Chapter XLII: Part 42

oĩo om̄īo _omnino_.

om̃ _omnis and its cases_.

om̄i _omni_.

om̃s ões _omnis, omnes_.

oĩode _omnimode_.

ōnino ōīno _omnino_.

op̴at̃ōibʒ op̴acõibʒ _operationibus_.

opꝰ op̴a _opus, opera_.

opp^a _opportuna_.

oppoĩa _opposita_.

op̴^t _oportet_.

õs _omnis, omnes_.

ov̉tem̃t _overtement_.

p. _patentes_.

p̴ _per, par, por_.

p̴ _pro_.

p̉ _pre, præ_.

p̉ _præcipimus, præsenti_.

p^i _pri_.

p^a _prima_.

p̴^a _persona_.

p̴^{a}łr p̴so^t’ _personaliter_.

p^a _pagina_.

p^a _publica_.

pat̉ _pater_.

p^{a}ti _prati_.

p̴bʒ _præbet_.

p̉b̴nđ _præbenda, &c_.

pc̃c̃i _peccati_.

p^{ca} _publica_.

p̉cipimꝰ _præcipimus_.

p̴cħ _prochain_.

p̴c̃ssꝰ _processus_.

p̉đ p̉dict̃ _prædictus and its cases_.

p̉dc̃a _prædicta_.

p̉dc̃as _prædictas_.

p̉dc̃m _prædictum_.

p̉dc̃o _prædicto_.

p̉dc̃os _prædictos_.

p̉dc̃i _prædicti_.

p̉dc̃oꝝ _prædictorum_.

p̴ãlate _perambulatæ_.

p̴e _pere_.

p̴ent̉e _parentre_.

p̴ē _parem_.

p̉fat̃ p̉fata p̉fat̃m p̉fatꝰ _prœfatus, &c_.

p̴ħre _prohibere_.

p̴hendinav̉nt _perhendinaverunt_.

p^{i}m̉e _primere (première)_.

p^{i}ve _prive_.

p^{i}e _prie_.

p^{i}sa _prisa_.

p^{i}ꝰ p^{i}us _prius, primus_.

p̴^{i}a _propria_.

p̴iñ _proinde_.

p̴^{i}o _proprio_.

p̉juđ _prejudicial_.

pła _plura_.

plac̃ _placitum and its cases_.

p̴lem̃t _parlement_.

płma _plurima_.

płes _plures_.

płia _placita_.

płg̃ _plegiagium and its cases_.

płim _plurimum_.

płit̃ _placitum and its cases_.

p̴mutat̃o _permutatio_.

pñt _possint and possunt_.

p̃n^c’ _presentia and its cases_.

p̃nt _present_.

p̃ns _prœsens_.

p̃nt̃ _prœsentem, prœsentes, prœsentibus, &c_.

p̉nōīato _prœnominato_.

p̴p^{i}o _proprio_.

p̴p̴ p̴p̃ p̴pt̉ _propter_.

p̃ p̃ p^ap Pp^a _papa_.

pp̃li _populi_.

pp̃o _populo_.

p̴p^{i}a _propria_.

p̴porco͠e p̴porco͠is _proportione, proportionis_.

p^o _primo_.

po. _posito_.

posſ̴^{em} _possessionem_.

p^{o}ea _postea_.

p^r _pour, pur_.

p^{r}veio^{r}s _purveiours_.

pr̃ _pater_.

pr̃i _patri_.

pr̃is _patris_.

pr̃iam _patriam_.

pr̃onatꝰ _patronatus_.

p̃r _presbiter_.

p̴sōe _persone_.

p̃state p̃ꝰtate potest^e _potestate_.

p̉sb̴r _presbiter_.

p̉sc^{i}pt̃ _præscriptus and its cases_.

p̉sentes _præsentes_.

p̴s p̴te _pars, parte_.

p̉t̉it̃ _preteritus and its cases_.

p^t _post, potest_.

p̉t̉ _præter_.

p̴tiñ p̴tinenc̃ _pertinentiis_.

p̴tiñ p̴tinentibʒ p̴tinent̃ _pertinentibus_.

p̴tinētes _pertinentes_.

pu^{ce} _publice_.

puisf̴ _puissant_.

p̴x^o p̴x^a _proximo, proxima_.

pꝰ pꝰt _post_.

pꝰm̃ pꝰtmođ _postmodum_.

pʒ p^t _patet, potest_.

Q2 q2 _quia, quòd_.

q̹ _que, quia, quòd_.

q̃ _qui, quæ_.

q̴ _quod, quòd_.

q̴̃ _quem, quos_.

q^a q̴^a _qua, quadrans_.

q^ā q̴^ā _quam_.

q^{a}nt _quant_.

q^{a}łrcūq̹ _qualitercumque_.

q̃a _quia_.

q^{a}rt̉ _quarter_.

q^{a}cūq̹ _quacumque_.

q^{a}r̃ _quare, quarum_.

q^{a}ꝝ _quarum_.

q^{a}i _quasi_.

q^{a}s _quas_.

q^{a}libʒ _qualibet_.

q^{a}p̴pt̉ _quapropter_.

q^{a}tenꝰ _quatenus_.

qđđm _quoddam_.

qđlʒ _quodlibet_.

qđ _quid, quod_

q^{i}s _quis_.

q^{i}łʒ _quilibet_.

q^{i}bʒ _quibus_.

q^{i}bʒcūq̹ _quibuscumque_.

q^{i}cūq̹ _quicunque_.

q^{i}cq^id _quicquid_.

q^i q^{i}a _quia_.

q^{i}d _quid_.

q^{i}eta _quieta_.

q^{i}etū _quietum_.

q^inq̹ q^i’q̹ _quinque_.

q^{i}sq^am _quisquam_.

qm̃ _quoniam, quem, quomodo_.

q̃le q^{a}le _quale_.

q^{a}t̉xx. q^{a}t̉xx^{ti}. _quater viginti_.

qñ _quando, quoniam_.

q^o _quo_.

q^{o}s _quos_.

q^{o}m^o _quomodo_.

q^{o}m^{o}łʒ _quomodolibet_.

q^{o}nđ _quondam_.

q^{o}q̹ _quoque_.

q^{o}ꝝ _quorum_.

q̹^o _quoque_.

q^{o}łʒ _quolibet_.

qñc̃q̹ _quandocumque_.

qr̃ _quare_.

q̃ratis _queratis_.

q̃relar̃ q̃r̃laꝝ _querelarum_.

q̃rƪe _quærere_.

q’q̹ _quodque, quiconque_.

quar̃ _quare_.

quereł _querela and its cases_.

qũx _queux_.

