Right Hand to the Left, and his upper _Ball_
moving from the Left Hand to the Right.

And these motions and Operations he continues so long till he judges,
and in part perceives the _Inck_ is equally _Destributed_ all over the
whole _Ball-Leathers_.

The first way of turning the _Ball Handles_, while the _Balls_ are
moved to and from him, is made by pressing the ends or Balls of the
fingers of both his Hands upon the _Ball-handles_ from-wards his Hands:
And the second way of turning them contrary to the first, is made by
gathering in the ends or Balls of of his fingers while they are in
their circular to and fro motion. But because in gathering in his
fingers, he does somewhat dis-ingage his grasp of the _Ball-Handles_,
therefore he lightly and almost insensibly, tosses the _Ball-stocks_
a little up, that when they are dis-ingaged from a close grasp, his
fingers ends may the easier draw the _Handles_ towards him. This is a
Hand-craft, which by continued use and practice, becomes familiar to
his Hands.


¶ 13. _Of_ Beating.

The _Press-man_ imagines, or by his eye judges the length of his _Form_
(be it what Volumne it will) devided into four equal parts or Rows,
which four Rows for distinction sake, I shall number from the Left Hand
to the right, with first Row, second Row, third Row, fourth Row, just
as an _Octavo Form_ is exactly devided by four Rows of _Pages_.

He places his Left Hand _Ball_ at the hither end of the first Row, so
that though the _Ball_ be round, yet the square encompassed within
that round shall sufficiently cover so much of the square of the
hither end of that Row as it is well capable to cover; and his Right
Hand _Ball_ he sets upon the hither end of the third Row: He sets his
_Balls_ close upon the _Face_ of the _Letter_, with the _Handles_ of
the _Ball-stocks_ a little bending towards him: But as he presses them
upon the _Face_ of the _Letter_, he mounts them perpendicular; and
lifting at once both the _Balls_ lightly just clear off the _Face_ of
the _Letter_, he removes them about the fifth part of the breadth of
the _Form_ upwards, _viz._ towards the farther side of the _Form_, and
again sets them close down upon the _Face_ of the _Letter_, with the
Handles of the _Ball-stocks_ again bending a little towards him, as
before: and as he presses them upon the _Face_ of the _Letter_, mounts
them perpendicular, as before: Thus in about four or five or six such
motions, or rather removes of the _Balls_, according to the breadth of
the _Form_, he _Beats_ over the first and third Rows. Thus _Beating_
from the hither towards the farther side, is in _Press-mens_ phrase
called _Going up the Form_.

The reason why he bends the _Handles_ of the _Ball-stocks_ a little
towards him, is, that the _Ball-leathers_ drag not upon the _Face_ of
the _Letter_; for then the edges of the hollows between the _Lines_
or _Words_, or the edges of the cavities below the _Face_ would
scrape _Inck_ off the _Balls_ to stop up or choak the _Form_. And the
reason why (before he removes them) he mounts the _Handles_ of the
_Ball-stocks_ a little perpendicular, is, that the _Balls_ may touch in
their greatest capacity upon the _Face_ of the _Letter_.

To _Come down the Form_, he skips his _Balls_ both at once from the
first and third Row to the second and fourth Row, and brings them down
as he carried them up; only, as before, he bended the _Handles_ of
the _Ball-stocks_ a little towards him, so now he bends them a little
from him: That the _Ball-leathers_ (now _Coming down_) drag not, as
aforesaid. Then in like manner he again skips the _Balls_ from the
second and fourth Row to the first and third Row, and again _Goes up
the Form_ with the _Balls_, as he did before. And then again skips, as
before, and _Comes down the Form_ again with the _Balls_.

Having thus gone twice upwards and twice downwards with the _Balls_,
the _Form_ is sufficiently _Beaten_ in a train of Work, when the _Face_
of the _Letter Takes_ well.

But if he _Beats_ the first Sheet of a fresh _Form_, or after a _Form_
is _Washed_, or he makes a _Proof_, he _Goes_ three four or five times
_Upwards_ and _Downwards_: Least the _Face_ of the _Letter_ should
happen to be Wet or moist, and consequently un-apt to take _Inck_,
without reiterated _Beatings_.


¶ 15. _Of_ Pulling.

We will suppose now two _Press-men_ going in the Morning to their train
of Work: The one they distinguish by the name of _First_, the other his
_Second_, these call one another _Companions_: The _First_ is he that
has wrought longest at that _Press_, except an Apprentice, for he must
allow any Journey-man though new-come that stile: Generally the Master
Printer reposes the greatest trust upon his care and curiosity for good
Work; although both are equally liable to perform it.

All the priviledge that the _First_ has above the _Second_ is, that the
_First_ takes his choice to _Pull_ or _Beat_ the agreed stint first:
And that the _Second Knocks up the Balls_, _Washes the Forms_, _Teizes
Wooll_, and does the other more servile Work, while the _First_ is
imploid about making _Register_, ordering the _Tympan_, _Frisket_, and
_Points_, &c. or otherwise _Making Ready_ the _Form_, &c.

The _First_ now takes his spell at _Pulling_: For the _First_ and
_Second_ take their spell of _Pulling_ and _Beating_ an agreed number
of _Tokens_: Sometimes they agree to change every three _Tokens_, which
is three Hours work, and sometimes every six _Tokens_; that they may
both _Pull_ and _Beat_ a like number of _Tokens_ in one day.

Under the general notion of _Pulling_ and _Beating_ is comprised all
the operations that is in a train of work performed by the _Puller_
and the _Beater_: For though the _Puller Lays on Sheets_, Lays down
the _Frisket_, Lays down the _Tympans_ and _Frisket_, _Runs in_
the _Carriage_, _Runs out_ the _Carriage_, takes up the _Tympans_,
Takes up the _Frisket_, _Picks_ the _Form_, Takes off the Sheet, and
Lays it on the _Heap_, yet all these Operations are in the general
mingled and lost in the name of _Pulling_. And as in _Pulling_, so in
_Beating_; for though the _Beater Rubs_ out his _Inck_, _Slices_ it
up, _Destribute_ the _Balls_, peruses the _Heap_, &c. yet all these
Operations are lost in the general name of _Beating_. Thus they say the
_First_ or the _Second_ is _Pulling_; or, the _First_ or the _Second_
is _Beating_; though they are performing the different Operations
aforesaid: unless upon particular occasions the respective Operations
are particularly nam’d.

As there are many Operations conjunct to _Pulling_, and _Beating_, so
the _Press-man_ performs them with various Set and Formal Postures and
Gestures of the Body. For,

To take a Sheet off the _Heap_, He places his Body almost straight
before the hither side of the _Tympan_: I say almost straight, Because
it is more straight before the side of the _Tympan_ than it is before
the angle made by the _Paper-bench_ and the side of the _Tympan_:
But he nimbly twists the upper part of his Body a little backwards
towards the _Heap_, the better to see he takes but one Sheet off, which
he loosens from the rest of the _Heap_ (as I have shewed before) by
drawing the back-side of the Nail of his right Thumb on his Right Hand
nimbly over almost the whole length of the _Heap_, and receiving the
hither end of the Sheet with the inside of his Left Hand fingers and
Thumb catches with his Right Hand about two inches within the farther
edge of the Sheet near the upper corner, and about the length of his
Thumb below the hither edge of the Sheet, and brings it nimbly to the
_Tympan_: And at the same time twists his Body again straight before
the _Tympan_, only a very little moving his right Foot from its first
Station a little forwards under the _Carriage Plank_: And as the Sheet
is coming to the _Tympan_ (we suppose now he Works upon _White Paper_)
he nimbly disposes the fingers of his Right Hand under the farther
edge of the Sheet near the upper corner; and having the Sheet thus in
both his Hands, lays the farther side and two extream corners of the
Sheet down even upon the farther side and extream farther corners of
the _Tympan-sheet_, but he is careful the upper corner of the Sheet
be first laid even, upon the upper corner of the _Tympan-sheet_; that
he may the sooner disingage his Right Hand: And if by the nimble
casting his eye, he perceive the sides of the Sheet lye un-even upon
the _Tympan-sheet_, he with his Left Hand at the bottom corner of the
Sheet, either draws it backwards, or pulls it forwards, as the Sheet
may lye higher or lower on the hither corners of the _Tympan-sheet_,
while his Right Hand being disingaged, as aforesaid, is removed to the
backside the _Ear_ of the _Frisket_, and with it gives it a light touch
to double it down upon the _Tympan_. And by this time his Left Hand is
also disingaged, and slipt to the hither under corner of the _Frisket_,
to receive it, that it fall neither too hard or too quick down upon the
_Tympan_: For hard falling may shake the loose Sheet on the _Tympan_
out of its place; and so may the quick pressure of the Air between
the _Tympan_ and _Frisket_, after the Sheet is well laid: and while
his Left Hand receives the _Frisket_ his right is disingaged from the
_Ear_ of the _Frisket_, and removed to the middle of the back-side the
_Tympan_; which he grasps between the Balls of his Fingers and Thumb,
to lift it off the _Gallows_, and double it and the _Frisket_ together
on the _Form_. And while the _Tympan_ is coming, he slips his Left Hand
Fingers from under the _Frisket_ to the hither outer corner of it, as
well to keep the Sheet close to the _Tympan_ in its position, as to
avoid the jobbing of the lower side of the _Frisket_ against any small
square shoulder, either of the _Furniture_, _Quoins_, _Chase_, or the
corners that may stand higher than their common Plain.

Then nimbly slipping his Left Hand, he with it grasps the _Rounce_,
and with a moderate strength, nimbly gives its _Winch_ about one Turn
round; I say about, because the first _Pull_ will generally fall out
to be made about the middle of the _Carriage_; (as was shewed in § 11.
¶ 16.) but perhaps not just in the middle: yet to regulate his _Runing
in_, he made a mark before on the farther Rail of the _Tympan_, (as I
shewed in ¶ 3. of this §) to which mark he _Runs_ the _Carriage in_,
till he bring the mark in a Range with the fore-edge of the _Plattin_;
and as it is coming, skips his Hand to within an Inch or two of the end
of the _Bar_, and then at once gently leans his Body back, that his
Arm as he _Pulls_ the _Bar_ towards him may keep a straight posture;
because in a _Pull_ it has then the greatest strength. And he also
slips his right Foot upon the _Foot-step_, while his Left Hand holds
fast by the _Rounce_; as well to rest on the _Foot-step_ and _Rounce_,
as to enable his Body to make a stronger _Pull_; which will prove
_Longer_ or _Shorter_, according to the strength put to it, and also
the _Hard_ or _Soft Justifying_ of the _Head_, (as was shewed in ¶ 5.
of this §.)

Then disingaging his Right Hand again from the _Handle_ of the _Bar_,
he slips it to the _Bow_ of the _Bar_, before the Handle fly quite back
to the _Cheek_ of the _Press_: For should the _Bar_ by its forcible
Spring knock hard against the _Cheek_ of the _Press_, it might not only
shake some of its Parts or circumstantial appurtenances out of order,
but subject the whole Machine with oft reiteration to an unstable
position. Besides, the farther the _Bar_ flyes back, the more he
hinders quick riddance in recovering it again. But yet he must let the
_Bar_ fly so far back as that the _Tympan_ may just rise clear off the
_Plattin_; lest when he _Runs in_ his _Second Pull_, the _Face_ of the
_Plattin_ rub upon the _Tympan_, and shoves the Sheet upon the _Face_
of the _Letter_, and sometimes _Slurs_, and sometimes _Doubles_ it upon
the _Face_ of the _Letter_.

Having _Pull’d_ the _First Pull_, and having the _Rounce_ still in his
Left Hand, He turns the _Rounce_ about again, till the _Carriage Runs
in_ so far, as that the second mark on the Rail of the _Tympan_ comes
into a Range with the hither edge of the _Plattin_, as before the first
mark did; and then _Pulls_ his second _Pull_, as he did his first;
and slips his Right Hand again off the _Handle_ of the _Bar_ to the
_Bow_, (as before) and guides the _Bar_ up to its _Catch_ leisurely,
that coming now near the _Cheek_ it knock not against it: and just as
he has _Pulled_ his _Second Pull_, he gives a pretty quick and strong
pressure upon the _Rounce_, to turn it back, and the _Carriage_ out
again: And so soon as he has given that one pressure, (as aforesaid) he
desingages his Left Hand from the _Rounce_, and claps the fingers of it
under the middle of the _Tympan_, and on the _Ear_ of the _Frisket_:
and while this is doing, removes his Right Hand to the now upper, but
immediately it will be the under-side of the _Tympan Rail_, within
four or five Inches of the upper end of it, to receive the _Tympan_,
as it is lifted up off the _Form_ by his Left Hand. And having thus
received it, lets it descend gently down on the _Gallows_. And as it
is descending, slips his Left Hand fingers under the hither lower
corner of the _Frisket_, and gives the _Frisket_ a toss up; while by
this time his Right Hand being disingaged from the _Tympan_, is ready
to catch the _Frisket_ by the _Ear_, and convey it quick and gently
to its _Stay_: And while the _Frisket_ is going up; he slips the end
of the middle finger of his Left Hand, or sometimes the ends of his
two middle fingers with their Balls upwards, under the hither lower
corner of the _Pulled off Sheet_, and at the instant he has got them
under, he nimbly bows his Joynts upwards, to throw up the corner of the
Sheet, to make it mount a little, for him to gather about two Inches
hold of it between the Balls of his Thumb and fore-finger. And heaving
the whole Sheet by this corner a little upwards, He at the same time
lifts it off the _Points_, and draws it somewhat towards him; and as
it comes, catches it near the upper corner of the same side of the
Sheet, between the foremost Joynts of his fore-fingers and Ball of the
Thumb of his Right Hand, and nimbly twisting about his Body towards
the _Paper-bench_ carries the Sheet over the _Heap_ of _White-paper_
to a _Paper-board_, which before he placed beyond that _Heap_ on his
Right Hand, (as aforesaid in ¶ 14.) and lays it down upon a Waste-sheet
laid for that purpose on that _Paper-board_; but while it is coming
over the _White-paper Heap_, though he have the Sheet between both
his fore-fingers and Thumbs, yet he holds the Sheet so loosly that
it may move between them as on two Centers, as his Body twists about
(as aforesaid) from the side of the _Tympan_ towards the side of the
_Paper-bench_.

Thus you see both the _Press-mans_ Hands at the same time alternatively
ingaged in different Operations: For while his Right Hand is imployed
in one Action his left is busie about another, and these exercises so
suddenly varied, that they seem to slide into one another; one Posture
beginning when the former is but half performed.

Having thus _Pulled_ one Sheet, and laid it down: He turns his Body
towards the _Tympan_ again, and as he is turning gives the next Sheet
on the _White-paper Heap_ a Touch with the backside of the Nail of his
Right Thumb, as before, to draw it a little over the hither edge of
the _Heap_, and lays it on the _Tympan_, &c. as he did the first; and
so successively every Sheet till the whole _Heap_ of _White-paper_ be
_Wrought off_.

As he comes to a _Token-sheet_, he un-doubles that, and smooths out the
Crease with the back-side of the Nails of his Right Hand, that the
_Face_ of the _Letter_ may Print upon smooth Paper. And being Printed
off, he folds it again, as before, for a _Token-sheet_ when he works
the _Reiteration_.

Having _Wrought off_ the _White-paper_, he turns the _Heap_ thus:

He takes the _Paper-board_ that his _White-paper_ lay on, and sets it
down on the ground: Then removes the _Heap_ to his Left Hand; then
takes up the _Paper-board_, and lays it on his Right Hand: And if it
be _Twelves_, or any _Form Imposed_ like _Twelves_, as _Twenty fours_,
&c. he turns it from one long side of the Paper to the other, that
is, the long side of the Paper that stands on his Right Hand when the
Printed side lies upwards, he turns over to his Left Hand, and lays
the un-printed side upwards. In performing this, he grasps off of
the _Wrought off Heap_ so much at once between both his Hands as he
can well govern, without disordering the eveness of the sides of the
_Heap_, viz. a _Token_, or more, and lays that upon the _Paper-board_;
then takes another grasp in like manner, and lays that on the first
grasp, and so successively, till he have turned the whole _Heap_, grasp
by grasp. Then removes the _Heap_ near the _Tympan_, and lays the other
_Paper-board_ beyond it, as the first _Paper-board_ stood before;
always remembring to lay a Waste-sheet first on the _Paper-board_.

Having now turned the _Heap_, and made _Register_ on the _Reteration
Form_ (as was shewed in ¶ 7. of this §) he Works off the _Reteration_:
But he somewhat varies his posture in the _Laying on his Sheets_: For
as before, when he wrought _White Paper_, he catcht the Sheet by the
upper farther corner with his Right Hand, he now having heaved up the
Sheet (as aforesaid) catches it as near the farther side of the farther
_Point-hole_ as he can, with the Ball of his Right Hand Thumb above the
Sheet, and the Ball of his fore-finger under the Sheet, the readier to
lay the _Point-hole_ over its respective _Point_: which having done,
he slips his Body a little backwards, and both his Hands with it, his
Right Hand towards the hither _Point-hole_, with the back-sides of the
Nails of his fingers to draw or stroak it over the _Point_: and the
fingers of his Left Hand, as they come from the farther corner, nimbly
slipping along the bottom edge of the Sheet, till they come to the
hither corner; and then with his fore-finger and Thumb, layes hold of
it, to help guide the _Point-hole_ on that _Point_ also: Then _Pulls_
that Sheet, as before, as he did the _White Paper_, and so successively
all the rest of the _Reteration_. Only, the _Token-sheets_, as he meets
with them, he Folds not down again, as he did the _White Paper_.

If a _Press-man_ have no _Companion_, but works alone; he has a little
oblong Square _Form_ or Bench made to stand so high as the _Face_ of
the _Letter_ upon the _Press-stone_, and so long as to contain the
_Balls_ when set upon the _Ball-leathers_.

This Form or Bench some Work-men will place on the hither side the
hither _Cheek_, within about half an Inch of the foreside of the
_Cheek_: And other Work-men will place it on the farther side of the
_Carriage_; each sort of Work-men supposing that in the place he sets
it, the _Balls_ stand most commodious for his quick taking up and
setting down: I shall not plead the convenience of either, but in short
speak to the inconveniences of both.

The inconvenience of placing it on the hither side the hither _Cheek_,
is, that the _Press-man_ must twist his Body somewhat about to take up
the _Balls_. And the inconvenience of placing it on the further side
the _Carriage_, is, that the _Press-man_ must thrust his Body over the
_Form_ to take up the _Balls_: both ways strain the Body, and hinder
riddance.

Those that place it on the hither side the _Cheek_, begin and end their
_Beating_ as has already been shewed, _viz._ on the hither side the
_Form_: But those that place it on the farther side the _Carriage_,
begin and end their _Beating_ on the Rows on the farther side the
_Form_.

One _Press-man_ in his train of Work will _Beat_ so soon as he has
laid the _Tympan_ on the _Gallows_ after _Pulling_: Another will not
_Beat_ till he has laid his Sheet on the _Tympan_, and doubled the
_Frisket_ down on it: both sorts fancying their own way most quick and
commodious: For these conveniences are the purposes they both drive at.


¶ 16. _Of Printing_ Red, _or other Colours with_ Black.

When _Red_ and _Black_ are to be Printed upon the same Sheet, the
_Press-man_ first _Makes Register_, as was shewed ¶ 7. and _Makes
Ready_ his _Form_ as was shewed ¶ 14. of this §. Then having a new
_Frisket Drawn_, as was shewed ¶ 8. He Prints upon his new _Frisket_
with _Black_. And having before a _Proof-sheet_ Printed _Black_, with
the Words to be Printed _Red_ under-lined on that _Proof-sheet_; He
takes off his _Frisket_, and lays it flat on a _Paper-board_, and with
a sharp-pointed Pen-knife neatly cuts out those words on the _Frisket_,
and about half a Scaboard _Margin_ round about the words, that he finds
under-lined on the _Proof-sheet_: Then sets the _Frisket_ by till he
has wrought off his _Heap_ with _Black_, and puts his common _Frisket_
on the _Joynts_ of the _Tympan_ again.

While the _Press-man_ is _Cutting_ the _Frisket_, the _Compositer_
takes those _Words_ out of the _Form_ that are _Under-lin’d_ on the
_Proof-sheet_, and in their place puts _Quadrats_, m-_Quadrats_,
_Spaces_, &c. to _Justifie_ the _Lines_ up again.

Then _Locking up_ the _Form_, the _Press-man_ Works off the _Heap_
Black, as was shewed in the last ¶.

Having wrought off his _Heap_ Black, he takes off the common _Frisket_,
and puts on his new cut _Frisket_: Then taking a piece of thick
Scaboard he cuts it into so many small slips as there are _Whites_
in the _Form_ to be Printed with _Red_; These small slips he cuts
exactly to the length of the _Quadrats_, &c. the _Compositer_ put in,
and to the breadth of the _Body_; but rather a small matter less than
bigger, lest they bind at the bottom of the _Shank_ of the _Letter_:
for when the _Compositer_ takes out the _Quadrats_, &c. he put in
before the _Form_ was _Wrought off_ Black, these slips of Scaboards
the _Press-man_ pricks on the Point of a _Bodkin_ and puts them into
their respective holes: And being loosen’d off the Point of the
_Bodkin_ with the blunt Point of another _Bodkin_, are laid down flat
on the _Press-stone_; These slips are called _Underlays_, and are
described in ¶ 14. of this §. Upon these _Underlays_ the _Compositer_
puts in again the _Words_ or _Letters_ he took out before the _Form_
was _Wrought off Black_: So that these _Words_ now stand higher than
the other _Matter_ of the _Form_, and therefore will Print when the
other _Matter_ will not. But yet for the more assurance that the other
_Matter_ Print not, the _New-cut Frisket_ was prepar’d, which hinders
any thing to Print but what Prints through the Holes cut in it; which
Holes these _Underlaid Words_ fall exactly through.

Having mingled the Red, or any other intended Colour with _Varnish_, as
shall be shew’d in the next ¶, he _Beats_ the _Form_ as with _Black_;
and _Pulls_ it very lightly, lest these _Underlaid Words_ standing
higher than the rest of the _Matter_, Print too _Hard_.


¶ 17. _Of mixing and Grinding Colours with_ Varnish.

_Varnish_ is the common _Menstruum_ for all Colours that are to be used
in Printing.

