Chapter XI: Part 11

There are no diphthongs in Danish, but _aj_, _ej_, _oj_, _uj_, _öj_, even though written by some _ai_, _ei_, _oi_, _ui_, _öi_, are pronounced with the open sound of the vowels and a distinct _y_ consonant following, never like _ai_, _ei_, French _oi_, _ui_ or the like, for instance, _ej_, not, sounds like English _eye_ or _I_; _Konvoj_, a convoy, like the verb _to convoy_, &c.

In like manner _av_, _ev_, _iv_, _ov_, _æv_, _øv_ are pronounced as clear vowels followed by a distinct _v_ consonant or rather _w_, for the _v_ also is softer after the vowels than at the beginning, for instance, _tav_, was silent; _Brev_, letter; _stiv_, stiff; _Tòv_, cable; _Ræv_, fox; _døv_, deaf. The sound of _w_ is particularly observable, when another consonant follows, for instance, _tavs_, silent; _Evropa_, Europe; _stivne_, to stiffen; _hovne_, to swell; _Hævn_, revenge; _søvnig_, sleepy, drowsy.

As to the division of words into syllables, _j_ is always referred to the preceding vowel, which is in these cases constantly pronounced short and sharp, for instance, _Vej-e_, ways, not _Ve-je_. The other consonants are usually referred to the vowel following, when single; or divided between the preceding and succeeding vowel, when more than one, no care being taken to distinguish the radical parts from the accessories, but in compound words, for instance, _Da-ge_, days, from _Dag_, day, but _for-ud-si-ge_, foretell, from _for-ud_, beforehand, and _sige_, tell, say.

It is a great advantage in the Danish orthography, that every noun substantive is written with a capital letter at the beginning, as numbers of words, else perfectly alike, are thereby easily distinguished at the first view. Ex.

(_en_) _Tale_, a speech, (_at_) _tale_, to speak,
(_en_) _Bör_, a bier, (_jeg_) _bör_, I must, ought,
(_en_) _Tro_, faith, _tro_, faithful,
(_en_) _Flöj_, weathercock, _flöj_, flew,
(_et_) _Önske_, a wish, (_at_) _önske_, to wish,
_Vande_, waters, (_at_) _vande_, to water.

On the other hand, adjectives of national names are usually written with small initials, contrary to the English usage, as, _dansk_, Danish; _norsk_, Norwegian; _svensk_, Swedish; _hollandsk_, Dutch; _engelsk_, English; _angelsaksisk_, Anglosaxon.

Though the Roman character is daily gaining ground, being introduced into the Transactions of the Royal Academy of Copenhagen, and of most other learned societies in Denmark and Norway, as also used in many excellent works of private authors, yet the monkish or Gothic form of the letters is still preferred by many.

In this character the capital ~J~ is also usually applied for the ~I~, for instance, ~Jsrael~ and ~Jesus~; the long ſ is constantly applied in the beginning of syllables, even in the combinations: ſk, ſl, ſp, ſt.

For å, has been proposed another figure, viz. [#], which has been adopted by the celebrated Capt. Abrahamson in his first edition of Langes _Dänische Gramm. für Deutsche_, as also by Rask, in the first edition of his Icel. Grammar; that he has afterwards preferred the å, is not only from patriotic motives; this figure being found in old Danish MSS. down to 1555, but also because it is introduced into several other languages, as Swedish and Laplandic, and has even been used in the upper German dialects; also in the Bornholm dialect by Mr. Skougaard, in the Farroic by the Revd. Mr. Lyngbye, and in the Acra (on the coast of Guinea) by Capt. Schönning, whereas [#] is used nowhere else in the world.--_From Rask’s Danish Grammar, Copenhagen_, 1830.

DASH. _See_ PUNCTUATION.

DELE,

Lat. The second person singular, imperative mood, of the active verb _deleo_, to blot out, to expunge. This is a word that is much used in a printing office; and its initial, with a round top, [#] or [#], is the regular mark in proofs to expunge a letter, word, or words that are redundant. _See_ CORRECTING.

DELIVERING BOOKS.

It is the general practice with publishers to leave a work when finished, in the warehouse of the printer, and to send written orders for the delivery of a part, as occasion or convenience suits; the warehouseman should always be prepared to deliver copies to these orders at the moment, otherwise complaint will be made against him, and he will incur blame; but he ought not on any account to deliver copies without a written order, for should there happen a mistake, or an omission in the publishers making an entry, credit will not be given for them, and he will become responsible. He ought invariably to enter them instanter, and take the person’s signature to the entry, and file the order. He will then be enabled, when an account of the delivery is called for, to prove its correctness.

DEVIL.

The pressman 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 daub themselves; whence the workmen do jocosely call them _Devils_; and sometimes _Spirits_, and sometimes _Flies_.--_M._ The boys that make the fires, sweep the rooms, assist in the warehouse, and go on errands, are now called _Devils_, or _Printers Devils_; but in the trade they are generally styled _Errand Boys_ and _Warehouse Boys_. _See_ FLY.

DIÆRESIS. _See_ ACCENTED LETTERS.

DIAMOND.

The name of a type one size smaller than Pearl, and the smallest that is cast in the British founderies. It originated in casting a type with a pearl face upon a smaller body, for the purpose of getting in, in printing pocket Bibles; the founders subsequently cut it with a smaller face, and made it completely a distinct size. It is not enumerated in Moxon’s list. _See_ TYPES.

DILLY, CHARLES. _See_ DONATIONS.

DIPLE.

A mark in the margin of a book to show where a fault is to be corrected.--_Bailey’s Dict._ This word is not used in the profession.

DIRECTION.

The word that stands alone on the right hand in the bottom line of a page.--_M._ It is the first word of the following page. _See_ CATCH WORD.

DIRECTION LINE.

The line the direction stands in.--_M._ _See_ CATCH WORD.

_TO_ DISTRIBUTE.