℞ _Rex and its cases_.

r. r̃. r̃ _regni, regno, &c_.

rece^r _recevoir_.

reclamaco͠e reclamat̃ōe _reclamatione_.

reg̃ł _regula and its cases_.

reg̃lães _regulares_.

relq̃ _reliqua_.

reliq̃ _reliqui, reliqua, &c_.

relīq^i _relinqui_.

reliq^i _reliqui_.

req^{i}sitꝰ _requisitus_.

rep̴aco͠e _reparatione_.

respc̃s _respectus_.

respc̃u resp̃u _respectu_.

resp̃m _respectum_.

rem̃ _remanet_.

re^{tam} _receptam_.

rev̉^mꝰ _reverendissimus_.

ret^o _retro_.

rña _regina_.

rñdʒ _respondet_.

r̃ndeat^r _respondeatur_.

r̃nsio _responsio_.

rñsum _responsum_.

rñs^{r}us _responsurus_.

r^o _responsio_.

rõe rõne r̃one _ratione_.

rõi _rationi_.

ro^{lo} _rotulo_.

rõnabilt̉ rõabiłr _rationabiliter_.

roy^{me} _royaume_.

r̃ociniū rõniū _ratiocinium_.

rõnio _ratiocinio_.

r̃r̃ reꝝ _rerum_.

r̃spc̃u _respectu_.

S’ S. _Sanctus and its cases_.

.s. _scilicet_.

s. _sunt_.

s̃. _solidus and its cases_.

ſ̴ _salutem_.

ſ̴ ſ̴^r _seigneur_.

s^a _secunda, summa, supra_.

s^{a}dc̃m _supradictum_.

sał sałm sałt̃ sałt̃m _salutem_.

sacr̃m sac^am̃tū _sacramentum_.

Sb̴b̴i _Sabbati_.

s̃b _sub_.

s̃btꝰ _subtus_.

sb̴nia _substantia_.

Sc̃s _Sanctus_.

Sc̃i _Sancti_.

Sc̃is _Sanctis_.

Sc̃os _Sanctos_.

Sc̃a _Sancta_.

sc̃đm _secundum_.

sciłt _scilicet_.

sc^{a}c̃io _scaccario_.

s^c _sic_.

sc̃de _seconde, secundæ_.

s^c’ sic^t _sicut_.

sc̃lari _seculari_.

scłʒ _scilicet_.

sc̃laribʒ sec̃laribʒ _secularibus_.

ſ̴dit _susdit_.

ſ̴em̃t _serement_.

sen^{al} _seneschal_.

seqũ _sequens and its cases_.

sem^l _semel_.

seq^r _sequitur_.

sec^{r}ū _securum_.

sepedc̃i _sæpedicti_.

seq̃ns _sequens_.

sib̴n _sibien_.

sig̃ _sigillum and its cases_.

sic̃ _sicut_.

sĩlit̉ _similiter_.

sing̃la _singula_.

sĩ _sive_.

s^i _sibi_.

siłt̃r _similiter_.

signĩcas _significas_.

sig^{a}sti _significasti_.

sigłs sigł _singulus and its cases_.

siłr siłt̃r _similiter_.

sing̃lis _singulis_.

sir̃ _schira and its cases_.

słʒ _scilicet_.

ſ̴^m _secundum_.

s̃mpłr _simpliciter_.

sm^a _summa_.

sñ _sine_.

sñia _sententia_.

solʒ _solet_.

s^o _secundo_.

s^o _seriò, serò_.

soł _solidus and its cases_.

sp̃ale _speciale_.

spłr _specialiter_.

sp̃s _spiritus_.

sp̃alis _specialis, spiritualis_.

sp̃ualia _spiritualia_.

ſ̴ra _sera_.

s̃r _super, sur_.

subs̃ _subsidium and its cases_.

sup̴ _super_.

suffiſ̴ _suffisant_.

ſ̴^{r}ie _seignurie_.

s̃s _suus, suos, suas, suis_.

St̃e _Sainte_.

s^t s̃t _sunt_.

sub̴a _substantia_.

sup^a _supra_.

sup̴iꝰ _superius_.

ſ̴vic̃ _servicia_.

sṽ _sive_.

sʒ _set for sed_.

slʒ _scilicet_.

T. _teste, testibus_.

T’ _terminus and its cases_.

TT. _tituli or titulo_.

t. t̃. t̃ _teste, testibus_.

t̉ _ter_.

tał _talis, &c. taliter_.

tałr _taliter_.

t^{a}nsgr̃ _transgressio_.

t^{a}diđunt _tradiderunt_.

t^{a}dider̃t _tradiderit, tradiderint, tradiderunt_.

tam̃ _tamen_.

tāq^ā _tanquam_.

t^c t̃c tūc _tunc_.

temp̃re _tempore_.

tēp̴ibʒ _temporibus_.

tec̃ _tecum_.

testīo^m _testimonium_.

test̃o _testamento_.

teñ _tenementum and its cases_.

teñʒ _tenements_.

ten^t _tenet_.

tenđ _tenendum_.

teñdas _tenendas_.

thes̃ _thesaurarius_.

tħr̃m _thesaurum_.

t^{e}s _tres_.

t^{i}a _tria_.

t^i _tibi_.

t̉īo _termino_.

t^{i}bus _tribus_.

t̃m _tantum_.

t̉^m t̉ĩm _terminum_.

t̃m^o t̃mm^o _tantummodo_.

t̃mdē _tantundem_.

T’m̃ _terminus and its cases_.