_Red_ is the chief Colour that is used with _Black_ in Book-Printing:
of _Reds_ there are two sorts in general use, _viz._ _Vermillion_ and
_Red-Lead_; _Vermillion_ is the deepest and purest Red, and always used
to Books of Price. _Red-Lead_ is much more faint and foul, and though
more used than _Vermillion_, yet used only to Books of Vulgar Sale and
Low price, as Almanacks, _&c._

Yet may other Colours also be used to Print withal; yea, any Colours
that are used in Oyl-Painting, as _Lake_ and _Russet_, which are _Reds_
deeper than _Vermillion_; _Virditur Indico_ and _Bice_ for Blews;
_Orpment_, _Pinck_, _Yellow Oaker_, for Yellow: _Virdigreace_, and
Green _Virditur_, for Greens: or what other Colours may be fancied.

But all Colours for Printing must be Ground with _Soft Varnish_;
especially those Colours that are of themselves Dryers; as _Red-Lead_,
_Vermillion_, _Orpment_, _Verdigrease_; For should they be Ground
with _Hard Varnish_ the Colour’d _Inck_ would dry and harden so quick
and fast upon the _Form_, that it would soon be choaked up, and
consequently want _Washing_ e’re the _Form_ be _Wrought off_; which
would be very troublesome to the _Press-man_, because he must expect
to have all his _Underlays_ to new fit to their places: And besides,
it will so Dry and Harden upon the _Balls_, that the Grain of the
_Leathers_ would quickly tear off, and fill the _Form_ full of _Picks_.

The fittest Colours therefore for Printing, are such as are of the
lightest Body and Brightest Colour.

They are to be Ground with a Mullar on a smooth Marble Stone, so long
that the Colour becomes impalpable, and is throughly mingled with the
_Varnish_.


¶ 18. _Of Printing with Gold and Silver._

This Operation is seldom used but for Printing Names; and therefore
rarely drest in a _Form_ to the _Press_; but is usually Printed in the
_Stick_: And then the _Compositer Justifies_ his Stick very _Hard_, as
well that the _Letters_ fall not out when the _Back_ of the _Stick_ is
turned upwards, as that the strength of the _Hard Varnish_ the _Face_
of the _Letter_ is _Beat_ with, pulls not the _Letter_ out of the
_Stick_.

Therefore the _Press-man_ makes two little _Balls_, by tying about an
Handful of Wooll in new clean Leather, and dabs one of his _Balls_
upon the Hardest _Varnish_ he has, and with the other destributes his
_Varnish_ to a convenient Fatness, as he did his _Balls_ in ¶ 12. With
one of these _Balls_ he _Beats_ the _Name_; and having his Paper _Wet_,
he lays a single _Blanket_ on the _Correcting-stone_, and his Paper on
the _Blanket_; and with a _Riglet_ fitted to the _Stick_, he presses
the _Letter_ to keep it straight in _Line_: Then places the _Face_ of
the _Letter_ exactly flat down upon the Paper, and with the force of
both his Hands presses the _Letter_ hard and even down upon the Paper,
to receive an Impression: But he takes care not to wriggle the _Letter_
in the _Stick_ backwards or forwards, lest either the _Beard_ Print, or
the sides of the _Letter_ be more or less besmeared with the _Varnish_:
Because the Gold or Silver will stick to the least Sully that the
_Varnish_ may chance to make.

Then cutting his Gold or Silver to a size full big enough to cover the
Printed _Name_ or _Matter_, he lays his Gold or Silver on what was
Printed, and with a little White Cotton gently presses the Gold or
Silver upon the Printed _Matter_, and lets the Paper lye by a while;
as well that it may dry, as the _Varnish_ Harden, (which will quickly
be) he with his Handkerchief gently wipes over the Printed _Matter_. So
shall all the Gold or Silver that was toucht by the _Varnish_, stick
to the _Varnish_ on the Paper, and the other will wipe away.

If he lifts to Polish it, he uses a Tooth or the Ivory Handle of a
Knife.


    ¶ 19. _Rules observed; and Remedies to the Inconveniences the_
    Press-man _may meet with in a Train of Work_.

1. The _Press-man_ is to make a _Proof_ so oft as occasion requires: If
he takes off his _Form_ to make a _Proof_, he _Un-locks_ and lays the
_Quoins_, as shall be shewed when I come to _Washing_ of the _Form_:
but many _Printing-houses_ have an empty _Press_ stands by to make
_Proves_ on.

The _Compositer_ having brought the _Form_ to the _Press_, lays it
down on the _Press-stone_, and the _Press-man_ places it even under
the _Plattin_, that the _Plattin Bear_ not harder on the hither or
farther side of the _Form_: Then he _Pulls_ the _Cards_ upon the
_Form_, to press it into a flat position: Then _Beats_ the _Form_
four or five times over, that he may be sure it _Take_: Then he lays
the _Proof-sheet_ on the _Form_, so as by his Judgement it shall have
an equal _Margin_ on all its opposite sides, and a double _Blanket_
on the _Proof-sheet_; and _Running in_ the _Carriage_, _Pulls_ the
_Proof-sheet_: Having _Pull’d_ it, he _Runs-out_ the _Carriage_ again,
and takes the _Proof-sheet_ off the _Form_. Then with the _Ly-brush_
dipt in _Ly_, he _Rubs over_ the _Face_ of the _Letter_ three or four
times, to Wash off what _Inck_ may remain on it, and carries the _Form_
again to the _Correcting-stone_ and lays it down: And the _Proof_ he
carries to the _Compositers Case_.

2. If the _Form_ he Works on be _Small-letter_, or _Old Letter_,
he uses _Strong Inck_; and _Beats Lean_: For _Weak Inck_ and _Fat
Beating_, will quickly Choak up the _Face_ of the _Letter_. But to
fetch off _Hard Inck_ thin _Beat_ on the _Face_ of the _Letter_, he
_Pulls Hard_. But if the _Form_ be great _Letter_ or _Black English
Letter_, it will allow _Fatter Beating_.

3. He keeps a constant and methodical posture and gesture in every
action of _Pulling_ and _Beating_, which in a train of Work becomes
habitual to him, and eases his Body, by not running into unnecessary
divertions of Postures or Gestures in his Labour, and it eases his mind
from much of its care, for the same causes have constantly the same
effects. And a _Pull_ of the same strength upon the same _Form_, with
the same _Beating_, and with the same _Blankets_, &c. will give the
same Colour and Impression.

4. That every two Sheets, if the _Form_ be small _Letter_ (rarely
three, unless _Great Letter_) he _Takes Inck_; and so soon as he comes
off the _Form_, viz. has _Beat_ it, he falls to _Destributing_ his
_Balls_. And that Sheet which he _Takes_ not _Inck_ he steps to the
_Heap_ to overlook the Colour, _viz._ whether he has _Taken_ too much
or too little _Inck_; and to see if no accidents have befallen the
_Form_, viz. that no _Letters_, _Quadrats_ or _Furniture_, &c. Rise,
that no _Letters_ are _Batter’d_; That _Bearers_ fail not, _viz._
grow so thin with long _Pulling_ on, as not to perform the office of
_Bearers_; that the _Register_ keep good; that no _Pick_ be got into
the _Form_, or any other accident that may deface the beauty of the
Work, but all this while still keeps his _Balls Destributing_.

If he have taken too much _Inck_, which sometimes may happen (but
seldom for want of carelessness) he will not _Take Inck_ again, till
he have wrought his _Balls_ to a good and moderate Colour. But if the
Sheet already _Pull’d_, be so _Black_ that it may not tolerably pass,
he Doubles or Folds it in the middle and lays it cross the _Heap_, that
the _Gatherer_ may take or leave it, in case the _Heap_ falls Short.
If he foresee the next Sheet will also be too _Black_, he takes a Dry
Sheet of Waste Paper between his _Balls_ and _Destributes_ upon that
Dry Sheet, that it may take off the _Inck_.

If in doing this, the strength of the _Inck_ have _Pull’d_ the
_Paper_ to pieces, so that small rowl’d-up bits may stick upon the
_Ball-leathers_, if they be but a few he picks them off with his
Fore-finger and Thumb, but if there be many he makes his _Balls_ clean
by _Scraping_ them (as I shewed in ¶ 10. of this §) for else these
small rowl’d-up bits of Paper will be apt to fill the _Form_ full of
_Picks_.

If _Letters_, _Quadrats_ or _Furniture Rise_, he puts them down, the
_Letters_ and _Quadrats_ with his _Bodkin_, and the _Furniture_ with
his _Hammer_, and _Locks_ the _Quarter_ they are in, a little Harder.

If any _Letters_ are _Batter’d_, he _Unlocks_ the _Quarter_ they are
in, and desires the _Compositer_ to put in others in their room.

If _Bearers_ Fail, that is, Squeeze thinner with long _Pulling_ on, he
takes those _Bearers_ off, if they are on the _Frisket_, and puts on
thicker: But if the _Furniture_, were _Under-laid_ (as I shewed in ¶
7. of this §) he _Unlocks_ the _Quarter_ they are in, and _Underlays_
them according to his Judgement.

If _Register_ be _Out_, which sometimes happens by the starting of the
_Quoins_, he mends it, as I shewed in ¶ 7. of this §.

If a few _Picks_ are got into the _Form_, that is, little bits of
Paper, Skin or Film of _Inck_, Grease or other filth which may stick to
the _Face_, or get into the hollows of the _Letter_, he with the point
of a Needle picks them out: But if many be gotten in, he takes off the
_Form_ and Washes it, as shall hereafter be shewed.

And though he every other Sheet overlook the _Heap_ (as was said
before) yet his _Companion_ that _Pulls_, by an habitual use casts his
eye upon every single Sheet; Yet rarely hinders his riddance by it,
for while he is taking the Sheet off the _Tympan_, he gives a quick
spreading glance upon it, and lays it down, as was shewed ¶ 15. of this
§, unless he perceive somewhat to mend: For then he lets it lye on the
_Tympan_ till he has mended what was amiss.

And that he may _Take Inck_ more equally, to keep the _Balls_ of an
equal Fatness, he keeps the _Rubb’d out Inck_ on the _Inck-block_ of an
equal Fatness; which to do, he with the under-edge of the bottom of the
_Brayer_, draws often from the mass of _Inck_ a small, (and as near as
he can guess) an equal quantity of _Inck_, viz. about the quantity of a
Pea, and with the _Brayer_ Rubs and disperses that _Inck_ of an equal
thickness, all over the hither corner of the _Inck-block_. While this
is doing he holds the _Balls_ upright on one another in his Left Hand,
leaning the Handle of the uppermost _Ball-stock_ against his Breast.

The equal and often _Taking_ of _Inck_ in a small quantity, and
constant _Destributing_ of the _Balls_, is the onliest means to keep
the _Heap_ throughout of an equal Colour, and to avoid _Beating_ of
_Fryers_.

5. If he meets with naughty Sheets in his Work; as torn, or stain’d,
_&c._ he Prints them not, but throws them under the _Paper-bench_; and
if any crease or wrinkles be in any Sheet, he laying the backs of his
four Left Hand fingers upon a smooth place in the Sheet, rubs with the
backs of the Nails of his Right Hand Fingers from-wards him upon the
wrinckles, till he have smoothened them.

6. And though his constant care is to Lay every particular Sheet even
upon the _Heap_, yet it often happens either through _White Pages_ that
may come in the _Form_, which because not Printed lye solid on one
another, the unequal pressing of one side or end of the Paper, or the
unequal Bearing of the _Plattin_ on one side or end of the _Form_; I
say it often happens by these accidents, that the _Heap_, as it grows
higher is on one part of the Sheet raised above, and on another part
sunk below an Horizontal level: It is raised higher on that side or end
of the _Heap_ most prest in the _Tympan_, and by consequence makes the
Paper there more Huffie; Because deep pressure of the _Letter_ into
the Paper below the common level of the Sheet bears the Paper off from
the _Heap_, on the underside the Sheet; and the greater the number of
Sheets are thus Printed off and laid on the _Heap_, the more that side
or end of the _Heap_ shall Rise: And by the Rule of Contraries, when
_White Pages_ come in the _Form_, the greater number of Sheets laid on
the _Heap_, shall where those _White Pages_ lye, make the _Heap_ lower
in that place, because they clap solider together, for want of Printing
the Paper through the backside level of each Sheet: So that the small
un-level lying of every Sheet, though unperceptable, in a small number
of Sheets, makes each Sheet incline to the lowest side of the _Heap_,
and as the _Heap_ accumulates heighth, throws the _Heap_ more or less
towards the dripping side, or end over the bottom of the _Heap_.

To remedy which, he claps the insides of both his Hands against both
the ends of the _Heap_, but more forcibly against the Hanging over end
towards the other end, till he has drove the _Heap_ into an upright
position.

If either of the sides hang over, he with the inside of his Left Hand
commonly against the farther side of the _Heap_, and the outside of
his Right Hand fingers on the hither side the _Heap_, either draws the
hanging over side towards him with his Left Hand, or thrusts it from
him with his Right Hand fingers, as aforesaid, while his opposite Hand
does the office of a stop, that it be not drawn too forward, or thrust
too much backward. Then where the _Heap_ rises above the Level, he with
the inside flats of one or both of his Hands presses it down into an
Horizontal Plain.

7. If it be a _Reteration_ he Works, and a great Number is laid
on, he uses a _Tympan-cloath_ instead of a _Tympan-sheet_: This
_Tympan-cloath_ is a Fine and even Linnen Cloath, about an Inch or two
larger on every side than the Paper he Works on: He Wets this Cloath
and wrings the Water out again, so that it remains only moist: Then
lays his Cloath instead of his _Tympan-sheet_, and Pastes the corners
of the under side of it to the _Tympan_, and Works upon it as on a
_Tympan-sheet_.

One reason why he uses a Cloath to Work the _Reteration_ on rather
than a Sheet of Paper, is, because a Sheet of Paper quickly wears out,
which a Cloath will not do. Another reason is, that when the _Inck_
that wrought off the _White Paper_ Sets off upon the _Tympan Cloath_,
it may in clean _Ly_ be washt clean again: For a good _Press-man_ will
not Work on a foul _Tympan Cloath_ or (if he use no Cloath) on a foul
_Tympan-sheet_, because as the _Inck_ of the _White-paper_ aforesaid,
set off on the _Tympan Cloath_, so the more the _Tympan Cloath_ has
gathered _Inck_ from the _White-Paper_, the more it will Return or give
back again, towards the besmearing of every Sheet that is Printed on it.

The reason why the _Press-man_ does not use a Cloath to Work the _White
Paper_ with, is, because in Working the _White-Paper_, the use of the
_Tympan-Sheet_ is principally to lay all the Sheets of the _Heap_ even
by, as being of the exact size with all the rest of the _Heap_, which a
_Tympan-Cloath_ is not, nor could it, without great trouble, be reduced
to that size by the _Press-man_, or if reduced to that size, without
much difficulty be laid even or square on the _Tympan_: Because the
_Cloath_ when _Wet_, will be hard to be kept straight and square, but
every side will naturally run into irregularities, which a Sheet of
_White Paper_ will not do.

8. Sometimes, through the loose _Hanging_ of the _Plattin_ on its
_Cords_, or through the much wearing of the _Hose_, or the _Garter_, or
the _Worms_ in the _Nut_ and _Spindle_, or the irregular wearing of the
_Toe_ of the _Spindle_ in its _Nut_, or too much play of the Tennants
of the _Head_ in their Mortesses, or the irregular dryness of the
_Tympan_, or through irregular _Runing in_ of the _Carriage_, It will
happen that the _Letter_ will _Double_ upon the Sheets, that is, Print
double.

If the loose Hanging of the _Plattin_ be the cause, it is easily mended
by turning about the _Female Screws_ fitted to the tops of the _Hose_,
as was shewed ¶ 4. of this §.

If the _Hose_ be worn, or the square holes the _Hose_ Works in, it may
for the present be botcht up by putting Scaboards between the _Hose_
and the square holes of the _Till_; but to mend it perfectly either
another _Till_ must be made, or a new _Hose_, or both.

If the _Garter_ be worn too wide; the Smith must either mend the Old,
or make a new one.

If the _Worms_ of the _Nut_ or _Spindle_ be worn, the _Spindle_ must be
examin’d by the Smith, and made true, and have a new _Nut_ Cast on it.

If the _Toe_ of the _Spindle_ and its _Nut_, or either of them be worn
irregularly, it is Smiths Work to mend.

If the Tennants in the _Head_ have too much Play in their Mortesses;
which though it seldom happens, yet if the _Head_ were not made of well
seasoned Stuff, the Tennants may be subject to shrink, and so have too
much play. There is no substantial remedying this fault, but by making
a new _Head_.

If an unproper temperature of the _Tympan_ be the cause; that is, when
it is dry in one place and moist in another, the dryed place may by
its spring force the Paper against the _Face_ of the _Letter_, and in
part Print it before it come to feel the force of the _Plattin_; (but
this is rather slurring than _Doubling_) and when the force of the
_Plattin_ does come, the spring in the dryed part will again remove the
Paper, and the force of the _Plattin_ gives its full Impression where
the Paper is thus removed, but when it is real _Doubling_, it happens
generally on the whole Sheet.

This _Doubling_ or _Slurring_ is mended, by reducing the dryest part of
the _Tympan_ to an equal moist temperature with the moistest.

_Doubling_ often happens in the middle of the _Form_, and the reason
is, because the foreside of the _Plattin_ Prints beyond the middle of
the _Form_ at the first _Pull_, and the hindside of the _Plattin_ by
the _Second Pull_ reprints part of the _First Pull_: So that a Spring
in the _Tympan_ removes the Paper in this interval of Time.

This fault is mended by exact observing the _Runing in_ of the
_Carriage_.

_Doubling_ may also happen by the too loose and flapping straining of
the _Tympan_, when it was first _Drawn_.

This cannot be mended without taking the _Tympan_ off, and _Drawing_ on
a new one.

A _Press-man_ having _Pull’d_ a Sheet, may by some accident (either of
Object or Discourse) let it ly on the _Form_ after he has _Run-out_
the _Carriage_, and afterwards forget it was _Pull’d_, yet may perhaps
lift the _Tympan_ a little off the _Form_, which lifting off (if the
_Joynts_ are not very good) will remove the Sheet, if then he _Pull_ it
again, it will _Double_.

This fault because it is but an accident I shall pass by, and only say,

If the _Joynts_ are so faulty (as sometimes Old _Joynts_ are) that the
_Press-man_ cannot keep _Register_ with them, the Smith must make new
or mend the Old.

9. When the _Press-man_ leaves Work at Noon, he draws half the Nails
out of the Balls, and takes the Wooll out: Then doubles the loose half
of the _Leather_ over the remaining Nail’d-on half, with the _Incky
sides_ of each half next each other, and Rowls up the _Leathers_ close,
and laies them in a Bowl or Pan of Water to Soak till he has Din’d.

He also covers the _Form_ with the _Tympan_, to keep it from dust
or filth that may fall on it: And takes out the _Blankets_ and lays
them on the _Heaps_: And with a _Spunge_ Wet in Water besprinkles the
backside of the _Tympan_, to Soak it whiles he is at Dinner.

Coming again to his Work afternoon, he takes the _Handles_ of the
_Ball-stocks_ between his Thighs, (being seated as before, when he
knockt up the _Balls_, ¶ 10.) to hold them fast, and he takes the
turn’d down backsides of the _Ball-leathers_ in both his hands, (for
the other side being all over Black, would black his Hands) and rubs
them between his Fingers very well, to supple them. Then squeezes and
Wrings the Water well out again; and _Teizes_ his Wooll, by opening
all the hard and almost matted knots he finds in it: but he does not
pull the Wooll or hardned knots in it assunder from the whole mass
of Wooll: But endeavours to keep the Wooll of each _Ball_ intirely
connected in the same mass, and only opened, to Loosen and Soften it:
For pulling the knots to pieces, would tear the Wooll, and soon make it
unfit for use. Having _Teazed_ the _Wooll_ he _Knocks up_ his _Balls_
again, as I shewed in ¶ 10.

Then he goes to the _Tympan_, and squeezing his _Spunge_ as dry as
he can, he rubs it over the backside of the _Tympan_, to Suck up the
Water, that may lye on it.

Then taking the _Blankets_, he rubs them between both his Hands to
soften them; for we must suppose that the Mornings _Pulling_ on them
has compacted and hardned them: being well Rub’d, he lays them in the
_Tympan_ again, as was shewed before in ¶ 7. and falls again to his
Afternoons train of Work.

Having wrought all day, though his _Form_ be not _Wrought off_, it
may yet be _Foul_, so that he must _Wash_ it: Nay, in small _Letter_
a good _Press-man_ will _Wash_ his _Form_ twice a day: Wherefore he
calls to the Boy to Heat the _Ly_, somewhat before he is ready for it,
about a Heating time: And having a _Shooting-stick_ lying by him on the
_Till_ or some other convenient place, drives every _Quoin_ between
the _Furniture_ and the _Chase_ fast up; least they may have somewhat
shrunk, or else started back: Then with a piece of Chalk he makes a
score on the two farthermost _Corners_ of the _Carriage_; and through
the _Quoins_ droven against them, and upon the two _Corners_ of the
_Carriage_ of the _Tympan_ and their _Quoins_, and lets the _Quoins_
ly; but he _Unlocks_ all the opposite _Quoins_, and takes them out of
their places; laying those _Quoins_ that he takes from between the
fore-end of the _Carriage_ and the _Chase_ on the hithermost upper long
side of the _Plattin_, the hithermost _Quoin_ on the hithermost side of
the _Plattin_, and the farthermost _Quoin_ on the farthermost side of
the _Plattin_; with their small ends towards him, and fromwards him as
they lay on the _Carriage_. The _Quoins_ that he takes from the hither
side of the _Carriage_, he lays on the hithermost Return side or end
of the _Plattin_; that on his Left Hand on the _Carriage_, towards the
farther Corner of the _Plattin_, and that _Quoin_ on the Right Hand on
the _Carriage_, towards the hither corner of the _Plattin_, with their
small ends towards the Hand they lay on, on the _Carriage_.