To replace the types in their respective boxes in the cases after printing therewith, in order to their being used again. This is done in a very expeditious manner by the compositor, who, placing his composing rule against the head of a page, with his thumbs against it, pressing the sides of both his third fingers against the sides of the matter, and his forefingers against the bottom line of the quantity which he means to lift, takes up what is termed a handful, and keeping the face of the letter towards him, rests one end of the composing rule against the ball of the thumb of his left hand, and pressing the other end of the rule with the third finger, steadies the matter with his forefinger, and thus has his right hand at liberty, with which he takes a word or part of a word from the uppermost line as he holds it in his hand, and drops the several letters into their particular boxes. Matter is always wetted when distributed, to render it slightly cohesive, as the operation is thus performed with more facility than when dry. When the form has not been well rinsed in laying-up, and the types have been much used, the ends of the fingers are apt to get smooth, so as to lose the command, in some measure, of dropping the types into their places with quickness and certainty; in this case compositors frequently keep a piece of alum in some part of the case, and occasionally touch it with their thumb and two fingers, which gives them a little roughness, and restores their command of the types.

If a compositor is desirous of producing his first proofs free from literal errors, he should be particular in distributing clean, that is, depositing each letter in its proper box.

When new letter remains in chase, locked up for any considerable time, it becomes what is termed, baked. _See_ BAKE.

DISTRIBUTING STICK.--_M._ _See_ COMPOSING STICK.

DIVIDING.

There are practical rules in printing for dividing words where the whole of a word cannot be comprised within the line; and there are also grammatical rules for the same object. Every printing office has some peculiarity on this subject.

The most general practical method of dividing words is to preserve the primitive word at the end of a line, and carry the termination to the next line; but this cannot always be done, as the following few instances will show. In these and similar cases it will be better to avoid dividing the word, and either drive the whole out, or get the termination in, as the spacing of the line will best allow.

air-y bulge-d change-d chuff-y
brace-d carve-d charge-d cleave-r
brawn-y cause-d chose-n cloud-y
craft-y gloom-y might-y scrape-r
crust-y judge-d nest-le strange-r
curve-d lapse-d part-y tame-d
date-d large-st plate-d tease-d
dew-y love-r rate-d tune-r
earth-y luck-y rhime-r vote-r
give-n make-r safe-r write-r

Words whose plurals are formed by the addition of s, which adds another syllable to them, by making the last into two, ought not to have these two syllables divided; such as--

accom-plices conse-quences frontis-pieces prefer-ences
acquaint-ances differ-ences hinder-ances privi-leges
advan-tages discord-ances observ-ances quintes-sences
allow-ances disturb-ances occur-rences recom-pences
appear-ances embas-sages over-charges redun-dances
arti-fices enter-prises perform-ances reli-ances
bene-fices equi-pages petu-lances resem-blances
cogni-zances evi-dences post-offices resi-dences
conni-vances exer-cises preci-pices sen-tences.

The terminations of words, chion, cial, cient, cion, cious, shion, sian, sion, tial, tion, and tious, ought never, in my opinion, to be divided, as they each form one sound, although Murray and Walker say they form two syllables.

When the primitive word cannot be retained at the end of a line, I would prefer the prefixes ab, ac, ad, al, anti, be, bi, co, com, con, de, di, dia, dis, en, in, per, pre, pro, re, sub, super, un, when words in which they occur require to be divided; provided it does not cause any great violence in the spacing.

When it is necessary to divide a word at the end of a line, it is also necessary to study the appearance of the termination of that line, as well as of the commencement of the succeeding line, for they are equally affected. An improper division of a word will sometimes look better than a proper one, but it ought always to be avoided, if possible.

It frequently happens that the last syllable, when it is short, has a meagre appearance at the beginning of a line; when this is the case, it is preferable to drive out another syllable, provided the appearance and the correctness of the first part of the word are not compromised.

It is not usual, and is looked on as bad workmanship, to divide a word with a single letter at the end of a line, for it may be driven out, or, if the line be wide spaced, the next syllable may be got in; but should the second syllable of the word be a long one, or the last syllable a very short one, it will then be advisable to overrun a preceding line or two, to get rid of the objectionable division.

Neither is it usual to carry over the last syllable of a word if it consist of two thin letters only; for the hyphen is more than equal to one of them, and changing two or three spaces will make room for the other, without affecting the appearance.

Some persons object to the dividing of words at all in printing, as being unnecessary and displeasing to the eye; but then they must sacrifice all regularity of spacing, which is still worse, and has the appearance of bad workmanship. I would recommend that a compositor should make each give way a little to the other, always preserving such an uniformity in spacing that there should be no glaring disproportion in different lines.

Avoid dividing words in lines following each other, so as not to have hyphens at the ends of two adjoining lines, but never have three or more divided words at the ends of consecutive lines; although five or six may occasionally be seen, yet in book work it is held to be bad workmanship, and should never be allowed to pass. Neither is it desirable to divide proper names, nor the last word in a page so as to have part of a word to begin the succeeding page, particularly when it is an even one; sums of money and series of figures are never divided.

It is not possible in every instance to divide words correctly, particularly when the page is of a narrow measure, and the type large; when this happens, the compositor is obliged frequently to sacrifice correctness to necessity; but when the page is of a width proportionate to the size of the type, he may in the usual way of workmanship preserve his regular spacing, and also his correct dividing.

The preceding observations may be looked on as practical ones for printing. Lindley Murray gives the following grammatical directions for dividing words.

“1. A single consonant between two vowels must be joined to the latter syllable: as, de-light, bri-dal, re-source: except the letter x; as, ex-ist, ex-amine: and except likewise words compounded; as, up-on, un-even, dis-ease.

“2. Two consonants proper to begin a word, must not be separated; as, fa-ble, sti-fle. But when they come between two vowels, and are such as cannot begin a word, they must be divided; as, ut-most, un-der, in-sect, er-ror, cof-fin.

“If the preceding syllable is short, the consonants must be separated: as, cus-tard, pub-lic, gos-ling.