T’miñ _terminus and its cases_.

t̃mp̴alia _temporalia_.

t̃mp̴alibʒ _temporalibus_.

t̃mp̴e tp̃re _tempore_.

t̃n tñ _tamen, tantum_.

tot̃ _totus and its cases_.

t̃p̴e _tempore_.

tp̃re _tempore_.

t̃p̴ibʒ _temporibus_.

to^l _totalis_.

toucħ _touchant_.

t̉r̃ t̉ra t̉re t̉rā t̉ram t̉rar̃ t̉raꝝ _terra and its cases_.

t^{r}r̃ _turris and its cases_.

t^{r}i _turri_.

t^{r}ī _turrim_.

t̉sb̴n _tresbien_.

tʒ _tenet_.

u. _ut_.

ub̴e u^i _ubi_.

u^{i}c̃q̹ _ubicumque_.

ult̃ _ultimus and its cases_.

ult̉iꝰ _ulterius_.

uñ _unde_.

uñc̃q̹ _undecumque_.

unct̃ōem _unctionem_.

uniꝰ _unius_.

unic^iʒ _unicuique_.

ūq^ā _unquam_.

ut^{i}usq̹ _utriusque_.

ut̃r _uter, utrum_.

ut̃rq̹ _uterque and its cases_.

utꝰq̹ _utriusque_.

ux̃ _uxor_.

ux̃e _uxore_.

ux̃is ux̉is _uxoris_.

v. _vel_.

ṽꝰ _versus_.

vac̃ _vacatio and its cases_.

vađ _vadia_.

vałat _valeat_.

valʒ _valet_.

v̉ba _verba_.

vałet _valeret_.

venaco͠e _venatione_.

v^i _vir_.

vī _vim_.

vic̃ vicec̃ _vicecomes and its cases_.

v^{i}i _viri_.

vidʒ viʒ _videlicet_.

viłł _villa and its cases_.

viłr _viriliter_.

v^{i}oꝝ _virorum_.

virg̃is _virginis_.

ṽl v^l _vel_.

v^o _vero_.

v^{o}. _quinto_.

voꝰ _vous_.

v^q’. _quinque_.

v^r _videtur_.

vr̃ _vester_.

vr̃a _vestra_.

vr̃e _vestræ_.

vr̃i _vestri_.

vr̃o _vestro_.

vr̃m _vestrum_.

vʒ v^iʒ _videlicet_.

v̉ſ̴ _versus_.

w^t _with_.

x. _decem_.

x^a _decima_.

X^c Xc Xs̃ Xs Xp̃c Xp̃s _Christus_.

xl^a. _quadragesima_.

Xp̃i _Christi_.

Xp̃o _Christo_.

Xp̃iani _Christiani_.

xv^{me} _quinzisme_.

zo^r _your_.

REFERENCES.

There are various references used for notes, according to the fancy of the author, or the master printer; where they are not numerous in a page, the common references are generally used, in this order-- *, †, ‡, §, ‖, ¶, and where there are more than six notes in a page, two of each reference are put to a note; but this is looked upon as having an unsightly appearance.

Italick lower case letters are sometimes used, enclosed between parentheses (_a_), and sometimes figures (1); the letters, when they are used, are often continued through the alphabet, and then commence again with (_a_).

The most usual references, and which are esteemed the neatest, are superiors, both letters and figures; where the notes are at the foot of the page, letters are most frequently used, sometimes going through the alphabet, and sometimes commencing with ^a in each page in which notes occur: where the notes are placed at the end of the volume, figures ^{1 2} are nearly always adopted, in regular succession.

REGISTER.

This term implies such an arrangement of the whites in both forms of a sheet, as that, when printed off, the pages shall fall precisely at the back of each other, so that the sides and heads of the pages of one form shall not project beyond those of the other; in fine work the principle is carried still further, and the whites in the pages are so arranged that line shall fall upon line, when the reiteration is worked. _See_ GAUGE. SPACE LINES.

REGISTER SHEET.

The sheet or sheets printed to make register with.--_M._ When works are printed on fine and expensive paper, register is usually made with proof paper; and it is not till the form is completely made ready that they use its own paper.

REGLET.

Is a sort of furniture of an equal thickness all its length. It is quadrat high, of several thicknesses, viz. Nonpareil, Brevier, Long Primer, Pica, &c. thick.--_M._

Reglet and all other furniture, except side and foot sticks, are made in lengths of three feet each, and are always styled a yard of reglet, a yard of broad, &c.; the use of reglet is to branch out titles, jobs, and other matter, to economise the use of quadrats: it is preferable to quadrats for this purpose, it keeping the lines more even; for different founts of the same size being often mixed, and the quadrats frequently battered, are not so true as a piece of reglet, which I would always have put next to a line of capitals; it is also used in making margin.

The thinnest reglet used is called card reglet, a substitute for scale-board; the regular sizes commence with Pearl and go up to Two Lines Great Primer, with the exception of Ruby, Minion, Bourgeois, Small Pica, English, Paragon, and Two Lines Pica, which are sizes not used.

REITERATION.

The second form, or the form printed on the backside of the white paper.--_M._ This is a term generally used for press work; when the second form is working, that is, perfecting the sheet, the pressmen say they are working the reiteration.

REVIEWS. _See Newspaper Postage._

REVISE.

An impression of each form printed on proof paper the first thing after it is laid on, and taken by the pressman to the reader or overseer, for him to examine that all the corrections in the press proof are made, previously to the impression being worked off. The compositor frequently takes the revise for waste paper; but this should never be done with that of the first form; the pressman should put it into the heap, so that it may be readily found, which keeps it damp, and the revise of the second form ought always to be pulled on it; the reader, in revising the second form, then sees the sheet perfect, which is necessary to ascertain that the matter follows, and that the furniture is right.

RIBS.

In wooden presses, long pieces of steel, polished on the upper surface, which is a little rounded, on which the carriage traverses in being run in and run out; they are fastened down upon long pieces of wood, which are called Wooden Ribs.

RIDES.

Leads are said to ride, when one end projects over another; this will occasionally take place when two or more are used in the same measure. It ought to be guarded against, as, when it happens, it prevents the page rising, or if by tightening the quoins the form is made to rise, it causes the lines to be crooked.

RINSE THE FORM.

Laying up the form, and washing the lye and ink away to make the letter clean.--_M._ This is always done by the pressman as soon as a form is off; he takes it to the lye trough, and brushes the ink from off the face of the letter, the furniture, and chase, with the lye brush and lye; he then lifts it out of the trough and sets it on its edge, resting against the side of the trough or against some other support, and rinses it well with water, to wash away the lye and the ink it has dissolved, and thus leaves the face of the letter, the furniture, and the chase clean, ready for the compositor to lay up preparatory to distributing.--_See_ LAY UP.