Having taken out and placed these four _Quoins_, he tryes if the
_Form_ will _Rise_, as was shewed § 22. ¶ 7. then takes up the _Form_,
and carries it to the _Ly-Trough_, and lays it in it, even as the
_Compositer_ brought the _Form_ to the _Press_, and laid it on the
_Press-stone_. § 22. ¶ 7. and taking the _Ly Kettle_, or _Chafer_,
in his Left Hand pours the _Ly_ Scalding hot place by place over the
whole _Form_: And then with the ends of the Hair of the _Ly Brush_ rubs
gently over the whole _Form_: And as he thus _Rubs_ with his Right Hand
Rocks the _Ly-Trough_ a little on its Axis, that the Body of _Ly_ may
accompany the _Ly-Brush_ in its progress from the hither to the farther
side of the _Form_: And thus he _Washes_ the _Form_ still on, till he
perceive the _Face_ of the _Letter_ purely clean.

Then he lets the _Ly_ out again into the _Ly-Kettle_ at the Hole and
Pipe in the Left Hand hither corner of the _Ly-Trough_: and stopping
the hole again, sets by the _Ly-Kettle_. Then with a Dish or two of
fair Water he _Rinces off_ the Laver of the _Ly_ that may ly on the
_Face_ of the _Letter_, and rears up the _Form_ and throws a Dishful or
two of fair Water on the backside of it, to _Rince_ it also. Then takes
the _Form_ out of the _Ly-Trough_, and sets it by, shelving with its
_Face_ against the Wall, to Dry.

If the _Heap_ be _Wrought off_, he lets the _Compositer_ know it, to
take Charge of it.

Having _Wrought off_ his _Heap_, he takes it off the _Paper-bench_,
and sets it by on the floor, covering it with a Waste-sheet: And gives
notice to the Boy, or to the _Ware-house-keeper_, to fetch it away and
_Hang it up_ to Dry.

Then he draws the _Balls_, and takes the _Blankets_ out of the _Tympan_
(as at Noon:) And if he have Paper to _Wet_, _Wets_ it as was shewed ¶
9. of this §.


§ 25. _The Office of the_ Warehouse-keeper.


¶ 1. _Of_ Hanging up _Paper_.


The _Warehouse-keeper_ takes the _Heap_ out of the _Press-room_, and
carries it into the _Warehouse_, or other _Drying-place_, and setting
it upon a Form or Bench of convenient heighth, with an end of the
_Heap_ from him, he takes the _Handle_ of the _Peel_ in his Left Hand,
and lays the _Board_ flat down upon the _Heap_, with the Left Hand side
of the _Board_ towards the Left Hand side of the _Heap_, and so as
its upper edge may reach to almost three quarters of the length of the
Sheet, and that the Right Hand end of the _Peel_ may ly on the middle
of the _Heap_: Then with his Right Hand he doubles over so much of the
_Heap_ as he thinks good, perhaps about a _Quire_, or half a _Quire_,
or about seventeen Sheets, more or less, either as he can allow them
time to _Dry_, or have room on his _Racks_ to _Hang_ them on. Having
thus doubled his first _Doubling_ on the _Heap_, he removes the Left
Hand half of the _Peel_ almost off the _Heap_, viz. to about two Inches
within the Left Hand side of the _Heap_, and doubles, as before, a
second _Doubling_ to hang over the first _Doubling_, towards the Left
Hand about two Inches, as aforesaid, on the _Peel_, and as near as he
can guess, the same number of Sheets. And having these two _Doublings_
on his _Peel_, he takes the _Peel_ off the _Heap_, and holding the
_Handle_ a little aslope, that the _Shorter Folding-over_ of the Sheets
may open from the _Peel_, he lifts it up, and places it at one end of
his first _Rack_, and lets it hang on it, by drawing the _Peel_ from
under the Paper. In like manner he Loads and unloads his _Peel_ again
successively, till he have _Hung up_ the whole _Heap_. See Plate 31.

[Illustration: _Plate 31_]

Note, that the sides of the Sheets do not hang against one another,
but lap over one another, as you may see by Plate 31. Nor are they
_Hung up_ to _Hang_ with their edges against the side of the former
_Hanging-up_, but to lap over, so as every Right Hand _Doubling_ may
lap about two Inches over the Left Hand _Doubling_; that when the
_Books_ are taken down, the _Warehouse-keeper_ clapping the flat
side of his _Peel_ against the Right Hand edge of the Paper, slides
several _Doublings_ over one another (perhaps three or four:) And
putting the _Peel_ under them, takes them off the _Racks_, and lays
them on the _Heap_ again, on a clean Waste Paper, and sets the _Heap_
orderly by, till it comes to be _Gather’d_.

The _Warehouse-keeper_ is also very careful to lay all the Sheets, so
as the respective _Signatures_ of every Sheet may ly exactly over the
respective _Signature_ of the first Sheet, lest when the _Books_ come
to be _Gathered_, some Sheets may be _Turned_, which will give him a
great deal of trouble to _Turn_ them right when he _Colations_ the
_Books_.

[Illustration: _Plate 32._]


¶ 2. _Of_ Laying the Heaps.

_Laying the Heaps_ is to place them on Benches or Forms of a convenient
Heighth, in an orderly _Signatural_ Succession. By an orderly
_Signatural_ succession, I mean the first _Signature_, which most
commonly is A (and therefore shall be so accepted) be placed on the
Left Hand of the Bench, with either the Side or Foot of the _Page_, as
the _Volumn_ requires, that hath the single _Signature_ A at the bottom
of it upwards, and towards the hither side of the Bench. On the Right
Hand side of the _Heap_ A is B, and next it C, in like order D E F, &c.


¶ 3. _Of_ Gathering of Books.

_Gathering of Books_ is to take one Sheet off every _Heap_, beginning
at the last _Heap_ first, _viz._ at the Left Hand end of the Range. The
_Gatherer_ takes it off with his Right Hand, and disposes the hither
end of the Sheet into his Left Hand, clapping his Left Hand Thumb upon
the middle of the Sheet, to hold it fast. Then he takes a second Sheet
off the second _Heap_ from the Left Hand, _viz._ towards the Right;
and lays the second Sheet on the first, and so successively a third, a
fourth, a fifth, &c. till he has _Gathered_ the last Sheet on his Right
Hand; still observing to lay the middle of each Sheet under his Thumb,
and all the single _Signatures_ on each Sheet orderly and successively
on one another.

Thus he _Gathers_ on, till one of all the _Heaps Comes off_; which when
it does, he Doubles or Quires up all the other _Heaps_, and lays them
by till he can _Bundle_ and Tye them up; which when he has also done,
he writes upon them _Imperfections_ of (the _Title_ of the _Book_) and
Writes on it the _Signature_ of the Sheet that is Wanting, and sets it
by in a convenient place of the _Warehouse_, that he may have recourse
to it on any occasion.

Though I shewed how he _Gathered_ the _Books_, yet shewed not how he
_Knocks them up_ and _Folds_ them: Wherefore,

Having thus _Gathered_ one _Book_, he _Knocks it up_, that is, he
carries it to a Table provided on purpose near him; and taking the
ends of the _Book_ between the two Bows of the Thumb and Fore-finger
of each Hand, he grasps the ends loosly between them, and placing the
hither long side or edge of the _Book_ on the plain of the Table, he
lifts the whole _Book_ a little above the plain of the Table, (about an
Inch or two, more or less) and while the whole _Book_ is held loosly
by its ends, lets it fall gently down on the Table, that the edges of
such Sheets as may stand out, or lower than the rest, may be drove even
with the rest of the edges of the _Book_, and also that the edges of
such Sheets as may lye above the edges of the _Book_ may be joulted
downwards, and lye even in the same Range with the rest of the edges.

And as he is _Knocking up_ the lower edge of the _Book_, he at the same
time evens the two ends of the _Book_, by thrusting the Bows of his
Thumbs and Fingers against the ends of the _Book_, which being loosely
grasp’d, and the Bows of his Thumbs and Fingers bearing pretty stiff
towards each other; will drive in the ends of such Sheets as may stick
out at either end; and so even the ends of the _Book_ at the same time.

Having thus even’d all the edges, he lays the _Book_ flat down on the
Table, and holding one end of it stiff and tight in his Left Hand, he
rubs the whole flat of his Right Hand hard upon the upper Sheet, to
press it and all the other Sheets as close together as he can; then
takes it up, and gives the edges another or two gentle _Knocks_, as
before; and then _Folds up_, or _Doubles_ the _Book_, according to its
respective _Volumn_.

If it be _Folio_, _Quarto_, _Octavo_ or _Sixteens_, he _Folds_ it in
the _Short Cross_; but if it be _Twelves_, _Eighteens_, _Twenty-fours_,
he _Folds_ it in the _Long Cross_.

But most times before he _Folds_ the _Books_ he will _Colation_ them:
(as shall be shewed by and by:) therefore having _Gathered_ the _Book_,
he lays it by on a Sheet of Waste Paper, and _Gathers_ a second _Book_
as he did the first, and lays that flat open on the first, then
_Gathers_ a third, fourth, fifth _Book_, &c. as before, and lays them
successively on each other, till he have raised an _Heap_ of _Books_ so
high, that he grows cautious of laying more on, lest its heighth should
exceed his management. Then _Gathers_ on, and raises another _Heap_ or
_Heaps_ till one of the _Signatures_ comes off.


¶ 4. _Of_ Colationing Books.

The _Colationing of Books_, is,

First, To examine whether the whole number of Sheets that belong to a
_Book_ are _Gathered_ in the _Book_.

Secondly, To examine that two Sheets of one sort are not _Gathered_.

Thirdly, To examine whether the proper _Signature_ of every Sheet lye
on its proper corner of the _Gathered Book_.

To do this, The _Colationer_ provides himself with a _Bodkin_; which
is nothing else than a pretty thick Sowing Needle, (most commonly
broken-eyed,) having its thick end thrust fast into a round piece of
Wood, about the thickness of a Tobacco-Pipe, and about three or four
Inches long.

Now having the _Heap_ of _Gathered Books_ before him, with the single
_Signature_ A lying upwards on his Right Hand, and his Left Arm cross
the _Heap_, and his Hand near the _Signature_ corner, with his _Bodkin_
in his Right Hand, he pricks up the corner of the first Sheet A,
and at the same moment he pricks it up, slips the Balls of his two
Fore-fingers of his Left Hand, and secures it from falling back again
on the _Gathered Heap_ of _Books_ between his Thumb and hinder Joynt of
his Fore-finger, and immediately pricks into the Sheet B, casting his
Eye upon the _Signature_, as well to see that it is B, as to see that
it is singly B, and not B 2, B 3, _&c._ For if the single _Signature_
lye not on the same corner of the _Heap_, the Sheet must be turned
till it do. In like manner he picks up and receives C D, _&c._ still
casting his Eye that it be the right _Letter_, and single _Signature_,
as aforesaid.

If he finds two Sheets of the same _Signature_, he takes one out and
lays it by, or else on the _Heap_, if they be not all _Gathered_.

If he finds one Sheet wanting, he fetches that Sheet from the _Heap_;
or if he want it at the _Heap_ the _Book_ is laid by as _Unperfect_
till he have _Colationed_ the whole _Impression_ of _Books_, to see if
he can make it _Perfect_ with some other _Book_, that may have two of
the same Sheets _Gathered_ in it.

Having examined that his _Book_ is _Perfect_, he _Knocks_ and _Folds it
up_, as was shewed in the last ¶.

Having _Gathered_, _Colationed_ and _Folded_ these _Books_, he _Tells_
them, to see how the _Impression Holds out_; and as he _Tells_ them,
he lays a set number of _Books_ (if the _Books_ be _Thick_, five, if
Thinner, Ten, if very Thin, twenty five or fifty) with the _Folded
Side_ or _Back_ one way, and the same _Number_ of _Books_, with the
_Folded_ or _Back-side_ the other way, _viz._ the edges of the latter
number of _Books_ upon the _Backs_ of the former _Number_: As well to
distinguish and Count the _Number_ of _Books_ readily, as to keep the
Bundle in a flat and Horizontal position. For if the _Backs_ of the
_Quired Books_ in a Bundle, should lye all one way, the _Fold_ of the
_Back_ being more or less hollow in the middle of each _Book_, will
in a _Number_ of _Books_, by springing upwards, mount the _Backs_;
and consequently the edges of the _Books_ in the _Bundle_ will be
depressed, so that in a great _Bundle_ the _Books_ will be subject to
slide off one another.

These _Books_ being thus Counted, he sets them by on Waste Paper in
convenient Piles, _viz._ Piles of about three or four Reams high
(according as the Paper may be thicker or thinner) he sets them by
(I say) in Piles of equal Numbers, Range by Range, till the whole
_Impression_ is set by.

And before he Tyes them up, he puts them into the _Standing Press_,
placing in it so many _Books_ as the _Press_ will hold, both in width
and Heighth; observing to set in every _Pile_ he puts Range by Range
into the _Press_, an equal number of _Books_, that each _Pile_ may
equally feel the force of the Screw.

Then with a strong Iron Bar he turns about the _Spindle_ as oft he can,
with his main Strength to Squeeze and _Press_ the _Books_ as close and
tight as he can together: and so lets them stand in _Press_ about a
Day and a Night. Then takes them out, and in like manner puts in more
_Books_, till the whole Impression is _Prest_. See Plate 32.

As he takes each number of _Books_, he Tyes them up with Packthred,
lays a Waste Paper under and upon each _Bundle_; and if the
_Master-Printer_ Printed the _Impression_ for Himself, he writes the
_Title_ of the _Book_, and number of the _Books_ on the uppermost
Waste Paper, and sets them by square and orderly on the Shelves in the
_Warehouse_, to deliver them out according to the _Master-Printers_
order. But if the _Impression_ were Printed for an Author, or a
Book-seller, he sends them to the Authors or Book-sellers, without
writing on the uppermost Waste Paper.

[Illustration: _Plate 33_]


¶ 5. _Of_ Setting out _Paper_, _and_ Culling _the_ Cording Quires.

Each Ream of Paper contains twenty Quires: These twenty Quires are by
the Paper-makers so disposed that the Back or Doubling of each Quire
lyes upon the opening or edges of the next Quire: For reasons given in
the last ¶.

Two of the twenty Quires in a Ream are called _Cording Quires_, viz.
the two _Out-side Quires_; because the whole Ream is Corded or Tyed up
between them. They are also called _Cassie Quires_, because they serve
for Cases to the Ream. These Quires are by the Paper-maker made up of
torn, wrinckled, stained, and otherwise naughty Sheets; yet does not
perhaps the whole Quire consist of such Sheets, but commonly some good
Sheets are in _Culling_ found among them, as shall be farther shewed by
and by.

The _Warehouse-keeper_ therefore when he _Sets out_ Paper, lays by the
uppermost _Cording Quire_, and then nimbly snatches with his Right Hand
at the back of the next Quire, and if the back lys towards him, draws
it into his Left Hand with the edges of the Quire towards his Fingers;
but if the back lye from him, nimbly turns it while it is coming to his
Left Hand, and so again nimbly snatches at the back of the succeeding
Quires, placing their backs all one way on the First Quire in his
Left Hand, till he have Counted or taken off of the Ream a _Token_;
which _Token_, if it be set out for _Half_ a _Press_, viz. a _Single
Press-man_, is generally but five Quires, and is indeed often called
_Half_ a _Token_: But if it be for an _Whole Press_, it contains Ten
Quires. This _Token_ he lays by near him, upon a Waste Sheet of Paper,
and again applies himself to _Set out_ the next _Token_ in the same
manner, but lays the next _Token_ with the backs of the Quires over the
edges of the former _Token_, and thus _Sets out_ so many _Tokens_ as
his _Heap_ requires, yet always considers how his Paper _Holds out_,
whether five and twenties, or but four and twenties: If it _Holds out_
five and twenties, he _Sets out_ in every Fourth, Fifth, or Sixth
_Token_ Eleven Quires, to secure the _Impression_ to _Hold out_. If
but four and twenties, he _Sets out_ Eleven Quires, in every second
_Token_, and at last a Quire more to the whole _Heap_ to make good
the wanting Sheets of every Quire, and to make _Proves_, _Revises_,
_Register-Sheets_, _Tympan-Sheets_, and to supply other accidents
that may happen at the _Press_, either by naughty Sheets, or Faults
committed in _Beating_, _Pulling_, _Bad Register_, &c. for all or any
of these accidents that happens to a Sheet, the _Press-man_ doubles it,
and lays by in the _Heap_ as Waste, as I shewed § 24. ¶ 18. (4) and
still he remembers, as aforesaid to lay by the two _out-side Quires_
of every Ream; and at last lays on the _Heap_ another Waste Sheet of
Paper, and so brings it to the _Press_ to be _Wet_.

The _Culling the Cording Quires_, is, to examine every Sheet one
by one. To do it, he lays the _Cording Quires_, or many _Cording
Quires_ open before him against the Light, and takes up every Sheet
successively and observes the goodness of it: Such Sheets as he finds
good, he lays on his Right Hand, and the Bad on his Left. If a Sheet
have but a little corner torn off, _viz._ so much as he judges the
_Book-binder_ would take off with his _Plow_, to make the _Leaf_ square
with other _Leaves_, he accounts that a good Sheet: But if more be torn
off, he lays it by for Bad; and so he does Wrinckled and stain’d Sheets.

Having thus _Cull’d_ all the _Cording Quires_, he tells out the good
Paper into Quires, allowing five and twenty to the Quire, if the Quires
of the Ream hold out five and twenty; or else but into four and twenty.
And the good Paper thus _Cull’d_, he tells into an _Heap_ or _Heaps_,
as far as it will go.

But yet the careful _Warehouse-keeper_ will not give the _Press-man_
this _Culd_ Paper to Print at the begining or end of a _Book_, but
disposes that _Heap_ or _Heaps_ so as they may be used about the middle
of the _Book_: For though we call’d it good Paper, yet it very rarely
happens to be so beautiful as the _Inside Quires_.

The Bad Paper he also _Tells out_ into Quires, but allows no more than
four and twenty Sheets to the Quire, because it is commonly set by in
the _Warehouse_ to be sold.

It is also the Office of the _Warehouse-keeper_ to keep a Day Book, and
in it to set down what Books he Sells, and for how much, and to whom,
and whom by order of the _Master-Printer_ he Trusts with Books, and for
how long Time; that so the _Master-Printer_ may as oft as he pleases
have an account how the _Impression_, or part of it, is disposed of.


(_As an Appendix._) _Ancient Customs used in a_ Printing-house.

Every _Printing-house_ is by the Custom of Time out of mind, called
a _Chappel_; and all the Workmen that belong to it are _Members of
the Chappel_: and the Oldest Freeman is _Father of the Chappel_. I
suppose the stile was originally conferred upon it by the courtesie of
some great Churchman, or men, (doubtless when Chappels were in more
veneration than of late years they have been here in _England_) who for
the Books of Divinity that proceeded from a _Printing-house_, gave it
the Reverend Title of _Chappel_.

There have been formerly Customs and By-Laws made and intended for the
well and good Government of the _Chappel_, and for the more Civil and
orderly deportment of all its Members while in the _Chappel_; and the
Penalty for the breach of any of these Laws and Customs is in Printers
Language called a _Solace_.

And the Judges of these _Solaces_, and other Controversies relating to
the _Chappel_, or any of its Members, was plurality of Votes in the
_Chappel_. It being asserted as a Maxim, _That the Chappel cannot Err_.
But when any Controversie is thus decided, it always ends in the Good
of the _Chappel_.

1. Swearing in the _Chappel_, a _Solace_.

2. Fighting in the _Chappel_, a _Solace_.

3. Abusive Language, or giving the Ly in the _Chappel_, a _Solace_.

4. To be Drunk in the _Chappel_, a _Solace_.

5. For any of the Workmen to leave his Candle burning at Night, a
_Solace_.

6. If the _Compositer_ let fall his _Composing-stick_, and another take
it up, a _Solace_.

7. Three _Letters_ and a _Space_ to lye under the _Compositers Case_, a
_Solace_.

8. If a _Press-man_ let fall his _Ball_ or _Balls_, and another take it
up, a _Solace_.

9. If a _Press-man_ leave his _Blankets_ in the _Tympan_ at Noon or
Night, a _Solace_.

These _Solaces_ were to be bought off, for the good of the _Chappel_:
Nor were the price of these _Solaces_ alike: For some were 12 _d._ 6
_d._ 4 _d._ 2 _d._ 1 _d._ _ob._ according to the nature and quality of
the _Solace_.

But if the Delinquent prov’d Obstinate or Refractory, and would not pay
his _Solace_ at the Price of the _Chappel_; they _Solac’d_ him.

The manner of _Solacing_, thus.

The Workmen take him by force, and lay him on his Belly athwart the
_Correcting-stone_, and held him there while another of the Work-men,
with a Paper-board, gave him 10 _l. and a Purse_, viz. Eleven blows
on his Buttocks; which he laid on according to his own mercy. For
Tradition tells us, that about 50 years ago one was _Solaced_ with so
much violence, that he presently Pissed Blood, and shortly after dyed
of it.

These nine _Solaces_ were all the _Solaces_ usually and generally
accepted: yet in some particular _Chappels_ the _Work-men_ did by
consent make other _Solaces_, viz.

That it should be a _Solace_ for any of the Workmen to mention Joyning
their Penny or more apiece to send for Drink.

To mention spending _Chappel-money_ till _Saturday_ Night, or any other
before agreed time.

To Play at _Quadrats_, or excite any of the _Chappel_ to Play at
_Quadrats_; either for Money or Drink.

This _Solace_ is generally Purchas’d by the Master-Printer; as well
because it hinders the Workmens work, as because it Batters and spoils
the _Quadrats_: For the manner how they Play with them is Thus: They
take five or seven more m _Quadrats_ (generally of the _English Body_)
and holding their Hand below the Surface of the _Correcting Stone_,
shake them in their Hand, and toss them up upon the _Stone_, and then
count how many _Nicks_ upwards each man throws in three times, or any
other number of times agreed on: And he that throws most Wins the Bett
of all the rest, and stands out free, till the rest have try’d who
throws fewest _Nicks_ upwards in so many throws; for all the rest are
free: and he pays the Bett.

For any to _Take up a Sheet_, if he receiv’d _Copy-money_; Or if he
receiv’d no _Copy-money_, and did _Take up a Sheet_, and carryed that
Sheet or Sheets off the Printing-House till the whole Book was Printed
off and Publisht.

Any of the Workmen may purchase a _Solace_ for any trivial matter, if
the rest of the _Chappel_ consent to it. As if any of the Workmen Sing
in the _Chappel_; he that is offended at it may, with the _Chappels_
Consent purchase a penny or two penny _Solace_ for any Workmans singing
after the _Solace_ is made; Or if a Workman or a Stranger salute a
Woman in the _Chappel_, after the making of the _Solace_, it is a
_Solace_ of such a Value as is agreed on.

