Chapter XLV: Part 45

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SCALEBOARD.

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

SCANDIC. _See_ RUNIC.

SCLAVONIAN,

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

SCRIPT.

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

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

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

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

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

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

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

SCRIPT UPPER CASE.--_Slanting body_.

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

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

SCRIPT LOWER CASE.--_Slanting body_.

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

SCYTHO-GOTHIC. _See_ RUNIC.

SECOND AT THE PRESS. _See_ FIRST.

SECOND PULL. _See_ FIRST PULL.--_M._

SECTION.

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

SEDITIOUS LIBELS. _See_ LIBELS.

SEMICOLON. _See_ PUNCTUATION.

SERVIEN.

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

SET AT RANDOM.

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

SET MATTER.

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

SET-OFF SHEETS.

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

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

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

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

SET OUT PAPER.

Counting out the proper quantity by the warehouseman, to wet--_M._ We now term it _Giving out Paper_, which _see_.

SETS CLEAN. _See_ CLEAN PROOF.

SETS CLOSE. _See_ GET IN.--_M._ The phrase is now used for close spacing.

SETS FOUL. _See_ FOUL PROOF.--_M._

SETS OFF.

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

SET THE ROUNCE.

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

SETS UP TO HIMSELF.

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

SETS WIDE. _See_ DRIVE OUT.--_M._ We now use the term for wide spacing.

SET UP CLOSE.

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

SEVENTY-TWOMO.

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

SHANK.

The square metal the face of a letter stands on, is called the _Shank of a Letter_.--_M._

SHARP IMPRESSION.

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

SHEARS.

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

SHEEP’S FOOT.

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

SHEKESTEH. _See_ PERSIAN.

SHELF. _See_ TILL.

SHERWIN AND COPE’S PRESS.

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

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

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

SHOE.

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

SHOOTING STICK.

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

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

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

SHORT CROSS.

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

SHORT PAGE.

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

SHORT PULL.

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

SHORT RIBS. _See_ CRAMP IRONS.

SHUFFLING.

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

SIDE NOTES. _See_ MARGINAL NOTES.

SIDE STICK.

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

SIGLA.

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

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

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

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

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

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

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

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

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

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

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

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

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

SIGNATURE.

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

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

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

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

TABLE OF SIGNATURES AND FIRST FOLIO OF EACH SHEET.

FOLIO.

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

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

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

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

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A dictionary of the art of printingChapter XLV: Part 45

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