“3. When three consonants meet in the middle of a word, if they can begin a word, and the preceding vowel be pronounced long, they are not to be separated; as, de-throne, de-stroy. But when the vowel of the preceding syllable is pronounced short, one of the consonants always belongs to that syllable; as, dis-tract, dis-prove, dis-train.

“4. When three or four consonants, which are not proper to begin a word, meet between two vowels, the first consonant is always kept with the first syllable in the division: as, ab-stain, com-plete, em-broil, dan-dler, dap-ple, con-strain.

“5. Two vowels, not being a diphthong, must be divided into separate syllables; as, cru-el, deni-al, soci-ety.

“A diphthong immediately preceding a vowel, is to be separated from it: as, roy-al, pow-er, jew-el.

“6. Compounded words must be traced into the simple words of which they are composed; as, ice-house, glow-worm, over-power, never-the-less.

“7. Grammatical, and other particular terminations, are generally separated: as, teach-est, teach-eth, teach-ing, teach-er, contend-est, great-er, wretch-ed, good-ness, free-dom, false-hood.

“Two consonants which form but one sound, are never separated: as, e-cho, fa-ther, pro-phet, an-chor, bi-shop. They are to be considered as a single letter.

“8. In derivative words, the additional syllables are separated: as, sweet-er, sweet-est, sweet-ly; learn-ed, learn-eth, learn-ing; dis-like, mis-lead, un-even; call-ed, roll-er, dress-ing; gold-en, bolt-ed, believ-er, pleas-ing.

“_Exceptions._ When the derivative word doubles the single letter of the primitive, one of those letters is joined to the termination: as, beg, beg-gar; fat, fat-ter; bid, bid-ding.

“When the additional syllable is preceded by _c_ or _g_ soft, the _c_ or _g_ is added to that syllable: as, of-fen-ces, cotta-ges, pro-noun-cer, in-dul-ging; ra-cer, fa-cing, spi-ced; wa-ger, ra-ging, pla-ced, ran-ger, chan-ging, chan-ged.

“When the preceding single vowel is long, the consonant, if single, is joined to the termination: as, ba-ker, ba-king; ho-ping, bro-ken; po-ker, bo-ny; wri-ter, sla-vish; mu-sed, sa-ved.

“The termination _y_ is not to be placed alone: as, san-dy, gras-sy; dir-ty, dus-ty; mos-sy, fros-ty; hea-dy, woo-dy; except, dough-y, snow-y, string-y, and a few other words. But even in these exceptions, it would be proper to avoid beginning a line with the termination _y_.

“Some of the preceding rules may be liable to considerable exceptions; and therefore it is said by Dr. Lowth and others, that the best and easiest directions for dividing the syllables in spelling, is to divide them as they are naturally separated in a right pronunciation, without regard to the derivation of words, or the possible combination of consonants at the beginning of a syllable.”

Before quitting this subject, it should be stated that there is yet a mode of dividing, which is peculiar to the philologist. To him it appears but natural that a compounded word should be divided at the point where its elements were originally conjoined. With respect to a purely English compound we find this to be one of Murray’s rules; but in an adopted word, however much from its recurrence it may seem to have become our own, the scholar’s eye is offended, if, where a division has become requisite, it be made in violation of etymological principles. This remark must be understood as having reference only to the division which would occur in the neighbourhood of the point of junction: in other respects he does not impugn the validity of the rules which are in general laid down. To apply with precision this principle, which, when judiciously practised, is frequently very highly approved, it is evident that an acquaintance with the language from which the imported word has been derived, is necessary: yet, as a person not thus qualified may occasionally be required to make his divisions in conformity with this system, it has been thought desirable to subjoin a brief list of words in which an uninitiated person would be most likely to err. A few of the following divisions will appear a little startling, and they are in consequence generally evaded; but it has been thought proper in this place to conceal nothing from the general eye which may appear to militate against the full adoption of the system. The words selected are but a few of the very large class of compounds; but the rest have been omitted, as their analytical and their syllabical divisions will in general be found to coincide.

abs-cess ad-opt an-other au-spicious
ab-scind ad-ore ant-agonist aut-opsy
ab-scission ad-ust ant-arctic baro-scope
abs-cond aero-scopy anti-strophe bin-ocular
ab-solve aero-static ant-onomasia cat-acoustic
abs-tain amb-ient apo-phthegm cata-strophe
abs-terge amb-ition apo-state cat-echism
abs-tinence an-archy apo-stle cat-optrical
abs-tract ana-stomosis apo-strophe chir-urgeon
abs-truse ana-strophe armi-stice co-gnate
ab-use anim-advert atmo-sphere cyn-anthropy

de-scend go-spel omni-science re-spond
de-scribe hemi-sphere palin-ode re-stitution
de-sperado hemi-stich pan-oply re-store
de-sperate hept-archy pen-insula re-strain
de-spicable herm-aphrodite penta-ptote re-stringent
de-spise hier-archy pen-ultima retro-spect
de-spoil horo-scope pen-umbra se-gregate
de-spond hypo-stasis per-emptory sol-stice
de-sponsate in-iquity (i. e. per-ennial spher-oid
de-spumation in-equity) per-ish su-spect
de-stitute inter-stice per-spire sym-ptom
de-stroy iso-sceles per-use syn-onymous
de-struction log-arithms phil-anthropy syn-opsis
dia-gnostic lyc-anthropy plani-sphere sy-stole
dia-stole man-œuvre pot-sherd tele-scope
di-phthong meta-stasis pre-science terr-aqueous
di-ptote met-onomy pre-scind trans-act
di-scind micro-scope pro-gnosticate tran-scend
dis-pend mis-anthropy pro-scribe tran-scribe
di-sperse miso-gyny pro-spect trans-ient
di-spirit mon-arch pro-sperous tran-silience
di-spread mon-ocular pro-stitute trans-itory
di-stich mon-ody pro-strate trans-parent
di-stil mono-ptote rect-angle tran-spire
di-strain mult-ocular re-scind trans-port
epi-scopal neg-lect re-script trans-pose
epi-stle ne-science re-spect tran-sude
frontispiece* non-age re-spire tri-phthong
gastro-cnemius ob-struct re-splendent tri-ptote
vin-egar
un-animous.