RINSING TROUGH.

The trough forms are rinsed in.--_M._ It is two troughs combined in one; the smallest and deepest is for the water, and in some offices has an iron ladle chained to the near upper corner, to prevent its being displaced; the shallow part is used to lay up forms in; they are both lined with lead, and the shallow one has a loose deal bottom to preserve the lead, and in general is bound with iron, particularly at the front, to prevent the edge of a chase, when being lifted upon the letter board, from cutting the lead; they both have an opening with a short pipe at the bottom to convey away the water; that in the water trough having a brass plug in it, for the convenience of letting the water off to clean it out. They stand on a frame, which is usually placed in a platform raised at the edges a few inches, lined with lead, styled the sink, with a loose bottom of boards, which leads into a pipe for drainage.

RISE.

A form is said to rise, when in rearing it off the correcting stone no letter or furniture, &c. stay behind.--_M._ When every thing is properly justified, and the form properly quoined and locked up, so that nothing falls out in lifting it up.

RISERS.

The material upon which stereotype plates are fixed, in order to be printed.

These risers are sometimes made of wood, with the plates screwed, or otherwise fastened upon them; sometimes of brass, bell metal, gun metal, or type metal; and occasionally of gypsum, or Roman cement: but, of whatever substance they may be formed, the riser and the plate together should be of the same height as types.

Mr. James Fergusson took out a patent for risers made of elastic substances, of which he published the following description, or specification:--“Now know ye, that I the said James Fergusson, in compliance with the said Proviso, do hereby declare, that the nature of my said Invention, and the manner in which the same is to be performed, are particularly described and ascertained by the following explanation thereof, that is to say: In the process of printing from Stereotype Plates, the plates are put upon, and fastened to, certain materials or apparatus, called by different names, such as blocks, matrix-plates, risers, &c., which are made either of iron, brass, type-metal, bell-metal, Roman cement, gypsum, wood of various kinds, or some other suitable substance; or, without using any such materials or apparatus, the plates are, or may be, put upon, and fastened to, the coffins or tables of such printing presses as are in general use, or upon cylindrical or any other sort of printing machines. In all cases, however, of printing from Stereotype Plates, it is necessary to apply some remedy to the unequal thickness of the plates; and the operation usually adopted is that of putting layers or pieces of paper, or other material, under the thinner places of the plates, or over the same, upon the tympan, which operation is technically termed _underlaying_ and _overlaying_. Now, the nature or object of my Invention is that of saving the time and expence unavoidably sacrificed in the operation of underlaying and overlaying; and this object I accomplish by putting elastic substances under the Stereotype Plates, whereby the printed impressions from them are immediately equalized wholly or in part; for the elastic substances yield to the pressure upon the thicker parts of the plates, and at the same time afford the necessary resistance for obtaining sufficient strength of impressions from the thinner parts. It must be evident, that the elastic substances are to be interposed between the Stereotype Plates and whatever solid or firm substance may be made use of, whether blocks, matrix-plates, risers, cylinders, printing presses, printing machines, or any other apparatus whatsoever. So far as I have made experiments and trials of different elastic substances, I have hitherto found Cork to be the best calculated for the purposes of my Invention; but, in virtue of the Letters Patent granted unto me, I claim the exclusive right and privilege of applying Cork, and any other elastic substance, to all kinds of printing apparatus and machines, with the view of remedying the inequalities in the thickness of Stereotype Plates; and I also claim the sole right and privilege of manufacturing the elastic articles requisite for the attainment of this object, of vending such articles, and of granting Licenses for the use of the same. In further explanation of the manner in which my Invention is to be performed, it may be proper to state, that the Cork is prepared by cutting, sawing, rasping, and filing; and by these means it is wrought to such a uniform thickness as is required. I consider a quarter of an inch as a proper thickness, but a lesser or a greater may be adopted. If, when a determinate thickness has been fixed upon, the Cork is to be applied to some apparatus now in use, that apparatus should of course be diminished as much as is the thickness of the Cork, in order that the same height to paper may be preserved. The layers or beds of Cork may be formed either of single pieces, cut to the respective sizes of pages, or made up by several slips, whereby they may be adjusted to various widths and lengths. Whether the Cork be laid loose upon the blocks, &c., or be attached by soft pitch, shoemakers’ wax, or other adhesive substance, is unimportant; but I prefer attaching it, so as to keep it in its place. Although my Invention essentially consists in discovering the applicability of Elastic Substances for the purpose of remedying inequalities in the thickness of Stereotype Plates, yet, in this Specification, I have necessarily given my explanations by particularising Cork, that being the material which I now manufacture and prefer. How to adapt any other elastic substance, which may answer the purpose equally well as Cork, cannot be a matter of doubt or difficulty to any person practically acquainted with apparatus used in Stereotype Press-work.----In witness whereof, &c.”

Mr. T. C. Hansard took out a patent for improvements on, and additions to, Printing Presses, and various processes relative to Printing; these improvements included “Stereotype-Plate Risers, with Holdfasts or Claws,” of which Mr. Hansard published the following description:--“The Risers are made of Type Metal, or with any other metal or substance, cast in a Type-founder’s mould, having somewhat the form of what are called Quotations. I take the usual standard for Printer’s ad-measurement, and cast them quadrilateral to four Pica m’s; then longer ones as parallelograms, four by eight, four by twelve, four by sixteen, and smaller ones, four by two, four by one, and four by a half; in height they are about three-fourths of an inch, or sufficient to raise the Plate to the usual height, or somewhat higher than common Type; these being cast and dressed perfectly true, in body and height, may be easily combined to form the size of any page necessary, with the certainty of having a uniform plain surface for all the plates, however numerous; they are cast as hollow cubes, the larger combinations having divisions to give sufficient support to every square against any pressure which can be brought upon them.