The price of all _Solaces_ to be purchased is wholly Arbitrary in the
_Chappel_. And a Penny _Solace_ may perhaps cost the Purchaser Six
Pence, Twelve Pence, or more for the _Good of the Chappel_.

Yet sometimes _Solaces_ may cost double the Purchase or more. As if
some _Compositer_ have (to affront a _Press-man_) put a Wisp of Hay
in the _Press-mans Ball-Racks_; If the _Press-man_ cannot well brook
this affront, he will lay six Pence down on the _Correcting Stone_
to purchase a _Solace_ of twelve Pence upon him that did it; and the
_Chappel_ cannot in Justice refuse to grant it: because it tends to the
_Good of the Chappel_: And being granted, it becomes every Members duty
to make what discovery he can: because it tends to the farther _Good of
the Chappel_: And by this means it seldom happens but the Agressor is
found out.

Nor did _Solaces_ reach only the _Members of the Chappel_, but also
Strangers that came into the _Chappel_, and offered affronts or
indignities to the _Chappel_, or any of its Members; the _Chappel_
would determine it a _Solace_. Example,

It was a _Solace_ for any to come to the _Kings Printing-house_ and ask
for a Ballad.

For any to come and enquire of a _Compositer_, whether he had News of
such a Galley at Sea.

For any to bring a Wisp of Hay, directed to any of the _Press-men_.

And such Strangers were commonly sent by some who knew the _Customs of
the Chappel_, and had a mind to put a Trick upon the Stranger.

Other Customs were used in the _Chappel_, which were not _Solaces_,
viz. Every new Workman to pay half a Crown; which is called his
_Benvenue_: This _Benvenue_ being so constant a Custome is still lookt
upon by all Workmen as the undoubted Right of the _Chappel_, and
therefore never disputed; yet he who has not paid his _Benvenue_ is no
Member of the _Chappel_, nor enjoys any benefit of _Chappel-Money_.

If a Journey-man Wrought formerly upon the same Printing House, and
comes again to Work on it, pays but half a _Benvenue_.

If a Journey-man _Smout_ more or less on another Printing House, and
any of the _Chappel_ can prove it, he pays half a _Benvenue_.

I told you before that abusive Language or giving the Lye was a
_Solace_: But if in discourse, when any of the Workmen affirm any thing
that is not believed, the _Compositer_ knocks with the back corner of
his _Composing-stick_ against the lower Ledge of his _Lower Case_,
and the _Press-man_ knocks the Handles of his _Ball-stocks_ together:
Thereby signifying the discredit they give to his Story.

It is now customary that Journey-men are paid for all Church Holy days
that fall not on a _Sunday_, Whether they Work or no: And they are by
Contract with the Master Printer paid proportionably for what they
undertake to Earn every Working day, be it half a Crown, two Shillings,
three Shillings, four Shillings, _&c._

It is also customary for all the Journey-men to make every Year new
Paper Windows, whether the old will serve again or no; Because that
day they make them, the Master Printer gives them a _Way-goose_; that
is, he makes them a good Feast, and not only entertains them at his
own House, but besides, gives them Money to spend at the Ale-house
or Tavern at Night; And to this Feast, they invite the _Correcter_,
_Founder_, _Smith_, _Joyner_, and _Inck-maker_, who all of them
severally (except the _Correcter_ in his own Civility) open their
Purse-strings and add their Benevolence (which Workmen account their
duty, because they generally chuse these Workmen) to the Master
Printers: But from the _Correcter_ they expect nothing, because the
Master Printer chusing him, the Workmen can do him no kindness.

These _Way-gooses_, are always kept about _Bartholomew-tide_. And till
the Master-Printer have given this _Way-goose_, the Journey-men do not
use to Work by Candle Light.

If a Journey-man marry, he pays half a Crown to the _Chappel_.

When his Wife comes to the _Chappel_, she pays six Pence: and then all
the Journey-men joyn their two Pence apiece to Welcome her.

If a Journey-man have a Son born, he pays one Shilling.

If a Daughter born, six Pence.

The _Father_ of the _Chappel_ drinks first of _Chappel Drink_, except
some other Journey-man have a _Token_; viz. Some agreed piece of Coin
or Mettle markt by consent of the _Chappel_: for then producing that
_Token_, he Drinks first. This _Token_ is always given to him who in
the Round should have Drank, had the last _Chappel-drink_ held out.
Therefore when _Chappel-drink comes in_, they generally say, _Who has
the Token?_

Though these Customs are no _Solaces_; yet the _Chappel_ Excommunicates
the delinquent; and he shall have no benefit of _Chappel-money_ till he
have paid.

It is also Customary in some Printing-houses that if the _Compositer_
or _Press-man_ make either the other stand still through the neglect of
their contracted Task, that then he who neglected, shall pay him that
stands still as much as if he had Wrought.

The _Compositers_ are Jocosely call’d _Galley Slaves_: Because
allusively they are as it were bound to their _Gallies_.

And the _Press-men_ are Jocosely call’d _Horses_: Because of the hard
Labour they go through all day long.

An Apprentice when he is Bound pays half a Crown to the _Chappel_, and
when he is made Free, another half Crown to the _Chappel_; but is yet
no Member of the _Chappel_; And if he continue to Work Journey-work in
the same House, he pays another half Crown, and is then a Member of the
_Chappel_.

A _Founding-House_ is also call’d a _Chappel_: But I suppose the Title
was originally assum’d by _Founders_, to make a Competition with
_Printers_.

The Customes used in a _Founding-House_ are made as near as may be to
those of a _Printing-house_: but because the Matter they Work on, and
the manner of their Working is different, therefore such different
Customes are in Use, as are suitable to their Trade, As

_First_, To call _Mettle_ Lead, a Forfeiture.

_Secondly_, A Workman to let fall his _Mold_, a Forfeiture.

_Thirdly_, A Workman to leave his Ladle in the _Mettle_ Noon or Night,
a Forfeiture.

The Printers of _London_, Masters and Journey-men have every Year a
general Feast, which since the re-building of _Stationers Hall_ is
commonly kept there. This Feast is made by four Stewards, _viz._ two
Masters and two Journey-men; which Stewards, with the Collection of
half a Crown apiece of every Guest, defray the Charges of the whole
Feast; And as they Collect the Half-Crowns, they deliver every Guest a
Ticket, wherein is specified the Time and Place they are to meet at,
and the Church they are to go to: To which Ticket is affixed the Names
and Seals of each Steward.

It is commonly kept on or about _May-day_: When, about ten a Clock
in the Morning they meet at _Stationers Hall_, and from thence go to
some Church thereabouts; Four Whifflers (as Servitures) by two and
two walking before with White Staves in their Hands, and Red and Blew
Ribbons hung Belt-wise upon their left Shoulders. These go before to
make way for the Company. Then walks the Beadle of the Company of
_Stationers_, with the Companys Staff in his Hand, and Ribbons as the
Whifflers, and after him the Divine (whom the Stewards before ingag’d
to Preach them a Sermon) and his Reader. Then the Stewards walk by two
and two, with long White Wands in their Hands, and all the rest of the
Company follows, till they enter the Church.

Then Divine Service begins, Anthems are Sung, and a Sermon Preached to
suit the Solemnity: Which ended, they in the same order walk back again
to _Stationers Hall_; where they are immediately entertain’d with the
City Weights and other Musick: And as every Guest enters, he delivers
his Ticket (which gives him Admittance) to a Person appointed by the
Stewards to receive it.

The Master, Wardens and other Grandees of the Company (although perhaps
no Printers) are yet commonly invited, and take their Seats at the
upper Table, and the rest of the Company where it pleases them best.
The Tables being furnsh’d with variety of Dishes of the best Cheer: And
to make the entertainment more splendid is Usher’d in with Loud Musick.
And after Grace is said (commonly by the Minister that Preach’d the
Sermon) every one Feasts himself with what he likes Best; whiles the
Whifflers and other Officers Wait with Napkins, Plates, Beer, Ale, and
Wine, of all sorts, to accommodate each Guest according to his desire.
And to make their Cheer go cheerfuller down, are entertained with
Musick and Songs all Dinner time.

Dinner being near ended, the Kings and the Dukes Healths is begun, by
the several Stewards at the several Tables, and goes orderly round to
all the Guests.

And whiles these Healths are Drinking, each Steward sets a Plate on
each Table, beginning at the upper end, and conveying it downwards,
to Collect the Benevolence of Charitable minds towards the relief of
_Prinners_ Poor Widows. And at the same time each Steward destributes a
Catalogue of such Printers as have held Stewards ever since the Feast
was first kept, _viz._ from the Year of Christ 1621.

After Dinner, and Grace said, the Ceremony of Electing new Stewards
for the next Year begins: Therefore the present Stewards withdraw into
another Room: And put Garlands of Green Lawrel, or of Box on their
Heads, and White-wands in their Hands, and are again Usher’d out of
the withdrawing Room by the Beadle of the Company, with the Companys
Staff in his Hand, and with Musick sounding before them: Then follows
one of the Whifflers with a great Bowl of White-wine and Sugar in his
Right Hand, and his Whifflers Staff in his Left: Then follows the
Eldest Steward, and then another Whiffler, as the first, with a Bowl
of White-wine and Sugar before the second Steward, and in like manner
another Whiffler before the Third, and another before the Fourth. And
thus they walk with Musick sounding before them three times round the
Hall: And in a fourth round the first Steward takes the Bowl of his
Whiffler and Drinks to one (whom before he resolved on) by the Title
of Mr. Steward Elect: And taking the Garland off his own Head puts it
upon the Steward Elects Head. At which Ceremony the Spectators clap
their Hands, and such as stand on the Tables or Benches, so Drum with
their Feet that the whole Hall is filled with Noise, as applauding the
Choice. Then the present Steward takes out the Steward Elect, giving
him the Right Hand, and walks with him Hand in Hand, behind the three
present Stewards another Round about the Hall: And in the next Round,
as aforesaid, the second Steward Drinks to another with the same
Ceremony as the first did; and so the Third Steward, and so the Fourth,
and then all walk one Round more Hand in Hand about the Hall, that the
Company may take notice of the Stewards Elect. And so ends the Ceremony
of the Day.

This Ceremony being over, such as will go their ways; but others that
stay, are Diverted with Musick, Songs, Dancing, Farcing, _&c._ till at
last they all find it time to depart.




A

DICTIONARY,

    Alphabetically explaining the abstruse VVords and Phrases that
    are used in Typography. VVhich also may serve as an Index to
    direct to the most material Concerns contained in this Volumn.


Though I give you a Dictionary of so many Words and Phrases as are
mentioned in these _Exercises_, yet I do not exhibit this as a
_Dictionary_ so perfect, that all the obstruce Words and Phrases used
among _Printers_, _Letter-cutters_ and _Founders_ are here exposed; for
Words and Phrases many times offer themselves either as Discourse or
Contemplation occurs: Therefore such Words and Phrases as have escaped
my Consideration, will, I hope, be discovered by some Printer, or
others, that may have a kindness for Posterity; not only in this Trade,
but in all Trades and Faculties whatsoever: That so a _Dictionary_ may
in time be compleated, that may render so great a number of Words used
in _England_ by _English-men_ intelligible; which now for want of a
proper Repository to store them in, seem not only Aliens to our Nation,
but barbarous to our Understandings.


A

_Abreviations_ are Characters, or else marks on _Letters_, to signifie
either a Word or Syllable. & is the Character for And, ^e is The
abreviated, ^t is That abreviated; and several other such. Straight
stroaks over any of the Vowels abreviates m or n. They have been much
used by Printers in Old Times, to _Shorten_ or _Get in Matter_; but now
are wholly left off as obsolete.

_Accented Letters_ are much used in _Latin_ Authors, and more in
_Greek_. The Vowels are only accented, and are called _Grave_, thus
accented à; _Acute_, thus accented á; _Circumflex_, thus accented â;
and _Deerecis_, thus accented ä.

_Accents_ are Dashes or Marks over the Vowels.

_Air-hole._ See § 18. ¶ 1.

_Ascending Gage._ See § 12. ¶ 5.

_Ashes._ _Letter-Founders_ call the _Skimmings_ of their _Mettle_, and
the Sweepings of their House _Ashes_; and save both, to send to the
Refiners; who with their fierce Fire draw all the _Mettle_ out of the
_Ashes_. See _Fat Ashes_. See _Lean Ashes_.

_Ash-hole._ See § 18. ¶ 1.

_Assidue_ is Thin Brass Plate, such as adorns _Bartholomew_-Fair
Hobby Horses: _Founders_ use it to _Underlay_ the _Body_, or the
_Mouth-piece, &c._ of their _Mold_, if it be too Thin. See § 16.


B

_Back of a Composing-stick._ See § 9. ¶ 4.

_Backside of the Form_ is the underside that touches upon the
_Correcting-stone_ or _Press-stone_.

_Bad Copy._ See § 24. ¶ 4.

_Bad work._ Any Fault at the _Case_, or _Press_, or at the _Furnace_,
or at the _Dressing-block_, &c. is in Workmens Language called _Bad
Work_.

_Bake._ See § 22. ¶ 10.

_Balls._ See § 24. ¶ 10.

_Ball-knife._ An old blunt-edg’d Knife, that _Press-men_ lay by, to
scrape their _Balls_ with.

_Ball-leathers._ See § 24. ¶ 10.

_Ball-Nails._ The _Nails_ that _Ball-leathers_ are Tackt to the
_Ball-stocks_ with.

_Ball-stocks._ See § 11. ¶ 21.

_Balls Take._ See § 11. ¶ 21.

_Beak._ See § 12. ¶ 2.

_Beam._ See § 12. ¶ 4.

_Beard of a Letter_, is the outer angle of the Square Shoulder of the
_Shank_, which reaches almost up to the _Face_ of the _Letter_; and is
commonly scraped off by the _Founder_: As in § 2. ¶ 2.

_Beard-Gage._ See § 13. ¶ 4.

_Bearer._ See § 4. & § 24. ¶ 7.

_Beat._ See § 24. ¶ 13.

_Beat Fat._ If a _Press-man Takes_ too much _Inck_ with his _Balls_, he
_Beats Fat_. The _Black English Faced Letter_ is generally _Beaten Fat_.

_Beat Lean_, is to _Take_ but little _Inck_, and often: All _Small
Letter_ must be _Beaten Lean_.

_Bed._ See § 24. ¶ 2.

_Benvenue._ See Ancient Customs.

_Bite._ See § 24. ¶ 7.

_Blankets._ Woollen Cloath, or White Bays, to lay between the _Tympans_.

_Blocks._ See § 20. ¶ 3.

_Block-Groove._ ibid.

_Body._ See § 1. ¶ 2. & § 15. ¶ 1.

_Botching Matrices._ See § 17. ¶ 3.

_Bottom line._ See § 14. ¶ 2.

_Bottom of the Matrice._ See §. 17. ¶ 1.

_Bottom Plate._ See §. 15. ¶ 1.

_Bow._ See § 15. ¶ 1.

_Brace_, is a Character _Cast_ in _Mettle_ thus marked [Illustration]
The _Compositer_ is to have these _Cast_ of several Breadths, viz. to
several numbers of _Lines_ of a designed _Body_ (most commonly of _Pica
Body_) that they may hook in or Brace so many _Lines_ as his _Copy_ may
shew him; as at _Charge_ is a Brace of four _Lines_. See also § 24. ¶ 1.

_Brass-Rules._ See § 2. ¶ 2.

_Brayer_ is a round _Wooden Rubber_, almost of the fashion of a
_Ball-stock_, but flat at the bottom, and not above three Inches
Diameter: It is used in the _Inck-Block_ to _Bray_ or _Rub Inck_.

_Break_, a piece of a _Line_. Also the _Mettle_ that is contiguous
to the _Shank_ of a _New Cast Letter_: This _Break_ is formed in the
_Mouth-piece_ of the _Letter-mould_, and is called a _Break_, because
it is always broke from the _Shank_ of a _Letter_.

_Breaking off_ is breaking the _Break_ from the _Shank_ of the
_Letter_. See § 19. ¶ 3.

_Brevier._ See § 2. ¶ 2.

_Broad-side_, a Form of one full _Page_, Printed on one side of a whole
Sheet of Paper.

_Broken Letter._ By broken _Letter_ is not meant the breaking of
the _Shanks_ of any of the _Letters_, but the breaking the orderly
Succession the _Letters_ stood in in a _Line_, _Page_, or _Form_, &c.
and mingling the _Letters_ together, which mingled _Letters_ is called
_Py_.

_Bur._ See _Rag_.


C

_Cannon._ See § 2. ¶ 2.

_Card._ When several _Bodies_ of _Letter_ are _Set_ in a _Page_,
_Compositers_ to _Justifie_ that _Page_ to an exact Length, put a
_Card_ to some _White-line_, or other _Break_ and Lengthen out the
_Page_ the thickness of a _Card_. And _Press-men_ also use a _Card_ for
an underlay. See § 22. ¶ 4. &c. § 24. ¶ 7.

_Cards._ About a Quire of Paper, which _Press-men_ use to _Pull_ down
the Spring or rising of a _Form_, which it is many times subject to by
hard _Locking-up_. See § 24. ¶ 4.

_Carriage_, is a part of the _Press_. For which See § 10. ¶ 9. It is
also a part of the _Letter-Mold_: For which See § 15. ¶ 3.

_Case._ See § 3.

_Case lies._ See § 22. ¶ 1.

_Case is full_, viz. a _Case_ full of _Letter_, wanting no Sorts.

_Case is Low._ When a _Case_ grows empty, _Compositers_ say the _Case
is Low_.

_Case Stands still._ When the _Compositer_ is not at Work at his
_Case_, it is said, _The Case stands still_.

_Cassie Paper._ See § 25. ¶ 5.

_Cast_, is to _Cast Letter_. See § 19. ¶ 1.

_Cast off Copy._ See § 22. ¶ 9.

_Catch of the Bar._ See § 11. ¶ 11.

_Chappel._ See Customs.

                       {  _Paper_ with great _Pages_.
  _Charge_, is to fill {  a _Page_ with long and many _Lines_.
                       {  a _Line_ with many _Letters_.
                       {  a _Pot_ with Stubs and _Antimony_.

_Chase._ See § 9. ¶ 6.

_Cheeks_, is a part of the _Press_; for which See § 10. ¶ 2. and part
of the _Dressing-block-groove_. For which See § 20. ¶ 3.

_Choak._ If a _Form_ be not Washt in due time, the _Inck_ will get
into the Hollows of the _Face_ of the _Letter_: And that getting in of
the _Inck_ is called _Choaking_ of the _Letter_, or _Choaking_ of the
_Form_.

_Claw_ of the _Sheeps-foot_. See § 11. ¶ 20.

_Clean Proof._ When a _Proof_ has but few Faults in it, it is called a
clean _Proof_.

_Close Matter._ _Matter_ with few _Breaks_ or _Whites_.

_Close Work._ ibid.

_Colation Books._ See § 25. ¶ 4.

_Come._ When the _Face_ and _Shank_ of a _Letter_ is _Cast_ perfect,
_Founders_ say, _It Comes well_; if unperfect they say, It does not
come, or _It comes not well_.

_Come Down_, the _Toe_ of the _Spindle_ is said to _Come down_ by
_Pulling_ the _Bar_: So is the _Bar_ when it is _Pull’d_ near the
hither _Cheek_: Also, the _Press-man_ is said to _Come down the Form_
with his _Balls_: For which See § 24. ¶ 13.

_Companion._ See § 24. ¶ 15.

_Comes off._ A _Form_ that receives a good _Impression_, _Comes off
well_, if a bad _Impression_, it _Comes off ill_, or it _Comes not well
off_. Also a phrase used in _Gathering_ of _Books_; for a _Heap_ that
is _Gathered off_ is said to _Come off_. See § 25. ¶ 3.

_Composing Rule._ See § 24. ¶ 4.

_Compositer._ He that _Composes_ or _Sets_ the _Letters_.

_Composing-stick._ See § 9. ¶ 4.

_Copy-money._ See Customs.

_Cording-quire._ See § 25. ¶ 5.

_Correct._ When the _Corrector_ reads the _Proof_, or the _Compositer_
mends the _Faults_ he markt in the _Proof_, they are both said to
_Correct_; the _Correcter_ the _Proof_, the _Compositer_ the _Form_.

_Correcting-stone._ See § 6.

_Corrections._ the _Letters_ markt in a _Proof_ are call’d
_Corrections_. See § 22. ¶ 8.

_Counter Punch._ See § 13. ¶ 2.

_Counting off Copy._ See § 22. ¶ 9.

_Coyns._ See § 8.

_Cramp Irons._ See § 11. ¶ 15.

_Cross Long, Short._ See _Chase_.

_Cull Paper._ See § 25. ¶ 5.

_Cut the Frisket._ See § 24. ¶ 7.


D

_Dance._ See § 22. ¶ 7.

_Dele._ See § 23.

_Destribute._ See § 22. ¶ 3.

_Destributing-stick._ See ibid.

_Devil._ The _Press-man_ sometimes has a Week-Boy to _Take Sheets_, as
they are Printed off the _Tympan_: These Boys do in a Printing-House,
commonly black and Dawb themselves; whence the Workmen do Jocosely call
them _Devils_; and sometimes _Spirits_, and sometimes _Flies_.

_Direction_, the word that stands alone on the Right Hand in the bottom
_Line_ of a _Page_.

_Direction-line._ The _Line_ the _Direction_ stands in.

_Double Letter._ æ œ st sh, and several others _Cast_ on one _Shank_
are called _Double Letters_: ſ and f have several _Ascending Letters_
joyned to them, because their _Beaks_ hanging over their _Stems_ would
(were they not _Cast_ on one _Shank_) ride upon the tops of the Stems
of the adjoyning ascending _Letter_.

_Double._ A Sheet that is twice _Pulled_ and lifted never so little off
the _Form_ after it was first _Pulled_, does most commonly (through
the Play of the _Joynts_ of the _Tympan_) take a double _Impression_:
This Sheet is said to _Double_. Or if the _Press-man Run in_ so, as the
Fore-side of the _Plattin_ Print with the _First Pull_ into part of the
_Second Pull_, or the hind edge of the _Plattin Print_ with his _Second
Pull_ into part of his _First Pull_; either of these twice Printing is
called _Doubling_. _Doubling_ also happens through the loose _Hanging_
of the _Plattin_, and through too much play the Tennants of the _Head_
may have in the _Mortesses_ of the _Cheeks_, and indeed through many
Wearings and crasienesses that often happens in several parts of the
_Press_. See § 24. ¶ 18.