* This word has had the singular fortune of having been all but
universally mis-spelt; having in its present form the appearance
of being what is inadmissible--the compound of a Latin and
an English word. A few years ago an ingenious critic, in a
work which he published, corrected this spelling by writing
the word “frontispice.” As the word comes immediately from
_frontispicium_, the emendation appears to have been judiciously
made. (Compare _auspice_, from _auspicium_ = avispicium.) It may
not be unnecessary also to observe, that the amended form is that
in which it appears in the French language. The division of the
corrected word would be fronti-spice.

DIVISORIUM.

Commonly called Visorum.--_Smith._ _See_ VISORUM.

DOMESDAY BOOK.

The register of the lands of England, framed by order of William the Conqueror. It was sometimes termed _Rotulus Wintoniæ_, and was the book from which judgment was to be given upon the value, tenures, and services of the lands therein described.

In 1767, in consequence of an address of the House of Lords, His Majesty George III. gave directions for the publication of this Survey. It was not, however, till after 1770 that the work was actually commenced. Its publication was entrusted to Mr. Abraham Farley, a gentleman of learning as well as of great experience in records, who had almost daily recourse to the book for more than forty years. It was completed early in 1783, having been ten years in passing through the press, and thus became generally accessible to the antiquary and topographer. It was printed in facsimile, as far as regular types, assisted by the representation of original contractions, could imitate the original.

DOMESDAY.--_Upper Case._

+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| | | | | ℞ | | || X | | | | | | |
| X | Y | Z | Æ |····| J | U ||····| b̃ | c̃ | d̃ | ẽ | f̃ | g̃ |
| | | | | Đ | | || ã | | | | | | |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| | | | | | | n̄ || | | | | | | |
| ā | ē | ī | ō | ū | m̄ |····|| h̃ | ĩ | k̃ | l̃ | m̃ | ñ | õ |
| | | | | | | ḣ || | | | | | | |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| | | | | | | || | q̃ | | | | ũ | w̃ |
| c̚ | g̚ | m̚ | n̚ | p̚ | s̚ | t̚ || p̃ |····| r̃ | s̃ | t̃ |····|····|
| | | | | | | || | q̱ | | | | ṽ | ã |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+
| | | | | | | || c̉ | | | | | | v̉ |
| u̚ | v̚ | x̚ | Various.|Hair| k ||····| m̉ | n̉ | s̉ | t̉ | ủ |····|
| | | | | | Sp.| || g̉ | | | | | | x̉ |
+----+----+----+----+----+----+----++----+----+----+----+----+----+----+

DOMESDAY.--_Lower._

+---+---+---+---+---+---+-----++-----+---+---+---+---+-----+-----+
| [ | | æ | þ |[#]| | || | | ( | ? | ; | | |
|···| A |···|···|···| ’ | ||Thin | j |···|···|···| p̉ | fl |
|[#]| |ll͠|co͠|bb͠| | || Sp. | |[#]|[#]|[#]| | |
+---+---+---+---+---+---+ |+-----+---+---+---+---+-----+-----+
| & | | | | || | | |[#]| p̲ | ff |
+---+ | | | || | | +---+-----+-----+
|[#]| b | c | d | e || i | s | f | | | |
|···| | | | || | | | g | p̱ | fi |
| ȝ | | | | || | | | | | |
+---+---+-------+-------+-----++-----+---+---+---+---+-----+-----+
| ffl | | | | || | | | | | | |
|···| | | | || | ẏ | |[#]| | En | Em |
|[#]| | | | || +---+ +---+ |Quad-|Quad-|
+---+ l | m | n | h || o | | p | | w |rats.|rats.|
| ffi | | | | || | y | | , | | | |
+---+---+-------+-------+-----++-----+---+---+---+---+-----+-----+
| z | | | | || | | q | | |
|···| | | | || | |···| : | |
|[#]| | | |Thick|| | |[#]| | |
+---+ v | u | t | Sp. || a | r +---+---+ Quadrats. |
| x | | | | || | | . | - | |
+---+---+-------+-------+-----++-----+-------+---+---+-----------+

The type with which the Domesday Book was printed, was destroyed in the dreadful fire which consumed the printing office of Messrs. Nichols in Red Lion Passage, Fleet Street, London, February 8, 1808.

Abbreviations in Domesday Book, from Hutchins’s Domesday Book for the County of Dorset.

[#], _acræ_.
[#], _æcclesia_.
[#], _archiepiscopus_.
[#], _caruca_, _carucata_.
[#], _dimidium_.
[#], _dominio_.
[#], _eadem_.
[#], _et_.
[#], _est_.
[#], _ecclesiam_.
[#], _episcopus_.
[#], _fratres_.
[#], _geldabat_.
[#], _hoc_ or _hæ_.
[#], _leuca_.
[#], _libræ_.
[#], _longa_, longitudinem.
[#], _lata_, latitudinem.
[#], _manerium_, or _manerio_.
[#], _molini_.
[#], _modo_.
[#], _nunquam_.
[#], _in paragio_.
[#], _prepositus_.
[#], _presbyter_.
[#], _prati_.
[#], _pertinet_.
[#], _pro_.
[#], _habet_.
[#], _propter_.
[#], 89.
[#], _quæ_.
[#], _qui_.
[#], _quo_.
[#], [#], [#], _quarentenæ_.
[#], _quædam_.
[#], _reddunt_, _reddit_.
[#], _solidi_.
[#], _sunt_.
[#], _tamen_.
[#], _tantum_.
[#], _tantundem_.
[#], _terciam_.
T. R. E. _tempore regis Edwardi_.
T. R. W. _tempore regis Willelmi_.
[#], _tenet_.
[#], _terra_.
[#], _volebat_, or _volebant_.
[#], _villani_.
[#], _virgata_.
[#], _unus_.
[#], _vero_.