“The Holdfasts or Claws are formed of Brass or other hard metal, accurately adjusted in thickness to a Brevier, or any other body chosen, with a projecting Bevil at the top. They may be of various lengths, as to 4, 8, 16, 24, or more or less, Pica m’s, the elongated parts of the larger ones being to the height of ordinary Reglet, having the Holdfast or Claw in the centre, or towards each end. They may be opened, or pierced, as well to make them lighter, as to cause them, by pressing and indenting into the furniture of the forme, to be less liable to be drawn out: the height of the Claw is about seven-eighths of an inch, or sufficient for the projecting bevil of about one-eighth of an inch to lay upon the flanch of the plate when resting on the Risers. To prepare plates for working, form with the Risers the requisite number of pages for the forme or sheet to the nearest size they may make by the various combinations, and add any difference wanting by reglet, leads, or scale-board; then lay on the Plates, and place at the head, foot, and sides of each plate as many Holdfasts as may, from the size of the plate, be deemed sufficient for proper fastening; thus for small pages, as in Octadecimos and Duodecimos, one at each side and end will be sufficient; for larger pages two or more may be thought necessary; making up the parts which they may be deficient of the length and breadth of the pages with quadrats or reglet of the same body; then proceed to make margin, or dress the formes, and lock-up in the usual mode. To change the Plates; when worked, unlock the forme, draw out the Holdfast at the head or foot of the plate, slide off the done-with plate, replace by the new one; lock up again; and if the Plates have all been cast true to one gauge in thickness, width, and length, you will have throughout the whole work exact and uniform register, and equal impression;--when the Work is completed, the same material of Risers and Holdfasts, by admitting every combination of size, will form into any other sized pages for any other sized plates.”

ROBBERY. _See_ STOLEN PROPERTY.

ROLL UP BALL LEATHERS.

When the pressman leaves work at noon he draws half the nails out of the balls, and takes the wool out; then doubles the loose half of the leather over the remaining nailed-on half, with the inky sides of each half next each other, and rolls up the leathers close, and lays them in a bowl or pan of water to soak till he has dined--_M_. This plan is entirely discontinued; the ball nails now are never drawn nor the covering taken off till it is worn out, owing to the different composition of the ink.

ROLLER.

A cylinder coated with composition, fixed in an iron frame, and revolving upon an iron rod running through it, with which to ink the forms, preparatory to taking an impression.

The roller has almost entirely superseded the use of balls in printing; and, since the introduction of composition, I may venture to say it has completely superseded the use of pelts for balls. _See_ PELTS.

The use of the roller is less laborious to the pressman than balls; and for common work, and indeed all work where weak ink is used, it coats the surface of the types, &c. more uniformly, perhaps, than balls; but for fine work, where strong ink must be used, and really fine work cannot be produced without strong ink, the roller is decidedly inferior to the ball, partly owing to the difficulty of taking ink and distributing it on the inking table; and partly owing to the inferiority of rolling to beating with balls, in coating the surface of the types with strong ink.

The introduction of composition in lieu of pelts has been the cause of a complete change in printing; but for this article, machine or cylindrical printing would never have been accomplished, as all the first attempts were made with skins to coat the roller, and all failed, owing to the imperfection of joining the edges; it was this that baffled Nicholson, who died before its introduction; and it was the introduction of this article that enabled König to avail himself of Nicholson’s invention and to reduce it to practice, after he had failed in his project of applying steam to the working of presses.

The composition was first introduced in printing by Mr. B. Foster, who spread it in a melted state on canvass, and then formed it into balls in the usual manner. I have been informed that Mr. Foster obtained his knowledge of its properties from a cotton manufactory, where it was used in some part of the machinery; but Mr. T. C. Hansard says that it was in the Staffordshire potteries, in which they use what are there called dabbers, that Mr. Foster first observed it.

_Composition._--Mr. Hansard, a printer of extensive practice, in his Typographia, says, “The composition consists principally of glue and molasses, or treacle. I have seen various receipts of ingredients and proportions, some possessing the recommendations which distinguish the recipes of ancient physicians; namely, a vast variety of articles with counteracting properties. But the simple prescription which my experience has proved best, is, to provide _glue_ of the finest quality, made from the cuttings of parchment or vellum; fine green _molasses_, pure from the sugar refiner, at least not adulterated for the bakers’ or grocers’ shops; and a small quantity of the substance called Paris-white [carbonate of barytes], and you will have every ingredient requisite for the compo. The proportions have been so variously stated, and so different from what I have found to be eligible, that I am wholly at a loss to account for such differences.

Pounds of
Glue. Molasses.
One receipt which now lies before me _in print_, says 2 1
Another, MS. 2 3
I find a mixture of 2 6 or 2 7

and about half a pound of the Paris-white, will make the compo of a superior quality to any other proportions, and will be sufficient for two demy rollers. The great disparity which appears in these receipts may perhaps be attributed to a difference in the quality of the materials, and to the mode of management.” Thus far Mr. Hansard on the component parts of the composition.

The late Mr. Robert Branston, an eminent engraver on wood, and who was also very skilful in printing his productions in a superior manner, told me that he made his balls of glue, treacle, and a little shoemakers wax, and that they answered as well as Foster’s. The Cave of Despair, in my Practical Hints on Decorative Printing, will serve as a specimen of his abilities in both these departments.

An ingenious printer in the country, and a good workman, sent me the following receipt, from which he used to make balls for his own use:--Take a pound and a half of glue, let it soak in cold water twelve hours, boil it without any additional water; when it is hot add half a pound of treacle, half an ounce of turpentine, and a quarter of a pound of tar; this quantity is sufficient for a pair of balls. Prepare your canvass or coarse cloth of the size the balls are wanted, by rubbing on it bees wax, (or common paste will answer the purpose after it has been allowed to dry,) to prevent the composition running through the pores; when the mixture is nearly cold, pour it on the canvass, held in a concave manner, in order that it may be the thickest in the middle, and thinner at the edges; then knock up the balls in the usual way.

Another receipt, from which a large establishment in London made their balls and rollers, and the latter both for their machines and presses, is equal parts of glue and treacle; but as the composition is affected by the state of the atmosphere, it is found by experience that in cold weather a greater proportion of treacle is required, and in warm weather a greater proportion of glue.

This establishment was of opinion that the glue known by the name of London Glue is the strongest and best.

These different receipts, each of which was held in high estimation by the party who made use of it on account of its individual superiority over others, tend to show that different proportions of the same materials with different ingredients incorporated with the mixture, produce a composition that possesses all the requisite qualities.

_Casting Rollers._--Mr. Hansard gives the following directions:--“The cylinder upon which the compo is cast is made of alder-wood, turned to a requisite diameter, so that the coat of compo which it receives is half an inch. The cylinder is perforated through its centre, having a brass bush or collar driven into each end, through which is passed an iron rod, as an axis, with an enlarged head at one end, and tapped with a screw at the other.