_Dress_ a _Chase_, or _Dress_ a _Form_, is all one. It is to fit the
_Pages_ and the _Chase_ with _Furniture_ and _Quoins_. See § 22. ¶ 7.

_Dress Letter._ See § 21. ¶ 1.

_Dressing Block._ See § 20. ¶ 3.

_Dressing Block-groove._ ibid.

_Dressing Hook._ See § 20. ¶ 1.

_Dressing Knife._ See § 20. ¶ 4.

_Dressing Sticks._ See § 19. ¶ 6.

_Drive out._ When a _Compositer Sets Wide_, he is said to _Drive out_
or _Run out_. In _Founding_, If _Letter_ be _Cast_ too Thick in the
_Shank_ it _Drives out_, or if it be _Cast_ too Thick in any part of
the _Shank_, as the _Head_, the _Foot_, the sides at _Head_ or _Foot_,
or _Body_ at _Head_ or _Foot_: They say, _It Drives out at Head_, _It
Drives out at Foot_, &c.


E

_Empty Case._ See § 22. ¶ 3. & _See Case is Low._

_Easie Pull._ See § 24. ¶ 5.

_Easie Work._ See § 22. ¶ 4. And _Great Letter_ and a _Small Form_ the
_Press-man_ calls _Easie Work_.

_Empty Press._ A _Press_ that Stands by, which no Workman Works
at: Most commonly every _Printing-House_ has one of them for a
_Proof-Press_: viz. to make _Proves_ on.

_English Body._ See § 1. ¶ 2.

_English Face._ Plate 26. 27. are _English Face Letters_.

_Even Page._ The _First Page_ of a _Sheet_ or _Form_ is called an _Odd
Page_, but the _Second_, _Fourth_, _Sixth_, or any other even numbred
_Page_ is called an _Even Page_. See § 22. ¶ 7.


F

_Face of a Letter_, See § 13. ¶ 13.

_Face of a Page, or Form._ The Superficies of a _Page_ or _Form_, where
the _Faces_ of every _Letter_ lies in the same Plain.

_Face-Gage._ See § 12. ¶ 5.

_Face of a Matrice._ See § 17. ¶ 1.

_Fat Ashes._ _Founders_ call their Ashes _Fat_, if they are
considerably Heavy, because then they have much _Mettle_ in them.

_Fat._ See _Beat Fat_.

_Fat Face_, or _Fat Letter_, is a broad Stemmed _Letter_.

_Female Gage_, _Screws_, &c. The _Hollow Gage_, or _Hollow Screw_ that
receives its _Match Gage_ or _Screw_, &c.

_First._ See § 24. ¶ 15.

_First Form._ The _Form_ the _White Paper_ is Printed on, which
generally by Rule ought to have the _First Page_ of the Sheet in it.

_First Page._ See § 22. ¶ 7.

_First Pull._ See § 11. ¶ 16. & § 24. ¶ 7. Considerations 8. & § 24. ¶
15.

_Flat-Gage._ See § 12. ¶ 3.

_Flat Table._ See § 12. § 8.

_Fly._ See _Devil_.

_Follow._ viz. _See if it follows_, is a Term used as well by the
_Corrector_ as by the _Compositer_ and _Press-man_. It is used by
the _Corrector_ and _Compositer_ when they examine how the beginning
_Matter_ of a succeeding _Page_ agrees with the ending _Matter_ of the
precedent _Page_: And how the _Folio’s_ of those _Pages_ properly and
numerically follow and succeed one another, Lest the _Pages_ should be
_Transposed_. But the _Press-man_ only examines that the _Folio_ and
beginning word of the _Second Page_, and _Signature_ of the _First_
and _Third Page_ (when the _Reteration_ is on the _Press_) follows the
_Folio_ and _Direction_ of the _First Page_, and the _Signature_ of
the _Third Page_ follows the _Signature_ of the _First Page_, orderly
according to the Volumne, lest the _Form_ should be laid wrong on the
_Press_.

_Foot of the Letter._ The _Break-end_ of the _Shanck_ of a _Letter_.

_Foot-line._ See § 14. ¶ 12.

_Foot of a Page._ The bottom or end of a _Page_. See § 22. ¶ 7.

_Foot-Step._ See § 11. ¶ 21. & § 24. ¶ 7. & Considerations 11.

_Foot-stick._ See § 8.

_Form._ The Pages when they are fitted into a _Chase_.

_Foul Proof._ When a _Proof_ has many _Faults_ markt in it.

_Fount._ Is the whole number of _Letters_ that are _Cast_ of the same
_Body_ and _Face_ at one time. See § 2. ¶ 2.

_Frisket._ See § 10.

_Froze out._ In Winter when the Paper is Froze, and the _Letter_ Froze,
so as the Workmen cannot Work. They say, _They are Froze out_.

_Fryer._ When the _Balls_ do not _Take_, the _Un-taking_ part of
the _Balls_ that touches the _Form_ will be left White, or if the
_Press-men_ Skip over any part of the _Form_, and touch it not with
the _Balls_, though they do _Take_, yet in both these cases the White
places is cal’d a _Fryer_.

_Full Form_ or _Page_. A _Form_ or _Page_ with few or no _Breaks_ or
_White-lines_.

_Full Press._ When two Men Work at the _Press_. It is called a _Full
Press_.

_Furnace._ See § 18.

_Furnace open_, or _Wind Furnace_. See § 18. ¶ 2.

_Funnel._ See § 18.

_Furniture._ See § 8.


G

_Gage._ Gages mentioned in this Volumne have an adjunct Name, as _Flat
Gage_, _Joynt Gage_, _Italick Gage_, _Long Gage_, _Male Gage_, _Short
Gage_, _Standing Gage_, _Steel Gage_, which See respectively.

_Galley._ See § 5.

_Galley-Slave._ See the Customs.

_Gallows._ See § 10.

_Garter._ See § 11. ¶ 14.

_Gather Books._ See § 25. ¶ 3.

_Geat_, is the little Spout or Gutter made in the Brim of _Casting
Ladles_.

_Get in._ _Matter_ is _Got in_ in a _Line_, _Page_, _Sheet_ or _Book_,
if _Letter_ be Thinner _Cast_ than the _Printed Copy_ the _Compositer
Sets_ by. Or _Matter_ is _Got in_ if the _Compositer Sets Closer_: Or
if he _Widens_ his _Measure_; or puts more _Lines_ in a _Page_. See a
_Line_.

_Girts._ See § 11. ¶ 21.

_Good Colour._ Sheets Printed neither too Black or too White.

_Good of the Chappel._ Forfeitures and other _Chappel_ Dues are
Collected for the _Good of the Chappel_, viz. to be spent as the
_Chappel_ approves.

_Good Work_, is called so in a twofold sense: The Master-Printer calls
it _Good Work_ when the _Compositers_ and _Press-men_ have done their
duty; and the Work-men call it _Good Work_, if it be _Light Easie
Work_, and they have a good price for it.

_Go up the Form._ See § 24. ¶ 13.

_Great Cannon._ See § 2. ¶ 2.

_Great Numbers._ See _Lay on_. Above 2000 Printed on one Sheet are
accounted _Great Numbers_.

_Great Primmer._ See § 2. ¶ 2.

_Gutter-stick._ See § 8.


H

_Hag._ See § 15. ¶ 1.

_Half a Line._ When _Letter Drives out_ or _Gets in_ in the _Body_, in
a number of _Lines_, _Founders_ say, _It Drives out or Gets in_ Half
a _Line_, a whole _Line_, a quarter of a _Line_, &c. _viz._ _Half a
Body_, a _whole Body_, a quarter, _&c._ of a _Body_.

_Half a Press._ When but one Man Works at the _Press_, It is called
_Half a Press_.

_Half Work._ He that Works but three days in the Week, does but _Half
Work_.

_Hammer end of a Punch._ See § 13. ¶ 13.

_Hangs._ See _Letter Hangs_. & § 22. ¶ 4.

_Hang the Plattin._ See § 24. ¶ 4.

_Hang up Paper._ See § 25. ¶ 1.

_Hard Inck._ _Inck very well Boyled._ See § 11. ¶ 23.

_Hard Justifying._ See § 22. ¶ 4.

_Hard Pull._ See § 24. ¶ 5.

_Hard Work._ See § 22. ¶ 4. And small _Letter_ and a _Large Form_,
_Press-men_ call _Hard Work_.

_Head._ See § 10. ¶ 5.

_Head Line._ See § 14. ¶ 2.

_Head of a Page._ The top or beginning of a _Page_. See § 22. ¶ 7.

_Head-stick._ See § 8.

_Heap._ So many Reams or Quires as is _Set out_ by the
_Warehouse-keeper_ for the _Press-man_ to _Wet_, is call’d a _Heap_:
But then it is call’d a _Dry Heap_, till the _Press-man_ have _Wet_ it,
and then it is indeed called a _Heap_. See also § 25.

_Heap holds out._ When it hath its full intended Number of Sheets.

_Heavy Work._ See _Hard Work_.

_Heighth._ See _High against Paper_.

_High against Paper._ If a _Punch_ be not Sunk deep enough into the
_Matrice_, the _Letter Cast_ will not stand high enough against Paper.
And if it be Sunk too deep into the _Matrice_, the _Letter Cast_ will
be too _High_ against Paper. See § 17. ¶ 2.

_Holds out_, or _Holds not out_. These Terms are applicable to the
Quires of _White-paper_, to _Wrought-off Heaps_, to _Gathered Books_,
and to sorts of _Letter_ &c. If Quires of White Paper have twenty
five Sheets a piece in them, they say, _The Paper holds out five and
twenties_. Of _Wrought off Heaps_, the _Heap_ that _Comes off_ first
in _Gathering_ is said, _Not to Hold out_. Of _Gathered Books_, if
the intended number of perfect _Books_ are _Gathered_, they say the
_Impression Holds out_: But if the intended number of _Perfect Books_
cannot be _Gathered_ off the _Heaps_, they say the _Impression Holds
not out_. And so for Sorts of _Letter_, either when it is in the
_Founding House_, or in the _Printing House_.

_Hole._ By a _Hole_, in Printers dialed, is meant and understood a
place where private Printing is used, _viz._ the Printing of Unlicensed
_Books_, or Printing of other mens _Copies_. Many Printers for Lucre
of Gain have gone into _Holes_, and then their chief care is to get a
_Hole_ Private, and Workmen Trusty and Cunning to conceal the _Hole_,
and themselves.

_Holy-days._ See Customs.

_Hollows of a Letter._ The _Sinking in_ of the _Counter-Punch_ into
the _Punch_ makes these _Hollows_, so does Sculping into the _Face_ of
the _Punch_. See § 9. ¶ 4.

_Hooks._ See _Hags_.

_Horse._ The Form or Bench _Press-men_ set the _Heaps_ of Paper on. See
also Customs.

_Horse-flesh._ If any Journeyman set down in his Bill on _Saturday_
Night more Work than he has done, that Surplusage is called
_Horse-flesh_: And he abates it in his next Bill.

_Hose._ See § 11. ¶ 14.

_Hours._ _Press-men_ reckon their Work by Hours, accounting every
_Token_ to an Hours Work: And though it be the same effectually with
_Tokens_, yet they make their prizes of different Work by the Hour; and
it passes current for a _Token_. If two Men Work at the _Press_ ten
Quires is an Hour; if one Man, five Quires is an Hour.


I

_Jaws._ See § 15. ¶ 6.

_Imperfections of Books._ See § 25. ¶ 3.

_Imperfections of Letters._ When the _Founder_ has not _Cast_ a
proportionable number of each sort of _Letter_, the wanting _Letters_
are called _Imperfections_, as making the rest of the _Fount_
unperfect. See _Sorts_.

_Impose._ See § 22. ¶ 7.

_Impression holds out._ See _Holds out_.

_In-Page._ See _Out-Page_.

_Insertion._ If the _Compositer_ have left out Words or _Lines_, the
_Corrector_ inserts it, and makes this mark ʌ where it is _Left out_,
which is called the mark for _Insertion_. See § 23.

_Joynt flat Gage._ See § 14. ¶ 4.

_Joynts._ See § 10. ¶ 9.

_Inner Tympan._ See § 11. ¶ 10.

_Italick Gage._ See § 12. ¶ 6.

_Justifie a Matrice._ See § 17. ¶ 2.

_Justifie a Mold._ See § 16.

_Justifie a Stick_, viz. a _Composing-stick_. See § 22. ¶ 4.


K

_Keep in_, is a caution either given to, or resolved on, by the
_Compositer_, when there may be doubt of _Driving out_ his _Matter_
beyond his _Counting off_, wherefore he _Sets close_, to _Keep in_.

_Keep out_, is a caution either given to or resolved on, by the
_Compositer_, when there may be doubt of _Getting in_ his _Matter_ too
fast for his _Counting off_: Wherefore he _Sets Wide_, to _Drive_ or
_Keep out_.

_Kern._ See § 19. ¶ 5.

_Kerning-Knife._ See § 19. ¶ 5.

_Kerning-stick._ See § 19. ¶ 5.

_Knife backt Sculptor_, is a Sculptor with a thin edge on its back.

_Knife-file._ A file with a thin edge.

_Knock up Balls._ See § 24. ¶ 10.

_Knock up Books._ See § 25. ¶ 3.

_Knock up a Letter._ It sometimes happens with old _Letter_, that a
_Letter_ may be worn so low that it will not Print well in a _Page_:
The Workman then takes that _Letter_ out of the _Form_, and holds the
_Shank_ of it upon the side of the _Chase_, and with the _Head_ of
the _Shooting-stick_ beats lightly upon the _Foot_ of the _Shank_,
till he have battered _Mettle_ enough out of the _Shank_, to raise it
higher against Paper: If it prove too high against Paper, he Rubs the
bottom of the _Shank_ upon the side of the _Chase_ to rub it down: This
Operation seldom happens, unless another of the same sort of _Letter_
is wanting, and hard to come by: For else the _Compositer_ will bow the
_Letter_, and pop it into a Waste _Box_ in his _Case_, where he puts
all naughty _Letters_, that he may not be troubled with them another
time.

_Knot._ See § 20. ¶ 3.


L

_Ladles._ See § 18. ¶ 3.

_Lay in Sheets._ When the _Press-man_ lays _Sheets_ on the _Tympan_, it
is stiled _Laying in Sheets_.

_Lay out Sheets._ When the _Press-man_ takes _Sheets_ off the _Tympan_,
and lays them on the _Heap_, it is stiled _Laying out Sheets_.

_Lay on._ A phrase used for the Number of Books to be Printed. Thus
they say, There is 1000, 2000, 3000, _&c._ _Laid on_. See _Great
Numbers_. See _Small Numbers_.

_Lean Ashes._ Founders call their Ashes _Lean_, if they are _Light_;
because then they have little _Mettle_ in them. See _Fat Ashes_.

_Lean._ See Beat Lean.

_Lean Face._ A Letter whose Stems and other Stroaks have not their full
width.

_Lean Stroaks._ The fine Stoaks in a Letter.

_Leather Groove._ See § 17. ¶ 2.

_Letter-Board._ See § 7.

_Letter Hangs._ If the _Compositer_ has been careless in Emptying his
_Composing-stick_, so as to set the _Letter_ loosely down in the
_Galley_, and they stand not perfectly Square and Upright, the _Letter_
Hangs: Or if after _Overrunning_ on the _Correcting-stone_ he has not
Set his _Letter_ in a Square position again, before he _Locks up_, (for
we may suppose when the _Pages_ are Open’d the _Letter_ stands Loose,
and more or less out of Square) So then, the _Matter_ standing thus out
of Square, is said to _Hang_. See § 22. ¶ 4, 7.

_Light Work._ See _Easie Work_.

_Liner._ See § 12. ¶ 7.

_Lining-Stick._ See § 16. ¶ 2.

_Lock up._ See § 22. ¶ 7. and § 21. ¶ 1.

_Long Cross._ See _Chase_.

_Long Gage._ See § 12. ¶ 5.

_Long Primmer._ See § 2. ¶ 2.

_Long Pull._ See § 24 ¶ 5.

_Loose Justifying._ See § 22. ¶ 4.

_Low against Paper._ See _Heigth against Paper_.

_Low Case._ When the _Compositer_ has _Compos’d_ almost all his
_Letters_ out of his _Case_, he says his _Case_ is _Low_.

_Lower Case._ See § 3.


M

m _Thick_. See § 13. ¶ 1.

_Make a Measure._ See § 22. ¶ 4.

_Make ready the Form._ See § 24. ¶ 7.

_Male Gage._ The outer _Gage_, or outer _Screw_, that enters or fits
into its _Match Gage_ or _Screw_, &c.

_Mallet._ See § 9.

_Matrice._ See § 17. ¶ 1.

_Matter._ The series of the discourse of the _Compositers Copy_.

_Measure._ The width of a _Page_. See _Composing-Stick_.

_Mettle._ See § 18. ¶ 2.

_Mold._ See § 15. ¶ 1.

_Monk._ When the _Press-man_ has not _Destributed_ his _Balls_, some
splotches of _Inck_ may lye on one or more of them, which in _Beating_
he delivers upon the _Form_; so that the Sheet Printed on has a black
blotch on it: Which Blotch is called a _Monk_.

_Mouth-piece._ See § 15. ¶ 1.


N

n _Thick_. See § 13. ¶ 1.

_Naked Form_, or _Page_, is when the _Furniture_ is taken from about
all sides of the _Form_ or _Page_. See § 22. ¶ 7.

_Neck of a Letter._ So much of the _Punch_ as is Sunk into the
_Matrice_ is called the _Neck_; and when that _Letter_ is _Cast_ of
_Mettle_, it is so much as comes above the Square of the _Shank_,
_viz._ above the _Beard_.

_Nick._ See § 15. ¶ 1.

_Nomparel._ See § 2. ¶ 2.

_Notch of the Matrice._ See § 17. ¶ 2.

_Notes._ _Quotations_ down the side of a _Page_ are called _Notes_.

_Number Laid_ on. See _Lay on_.

_Nut of the Spindle._ The _Female Screw_ that receives the _Worms_ of
the _Spindle_.


O

_Odd Page._ The First, Third, Fifth, Seventh, and all un-even numbred
_Pages_ are _Odd Pages_.

_Off._ A _Press-man_ usually says, _I am off_, meaning he has _Wrought
off_ his _Token_, his _Heap_, his _Form_.

_Open Matter._ Full of _Breaks_ and _Whites_.

_Open Furnance._ See § 18. ¶ 2.

_Open the Form._ See § 22. ¶ 2.

_Open Work._ See _Open Matter_.

_Over-run._ See § 22. ¶ 8.

_Out._ A _Compositer_ usually says, _I am Out_, meaning he has _Set
out_ his _Page_, _Form_, or _Copy_. See also § 23.

_Out-Page._ In _Octavo’s_, _Twelves_, _Sixteens_, every _Out-side Page_
in the Sheet is called an _Out-Page_, the rest are called _In-pages_.

_Out of Register._ Bad _Register_. See § 24. ¶ 7.


P

_Pale Colour._ If there be not _Blacking_ enough in the _Inck_, or the
_Form_ be _Beaten_ with too _Lean Balls_, the Work will be said to have
a _Pale Colour_.

_Pallat._ See § 15. ¶ 1.

_Pan._ The great _Ladle_ that _Founders_ melt their _Mettle_ in, when
they are _Casting Letters_, is called the _Pan_. See also § 9. ¶ 18.

_Paper-bench._ See _Horse_.

_Paper-board._ See § 7.

_Paper the Case._ See § 22. ¶ 1.

_Paper Windows._ See Customs.

_Paper up Letter._ _Pages._ See § 22. ¶ 10.

_Pearl._ See § 2. ¶ 2.

_Peel._ See § 11. ¶ 22.

_Pelts._ Sheep Skins untan’d, used for _Ball Leathers_.

_Pica._ See § 2. ¶ 2.

_Picks._ When either pieces of the Skin or Film that grows on _Inck_
with standing by, or any dirt get into the _Hollows_ of the _Face_
of the _Letter_, that Film or Dirt will fill or choak up the _Face_
of the _Letter_, and Print Black; and is called a _Pick_; because the
_Press-man_ with the point of a Needle, picks it out.

_Pidgeon-holes._ See § 22. ¶ 24.

_Plattin._ } _Plattin-hooks._ } _Plattin-pan._ } See §9. ¶ 18
_Plattin-plate._ }

_Play with Quadrats._ See Customs.

_Plow._ See § 20. ¶ 5.

_Points._ See § 11. ¶ 19. Also , ; : . - ? ! (’) [ * § †, and other
marks, are all by _Printers_ and _Founders_ called _Points_.

_Point-holes._ The two Holes the _Points_ prick in a Sheet of Paper.
See § 22. ¶ 7.

_Point-Screws._ See § 11. ¶ 9.

_Press._ See § 10.

_Press-man._ See § 24. ¶ 1.

_Press goes._ When the _Press-men_ are at Work, the _Press_ is said to
_Go_.

_Press goes Hard_, _Heavy_. See § 24. ¶ 5. and _Press goes Easie_,
_Light_.

_Press stands still._ When the _Press-men_ are not at Work, the _Press_
is said to _stand still_.

_Press-stone._ See § 11. ¶ 17.

_Proof._ See § 24. ¶ 18.

_Proof Letters._ See § 16. ¶ 2.

_Proof Press._ See _Empty Press_.

_Print Hand._ See Plate 11, 12, 13, 14, 15, 16, 17.

_Pull_---- _Easie_, _Long_, _Short_, _Soft_. See § 24. ¶ 5.

_Punch._ See § 13. ¶ 1.

_Py._ when a _Page_ is broken, those broken _Letters_ are called _Py_.
See _Broken Letter_.


Q

_Quadrats._ See § 19. ¶ 1.

_Quarters._ _Quarto’s_, _Octavo’s_ and _Twelves Forms_ are _Imposed_ in
_Quarters_. They are called _Quarters_, not from their equal divisions;
but because they are _Imposed_ and _Lockt up_ apart. Thus half the
_Short-Cross_ in a _Twelves Form_ is called a _Quarter_, though it be
indeed but one Sixth part of the _Form_.

_Quoins._ See § 8.

_Quotation Quadrats_, Are _Cast_ the heighth of the _Quotation_. They
are _Cast_ of different _Bodies_, that the _Compositer_ may have choice
of them to _Justifie_ his _Notes_ or _Quotations_ exactly against the
designed _Line_ of the _Page_.