Superior Letters, which are of frequent occurrence in contracted Records, are generally laid in the small capital boxes.

The character & is displaced to make room for [#] and [#] on works using those characters exclusively.

There are various characters, such as [#], [#], [#], [#], [#], [#], and others, that do not frequently occur, which may be kept in the two boxes in the upper case marked “various;” a general box is necessary in every Domesday case.

The characters c̚, g̚, m̚, &c., placed in the figure boxes, are a variation only of c̉ , g̉ , m̉ , &c., and the two sorts are never used together in the same work. _See_ RECORDS.

DONATIONS.

Abstract of the Charitable Donations at the Disposal of the Court of Assistants of the Worshipful Company of Stationers. I have selected those Donations only which relate, directly or indirectly, to Printers.

William Norton, a printer of great note, lived in St. Paul’s
Churchyard, who died in 1593. He gave six pounds thirteen
shillings and four pence, yearly to his company, to be lent
to young men, free of the same Company. The Company in their
Abstract of Charitable Donations say “to the Poor of the said
Company.”

Mr. Christopher Meredith, in 1655, gave 10_l._ a year, to be paid
in quarterly pensions to the poor of the Company.

Thomas Guy, Esq., M.P., an eminent bookseller, and the munificent
founder of the hospital which bears his name, gave to the
Company, in 1717, 1,000_l._ “to enable them to add 50_l._ a
year, by quarterly payments, to the poor members and widows, in
augmentation of the quarterly charity.”

Mr. Theophilus Cater, in 1718, gave 1,000_l._ to the Company, on
condition of their paying him an annuity of 50_l._ for his own
life.--After his death, 40_l._ to be thus disposed of: to the
minister of St. Martin’s, Ludgate, for a sermon, 1_l._ 10_s._;
to the reader, 5_s._; to the clerk and sexton, 2_s._ 6_d._
each, 5_s._; to fourteen poor freemen of the Company, 14_l._;
to ten poor men of St. Martin’s, 10_l._; to ten poor men of
Christchurch, 1_l._ each. The remainder, (being 4_l._) towards a
dinner for the master, wardens, and assistants.

Mrs. Beata Wilkins, in 1773, gave the picture of Doctor
Hoadly, lord bishop of Winchester, now in the Stock-room;
and the interest and produce of all the money arising from
her forty-pounds share stock (computed at 320_l._) to be
distributed, annually, amongst six poor men and six poor widows,
not pensioners to the Company, in the month of December, before
Christmas.--_Note._ The produce of the share was laid out in the
purchase of 358_l._ 11_s._ 4_d._ five per cent. Navy annuities.
The yearly dividend is 17_l._ 18_s._ 6_d._ To which the Court add
1_s._ 6_d._ to make the dividend to each annuitant 1_l._ 10_s._

William Bowyer. _See_ BOWYER.

William Strahan, Esq., M. P., in 1784, gave 1,000_l._, one
half of the annual interest to be divided in equal shares or
proportions to five poor journeymen printers, natives of England
or Wales, freemen of the Company; the other half in equal
shares or proportions to five poor journeymen printers, natives
of Scotland, without regard to their being freemen or being
non-freemen of the Company.--_Note._ The yearly dividend of this
bequest is 39_l._ 14_s._ 10_d._--to which _5s._ 2_d._ (part of
a subsequent donation by Andrew Strahan, Esq.) has since been
added, to make the dividend to each annuitant 4_l._

Thomas Wright, Esq., late alderman of London, in 1794, gave
2,000_l._ four per cent. Bank annuities, the dividends to be
distributed as follows; upon the first day of January 50_l._
8_s._ amongst twenty-four poor freemen of the said Company, not
receiving any other pension from the Company, 2_l._ 2_s._ each.
To the clerk of the Company 3_l._ 3_s._ for his trouble upon
this occasion. And 26_l._ 9_s._ residue of such dividends, for
providing a dinner for the master, wardens, and assistants, of
the Company, upon the day of distribution.

Mr. Richard Johnson, in 1795, gave all the remainder of his
property whatsoever, to the Company, upon the following
conditions: that they allow his sister, Mary Johnson, 50_l._ per
annum, and 10_l._ per annum to his uncle Lockington Johnson,
or to his wife, Elizabeth Johnson, during their natural lives.
After the deaths of his sister and uncle, and his wife, the whole
property to be divided half-yearly, “among five very poor widows,
who have seen better days, above the age of sixty, whose husbands
were liverymen, and in a good way of business; were either
stationers, printers, booksellers, or binders.”

Charles Dilly, Esq., in November, 1803, (being then a member of
the Court of Assistants,) transferred 700_l._ three per cent.
annuities to the Company, the dividends to be “paid equally to
two widows of liverymen of the Company, who have lived in better
circumstances, and met unexpected misfortunes, but who, through
their conduct and manners in life, are deserving of superior
help. And if there should be candidates of sixty years of age, or
upwards, I should wish them to have the preference.”

Mrs. Elizabeth Baldwin, widow of Mr. Richard Baldwin a liveryman,
gave 250_l._ stock in the three per cents, the dividends to
be laid out and expended in the purchase of five great coats,
to be annually given to five poor liverymen or freemen of the
said Company in the first week of the month of December for
ever.--_Note._ Mrs. Baldwin died 19th August, 1809.