“It is necessary to procure a mould very accurately made and well finished. Mine is made of brass, in two parts, adjusted to each other with rebates, the inside being finely turned and polished, and having flanches projecting by which the parts are screwed together by the screw and lock-burr. To each end is also fitted a collar; and a circular plate of iron is accommodated with great precision to the bore of the mould, having a projection in its centre to enter a cylinder of wood about which the compo is to attach itself, and to hold it exactly in the centre of the mould, and the other end of which is kept in a corresponding position by means of a brass piece to allow of the compo passing down between the interior surface of the mould and the wooden cylinder. There are little projections on the sides of the mould, which serve as feet to support each half in a steady position while lying upon a table or elsewhere. Previous to joining, the parts of the mould must be nicely cleaned and oiled, and the greatest care taken that no particle of compo, grit, or dirt, remain in the rebate. The parts being carefully placed on each other, and the wooden cylinder fixed inside, the screws must be put into their respective places in the flanches, and when all is properly made tight the mould is to be set upright for receiving the compo.

“The next material part of the apparatus is the melting kettle. This must be a double vessel like a glue-kettle, so that the compo in the interior may be melted by the heat of the boiling water in the exterior. For this purpose a strong boiler may be the best or readiest thing found, into which let a tin vessel be fitted, with a flanch to rest on the rim, so as to leave one or two inches clear under it. This vessel may be six or eight inches above the top of the boiler, so that the lid of the one may fit the other; and it must have a handle on each side; also a large lip for pouring out the compo.

“Being thus prepared, put the glue into a little water for a few hours to soak. Pour off all the liquid, and put the glue into the inner vessel, the boiler having in it as much water as it will contain when the inner vessel is in its place. Put it on the fire, and boil the water as quick as you please, the heat of which will soon cause the glue to dissolve, and evaporate part of the water. When the glue is all melted, add the molasses, and let them be well incorporated together for at least an hour, receiving heat from the boiling water, which is an uniform degree that cannot exceed 212° of Fahrenheit. Then with a very fine sieve, mix the white powder, frequently stirring the compo. In another hour, or less, it will be fit to pour off; and when it is, take the inner vessel out of the boiler, and pour the mixture gently into the mould through the opened brass keeper. In about an hour, if the weather be dry and favourable you may take the roller out of the mould; hang it in a cool, dry, situation, or lay it horizontally in a rack made for the purpose, and the next day it will be sufficiently hardened for use. As there will be rather more of the compo at each end of the cylinder than would work clear of the frame in which it is to revolve, cut off from each extremity about half an inch, by encircling it with a piece of fine twine.”

There is a serious practical disadvantage in the mould being formed of two pieces; that of having a seam or ridge running the whole length on both sides of the roller. This seam prevents that accurate distribution of the ink which is essentially necessary, and increases the probability and danger of producing monks in the impression, which ought to be avoided as much as possible, as destructive to good printing.

I have at different times heard complaints of the difficulty of drawing the roller out of the mould, and of the injury it frequently receives from the surface being damaged, which spoils it, and makes it necessary to be recast. This accident occasions disappointment and loss of time; as cleaning the mould from the composition which adheres to it when this happens is tedious. I attribute this to the mould being made too thin, which expands when the hot mixture is poured into it, and contracts as the mixture cools, thus becoming, by the contraction, too small for the roller, and binding it so tight as to prevent its being drawn out with facility, and without great risk of injury.

I know one house in the Metropolis that makes rollers in the most perfect manner, and experiences little or no trouble in drawing them from the mould; and I know a person who had a mould made, with the same result. These moulds were made out of a solid cylinder of metal (tin, or type metal is equally good for the purpose, and more durable), the aperture bored to the size of the required roller, and carefully polished on the inside, the tube being thick, in some instances two inches, so that it was not much affected by the heat of the composition, the expansion being very trifling, and of course the contraction small in proportion; so that the roller when cold was not compressed by the mould, or so slightly as not to cause any inconvenience or damage to it in drawing out. The inside of the mould should be carefully wiped out before using, so as to be perfectly free from dust or dirt, and slightly oiled, which causes the roller to quit it more readily.

_Preservation._--Mr. Hansard says, “To keep the rollers in good condition for working, a place should be chosen where the air has free circulation, without being subject to the extreme heat of the sun in Summer, or the freezing damp air in winter; in short, in as even a temperature as possible. It will be necessary to keep a stock of more rollers than are at work; as it is frequently found, when a roller is _sick_, or greasy, or soft, or you do not know what is its ailment, that washing it clean, and hanging it to rest for a time, restores it to as good a state as ever.

“One other circumstance must be noticed, namely, the influence of the variable temperatures of different situations on this composition. This I have had particular opportunities of knowing, from having carried on business in two distant offices. It frequently happened that when the compo was working kindly at one office, nothing could be more teazing than its progress at the other. Indeed, while I was supplied by those who make for the trade, one of my houses frequently gave them a great deal of trouble. I have heard both Foster and Harrild say, ‘that they were obliged to make a harder compo on purpose for my house and one or two others similarly situated, than the customary temper of the mixture:’ and, frequently, the only alternative was, to find me a roller that had got hard and useless at some other house, to suit the low temperature of mine. The difference was this--one of my houses had the press-room on the ground-floor, the joists and flooring lying on the earth; the sink room adjoining; wet sheets hanging very low; very little influence from the sun, and no thorough ventilation; consequently, from the humidity of the atmosphere engendered by these circumstances, it was a constant complaint that the compo was too soft. At my other house the press-room was on the two-pair floor; the poles very high; the sun’s rays had free admittance, and the ventilation was very complete. Here the compo, complained of as too soft at the former house, was all that could be wished: hence it became the roller-nursery; and by sending them to hang up a day or two, when out of order at the other place, they became firm and fit for work.”

From this statement it appears that any fixed proportions of the materials for the composition cannot answer generally, and that they must vary according to circumstances. And it may cause us to cease wondering at the number of recipes, and of the different proportions of the various articles, and at being told that they all answered very well; for it is evidently owing to the situation, whether moist or dry, of the press-room of a printing office, that different proportions of ingredients are requisite to make a roller work well, under different circumstances.