R

_Racks._ See § 11. ¶ 22. & § 12. ¶ 19.

_Rag._ When _Letter Cast_ has a Bur on any of its edges, that Bur is
called a _Rag_.

_Register._ See § 15. ¶ 1. & § 24. ¶ 7.

_Register-sheet._ The Sheet or Sheets Printed to make _Register_ with.

_Reteration._ The _Second Form_, or the _Form_ Printed on the backside
of the _White Paper_.

_Revise._ See § 23.

_Ribs._ See § 10. ¶ 8. & § 11. ¶ 15.

_Riglet._ Is a sort of _Furniture_ of an equal Thickness all its
Length. It is _Quadrat_ high, of several Thicknesses, viz. a
_Nomparel_, _Brevier_, _Long-primmer_, _Pica_, &c. Thick.

_Rince the Form._ See § 22. ¶ 2.

_Rincing-Trough._ The Trough _Forms_ are _Rinced_ in.

_Rise._ A _Form_ is said to _Rise_, when in Rearing it off the
_Correcting-stone_ no Letter or _Furniture_, &c. stay behind. See § 22.
¶ 7.

_Rounce._ See § 11. ¶ 16.

_Rowl up the Ball Leathers._ See § 24. ¶ 18.

_Rub Letter._ See § 19. ¶ 4.

_Rubs not._ When the _Shank_ is _Cast_ too _Thin_, that in Rubbing part
of the _Face_ or the _Topping_ or _Footing_ _Rubs_ away: _Founders_
say, _It does not Rub_.

_Rubs well._ When the _Shank_ of a _Letter_ has a proper Thickness,
_Founders say, It Rubs well_.

_Rub out Inck._ See § 24. ¶ 11.

_Rules._ viz. _Brass Rules_. See § 2. ¶ 2.

_Run in the Carriage._ See § 24. ¶ 15.

_Runs on Sorts_, when _Matter_ runs much on some few Sorts of
_Letters_, they say, _it Runs on Sorts_, See _Sorts_.

_Run out from Copy._ See _Drive out_.


S

_Scaboard._ See § 8.

_Second at the Press._ See § 24. ¶ 15.

_Second Pull._ See § 11. ¶ 16. Considerations 8. & § 24. ¶ 15.

_Sets Foul._ See _foul Proof_.

_Sets Clean._ See _Clean Proof_.

_Sets Close._ See _Get in_.

_Sets Wide._ See _Drive out_.

_Set out Paper._ See § 25. ¶ 5.

_Set the Rounce._ See § 24. ¶ 3.

_Sets off._ Work that is newly _Wrought off_ at the _Press_ often
_Sets off_, especially if it be _Fat Beaten_ with _Soft Inck_: For
when it comes to be _Beaten_, or sometimes only hard prest by the
_Book-binder_, the moist _Inck_ spreads and delates it self round about
the _Face_ of every _Letter_, and sullies and stains the whole _White
Paper_.

_Shake._ See § 19. ¶ 1.

_Shank_, the square _Mettle_ the _Face_ of a _Letter_ stands on, is
called the _Shank_ of a _Letter_.

_Sheeps-foot._ See § 11. ¶ 20.

_Shooting-stick._ See § 9. ¶ 2.

_Short-cross._ See _Chase_.

_Short-Page._ See § 12. ¶ 5.

_Side-stick._ See § 8.

_Signature._ See § 22. ¶ 4.

_Sinck Matrices._ See _Sinck Punches_.

_Sinck Punches._ See § 17. ¶ 1.

_Slice._ See § 11. ¶ 11.

_Sliding-Gage._ See § 12. ¶ 4.

_Sliding-Socket._ See § 12. ¶ 4.

_Small Numbers._ Under 1500 _Laid on_ is accounted a _Small Number_.
See _Great Numbers_; and See _Lay on_.

_Smoak Vent._ See § 18. ¶ 1.

_Smout._ Workmen when they are out of constant Work, do sometimes
accept of a Day or twos Work, or a Weeks Work at another
Printing-house: this By-work they call _Smouting_.

_Soaking Pull._ See § 24. ¶ 5.

_Soft Pull._ ibid.

_Soft Inck._ _Inck_ or _Varnish_ moderately boiled. See § 11. ¶ 23.

_Solace._ See Customs.

_Sop the Balls._ When a _Press-man_ has taken too much _Inck_, he is
said to _Sop the Balls_.

_Sorts._ The _Letters_ that lye 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._

_Space Thick_, _Space Thin_. See § 12. ¶ 1.

_Spindle._ See § 11. ¶ 12. 16.

_Spirit._ See _Devil_.

_Spring._ See § 15. ¶ 1.

_Squabble._ A _Page_ or _Form_ is _Squabbled_ when the _Letter_ 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.

_Stem._ The strait _Flat_ stroaks of a straight _Letter_ is called
_Stem_. See § 14. ¶ 1.

_Stick._ The _Composing-stick_ commonly so called.

_Stickfull._ See § 22. ¶ 4.

_Stiff Justifying._ See § 22. ¶ 4.

_Stirring-Pote._ See § 18. ¶ 2.

_Stoak-hole._ See § 18. ¶ 1.

_Stoaking-Rod._ A Rod of thick Wyer put into such an Handle as is the
Handle of a _Letter-Ladle_. Founders use it to stir up the Fire in the
_Furnace_.

_Stone._ See § 19. ¶ 1.

_Stool._ See § 15. ¶ 1.

_Stop._ See § 19. ¶ 1.

_Strip a Form._ See § 22. ¶ 2.

_Stroaks_, are fat, lean, fine, hair. See § 14. ¶ 2.

_Superiour Letters_, are often set to _Marginal Notes_: They are
_Letters_ of a _Small Face_, high _Justifyed_ by the Founder in the
_Mold_ near the _Top-Line_.

_Swash-Letters._ See Plate 15.


T

_Tache._ A small Board with _Notches_ in its Fore-edge; either nailed
upon the Fore-edge of the _Work-Bench_, or screwed into the _Vice_; so
as the _Notches_ may stand forwards to rest the _Shank_ of a _Punch_
in. See § 12 ¶ 9.

_Tail of Letters._ See § 14. ¶ 2.

_Take off._ See Customs.

_Taking off._ See § 22. ¶ 3.

_Take up._ See § 22. ¶ 3.

_Take up a Sheet._ See Customs.

_Take Inck._ See § 24. ¶ 10.

_Teze Wooll, or Hair_. See § 24. ¶ 18.

_Thick Letter._ A _Fount of Letter_ that _Rubs_ not high enough into
the _Neck_ is called _Thick Letter_; and consequently will _Drive out
Matter_. See § 17. ¶ 2.

_Thick Space._ See § 13. ¶ 1.

_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.

_Throat._ See § 15. ¶ 1. & 6.

_Till._ See § 10. ¶ 6.

_Toe of the Spindle._ See § 11. ¶ 12.

_Token._ See § 25. ¶ 5.

_Token Sheet._ See § 24. ¶ 9. 15.

_Tongue._ See § 20. ¶ 3.

_Tooth of the Plow._ The pointed edge that Cuts the Groove in the
bottom of the Shanks in the Blocks. See § 21. ¶ 5.

_Transpose._ See § 22. ¶ 7. & § 23.

_Turn for a Letter._ It often happens when _Matter_ Runs upon _Sorts_,
especially in _Capitals_, or some other Sorts seldom used, that the
_Compositer_ wants that Sort the _Matter Runs on_; wherefore he is
loath to _Destribute 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 easie 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 _Chappel_, when any of the Workmen complain
of want of Money, or any thing else, he shall by another Workman be
answered, _Turn for it_, viz. Make shift for it.

_Tympan._ See § 10. ¶ 10.

_Tympan-Cloath._ See § 24. ¶ 18.

_Tympan-sheet._ See § 24. ¶ 7.


V

_Vantage._ When a _White-page_ or more happens in a Sheet, the
_Compositer_ calls that _Vantage_: So does the _Press-man_, when a
_Form_ of one _Pull_ comes to the _Press_.

_Varnish._ See § 11. ¶ 23.

_Visorum._ See § 22. ¶ 4.

_Un-lock the Form._ See § 22. ¶ 2.

_Underlaid._ A Phrase used by _Press-men_ for the _Light_ and _Easie_,
or _Heavy_ and _Hard Running in_ of the _Carriage_. Thus they say, _The
Press goes light and easie under Hand_, or it _goes heavy or hard
under Hand_.

_Upper Hand_, when the _Spindle_ goes soft and easie, the _Press-men_
say, _It goes well under Hand_, or _Above Hand_. But the contrary if it
goes _Hard and Heavy_.


W

_Wash the Form._ See § 24. ¶ 18.

_Way-goose._ See Customs.

_Weak-Inck._ See _Soft-Inck_.

_Wedge._ See § 20. ¶ 3.

_White-line._ A Line of _Quadrats_.

_White-Page._ A _Page_ that no _Matter_ comes in.

_White-Paper._ Although the first _Form_ be Printed off, yet
_Press-men_ erronically call that _Heap White-Paper_, till the
_Reteration_ be Printed.

_Whole-press._ See _Full-Press_.

_Wind-furnace._ See _Open-furnace_.

_Wind-hole._ See § 18. ¶ 1.

_Wood._ See § 15. ¶ 11.

_Wyer._ See § 15. ¶ 9.


FINIS.




TYPOGRAPHICAL CORRECTIONS


                   In                   In
  Page   Line   Original              Reprint

   17      9     _wieght_             _weight_.
   17     23     _so_                 _to_.
   19     15     _witout_             _without_.
   20     23     _thanthe_            _than the_.
   22     15     _batttens_           _battens_.
   36     21     _containiug_         _containing_.
   42     31     _hyphen_ inserted after _Ten_.
   47     25     _clapse_             _claspe_.
   51     15     _an_                 _and_.
   56      3     _betwen_             _between_.
   63      7     _Whether_            _Whither_.
   64      4     doublet of _it_ corrected.
   65      5     doublet of _it_ corrected.
   65     18     _to_                 _too_.
   70     19     _Serews_             _Screws_.
   77     15     doublet of _much_ corrected.
   87     17     doublet of _the_ corrected.
   89      1     _parenthesis_ inserted.
   90      3     _in_                 _into_.
   92      9     _parenthesis_ inserted.
  103     12     _Pnnch_              _Punch_.
  120      5     doublet of _the_ corrected.
  120     10     _a_                  _at_.
  136     30     _peice_              _piece_.
  141     16     _Bottome_            _Bottom_.
  145      9     _he_                 _the_.
  150     24     _puuch_              _punch_.
  200     26     _in_                 _is_.
  211     17     _nor_                _not_.
  213     24     _Lettets_            _Letters_.
  221     26     _n_                  _in_.
  222     11     _Rnn_                _Run_.
  237     16     _a bout_             _about_.
  239     16     _thrust_             _thrusts_.
  247      3     _Chapher_            _Chapter_.
  247     11     _Over-rnn_           _Over-run_.
  248     30     _Fnrniture_          _Furniture_.
  253      7     _proeeed_            _proceed_.
  267     16     _performanee_        _performance_.
  276      2     _hatdens_            _hardens_.
  294     24     _Rnns_               _Runs_.
  297      6     _wiIl_               _will_.
  303     15     _Wot_                _Wet_.
  304     26     _Srrong_             _Strong_.
  307     11     _is_                 _it_.
  307     27     _Bnll_               _Ball_.
  308      6     _Seeeps_             _Sheeps_.
  322     22     _parenthesis_ inserted.
  332     22     _thc_                _the_.
  378     19     _to_                 _too_.
  391      8     _o_                  §
  392      9     _a_                  §
  393      6     _ot_                 _or_.




NOTES


TITLE. At the Sign of Atlas. In Moxon’s time the houses in London and
elsewhere were not numbered. A house of business was specified and
identified by a sign painted with some peculiar device that could be
recognized by people who could not read.


THE PORTRAITS. Satisfactory authority cannot be given for the accuracy
of the portrait of Gutenberg. Moxon copied it from an earlier German
book. The portrait of Coster is a copy of the print first shown by
Scriverius in 1635. Van der Linde doubts its genuineness. The portrait
of Moxon may be accepted as truthful. It first appeared in the fourth
edition (1686) of Moxon’s “Tutor to Astronomie and to Geographie.”


THE DEDICATION. “The Right Reverend Father in God, John, Lord Bishop of
Oxford and Dean of Christ Church,” was Doctor Fell, one of the three
persons to whom this work was dedicated. Doctor Fell had commended
himself to men of letters by a recent gift to the University of Oxford
of printing materials of great value. In a report written by him in
1679, he mentions “the low estate of the manufacture of printing” in
England, and in the University, as the motive that induced him and
associate members of the University, in 1672, to take “upon themselves
the charges of the press in the said University, and at the expence of
above four thousand pounds furnisht from Germany, France and Holland,
an Imprimery, with all the necessaries thereof, and pursued the
undertaking so vigourously, as in the short compass of time which hath
since intervened to have printed many considerable books in Hebrew,
Greek and Latin, as well as in English; both for their matter and
elegance of paper and letter, very satisfactory to the learned abroad
and at home.” Bagford said that the printing material so presented by
the Bishop could not be equaled by any of the great printing-houses on
the Continent. A specimen sheet of the types of the Oxford University
Press dated 1695 fully warrants this assertion. The types, punches, and
materials then given by Bishop Fell are insufficiently described by
Rowe Mores in his “English Typographical Founders and Founderies,” on
pages 44 and 45. A brief description of the Oxford Press as it now is,
with suitable illustrations, was published by the Oxford University in
1894.

Bishop Fell was equally interested in paper-making. He encouraged
George Edwards, “a cutter in wood of the great letters,” and an
engraver of maps and other things made use of in the printing of books,
to set up a paper-mill at Wolvercote. Bishop Fell died in 1686. Tom
Brown made him the subject of his famous epigram:

    I do not love thee, Doctor Fell,
    The reason why I cannot tell;
    But this alone I know full well,
    I do not love thee, Doctor Fell.


2, 3. THE ORIGIN OF THE INVENTION. Moxon’s notice of the invention
of typography records a general belief of the writers of that time.
The Coster legend had been published, but it was not accepted as
unimpeachable history. The weight of authority favored the claims
made for Gutenberg. The “Tullies Offices” (Cicero, De Officiis) of
1465, printed by “Johanes Hust” (Fust) and “Petri de Geurshem” (Peter
Schoeffer of Gernsheim), is one of the later books of these printers.
The book generally received as the one first printed is the Bible of
Forty-two Lines, which is at least ten years earlier. It is accepted
as the production of John Gutenberg, John Fust, and Peter Schoeffer.
Its claim to priority has been disputed in favor of the Bible of
Thirty-six Lines, accredited to John Gutenberg only. Discredit is now
given to the legend of the introduction of printing in Oxford in 1468
by Frederick Corseles. “The Dictes and Sayinges of the Philosophers,”
printed by William Caxton at Westminster in 1477, is considered as
the first book printed in England. The claims of Coster have been
thoroughly sifted by Dr. A. W. Van der Linde, and his earlier writings
on this subject have been translated into English by J. H. Hessels and
published under the title of “The Haarlem Legend.” The claims of Caxton
are fairly reviewed by William Blades in his “Life and Typography of
William Caxton.”


6, 7. THE BRANCHES OF TYPOGRAPHY. The specification of Letter Cutters,
Casters, and Dressers, of Compositors and Correctors, Pressmen and
Ink-makers, and some other trades, indicates the complexity of the
complete art of printing in 1683. The workmen in each one of these
trades tried to keep it distinct, and to prevent its practice by any
but those who had been qualified by regular apprenticeship. There
were few master-printers who had even superficial acquaintance with
the methods and usages of the different departments of typography,
and their general ignorance tended to the degradation of the art. The
ordinary book of the seventeenth century was distinctly inferior to a
book of the same class of the sixteenth century that had been made from
the beginning under the direction of a master “who could perform or
direct others to perform” all the work upon it. It was for the purpose
of diffusing a proper knowledge of the different processes among
master-printers that this book was written.


ADVERTISEMENT on page 8. The plot here mentioned was the one revealed
by Titus Oates, who gave false details of an alleged conspiracy to kill
Charles II, King of England, and to reëstablish the rule of the Roman
hierarchy.

This advertisement is a side-light of value on the methods of the
book-selling trade. Moxon foresaw that the cost of the complete book
would be too much for the ordinary buyer. He tempted subscriptions by
offering it in monthly parts: “2_d._ for each Printed Sheet. And 2_d._
for every Print taken off of Copper Cuts.” At these rates the complete
book on printing, unbound, then cost 14_s._ 4_d._ The publishing of a
book in parts was an old expedient to increase sales. I first note it
in an edition of the Bible in Hebrew, published by Robert Stephens of
Paris between the years 1539 and 1544.

Copper-plates were preferred for the illustrations because they could
be engraved and printed more neatly and at a smaller expense. The arts
of engraving on wood and of woodcut presswork were then in their lowest
condition, and Moxon foresaw that his illustrations engraved on wood
would not be properly printed.


9. PRINTING-HOUSE. Although “printing-house” is still used in England
as a proper designation for the workshop of the master-printer, the
term “printing-office,” which is more common in the United States,
has equally good authority. Many of the early printers called their
workshops by the Latin name of “Officina.” A book before me by Jodocus
Badius, dated 1513, has the imprint “In Officina Ascensiana.”


10. THE CASES AND PRESS. The allowance of “four foot and a half by
five foot and a half” for every pair of double frames or stands is the
same as that established by modern usage. The allowance of seven feet
square of space for each press, which necessarily includes the bank,
and working-room for the two pressmen, seems small. It indicates a
press for the printing of a sheet not larger than fifteen by twenty
inches. The caution to put the presses upon a solid foundation, and to
brace them with beams against the ceiling and side walls, shows that
provision had to be made for the shrinking of the wood and for its
imperfect construction.


11. WINDOWS of glass were unusual. Paper (probably oiled) to admit the
light was the only defense against cold, which was sometimes so severe
that work had to be suspended. Then, as now, printers preferred the
upper floors of the building for composition, and these upper floors
were usually lighted by small windows near the ceiling. The English
printing-house of the seventeenth century was rude, bare, and small.
It was a large printing-house that had four hand-presses and a dozen
frames.


13. FONT. Moxon’s etymology is not approved by recent
dictionary-makers, who tell us that font is derived from the French
_fonte_, a casting, through _fondre_, to melt or to found. Font is
now used to describe a complete collection of founded types. The
English face here mentioned as opposed to the roman and italic must be
understood as old English black-letter.


14. SIZES AND PROPORTIONS OF TYPE. Ten bodies of type are specified as
a full assortment of sizes from pearl to “great-cannon.” Within this
limit American and English type-founders now make twenty-one sizes,
as well as some smaller and many larger sizes beyond the limit. The
dimensions of the bodies here specified are irregular fractions of
the English linear foot. An accurate or standard foot measure was
not easily procured, and the irregular subdivisions of the foot were
calculated with difficulty and often with error. Types so made were
unavoidably inexact; when made in different foundries they did not
accord in size, and there was often serious disagreement in the bodies
of the same foundry when the types were cast at different times.
For a specification of these variations, see Savage’s “Dictionary
of Printing,” page 802, and any recent English work on practical
typography.

Pick is the name given to any bit of dirt that falls in the counter of
a type, and fouls the print.

The geometric rules for the proportions of letters as laid down by
Moxon and other theorists are impracticable. They make no provision
for the meeting of irregularly shaped letters and no allowance for
optical illusions. To make letters seem harmonious and symmetrical in
combination, some characters must purposely be out of drawing.

The commendation of Christophel Van Dijck (Christopher Van Dijk) is
approved by modern bibliographers and printers. Willems, in his “Les
Elzeviers,” rates him as the leading punch-cutter of his time, and as
really superior to the famous French founders Sanlecque and Le Bé. The
beauty of his designs, and the merit of the type made by his Dutch
successors in type-founding, secured to them the practical control
of the English market for more than a century. During Moxon’s time,
and for many years after, British type-founders bought most of their
punches and matrices in Holland. William Caslon, who began as a
type-founder in 1720, was the first English punch-cutter who broke the
domination of the Dutch type-founders in England.

It was the first purpose of the writer of these notes to have this
book reprinted in the Dutch types that served Moxon for models.
Unfortunately, they were not to be had. They were in the Enschedé
foundry before 1735, but at that time they had been put aside as
old-fashioned and unsalable. M. Fleischman, a German punch-cutter
intrusted with the management of this foundry, had destroyed as useless
old metal most of the Van Dijk punches and matrices. This wanton
destruction should not prejudice the reader against Fleischman, for he
was an expert punch-cutter, although the originator of a bad school of
typography. It was from him that Bodoni of Italy, Didot of France, and
Baskerville of England, drew their erroneous notions of the superior
beauty of over-sharp hair-lines. This peculiarity is clearly shown in
the new types of the specimen-book of the Enschedé foundry for the year
1786, which contains a portrait of Fleischman, and signed and dated
specimens of his work at that time.


15. THE FACE OR STYLE OF VAN DIJK TYPES. “... the commodious Fatness
they [the Van Dijk letters] have beyond other Letters, which easing the
Eyes in Reading renders them more Legible.” The word “fatness” cannot
be understood as printers now accept the word, for the Van Dijk letter
would now be rated as thin and much below the present standard of
width. It was supposed to ease the eyes in reading because the interior
counters of the small or round letters like e, o, and m had been
enlarged, but this enlargement was most in height.

“... the true placing their Fats and their Leans” means the extension
of thick-stroke to the corresponding shortening of hair-lines, as
may be seen in a comparison of the old-style m with a modern m.
This improvement was modified by Fleischman and his successors. He
protracted the hair-line and shortened the thick-stroke, showing his
own skill as a cutter, but seriously damaging the legibility of the
letter. This unwise fashion is still in force in nearly all types of
modern cut. The bold and sturdy types of William Morris, and the Jenson
types of the Dickinson foundry, are practical protests (possibly too
emphatic) against the effeminacies of the modern school of weak and
delicate letter.

“... the sweet driving them into one another” I understand as the close
fitting of the different letters. This close fitting or narrow set for
each type, with a corresponding thinness of face, made a composition
unusually compact. The novelty of this new style was most admired by
French type-founders, who have never allowed it to go out of fashion.
Fournier, in his “Manuel Typographique,” shows compressed types of
many sizes, which he says are “in the Dutch style.” The type used by
Moxon in his book is of the same English body as the type in which this
reprint is set, but the Moxon face is a trifle taller and much more
compressed.