Andrew Strahan, Esq., M. P., (first benefaction,) in January
1815, transferred 1,225_l._ four per cent. annuities to the
Company, the interest, viz. 49_l._, to be applied as follows,
viz.,

“Eight pounds per annum to each of the six pensioners amongst my
father’s annuitants who shall have been earliest elected into
that list, in lieu of the 4_l._ which they at present enjoy. And
whenever any of the pensions of 8_l._ each shall become vacant,
the pensioner who shall stand first on the list of my father’s
annuitants of 4_l._ to succeed to such vacancy, without troubling
the court to make a new election, except for the vacancy
occasioned thereby in the annuitants of 4_l._ And as 5_s._ 2_d._
is added by the court to make up the pensions of my late father
4_l._ to each annuitant, I would have the sum of 5_s._ 2_d._
(part of the surplus of 1_l._) applied to that purpose. The
remaining 14_s._ 10_d._ I would have given to the beadle of the
Company, who has some trouble in receiving the petitions.

“The pensions above given it is my wish should be paid twice in
the year; the one half at the same period as the pensions given
by my late father, and the other half at midsummer.

“I observe that my father’s pensioners are to be elected
annually, which, I believe, may not always have been strictly
complied with; but, by being so bequeathed, it enables the court
to displace any individual who may at any time after his being
elected appear to the court not to be deserving; and it is my
wish that the court should have the same power of displacing
any of the pensioners of eight pounds who shall appear to them
undeserving.”

John Nichols, Esq., transferred to the Company, in June, 1817,
500_l._ four per cent. annuities, “as an addition of a small
supplement to the works of my late friend and partner, Mr.
William Bowyer,” [_See_ BOWYER.] “to pay the dividends to the
persons mentioned in the following list; one of whom has worked
for me more than fifty years, another much more than forty, and
the others nearly thirty years.

“15_l._ a year to Thomas Bennett, in addition to the annuity he
now enjoys.

“5_l._ a year to William Morlis, in addition to what he now
enjoys, or may hereafter enjoy.

“On the death of Bennett, his 15_l._ to be divided into three
annuities, for James Rousseau, John Meeson, and James Robinson,
if then living, otherwise to any other compositor or pressman of
good character, not less than forty-five years of age, and who
shall have been at least twenty-one years free of the Stationers’
Company.

“On the death of Morlis his five pounds to be added to the person
who then stands first on the list; so that eventually there will
only be one annuitant of ten pounds, and two of five pounds each.

“The annuitants to be paid at the same times as those of Mr.
Bowyer.” J. N.

Andrew Strahan, Esq., M. P., (second benefaction,) transferred
in March, 1818, the further sum of 1,000_l._ four per cent.
annuities, “to pay the dividends half-yearly in portions of
ten pounds to four distressed old printers. No person to be
eligible till he be sixty-five years of age: he may be freeman or
non-freeman, compositor or pressman, or have been for many years
employed regularly as corrector or reader in a printing-office
within the Bills of Mortality, and not necessarily one of my late
father’s annuitants or of mine.”

Luke Hansard, Esq., (first benefaction,) on the 11th of July,
1818, transferred to the Company 1,000_l._ four per cent.
annuities, the interest to be given, in two annuities of 10_l._ a
year each, to such objects above sixty-five years of age, free of
the Company, and letterpress printers, (compositors or pressmen,)
as the court shall judge proper.

The other 20_l._ to be given yearly to four freemen of this
Company, printers, booksellers, stationers, warehousemen, or
bookbinders, above sixty years of age, at 5_l._ a year each, as
the court shall think proper objects of this donation.

Luke Hansard, Esq., (second benefaction,) in September, 1818,
transferred to the Company 1,500_l._ three per cent. annuities;
in trust to give to every youth bound at their hall, a neatly
bound Church of England Prayer-book, as printed by his majesty’s
printer in London, bound up with the New Version of Psalms.

The number of Prayer-books thus to be disposed of, are taken at
200, which at a presumed price of 2_s._ 7_d._ each, will cost
yearly 25_l._ 16_s._ 8_d._

Then to give yearly to two of his warehousemen (named) 6_l._
6_s._ each.

Also to “such warehouseman, or binder, or stationer, or other
person in the class to whom the court has been accustomed to give
such annuities, above sixty years of age,” 6_l._ 6_s._

The residue of 5_s._ 4_d._, and whatever residue may be left from
the 200 Prayer-books not being wanted, or from the cost being
less, to be applicable for such purposes as the court shall think
proper.

Beale Blackwell, Esq., gave, July, 1817, so much Bank stock as at
the time of his death would produce the annual sum of 100_l._,
to be every year distributed equally amongst twenty deserving
journeymen letterpress printers; the first distribution of which
took place in October, 1821.

A more detailed account of these charitable donations and
benefactions will be found in a pamphlet of 32 pages, printed by
order of the court in 1819, and given to each liveryman.

This account is copied from Hansard’s Typographia.

DOTTED QUADRATS,

or dotted leaders. Quadrats with dots on them, similar to full points, at regular distances. They are cast from an en, with one point, to four ems.

In tables of contents, indices, and other similar matter, dotted quadrats are preferred to metal rules, or hyphens, being thought to have a neater appearance.

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 joints of the tympan) take a double impression: this sheet is said to double. Or if the pressman run in so, as the foreside of the platen print with the first pull into part of the second pull, or the hind edge of the platen 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 platen, and through too much play the tenons of the head may have in the mortises of the cheeks; and indeed through many wearings and crazinesses that often happen in several parts of the press.--_M._ Moxon’s account of doubling and its causes refer to the two pull wooden presses, but some of them apply equally to iron presses.

In composing, the term is applied when a word, a line, a sentence, or any part of the copy is composed twice; that is, if the compositor’s eye catch a part that he has already composed, and he repeats it.

DOUBLE DAGGER.

This is the technical name of a mark used as a reference, ‡; it is generally placed the third in order,--after the obelisk or dagger.

DOUBLE LETTERS.

Æ, œ, ſt, ſh, and several others cast on one shank, are called double letters: ſ and f have several ascending letters joined 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 adjoining ascending letters.--_M._

By discarding the ſ, we have lessened the number of our double letters, which are now reduced to the diphthongs æ and œ, and to ff, fi, fl, ffi, and ffl, which are so termed by printers.

DOUBLE NARROW.