The usual method of keeping rollers in working condition is to cover them at night, and when they are not likely to be wanted for some time, with a coating of common or refuse ink; this does not dry, and prevents evaporation, and thus keeps them in working condition: the ink must be scraped off when they are required for use. A roller will get foul in the course of working, or become too hard, it should then be washed well with lye and the lye brush, which will remove the foulness, and it may be further washed with clean water and the hand to remove the lye, and to give it a clean surface; it would then be necessary to distribute it well on a clean table. It would be now advisable to proceed with the presswork with a fresh roller, and allow the one that was washed to have a rest, which generally improves its working condition. If a roller become too hard, and the surface is clean, then washing it with clean water and the hand, distributing it on a clean table, and placing it in a damp situation, will restore it; in fact, when the press-room is dry and well ventilated, keeping the rollers in a damp situation when not in use is preferable, in my opinion, to softening them with water, as the moisture is gradually imbibed by the composition, and makes it more uniformly soft and kind.

When rollers get too soft, the general practice is to hang them up in a current of cool dry air, which evaporates the superabundant moisture, cools the composition if the room has been too warm, and brings them to a good working state. But a more expeditious and effective method, is to sponge them with spirit of turpentine, which restores them to a proper condition sooner than any other method, and also cleans them more effectually than lye. If the same rollers are required to be used when it is necessary to change the colour of the ink, there is not any article that will clean them so expeditiously, and take the ink which had been used out of them so completely, as spirit of turpentine.

Occasionally the pressman finds that he cannot produce good and clear impressions with all the care and attention that he can bestow upon his work, and this when his roller seems to be in good condition, and no apparent cause can be assigned for the deficiency of quality; the roller is then said to be _sick_, or _tired_; and the only remedy that has yet answered to remove this inconvenience is to _give the roller rest_; that is, to hang it up, and take another roller for the work in hand; after resting for some time, it will be found that the sick or tired roller has resumed its original qualities, and will again produce good work.

Rollers, when not in use, should always be hung up in a shady place, which is generally done by one end of the frame, for if left on the inking table they would stick to it, and the composition would be torn in the act of separation; neither should they be exposed to the action of the rays of the sun in summer, which will soften the composition so much as to cause it to run, and thus spoil the roller. These observations apply equally to composition balls.

The following is an abstract of the French method of making and treating rollers.

The French roller-makers proportions are eight pounds of glue and twelve pounds of treacle, which is sufficient for four rollers used at press; the quantity required for those used at machines will vary according to their length and diameter.

Paris made glue is the best: it ought to be transparent, have little colour, and break like glass. Flexibility in glue is a proof of its weakness; and it is injured by being left in a damp place.

The treacle ought to be pure; the most compact is the best. To avoid being deceived, it is best to buy the refined. The old is weak, and not of a good quality for rollers.

In preparing to make four rollers, two pounds of good glue must be soaked in river water; the strength of the glue must determine how long; but if too long the glue loses its strength, and the rollers are injured.

This portion of the glue, thus soaked, is then put into the melting kettle, and placed over a fire, and stirred with a spatula; and when it is quite melted, the rest of the glue is added in similar portions, till the whole eight pounds are melted, which ought to have an hour’s boiling before adding the twelve pounds of treacle. The treacle is then gently poured into the melted glue, stirring them until they are well incorporated. This done, they are left over a moderate fire for an hour, stirring them with a spatula every ten minutes. The surface must be skimmed, and afterwards the vessel must be left a little time to slightly cool, before being poured into the mould.

The cylindrical tube in which the rollers are cast should be smeared in the inside with a brush with oil; neatsfoot oil is the best; and it is necessary that every part should be carefully oiled, and that the wooden cylinder should be well cleaned and free from moisture.

These observations can only apply generally to the making of rollers; it is practice which can alone furnish the particulars. The temperature varying in each season must be the object of special attention, as it renders the materials more or less flexible, and requires the composition to be more or less boiled.

It is a fault with rollers when they lug too much, as it detaches the composition from the wooden cylinder. When they are moist they should not be too much washed, as that also tends to make them lug, and detaches the composition. If they are used too soon after making, they distribute the ink badly, fill up the letters, and last but a very little time. They ought to be exposed to a current of air to dry them, and to be carefully scraped before being used, and again afterwards. If they are too dry they must be sponged all over and distributed upon the table until the water has disappeared, and then on a clean table, before taking ink. When they begin to grow old and hard by work, they must be washed in proper lye without being rinsed in water, and care and attention given to their wiping; and by these means they may be preserved for a considerable time. Rollers, when not in use, should be suspended in a place neither too dry nor too damp.

_Recasting._--Before recasting old rollers, take great care to wash them well with lye, in order to detach the ink with which they are coated: if they are dry they must be scraped with a knife, as grease deteriorates the matter. Afterwards cut the composition all over with a knife, and it will then be easily detached from the wood. If it is new it will not need cutting, it will easily dissolve; if old it must be cut into little pieces, that it may dissolve more easily, and with less loss: if the composition is very strong, the little pieces must be washed in a pail of water, warm water is better than cold; add to it two pounds of treacle, for four rollers, and so in proportion: when the matter draws out well in threads, the composition is good.

If the rollers have been recast many times, and they draw too much, they may be recast without adding fresh treacle or glue. Rollers which are recast are better than new; they are more elastic and less melting. With three pounds of glue, five pounds of treacle, and the matter of three old rollers, four rollers can be made; if a small glass of spirits of wine be added it will facilitate the dissolving.

The rollers fail the most frequently at the ends. They ought to be dry, and clear from grease. It is a good plan before using them to scrape them clean, and to sponge the ends for about an inch and a half with spirits of wine, and to leave them to dry; the gelatine draws better.

ROSE ENGINE.

The rose engine is, I believe, a French invention, and has long been used for turning ornaments on metal, for instance, watch cases and other articles of plate; it was afterwards applied to produce them to print from by the rolling press: during the sitting of the commission for inquiring into the best means for preventing the forgery of bank notes, about twenty years ago, Mr. Perkins introduced a specimen bank note which was partly executed by this machine; and the late Mr. Branston, then of the firm of Whiting and Branston, was, if I am not mistaken, the first to engrave by its means for letterpress printing, and the tickets and shares for the last state lottery were executed by it at Beaufort House. Its great value for the prevention of forgery is, that all circles, curved and angular lines produced by this machine are precisely similar to each other and true, however numerous, and however small or large; it would be next to impossible to produce the same designs, with the same accuracy, by the hand, and the operation would also be uncommonly tedious.