The uniformity or geometrical accuracy of proportion that is here
commended in all sizes of Van Dijk types could not have been made by
careful drawing. Yet it does not appear that Moxon had instruments of
precision that could measure with exactness any fraction smaller than
the thirtieth part of an inch.


16. THE COUNTERS OF TYPES. The deep cut or counter recommended for
punches is correct instruction, but deep counters were uncommon.
The punches that I have examined in the Plantin-Moretus Museum have
relatively shallow counters. Fertel of St. Omer, writing in 1723,
denounces the shallow counters then made by all founders as a cause
of the bad presswork of French printers. Even Fournier (“Manuel
Typographique,” vol. i, p. 12) says that a counter “about one fourth of
a line” (.0222 of the English inch) is deep enough for types between
nonpareil and long-primer or pica. No modern printer would be satisfied
with a counter of this depth.


17. TYPES MADE FOR BOOKS. The few bodies of type then made were for
books only, and were provided in small fonts. The types most largely
cast now are those intended for newspapers: brevier, minion, nonpareil,
and agate, and they are provided in fonts of many thousand pounds.
Italic, which then made at least one third, is now but one tenth of
the entire weight of the font. In many morning newspapers italic is
excluded.

THE BEARD of a type was the long sloping shoulder that connected the
face with the body. The square and high shoulder of modern types, which
is of recent invention, is indispensable for the proper moulding of
types composed for stereotype work.


18. DECAY OF ENGRAVING ON WOOD. “Few or good Cutters in Wood appear.”
The decadence of engraving on wood is plainly indicated by Moxon’s
choice of copper-plate for all his illustrations. The imperfect methods
then in use for making brass rules are also illustrated on many pages
of his book, where they show rules of unequal height and uneven face.

THE “PLANISHING” OF BRASS RULE was the rolling of the metal in sheets
before it was cut in strips type-high.


19. THE LAY OF THE TYPE-CASES. The illustration of the type-cases in
plate 1 is apparently of a case in one piece, but the text distinctly
says that two cases were used, an upper and a lower, as is customary
now. The dimensions of the case, “two foot nine inches long, one foot
four inches and an half broad,” are almost like those of the modern
cases. These two cases were unwisely placed on the stand at the same
inclination, so that they seem as one case in the illustration. The
capital letters are unhandily put in the extreme left-hand corner of
the upper-case. Arabic figures are at the foot of these capitals.
There are no small capitals, but the boxes of the right side of the
upper-case, of easiest reach, are filled with accents and astronomical
signs. The copy of the compositor was laid over these boxes that were
seldom used. To keep the copy near to the compositor’s eye, the hand
in search of frequently used capitals had to make a needless length of
reach.

The lay of the lower-case, as shown in plate 1 (b, c, d, e, f, g, in
the upper row of large boxes; l, m, n, o, p, q, in the second row;
r, t, u, in the lowest row), is an indication that the first printer
laid the letters of the lower-case as we now lay the capitals of the
upper-case, in alphabetical order. When it had been demonstrated that
the letters were unequally used, and that the characters in most
request should be near the compositor’s hand, the letters a, h, and the
thick spaces took the places occupied by sorts not so often needed.
The lay of the case and the size of the boxes in Moxon’s plan, and
indeed in all modern plans, are not in proper position or proportion
to give the greatest convenience to the compositor. Many attempts
have been made to correct these faults, but none have succeeded. In
this plan, as in other plans maintained by compositors of our time,
tradition is stronger than reason. To this day the larger boxes of
modern cases contain the same sorts and are in the same position as
those of Moxon’s plan.


25. THE GALLEY described in plate 2 is the modern slice-galley. The
long tray-galley of wood and the long proof-galley of brass are not
mentioned. It must have been customary for each compositor to make up
his matter on a slice-galley as soon as he had completed his page. When
composition was so managed the difficulty of keeping two or more men at
work on the same book must have been great.


28. A CORRECTING-STONE “four foot and an half long, and two foot broad”
... as “a convenient size for the generality of Work” is another
indication of the small size of the forms.


28. SCABBORD is an old spelling of scabbard or scale-board, which was
once a thin strip or scale of sawed wood. The difficulty of sawing wood
to uniform thickness led to the use of strips of thin iron, which were
cheaper and more even as to thickness. The name that had been given to
the wood was continued for the iron. Scabbards were also used as aids
in justifying forms and in making register. The scabbards mentioned in
printers’ grammars of the last century were of cardboard or millboard.

GUTTER-STICKS are so called because of the groove cut in the center,
constructed after the fashion of a gutter for the drainage of water.
The groove was needed to prevent the bagging of the tympan and the
blacking of the white paper in the operation of presswork. The grooving
of gutter-sticks is still maintained, although there is now no need for
the groove.

QUOINS “about three inches square” are not to be found in any modern
printing-office.


31. THE “DRESSING-BLOCK” is now known as the planer, but the form of
planer now in greatest use is usually two and one half inches high and
eight and one half inches long.

“SHEERS, such as Taylors use,” were common tools in all printing-houses
fifty years ago, but they have been supplanted by simple machines that
cut brass rule with more accuracy.


32. THE EARLIEST COMPOSING-STICKS were veritable sticks of wood. The
Plantin-Moretus Museum, at Antwerp, has preserved several of these
venerable implements. The stick illustrated by Moxon with a bottom
plate, which he calls the back, is one inch narrower than the stick
now used in English and American printing-houses. In other features
no serious difference can be noted. The sliding measure, now known
as the knee, was then made in two parts for the composition of type
in two distinct measures--one for the text and one for the marginal
notes. The iron would now be adjudged too thin, and the soldering on
of a head-plate of long-primer thickness would not be tolerated. The
suggestion that the sliding measures, or the knees, could be filed
when they proved untrue leads us to the inference that these frail
composing-sticks soon became inexact.


34. A CHASE “two and twenty inches long and eighteen inches broad”
is the proper size for a form of crown paper fifteen by nineteen
inches. This, we must suppose, was the size of paper in greatest use.
The construction of the Moxon chase is substantially like that of
the modern chase, but the iron used was thinner, and the method of
hand-filing recommended for the making of squares and dovetails could
not have been entirely satisfactory. The old chase must have been weak
and easily bent or twisted out of square.


37. THE PRESS in greatest use in England during the first half of
the seventeenth century is the one shown in plate 3 and properly
stigmatized by Moxon as a “make-shift slovenly contrivance.” The
press that he approves and illustrates in plate 4 is the “excellently
improved invention” of Willem Jansen Blaew, but it received no
noteworthy improvement during the eighteenth century. In all its more
important features it was the press on which Benjamin Franklin worked
in Philadelphia and in London. It is now entirely out of use, and the
technical names of its different parts are imperfectly understood and
are often misapplied. Before study is made of the function of each
part, the novice should understand the combined action of the different
parts.

The form of type to be printed was placed on the bed, or, as it was
then called, the stone (marked _l_ in plate 4). The surface of the
type was inked by dabbing it over with the inking-balls, which are
shown on the left side of the wooden cheek of the press. The ink was
evenly spread over the surface of the balls by rocking their opposing
faces against each other in many directions. When the type was fairly
covered with a film of ink, the damp sheet to be printed was laid
upon the tympan (marked 5 in plate 4, where it is shown in very bad
perspective), which Moxon calls the tinpan. The pressman then folded
down the frisket (marked 6 in the plate and incorrectly drawn), so that
it would lie flat upon the tympan. This frisket had been previously
covered with a sheet of stout paper in which openings had been cut to
allow the face of the types to meet the sheet to be printed. This mask
of paper protected every other part of the sheet against a possible
blackening of ink. The pressman then folded down the tympan so that
it rested flat upon the form of type. This done, with his left hand
on the rounce handle projecting from the wooden bridge (marked _y_ in
plate), he drew the form of type half way under the platen (marked _c_
in plate), which, it should be noticed, is one half the size of the
stone and of the form of type upon it (not shown in plate 4). With
his right hand on the bar (marked _q_ in plate) he pulled this bar
toward him. This pull moved downward the screw and its attached spindle
(marked _i l m_ in the plate). The pressure so made, resisted above by
the head _e_, and below by the winter _d_, was received by the platen
and transferred to the paper and the types that were directly under the
platen. This pressure printed one half of the sheet. Then the pressman
put back the bar, and with the rounce handle moved forward the stone
with the type upon it until the unprinted half of the sheet was covered
by the platen. This done, he again pulled down the bar and completed
the printing of the unprinted half of the sheet. Reversing the motion
of the rounce handle, he drew backward the stone and type, unfolded
the frisket and tympan, and removed the sheet that was printed on one
side. This seems, and it really was, slow work; but all books printed
before the year 1800 were made by this slow method. In all presses made
in England before 1800, two pulls of the bar were needed to print a
full sheet on one side. The press was not sufficiently strong to print
properly a full sheet of demy by one impression. The power produced
barely sufficed for the printing of the half-sheet. The minuteness of
the directions here given concerning the construction and the fitting
up of the different parts shows that rigidity of fitting was regarded
as of importance. Yet it was foreseen that the press would leak
pressure.


38. WILLEM JANSEN BLAEW, a map-maker and printer of eminence, was born
in Amsterdam in 1571, and died there in 1638. His improvements to the
press were made in 1620. As the Blaew press is now obsolete, I do not
think it necessary to follow Moxon in a more minute explanation of the
minor parts of his press.

PRESS-BUILDING was not a distinct trade in 1683. Every printer had
his presses made to order from his own plans by a local joiner or
carpenter, aided by a blacksmith or machinist. The bed-plate was of
stone, and the platen of wood. Iron was sparingly used, and only for
spindles, hooks, nuts, screws, bolts, etc., that could not be made
of wood. Iron was of high price, and was cast or forged with so much
difficulty that no one dared think of it as a proper material for the
framework or for any of the larger pieces of the press. The pasting
down of the vellum on the inner side of the tympan (now known as the
drawer) was done to prevent the bagging or bellying outward of the
outer tympan. The brayer of flat face was practically a wooden pestle.
Its office was to distribute the ink on the block before it was taken
up by the balls. This work is now done much better by a cylinder of
wood, which still keeps the name of brayer.


59, 60. Moxon estimated that one quarter turn of a home pull of the
bar lowered the spindle five eighths of an inch. In the pressure so
given, only one fiftieth of an inch (“the Form to the Stone half a
Scabbord”) was taken by the type, and about one twelfth of an inch by
the paper, tympan, and blankets. This shows waste of power, even when
impression was aided by an elastic spongy blanket. The greater part of
the force exerted leaked away and was lost in the yielding wood and the
compressible joints. A mechanician will see at a glance that a press so
constructed could not exert more power than the printing of two octavo
pages of type at one impression, and that it would fail entirely to
face the black background of a large woodcut.


68. It does not appear that the stone was tested by a straight-edge or
by a spirit-level. Many of the stone beds in use during the seventeenth
century were uneven as to face and badly leveled, and compelled the
pressman to make use of an elastic impression. The frequent breaking
of the stones complained of by Moxon was due as much to bad leveling
as to the carelessness of the pressman. His preference for the wood
lignum-vitæ was reasonable.


69. A PLATEN OF BEECH-WOOD was liable to warp and split, but a more
suitable material was rarely used. The only attempt at improvement
known to the writer was made by Christopher Plantin of Antwerp, who had
his platens covered with sheet copper to cover the cracks in the wood,
and to hide the faults they made in impression.


70. THE POINTS AND POINT-SCREWS are old devices that were used in the
fifteenth century. One can find the marks of point-holes in leaves of
books printed by Ratdolt and other careful printers of that period.


72. One of the most useful improvements made by Blaew in his new press
was the provision of leather girths, one end attached to the carriage,
and the other to the barrel around the spindle. With a rounce handle
on the end of this spindle, the pressman could easily run in and out
the carriage with the type upon it. The first presses did not have
this improvement. It is not to be seen in the woodcuts of the presses
of Aldus, Badius, and other early printers. (Compare the cuts, plates
3 and 4.) It seems that the carriage of the older form of hand-press
must have been shoved in and pulled out by lugging at the framework of
the carriage.


73. THE LYE-TROUGH, shown in plate 9, was in use fifty years ago as a
wash-trough. The form of type, laid flat in the bottom of the trough,
was drenched with water by rocking the trough to and fro.


74. THE PAPER-BENCH is now made with an inclined bank at the end
nearest the pressman. This inclination aids him in seizing the sheet to
be printed. On the flat end of the bench he lays the paper after it has
been printed.

THE RACK to hang paper on, and the PEEL, illustrated in plate 32, are
now unknown in many American printing-houses, which is much to be
regretted. The development of printing that has put the wetting and
dry-pressing of paper out of fashion, and has brought into general use
the method of printing on dry paper against an inelastic impression,
is not an unmixed benefit. The new method has quickened and cheapened
common presswork, and has been of great advantage in the printing of
fine woodcuts, but it has not bettered the presswork of books. The
strong and readable print that was common at the beginning of this
century is now produced with greater difficulty and at more expense
upon dry paper.


75. CONCERNING INK. The very minute description here given of the
preparations for making the varnish of ink, which was badly done then
in England and better done in Holland, should be enough to correct the
common belief that the printing-ink of our predecessors was of better
quality than the ink of our time. It is not necessary for the reader to
be an expert to note that the materials were crude and the processes
unscientific. No test of the quality of the linseed-oil is suggested,
which must have been as uneven then as it is now. Nor is anything here
said concerning the black, which was probably the crude smoke-black of
commerce, with its usual taint of sulphur and other impurities. The
cheap printing-ink of our time, even when made by a manufacturer of low
repute, is more scientifically compounded, and is blacker and better,
than the ink used by the ordinary book-printer of the seventeenth
century. In Moxon’s book the ink is variable--on many pages pale, on
others over-black; and there are variations of color not entirely due
to uneven inking by the pressman. A weak ink applied to a bold type,
and printed on wet paper against a spongy impression, seems blacker
in print than a better ink printed on dry paper against an inelastic
impression.

Resin was the only ingredient added to the black and varnish. No
mention is made of other substances that are now rated as of great
value.


85. LETTER-CUTTING was always enveloped in mystery. Every new
practitioner had to devise many of his own tools and work out his own
methods, and independent action led some cutters into serious error.
Others, unhampered by traditionary rules, introduced new methods.
Moxon has frankly told us all about his tools. Some of them may have
been invented by himself, but more of them were those of contemporary
English and Dutch punch-cutters and of the makers of mathematical
instruments. His descriptions of well-known tools like files, rules,
or liners need no comment, but our surprise is aroused at their
simplicity, and more than all, at his ignorance of tools of precision.
Here and there he does mention the magnifying-glass, but nowhere does
he speak of a micrometer. He had no unit as a base for measurement. He
frequently describes a measure as a half inch, or as a quarter inch,
rarely as an eighth inch. A sixteenth or thirty-second of an inch is
never mentioned in these words. It is a proper inference that his
measuring-rule was not so minutely subdivided. These nicer subdivisions
had to be determined and marked by himself on measuring-rules of his
own construction, and he must have done this work very well. To divide
the body of english in forty-two equal parts is to make each part
equal to about 46/10000 an inch. One forty-second part of long-primer
body would make each part about 33/10000 of an inch. His method of
determining the width of these parts was to make, by rubbing on a
stone, seven thin spaces equal to the em quadrat, or square of the
body. The full point or period was one and one sixth of this thin
space; the colon, one and two sixths; the comma, one and three sixths;
the hyphen, one and four sixths; the semicolon, one and five sixths.
These were practically his testing measures, which were transferred to
the plate he called his face-gauge. The modern punch-cutter will be
amazed at the crudity of Moxon’s tools and methods; but crude as they
were, they served him for making types that did good service. Nor does
Fournier, in his “Manuel Typographique” of 1766, mention any tool of
precision. A testing of distrusted types must have been done largely by
sight and touch.


118. THE SWASH-LETTERS here mentioned are capitals that show the
writing-master’s flourished extension of line. In many letters these
lines hang over the body, as in the old form of roman capital Q. They
are most common in old italic, and are fairly illustrated in plate 15.


119. EMERICK, emery.


120. MR. WALBERGER OF OXFORD is the Peter Walperger or Walberger
of Holland who was installed by Bishop Fell as a punch-cutter for
the University Press, and who there earned the reputation of a good
workman. He died in 1714.


124. STEM is the thick-stroke of a letter, sometimes called by
type-founders the body-mark.


125. ENGLISH LETTER, as mentioned on this page, means Old English, or
black-letter.

Moxon’s notions of proportion for the variable thickness of the stems
or fat strokes of letters were tabulated by allowing forty-two equal
parts as the height of the body. The thickness or the width of the stem
in a roman capital should be five of these parts; in an italic capital,
four; in lower-case roman, three and a half; in lower-case italic,
three. These distinctions are nicer than those laid down by Albert
Dürer in his diagrams on the proper proportions of letters, where it is
stated that the width of the stem should be one tenth the height of the
body, which is in the proportion of four and one fifth to forty-two.

These proportions are no longer maintained. The stem is now made of
variable thickness to suit different styles of letter; sometimes it is
in the proportion of two to forty-two, and sometimes ten to forty-two.
The rule that the stem of the roman capital should be wider than that
of the lower-case, and that the stem of the italic capital should be
still thinner, has been generally observed in all type-foundries.

No defined width is made for the thin-stroke, which is now called the
hair-line; but a glance at the diagrams in plates 11 to 15 is enough
to show that this hair-line had a positive and appreciable width for
its height. It was well understood also by all punch-cutters that this
thin-stroke would appear in print much wider than it did in the punch.
The elastic blanket that forced the wet paper not only upon the type,
but lapped it around its edges, made the thin-stroke appear in print at
least one half wider than it was in the punch or in the type.


129-147, and plates 18 and 19. The type-founder’s mould is peculiar
to his art. It consists of two large pieces of steel, forming when
combined an upper and an under side, so fitted to each other that types
of different widths, from the thinnest space to the broadest quadrat,
can be cast in its central hollow space without any change in the depth
of the body. Each piece has firmly fixed attachments of many smaller
bits of steel to insure this exact adjustment. Types may have been
cast at a very early date in fixed moulds of sand, but types so made
must have been expensive, of irregular body, and exceedingly variable
in line, and could not have been combined with the accuracy that is
indispensable to the easy practice of type-setting. The usefulness of
typography really depends upon the squareness and geometrical accuracy
of each type. A variation of one thousandth part of an inch in body is
fatal. Early writers on typography did not clearly describe the mould,
but they have put on record their admiration of the mechanism devised
for the “wonderful art of letter-making,” and the “admirable proportion
and harmony between the letters.” The mechanism that produced this
accuracy was without doubt the mould.

The early type-mould was probably made adjustable in two directions,
so that it could cast two or more bodies of type. The Bruce foundry of
New York has a mould of this description of unknown age. Its peculiar
construction explains slight variations of body in types of the same
face, made by the same printer during the infancy of the art. This
adjustable mould went out of fashion in the sixteenth century, but it
was retained in many foundries as a mould of value for emergencies.
The mould of fixed body, adjustable as to width only, has always been
preferred.

Fournier says that the early moulds of Germany and Holland were of
brass. Moxon’s mould was of iron. They are now made of steel, with a
precision of fitting unimagined by any early founder. The most valuable
improvement made in this mould was devised by Archibald Binny of
Philadelphia, who, in 1811, affixed a spring to the matrix that gave
to it a quick return movement after the type had been cast out of the
mould. Many attempts have been made to alter the mould so that it could
cast two or more types at the same time. Didot’s polymatype mould, made
to cast fifty types at one operation, is the most notable but it can
be used only on very small type, and it is not approved by English or
American foundries. The mould attached to type-casting machines in most
use is, in its more important features, the mould used by Moxon. The
new Barth type-casting machine has a mould of different construction,
but without great change in principle.


135. GEAT is the old spelling of the word jet, or the waste metal that,
in cooling, clings to the type at the orifice in which the hot metal is
poured. The separation of this ragged bit of metal from the cast type
is known as “breaking off the jet.”


142. Properly made, the two halves of the mould should fit so close
as to be air-tight; but a too close fitting will not allow the escape
of the air from the mould when the fluid metal is injected. An
imperceptible slackness in fitting is necessary to allow the escape of
the air at the joints. With this escaping air goes out also, at these
joints, a thin feather-edge of cooling metal, then known as the rag.

THE JUSTIFYING OF THE MOULD was done without gauges. The types cast
were tested by setting them up in parallel rows, one row head up, and
one row feet up. If one row overlapped the other, the fault could be
felt by a nice touch. The test of squareness was made by holding two
types, nick to nick, between the eye and light. If a glimmer of light
appeared, the mould was in fault. To the modern founder these seem
tests of great crudity, but they were adjudged good enough.


145. THE DAWK was a slight concavity or depression in the body of
the cast type, made by a corresponding convexity in the mould. For
the correction of faults Moxon allows the use of the file upon the
mould with a freedom that must provoke the surprise of every modern
mould-maker. For a modern type-caster to file a mould after it has
been adjusted is now regarded as a blunder worse than a crime; yet
Moxon says that accuracy need not be expected on the first, or even
the seventh, time of testing. The workman must mend “on, on, on, by
a little at a time, till at last it is so finisht.” The underlaying
of different parts of the mould with an “assidue,” or thin plate of
brass, as is here recommended, is evidence that the mould was often
filed recklessly and to its injury. In no reputable modern foundry
or machine-shop would this tampering with a mould be allowed. The
straight-edge, the square, the eye, the fingers--these seem to have
been the only available tools of precision.


149. MATRICES. Soft copper is recommended because it is not liable to
break the punches; but soft copper is not durable. Continued spurts
of hot metal against a soft copper matrix soon blunt its edges and
finer lines. Modern founders find it a wiser economy to use hard
rolled copper, and risk the breaking of punches. Very large types are
sometimes struck in copper softened by heat, but this is not regarded
as good workmanship. A matrix made by the electrotype process, or by
the use of a perforated copper plate riveted upon another solid copper
plate, is preferred.

COUNTERS. A thick space, or one third of the square of the body, is
made the proper depth for the sinking of a matrix, but this depth was
not always secured. The fear of breaking the punch made early founders
cautious, and their matrices were sunk to a depth of one fourth or
one fifth the square of the body. When the counter-punch had been
made correspondingly shallow, the counter of the cast type and the
beard outside the letter were often blackened by the inking-balls,
and dots or spots of ink were transferred with the print to the wet
paper. Fertel, a French printer of 1723, says (“La Science pratique de
l’Imprimerie,” page 4) that the counters of some new types were of no
greater depth than the thickness of a sheet of strong paper.