A piece of furniture equal in breadth to two narrow quotations. There are different sizes used in making margin, and in imposing, viz., double broad, double broad and narrow, broad and narrow, broad and double narrow.

DOUBLE PICA.

The name of a type, one size larger than Paragon, and one smaller than Two-Line Pica. It is equal in depth to two Small Pica bodies. _See_ TYPES.

DRAW.

When a form is working at press, and any of the letters are loosely justified, or from any other cause are not tight in the form, and the adhesion of the ink and balls or rollers pulls them out, they are said to draw. This accident too frequently occurs; and as it is not always perceived, errors arise which neither the care nor the skill of the reader can prevent; when it is perceived, after an impression or two have been pulled, the pressmen often put the letters into the wrong place, and thus cause an error. They are occasionally left by the ball on the form, and produce a batter, which is a waste of materials, and of time in repairing it. A good compositor guards against this evil by care in justifying his lines, and also in locking up.

DRAWN SHEETS.

In collating books in the warehouse, after they have been gathered, duplicate sheets, and sheets of wrong signatures, are occasionally found; arising, in the one instance, from the carelessness of the gathering boys, in taking up more than one sheet of the same signature; and, in the other, from a lift of another sheet being occasionally taken down and mixed in the heap: in these cases the sheets are drawn out of the book, and laid on one side, and, after some accumulation, are replaced upon their respective heaps, to be gathered again right. These sheets are called _Drawn Sheets_.

DRESS A CHASE,

or, Dress a Form, is to fit the pages and the chase with furniture and quoins. _See_ MARGIN.

DRESSING BLOCK.

Made of pear tree, because a soft wood, and therefore less subject to injure the face of the letter; it is commonly about three inches square, and an inch high.--_M._ Used the same as our planer. _See_ PLANER.

DRIPPING PAN.

Literally so, made of tinned iron, extending the whole length of the press, fixed under the long ribs, to preserve the floor from the droppings of oil.

They are useful articles; for presses to be kept in good working order require to be frequently oiled; and for want of a dripping pan, I have known the oil run through the joints of the floor upon a pile of paper in a room underneath, and spoil a considerable quantity.

DRIVE OUT.

When a compositor 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.--_M._ If copy make more than was calculated on, they say, it drives out; if less, and it is intended that it shall make the precise quantity decided on, they say, you must drive out; that is, it must be branched out in proportion, and not cramped.

DROPPING OUT.

After a form is locked up, and, when it is being lifted from the stone, or being laid upon the imposing stone, or the press, any letters, spaces, or quadrats fall out, it is said something drops out, or something has dropped out; this may arise from some of the lines being badly justified--some of the leads riding--or some of the furniture binding--or similar causes--and frequently produces errors at press by other letters drawing out. _See_ FORM DANCES.

In this case, before the form is put to press, it should be examined to ascertain the cause, and any impediment to its safety should be removed.

DRUM. _See_ WHEEL.

DUBLIN.

Plan of a Lower Case as used at Dublin. The Upper Case is the same as used in London.

+-----+---+---+---+---+---+-----++-----+---+---+---+---+-------+-------+
| en | ! | æ | œ | ’ | j | ||_Thin| k | ; |-- |-- | ? | fl |
Rule.| | | | | | || sp._| | | | | | |
+-----+---+---+---+---+---+ ++-----+---+---+---+---+-------+-------+
| & | | | | || | | | | [ ] | ff |
+-----+ b | c | d | e || i | s | f | g +-------+-------+
| Hair| | | | || | | | | ( ) | fi |
| sp. | | | | || | | | | | |
+-----+---+---+---+---+---+-----++-----+---+---+---+---+-------+-------+
| ffi | | | | || | | | | | | |
+-----+ l | m | n | h || o | y | p | , | w | _en | _em |
| ffl | | | | || | | | | |quads._|quads._|
+-----+---+---+---+---+---+-----++-----+---+---+---+---+-------+-------+
| z | | | | || | | q | : | |
+-----+ v | u | t |_Sp._|| a | r +---+---+ _Quadr._ |
| x | | | | || | | . | - | |
+-----+---+---+---+---+---+-----++-----+---+---+---+---+-------+-------+

DUCK’S BILL.

A tongue cut in a piece of stout paper, which is pasted on the tympan at the bottom of the tympan sheet, to support the white paper when working, instead of pins; the paper to be printed rests in the slit behind the tongue, and takes a good bearing.

It is seldom used except in the best work, where the paper printed is fine, stout, large, and expensive, when extra precautions are taken to prevent waste.

DUODECIMO.

The size of a book, generally for shortness written 12mo, and hence frequently incorrectly so pronounced. It is formed by folding a sheet of paper into twelve portions or leaves, making twenty-four pages. _See_ IMPOSING.

E.

EAR OF THE FRISKET.

A projecting piece of iron on the near side of the frisket, by taking hold of which the pressman turns down the frisket, and at the same time the tympan; and as it projects a little beyond the tympan, he also raises the sheet off the form by grasping it and the tympan, and by a quick motion quits hold of the tympan, and turns up the frisket by means of the ear. It is sometimes called the _Thumb Piece_.

EASY PULL.

When the form feels the force of the spindle by degrees, till the bar comes almost to the hither cheek of the press, it is called a _Long_, or a _Soaking_, or _Easy Pull_, and is also called a _Soft Pull_; because it comes soft and soakingly and easily down.--_M._

EASY WORK.

With compositors, printed copy, or a fair written hand, and full of breaks, pleases well, and is called good copy, light, easy work: with pressmen, great letter and a small form is called easy work.--_M._

The term is not now generally used: what Moxon describes as relating to compositors would now be termed good copy; and with respect to pressmen it would be called light work, or a light form.

EDINBURGH.

Plan of a pair of Cases as used at Edinburgh.