By the kindness of Mr. Holtzapffel I am enabled to introduce into this work a number of different patterns; only one specimen of each individual apparatus is given. The patterns which are capable of being produced are almost endless, and depend on the skill and taste of the operator; the variations in the designs being caused by different chucks being used in the operation; and the combinations of the effect produced by each chuck, either in straight lines, circles, ellipses, or as a ground covering the whole surface, in many instances are very delicate and have a beautiful effect. The following enumeration shows how the annexed specimens were produced.

Figs. 1. 10. Holtzapffel and Co.’s compound oval and eccentric chuck:--1. Two eccentric movements; 10. One oval and one eccentric movement. 2. 6. 8. Ibbetson’s geometric chuck, parts first, second and third. 3. Rose engine. 4. Straight line chuck. 5. Segment engine. 7. Oval chuck. 9. Eccentric chuck. 11. Eccentric chuck with the rose engine. 12. 15. Holtzapffel and Co.’s compound oval and eccentric chuck with the rose engine:--12. One oval and one eccentric movement; 15. Two eccentric movements. 13. Oval chuck with the rose engine. 14. Ibbetson’s compound eccentric chuck. 16. Geometric chuck combined with the rose engine. 17. Straight line chuck combined with the rose engine.

For details and descriptions of the various chucks, with the methods of operating with them, the reader is referred to Manuel de Tourneur, published by Bergeron in 1792, and to “Specimens in Eccentric Turning, with Practical Instructions. By John Holt Ibbetson, Esq.” Third Edition, 8vo. London. [1840.]

Mr. Ibbetson observes, “The number of beautiful designs which may be obtained by combining, on this principle, two circular adjusting movements is inconceivable. Consecutive circles, &c. may be arranged, not only in elliptical curves, but in the shape of hearts--in straight lines--in triangles--in squares--in polygons, and in both inward and outward looped figures.”

ROUNCE.

The handle by means of which the carriage of the press is run in and out.

RUB OUT INK.

Rubbing the ink out smooth and even on the ink-block with the brayer, for the purpose of taking small quantities with the balls tolerably diffused over their face.--_M._ The thinner and more equally it is rubbed out on the ink-block the better, as it in a great measure prevents monks and friars in working. In fine works, where strong ink is used, the pressman who beats should occupy his spare time in using the brayer, as it not only diffuses the ink more equably on the block, but causes it to work better.

RUBY.

The name of a type, the next in size larger than Pearl and smaller than Nonpareil; it is half a Small Pica. Mr. Hansard, in his “Typographia,” gives the following account of its origin and name:--“It was, in fact, originally a Nonpareil with short ascenders and descenders, cast on a smaller body, or sometimes a Pearl, on a larger, to look open; but now some founders have a distinct specimen for this size. This name has but very lately been adopted in the type-founders’ specimens, but some years ago it was found, by the writer of this, absolutely necessary to give some distinguishing appellation to this size, as the letter-founders had given him one-nick Pearls of two bodies, viz. one fount half Small Pica, another half Long Primer; the mistakes arising from this circumstance in a house much in the habit of using small type occasioned the expedient of inventing a new name, and as the neighbouring sizes were called Pearl and Diamond, it seemed not very inapplicable to take the name of Ruby.”

RUCK.

In printing at machines, the paper, particularly if it be soft and not flat, in travelling round the cylinders frequently wrinkles; this is termed _Rucking_, or the _Paper Rucks_, or the _Paper is Rucked_; when this takes place, the sheets may be looked on as spoiled when it is for book work: the best preventative is to press the wet paper well in a powerful press for an hour or two, with small quantities between the boards, just before it goes to the machine. I would not recommend more than five quires in each portion, although I am aware that a ream is generally put in; but the smaller the quantity between each two boards the flatter the paper will be, and less likely to ruck.

RULES AND REGULATIONS

proper to be observed in a Printing Office.

_Compositors._

1. Compositors to receive their cases from the Overseer, or other person appointed by him, free from all pie, or other heterogeneous matter, with clean quadrat and space boxes to both roman and italic, which they are to return to him in the same clean state.

2. When a Compositor receives letter, furniture, &c. from the Overseer, he is to return what he does not use, in a satisfactory state.

3. Compositors to impose their matter when desired by the Employer or Overseer; and the same for proofs that are desired to be corrected; unless in either case it shall appear that all the stones are engaged.

4. When the Compositor imposes from a form, he is directly to tie up the pages of loose matter.

5. Forms, immediately after they are imposed, to be carried to the proof press; and the proofs, when pulled, to be given to the Reader, or carried into the reading closet, with, if a first proof, the copy, and, if a second, the foul proof.

6. No Compositor shall leave a foul stone, of letter, furniture, &c.

7. No Compositor to detain an imposing stone longer than the nature of the business may require.

8. When any cases are taken out of the racks, the Compositor is to return them into their proper place immediately after he has done with the same.

9. No cases to be placed over others, or under the frames.

10. Galleys with head lines, or other useful materials used during the course of a piece of work, to be cleared at furthest the day after the work is all completely at press.

11. When a work is finishing, the Compositor or Compositors concerned shall, as the forms are finally worked, clear them away; taking from them the head lines, white lines, and direction lines, as also the leads and reglets, which, with the furniture of each sheet, the matter being properly tied up for papering, are to be given to the Overseer, or any person he may appoint.

12. Sweepings of frames to be cleared away before one o’clock every day. Matter broken by accident to be cleared away on the same day.

13. No Compositor to mix two separate founts, without an express order from the Overseer.

14. When a Compositor carries his form down for press, he is not to put two forms together without a partition between them.

15. The saw, saw block, bowl, sponge, letter brush, shears, bellows, &c., to be returned to their respective places as soon as done with.

16. No person to take a candlestick, bodkin, snuffers, composing stick, &c., not his own, without permission of the owner.

17. No person to misplace cases in the rack, or take an upper without the lower case, or _vice versâ_.

18. Pie of any sort, on boards, windows, frames, &c., to be cleared after five minutes notice.