153. THE JUSTIFYING OF THE MATRICES is one of the nice operations
of type-founding. Each matrix must have a free movement to and from
the mould, but it must fit snugly to the nicest fraction. All the
matrices for the same font must occupy a prescribed position upon the
mould, exact as to top, foot, and sides. A slight deviation puts the
types cast therefrom perceptibly out of line, or makes them crooked,
with more space on one side of the character than on the other. Nor
is this all. The face of the letter in the matrix must be in exact
parallel with the face of the outer plate and the face of the mould.
If higher at one side than at the other, the type cast therefrom will
have a corresponding unevenness of height. If the distance between the
outer surfaces and the faces of the letter is not the same in all the
matrices, the types will be of uneven height.

It is a marvel that early type-founders did so well with their
imperfect methods. The commonest fault was making the matrix too
low, so that the types cast therefrom would be low to paper. As the
remedying of this defect calls for an entire section on the botching
of matrices, it may be inferred that a certain amount of botching was
considered unavoidable. The press of the early printers seems to have
been constructed to hide irregularities of height in type that were
then thought unavoidable.


164. MAKING METAL. The melting-point of lead is about 617° and that of
iron is about 2100°. At the greater heat lead is destroyed as a metal.
It is possible to incorporate lead with iron, but it cannot be done
by the process here described. The only useful office performed by
the stub-nails was to deprive the antimony of its excess of sulphur,
which was incorporated, undetected, with the dross and the slag. The
proportions are not clearly stated: “For every three pounds of iron,
about five and twenty pounds of lead.” The exact quantity of antimony
is not stated. In the second paragraph it is said that the iron and
antimony are equal as to weight. Were the ingredients twenty-five
pounds of lead, three of iron, and three of antimony; or twenty-five
pounds of lead, and three pounds of mixed iron and antimony? No mention
is here made of tin or copper. The lead gave to the alloy softness and
easy-working qualities; the antimony hardness and stiffness; the iron
was intended to give hardness.


169. THE CASTING OF LETTERS by the hand-mould was slow work. Four
thousand types a day was the average performance. It was also hard
work. To “face the type”--to make the liquid metal forcibly splash
against the face of the matrix--the caster, as Bernard truly says, must
make the contortions of a maniac. If it were not forcibly splashed, the
type would have a defective face. The jerk or twist given to the arm
was one of skill as well as of strength. It often happened that strong
men were never able to acquire this knack. They might work hard all
day, apparently going through all the motions, and yet be unable to
make perfect types. The smaller the body of the type, the harder must
be the jerk of the arm.


175. TIN. When types did not come with a good face, the caster put tin
in the metal-pot, to make the metal fluid. This is the only mention of
the use of tin as an ingredient, and it seems to have been used only to
lighten the work of the caster.

THE RAG, or feather-edge of thin metal made by the windage or escape
of air at the joints, was rubbed off on a grindstone. This method
of rubbing could not be employed for types like f or j or f, which
overhang the body: the rag on these letters was more slowly taken off
with a scraping-knife.


192. THE PLOWING OF A GROOVE at the bottom of the type was the
next process. No mention is made of an inspection of the type for
the detection of faults of casting, as is customary in modern
type-foundries.


197, 198. COPY. This introduction is obviously the outgrowth of
some painful experiences with authors. “By the Laws of Printing, a
Compositer is strictly to follow his Copy.” This law presupposes that
the copy is always correct--a supposition as untenable now as it was
then. Moxon admits that the compositor should amend bad spelling and
pointing, and use capitals and italics with sense and reason, even if
he has to deviate from copy. The standard of typographic style is much
higher now. The compositor of to-day who undertook to reset this book
in modern style would be required to cut out all the italics and more
than half the capitals, readjust the punctuation, correct the spacing,
make uniform the spelling, and remodel the headings and the make-up.


199. CASES. These directions for the papering of the cases indicate
that many were of unseasoned wood or insecurely jointed. It is not
probable that the different parts were dovetailed or fastened with
screws.


201. WASHING OF FORMS. The proper method of washing a form, as
described on this and following pages, warrants the supposition that
very thin ink must have been used, and that this ink must have flowed
or spread downward on the spaces and quadrats and between the letters
in loosely justified lines.


207. DISTRIBUTION. In these prolix directions concerning distribution,
it seems that a composing-rule was not used to uphold the type. The
compositor made use of a reglet for the purpose.


212. THE GALLEY here described was a quarto slice-galley, placed upon
the ledge of the upper-case at the right hand, covering the boxes for
signs and double letters, which were the characters supposed to be in
least use. If the galley had been put in a sliding drawer, upon an
inclined shelf under the stand, it would have been as accessible and
not so liable to damage.


212. THE VISORUM, or projecting copy-holder, is now out of use. This is
to be regretted, for it brought the copy nearer to the compositor’s
eye, enabled him to keep closer attention on each line of the copy, and
afforded readier access to all the boxes of the upper-case.


214. REGLETS. The rude way in which composition was then done is shown
in the second paragraph, in which it is said that compositors many
times used reglets instead of brass composing-rules.


218. SIGNATURES. The compositor was required to make up his page as
soon as it was composed, and to add the direction, or catch-line, and
the signature. The directions for signatures are minute. It was not
enough to put the signature letter A at the foot of the first page
of the first form. It must be repeated A2 on the third page, as an
additional safeguard against the possible carelessness of the folder.
If the section to be bound consisted of three or more double leaves,
the fifth or seventh page of the section must be appropriately marked
with A3 or A4. When these letters followed in numerical order, the
folder knew that the folding was correct.

As only twenty-three letters in the alphabet were accepted for
signatures (J, U, and W were rejected), the letters could serve only
for twenty-three signatures, usually of eight, and never more than
sixteen pages. If the book exceeded three hundred and sixty-eight
pages, and sometimes a lower number, the alphabet was doubled as Aa. If
the book had two or more volumes, the number of the volume had to be
added to the signatures. This old method of the trade is still observed
in Great Britain. In the United States Arabic figures are preferred for
signatures.

The signature was put unhandily in the center of the line, making it
difficult to be seen by gatherer or collator. Modern usage now requires
that the signature be more conveniently placed for inspection, near the
beginning of the white line. A recent fashion is to put the signature
near the edge of the tail, so that it can be cut off by the binder.
Another fad is to suppress all signatures. This is recommended because
signatures are not now found in early manuscripts, but Blades has shown
in his essay on this subject that they were always used by all writers
of manuscript books, and that they do not show because they were put at
the foot of the page and were afterward trimmed off in binding.


220. EMPHASIS. The remarks in the fifth paragraph place Moxon before
us as a man who had his heart in his trade. The duty of a compositor,
“to make the meaning of his Author intelligent to the Reader,” and “his
Work shew graceful to the Eye, and pleasant in Reading,” is pointedly
stated. His methods were well adapted for the time and for prevailing
typographic fashions. He confesses that the “mode of ordering Titles
varies; as may be seen by comparing the Title Pages of every twenty
years: Therefore a Lasting Rule cannot be given for the ordering them:
only what has been said in general concerning Emphasis.” To suit the
taste of that time, print must have emphasis, and plenty of it. Every
page was peppered with italic; important nouns and verbs and some that
are not important must begin with a capital. For the title-page and the
running title roman capitals were not bold or black enough. Recourse
was had to black-letter. That there was some system, or attempt at
system, in this conglomerate of styles is probable, but Moxon has not
explained his rules. We know only that the style of this book is not
uniform. A proof-reader of our time who attempted to make it uniform
would score every page.

The fashion of displaying print with italic and capital letters died
hard. More than a hundred years passed before readers discovered that
too much emphasis in the text defeated its purpose, and made the text
really harder to be read. Not even yet are all publishers and printers
able to see that there should be a difference in the treatment of a
poster to be read across the street and of a title-page to be held in
the hand; and that there is but little more reason for classifying some
words of a title in bold display-lines, and others in petty catch-lines
of obscure small capitals, than there would be in treating the words of
a sentence in the text in a similar manner.

The uncouthness of many of the titles of the seventeenth century is
wrongly supposed by some critics to show the vanity of the printer, who
wished to display, as well as he could, the extent of his collection.
This supposition has no good foundation. The printer of that time did
not have types enough for the needs of title-pages. Between pica and
canon were only six distinct bodies and faces of roman letter, and
they were rarely of uniform face. There should have been at least a
dozen. These types were inelastic, and could not be neatly compressed
or expanded to fit the words of every line. The prominent word or
words selected by the author for a leading line might be too few or
too many to fill that line. All the printer could do was to space out
the letters of a short line, or divide words in the over-long line and
put them in two lines. The words had to be accommodated to the type.
It was for this reason that large roman lower-case, black-letter, and
italic were so freely used. Moxon showed good sense in his preference
for capital letters, for “Capitals express Dignity where-ever they are
Set, and Space and Distance also implies stateliness.” Capitals were
then made to one square standard form, and were really unfit for more
than half the title-pages for which they had to be used. The variety
of large roman capitals provided by modern type-founders is better
now than it was two centuries ago, yet it is still imperfect. We have
a greater variety of roman faces and more sizes, but not one of them
is properly graduated in the larger bodies, as they should be, by a
difference of three points only.

The mechanical directions concerning petty details of composition seem
needlessly minute, but most of them are good, and are obeyed to this
day.


232. OF IMPOSING. As the sheet to be printed in 1683 was always of
small size, imposing was a comparatively simple process. But four
foldings were made,--folio, quarto, octavo, and twelves,--all of them
clearly illustrated by the plates. Some of the simple rules that our
author lays down have been unwisely omitted in some modern printers’
grammars, viz: An even and an odd page always stand together; the
folios of the two pages that stand together make, in their addition,
one more than the number of pages in that form.


238. PLANING DOWN. The instruction about this duty is needed more now
than it was then. Our author recommends that projecting type be planed
down with knocks on the planer from the closed fist, or with the head
of the shooting-stick. Our larger forms require more force, but too
much force is often given. The pounding of a form after it has been
locked-up with furious blows from a heavy mallet is not warranted.


239. LOCKING-UP. His process of locking-up is not so good. He advises
the tightening of each page by the side-stick before that page
is tightened at the foot. This indicates the commonness of slack
spacing and line justification, for which he suggests the remedy of
chewed paper forced into the slack line at the point of a bodkin! He
confesses, however, that this is a botchy expedient. The frequent
hanging or inward bowing of a page at its foot is usually produced by
over-tight locking-up of the page at the side before locking-up the
foot.


242. CORRECTING. As proofs could not be taken on galleys, all
correction had to be done on the stone, and this was done as it is now,
with the destructive bodkin. Unusual tolerance seems to have been given
to the practice of overrunning matter in the form--a practice sure to
make bad justification.


260. OF THE CORRECTOR AND HIS OFFICE. Moxon requires the corrector
to be well skilled in “Latin, Greek, Hebrew, Syriack, Caldæ, French,
Spanish, Italian, High Dutch, Saxon, Low Dutch, Welch, &c.” Nor is
this all. “He ought to be very knowing in Derivations and Etymologies
of Words, very sagacious in Pointing, skilful in the Compositers
whole Task and Obligation, and endowed with a quick Eye to espy the
smallest Fault.” One may rightfully doubt that any reader permanently
employed by any master-printer of the old time had one half of these
accomplishments. Moxon’s ideal of a corrector seems to have been based
on the tradition that learned men had been employed by Christopher
Plantin of Antwerp, and the Stephens of Paris. His error was that he
mistook their principal duty, which was not so much to correct errors
in proof as to prepare copy after its diligent collation with earlier
editions or little-known manuscripts of merit. Scholarly work was
cheap. Plantin paid his principal correctors lower wages than his
compositors. That these correctors did a deal of scholarly work is not
to be questioned, yet they overlooked many typographical errors. The
scholarly preparer of copy and the editorial and critical proof-reader
of the sixteenth and seventeenth centuries are now extinct. No living
master-printer can afford to pay for the services of even a presuming
successor to any one of these worthies. He has to be content with the
proof-reader who is “very knowing in Derivations and Etymologies, and
sagacious in Pointing.”

The signs or marks then used for the correction of proof are fewer in
number, but are substantially the same as those in use now.


266. ALTERATIONS. The admonition to the author to deliver his copy
perfect, and not to hope that he can mend it in proof without
additional expense, is an intimation that badly prepared copy is quite
as old as printing.


270. THE FITTING OF THE OLD HAND-PRESS. This section gives us a curious
insight into the defects of the early hand-press. The smearing of
tenons with soap or grease; the bracing up of the cheeks, head, and
cap, with beams; “the crazy make of the Winter,” or the resist to
downward impression; “the Under-laying of the Feet”--all these make one
doubt whether this press was really “invented upon mature consideration
of Mechanick Powers, deducted from Geometrick Principles.”


275. THE BEDDING OF THE STONE as here described was in bran, but
plaster of Paris was sometimes used.

The pouring of water from a sponge on the face of the stone, to see
whether it had a “propensitude” for one side more than the other, was
the substitute for a spirit-level.


278. OF HANGING THE PLATEN. The platen was suspended by whip-cords
from hooks. The spindle was steadied in its action by the guide-rods
attached to the hose. The adjustment of the whip-cords to the hose, so
that they would not be unevenly strained when the spindle descended,
was a nice operation that was not always done with accuracy. When
unevenly hung the platen gave untrue impression.


281. JUSTIFYING THE HEAD, as here described, was the repacking of the
mortises with felt, pasteboard, and scabbard, so that the resist to
the impression should be uniform. The mechanic who carefully reads
these descriptions of the construction and operation of the press
must wonder at the ingenuity of these cross-purposes. The press was
made to give impression upon the paper overlying the types, and it
must have been intended that the pressure exerted should be confined
almost exclusively to the form of types. It should have been rigid and
inflexible in every part where pressure might be lost. But we here see
that provision was made in the beginning for the escape of the force
exerted. Not one tenth of it was felt upon the type. Nine tenths of
that force leaked out in the fittings, and really contributed to the
needless wearing of elastic or shackly-fitted parts of the press. In
important joints one finds elasticity where there should have been
rigidity, as well as compressibility in the bed of bran under the
stone, in the loosely tenoned head and winter, and in the swinging
platen.


287. Additional elasticity was given by the use of a blanket in two
folds, or a doubled blanket.


288. MAKING REGISTER. The rude manner in which forms were sent to
press is here shown by the directions to the pressman to correct them
when out of register from half a nonpareil to a long-primer! He is
ordered first to unlock the form and try to get the pages in register
by changing the quoins, or by varying the pressure on them, which
frequently produced a twisting of the cross-bars. If this expedient did
not serve, then the pressman must put in or take out furniture until
the pages were in parallel. This was bad practice. The proper usage
now is for the pressman to return a crooked form to the compositor,
and require him to make the change. Alterations of margins in crooked
type-forms should be made on the imposing-stone, and not on the bed of
the press.


291. THE UNDERLAYING of wood letters or engravings of any kind that
are too low to receive impression is here made another duty of the
compositor; but the underlaying or overlaying of types in masses or in
patches to correct inequalities of impression is nowhere advised. The
spongy blankets were the first and last resort for the correction of
this fault.


319. WORKING AT PRESS. Two pressmen were needed for its efficient
service: one to ink the type, one to put on the sheet, print it, and
take it from the tympan. It was intended that they should be of equal
ability, so that they could do either kind of work. The proper product
of the press so manned was put at the high standard of a token an hour,
or two hundred and forty sheets printed on one side. The work-day was
never less than twelve hours, sometimes more. The press was of small
size, yet it required much activity to pull a token in one hour, for
two pulls of the bar had to be made on each side of the sheet. In the
middle of every ream the paper-maker put a cross slip of white paper as
a mark or token that at this point one half-ream ended and the other
half-ream began. Printers of our time continue the use of the word
token as a measure of their work. The full ream printed on both sides
is rated as four tokens.

COMPOSITION INKING-ROLLERS came in with cylinder printing-machines.
The success of the new machines depended on the rollers. According to
Hansard, they were first made by Forster of Weybridge, England, who
derived his knowledge of the value of a mixture of glue and molasses
as a receiver and transferrer of ink from the Staffordshire potteries,
where it was used as an aid in the decoration of crockery.

The first printer in the United States to use composition rollers was
Jonas Booth of New York, who made them in 1827.


328. PRINTING IN RED. This paragraph 16 requires careful reading for
a clear understanding of the crudity of the old method of printing in
red and black. The pressman unlocked the form and picked out all words
to be printed in red, filling up the vacant spaces with quadrats. He
then printed the black form in the usual way. This done, he again
unlocked the form and withdrew the quadrats that had been used to fill
the spaces to be occupied by the words in red. At the bottom of each
vacated space he put in bits of scabbard as underlays for the types
in red. The thickness of the scabbards is not specified, but it must
be understood that they projected a nonpareil or more above other
types. The form was then locked up, the red words being in their proper
places. A new frisket was cut for this red form, and the red ink was
beaten only on the types for red ink that projected above their mates.
If the inking-balls slipped and inked any other part of the form, the
sheet was protected from smear by the new frisket that admitted through
it only the types intended for red. This treatment secured exact
register (provided the paper had not shrunk in drying), but the rudely
cut scabbards were an uncertain and variable support for the types, and
usually made uneven printing. The caution to pull lightly and not print
too hard was needed, for the difficulty of fairly inking and smoothly
printing types so treated cannot be overrated.


331. PRINTING IN GOLD. Equally unworkmanlike, to our notion, are the
directions about printing names in gold and silver. For this neither
chase nor press was provided. The type as set in the stick was coated
with hard varnish, and then pressed with the hands on wet paper against
a blanket on the correcting-stone. This done, the gold or silver leaf
was gently pressed on the print!


356. THE CHAPEL. The common belief that the word “chapel” as the trade
name of an association of printers in a printing-house is as old
as Caxton, and that it was so given from a chapel attached to “the
almonesrye at the reed pale” in Westminster Abbey, in or near which
Caxton did his work, finds no warrant from Moxon. His explanation is
more reasonable: “... some great Churchman, or men, ... for the Books
of Divinity that proceeded from a Printing-house, gave it the Reverend
Title of Chappel.” I find no mention in any book of earlier date of
the word chapel as a synonym for a fraternity of printers. Although
England is regarded as the birthplace of guilds and fraternities, there
is no old record of any association of printers as printers only. The
Company of Stationers was an association dominated by booksellers who
were more intent on getting and holding patents and privileges for
the sale of books than on improving or developing typography. Roger
L’Estrange, the “surveyor of the Imprimerys,” writing in 1663, said:
“The stationers have subjected the Printers to be absolutely their
slaves by so increasing their number that one half must either play the
knave or starve.” The customs of the chapel among journeymen probably
came from Germany. Blades, in his “Depositio Cornuti Typographici”
(London, 1885), shows that some of the customs of English printers
closely resemble the older German customs that are fully described in
this curious book.

Thomas Gent, printer, in his “Autobiography” (page 16, edition of
1832), thus describes his initiation in a London printing-house about
the year 1714: “On my entrance amongst a number of men, besides paying
what is called Ben-money [benvenue], I found, soon after, I was, as it
were, to be dubbed as great a cuz as the famous Don Quixote ... though
the insipid folly thereof, agreeably to their strange harangues in
praise of the protecting charms of cuzship ... was not very agreeable
to my hearing; yet, when the master himself insisted it must be done,
I was obliged to submit to that immemorial custom, the origin of which
they could not then explain to me. It commenced by walking round the
chapel, (Printing rooms being called such, because first begun to
be practised in one at Westminster Abbey;) singing an alphabetical
anthem, tuned literally to the vowels; striking me, kneeling, with a
broadsword; and pouring ale upon my head; my titles were exhibited much
to this effect, ‘Thomas Gent, baron of College Green, earl of Fingall,
with power to the limits of Dublin bar, captain general of the Teagues
near the Lake of Allen, and lord high admiral over all the bogs in
Ireland.’ To confirm which, and that I might not pay over again for
the same ceremony, through forgetfulness, they allowed me godfathers,
the first I ever had before, because the Presbyterian minister, at
my christening, allowed none at his office; and these, my new pious
fathers, ... were the unreverend Mr. Holt and Mr. Palmer. Nay, there
were witnesses also, such as Mr. Fleming, Mr. Gibbins, and Mr. Cocket,
stanch journeymen printers.”

In some printing-houses the jocularity and horse-play of the chapel
meetings led to drunken revelries and a neglect of business that became
intolerable. The chapel undertook to decide who was a fair workman and
who was not. The fairness or unfairness of the workman was determined
by his compliance or non-compliance with the rule of an irresponsible
chapel. In 1820 the master-printers of London were almost unanimous in
opposing the chapel. Hansard says (“Typographia,” pages 309, 310) that
in most houses it was abolished.

Few of the old customs survive in America. The benvenue and the solaces
are unknown even by name to the majority of journeymen compositors.
The word chapel is still used: it defines an assembly of workmen in a
composing-room who are members of a Typographical Union.


361. WAY-GOOSE. Hansard (“Typographia,” foot-note, page 305) quotes
Bailey’s dictionary for the definition of the word: “Wayz-Goose, a
stubble-goose, an entertainment given to journeymen at the beginning of
winter.” Wayz is the old English word for stubble. A wayz-goose was a
known dainty, and the head dish at the annual feasts of the forefathers
of our fraternity.


363. THE COMPANY OF STATIONERS is an old fraternity. Long before
printing had been invented, the copyists, text-writers, and makers
of devotional books of low price, like the Creed, Pater Noster, Ave
Maria, etc., were associated, and sold their books in or near those
streets of London that still retain the names of Pater Noster Lane, Ave
Maria Lane, and Amen Corner. In the year 1403 they were formed into a
guild and governed by a master and two wardens. In 1553 they owned and
occupied a large hall near St. Paul’s Church, which was burned in the
great fire of 1666. A new hall was built, and finished in 1670. Hansard
shows in his “Typographia” (facing page 237) a print of the building
as it then appeared, in which the festivities described by Moxon were
celebrated.


Transcriber’s Notes.

Italic text is indicated with _underscores_, bold text with =equals=,
underlined text with ~tildes~.

Small/mixed capitals have been replaced with ALL CAPITALS.

Cover art created for this eBook is granted to the public domain.




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