_Upper Case._

+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| A | B | C | D | E | F | G || P | Q | R | S | T | V | W |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| H | I | K | L | M | N | O || X | Y | Z | J | U | Æ | Œ |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| A | B | C | D | E | F | G || á | é | í | ó | ú | ¶ | ‡ |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| H | I | K | L | M | N | O || à | è | ì | ò | ù | || | † |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| P | Q | R | S | T | V | W || â | ê | î | ô | û | § | * |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| X | Y | Z | J | U | Æ | Œ || ä | ë | ï | ö | ü | ☞ | ! |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+
| ff | & | ffl | fl | £ | æ | œ || — | —— |————|[#]|[#]|[ ] | ? |
+----+---+-----+----+---+---+----++----+----+----+---+---+----+----+

_Lower Case._

+---+---+-----+-----+------++---+---+---+---+-----+-----+------+------+
| | ’ | k | g | || 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
+---+---+-----+-----+ ++---+---+---+---+-----+-----+------+------+
| z | | | | || | | | | 9 | 0 |
+---+ b | c | d | e || i | s | f | w +------+------+
| j | | | | || | | | | ; | () |
+---+---+-----+-----+------++-------+---+---+-----+-----+------+------+
| | | | | || | | |_Thin| fi | | |
| | | | | || | | | sp._| | _en | _em |
| y | l | m | n | h || o | p | , +-----+-----+quad._|quad._|
| | | | | || | | |_Thin| ff | | |
| | | | | || | | | sp._| | | |
+---+---+-----+-----+------++-------+---+---+-----+-----+------+------+
| q | | | | || | | . |_Thin| |
| | | | |_Thick|| | | | sp._| |
+---+ v | u | t | sp._ || a | r +-----+-----+ _Quadrats._ |
| x | | | | || | |_Hair| - | |
| | | | | || | | sp._| | |
+---+---+-----+-----+------++-------+-------+-----+-----+-------------+

EIGHTEENMO.

Octodecimo, a sheet of paper folded into eighteen leaves; it is usually termed eighteens.

ELECTROTYPE. _See_ GALVANISM.

EMERALD.

The name of a type one size larger than Nonpareil, and one smaller than Minion. It is a size lately introduced.

EMPTY CASE.

When a compositor cannot compose any more out of a case, from many of the sorts being exhausted, it is termed an empty case, or he says, my _Case is Empty_, although there may be a great number of types in it of other sorts.

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 proofs on.--_M._ The term is now applied to those presses only that are unemployed; the press set apart to pull proofs at is called the Proof Press. _See_ PROOF PRESS.

ENGLISH.

The name of a type, one size larger than Pica, and one smaller than Great Primer. _See_ ALPHABET. TYPES.

ENGRAVINGS ON WOOD.

As the method of printing engravings on wood, here described, applies to what is termed fine printing, it may be as well in the outset to define what is meant by this expression, in its application to this subject.

Fine printing, in this point of view, is the art of obtaining impressions from an engraving on wood, of the surface and the surface only, so as to produce the effect which the artist intended, in the highest state of perfection.

There is a material difference between an engraving on wood and one on copper: the first is engraved in relief, that is, the lines are left standing, and the part which in the impression is to appear white is cut away or, technically, blocked out; the lines of the engraving on copper, on the contrary, are cut in the metal, and the part that is to be white in the impression is left untouched in the metal by the engraver.

There is also a material difference in the manner of obtaining impressions: those from an engraving on wood are produced by coating the surface of the lines with ink by beating it with balls or passing a roller over it, and then, with a piece of paper upon it, submitting it to pressure between two parallel plane surfaces, or by a cylinder rolling over it. An engraving on copper is smeared over the whole face with ink, which is worked into the lines; the surplus ink is then wiped off the surface of the plate, on which a piece of paper is laid to receive the impression, and these are passed between two cylinders, which press the paper into the engraved lines by a violent squeeze.

It will easily be perceived by this slight description that the two processes are completely distinct from each other, although the effect produced is nearly the same.

I will now proceed to describe the process of producing impressions from engravings on wood in a superior manner.

After putting a block on the press, the workman ought to be very gentle in the pull for the first impression, to prevent an accident, which has frequently occurred from thoughtlessness in this particular, by making the pull too hard, and crushing some of the lines; by avoiding this he will be safe, and can proportion his pull to the subject. He should also examine, previous to pulling, that there be nothing on the block--no pins that he may have for his tympan sheet, nor any needle with which he may have been taking out a pick.--Such accidents have happened, and caused great trouble to the engraver, as well as loss of time and disappointment; besides entailing a character of carelessness on the printer.

In imposing a single block, where the press is large at which it is to be worked, it will be in danger of springing out of the chase while beating, from the quantity of furniture about it: it is a good remedy to impose it in a job chase, and to impose this chase again in a larger one; this will cause it to lie flatter on the press, and firmer in the beating, as the small chase can be locked up tight in the large one, without having too much furniture, and the large one can be secured firmly on the press by quoins and the corner irons.

Neither the pressure nor the impression in an engraving on wood should be uniformly equal: if they be, the effect that is intended to be produced by the artist will fail; and instead of light, middle tint, and shade, an impression will be produced that possesses none of them in perfection; some parts will be too hard and black, and other parts have neither pressure nor colour enough, with obscurity and roughness, and without any of the mildness of the middle tint, which ought to pervade great part of an engraving, and on which the eye reposes after viewing the strong lights and the deep shades.

To produce the desired effect, great nicety and patience are required in the pressman; a single thickness of thin India paper, which is the paper I would always recommend to be used as overlays for engravings, is frequently required over very small parts, with the edges of it scraped down, for it is advisable that the overlay should never be cut at the edges, but, even where great delicacy of shape is not required, that it should be torn into the form wanted, which reduces the thickness of the edges, and causes the additional pressure to blend with the surrounding parts.

Particular parts of the impression will frequently come up much too strong, and other parts too weak, it will then be necessary to take out from between the tympans a thickness of paper, and add an additional tympan sheet, cutting away those parts that come off too hard, and scraping down the edges; scraping away half the thickness of a tympan sheet in small parts that require to be a little lightened will improve the impression.