Chapter VII: Part 7

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The best boxwood used in engraving is of a good yellow colour, of a fine close grain, that has been of a slow growth, clear of knots and any imperfections, such as cracks or flaws; the finest lines may be engraved on this wood, as it is both hard and tough, and, with care in printing, the number of impressions that may be taken from an engraving on it would appear incredible. Papillon, in his History of Engraving on Wood, gives a specimen, from which, he states, there had been upwards of three hundred and seventy thousand impressions previously printed; and if the block had been carefully cleaned, and well printed, it would still have produced respectable impressions. Boxwood of a dull bad yellow colour, and of an open coarse grain, is not fit for engraving on, neither is wood that is of a blackish colour at the heart; for, in these cases, it has begun to decay, is brittle and tender, and if engraved on, the lines would not stand, but would fail in printing. Our principal supply of boxwood comes from the Levant, and is called Turkey box.

BRACE.

A character cast in metal thus marked ⏞ . The compositor is to have these cast of several breadths, viz. to several number of lines of a designed body (most commonly of Pica body) that they may hook in or brace so many lines as his copy may show him.--_M._

It is used in poetry at the end of a triplet, or three lines which have the same rhyme.

Braces are also used to connect a number of words with one common term, and are introduced to prevent a repetition in writing or printing.--_Murray._

Braces are cast to different bodies as high as English; and braces on Long Primer are now cast from three to eight ems in length, which look much neater than the old fashion of middles and corners, filled up with metal rules.

The founders in casting long Braces always make the swell in the face of them proportionably thick to their length, so that in using them with small letter they look heavy and clumsy; I would recommend that long Braces should be cast to a small body, not larger than Brevier, and the faces of all the lengths uniform, so that when there happens to be a range of them of different lengths in a page they might harmonize, and not make such an incongruous appearance as they now do. When Braces are wanted longer than those already cast, I would not use middles and corners, but make them of Brass Rule in one continued piece, which has a better appearance than when they are joined, and which may be made with a file in a neat manner by any clever compositor.

BRACKET. _See_ CROTCHET.

BRAMAH’S PRESS. _See_ HYDROSTATIC PRESS.

BRANCHING-OUT.

Opening or extending the matter in title-pages, heads of pages, or other parts, and also in jobs, with quadrats, leads, reglet, or other proper materials.

BRASS RULES.

Pieces of brass of different thicknesses made letter high, to print with.--_M._ They are made in lengths of fourteen inches, but of late years lengths half as long again have been made; one of the edges is bevilled so as to print a fine line, and when a thicker line is required the bottom edge is placed uppermost, which is the full thickness of the brass; by this means lines of different thicknesses are obtained, and also double lines, a thick one and a fine one when required. They are used for column lines in table work; to separate matter that requires to be distinct; and to be placed round pages.

I have found in practice that the best way of forming a good joining at the corners with brass rule, is to cut the rules a little longer than the precise length wanted, and to let one piece project a little at each corner; to push the other piece close up, and, when the form is locked up, then to file the projecting parts away, which makes the corners equal, as shown below.

Wherever two rules join, the end of that which abuts on the other should be cut with a little bevil, so that the upper side should project a little to form a junction with the face of the other; this also prevents the rule binding at bottom.

An ingenious compositor will make many things out of brass rules, such as neat long braces, instead of using middles, corners, and metal rules, which rarely join well, swell rules of different varieties, and many fancy rules, as occasion may require.

In cases where diagrams are required, and there is no engraver within reach, they may be formed by a clever workman, with brass rule. There have been of late years many ingenious and elaborate performances with this article in imitation of architectural drawings of buildings, with pillars, &c.; and I believe no one has displayed more ingenuity and skill in the production of such works than Mr. Ebenezer Parkes, of Fetter Lane.

BRAYER.

A round wooden rubber with an upright handle, almost of the fashion of a ball stock, but solid and flat at the bottom, and not above three inches in diameter. It is used on the ink block, to bray or rub out ink with so as to spread it out in such a manner that a small quantity may be taken up when the ball is pressed upon the block, tolerably diffused upon the surface, and not in a mass, which causes the ink to be more expeditiously distributed, with less risk of making monks and friars.

BREAD, SALE OF, IRELAND.

1 & 2 Vict. c. 28. “An Act to repeal the several Acts now in
force relating to Bread to be sold in _Ireland_, and to provide
other Regulations for the making and Sale of Bread, and for
preventing the Adulteration of Meal, Flour, and Bread, in that
Part of the United Kingdom called _Ireland_.”

s. 7. “And be it enacted, That no Baker or other Person who
shall make Bread for Sale in _Ireland_, nor any Journeyman or
other Servant of any such Baker or other Person, shall, at any
Time or Times, in the making of Bread for sale in _Ireland_,
use any Mixture or Ingredient whatever in the making of such
Bread other than and except as herein-before mentioned, on
any Account or under any Colour or Pretence whatsoever in the
making of such Bread, upon pain that every such Person, whether
Master or Journeyman, Servant or other Person, who shall offend
in the Premises, and shall be convicted of any such Offence by
the Oath, or in case of a Quaker by Affirmation, of One or more
credible Witness or Witnesses, or by his, her, or their own
Confession, shall for every such Offence forfeit and pay any Sum
not exceeding Five Pounds nor less than Fifty Shillings, or in
default thereof shall, by Warrant under the Hands and Seals of
the Magistrate or Magistrates, Justice or Justices before whom
such Offender shall be convicted, be apprehended and committed
to the House of Correction, or some Prison of the City, County,
Borough, or Place where the Offence shall have been committed,
or the Offender or Offenders apprehended, there to remain for
any Time not exceeding Three Calendar Months, with or without
hard Labour, from the Time of such Commitment, unless the Penalty
shall be sooner paid, as any such Magistrate or Magistrates,
Justice or Justices shall think fit to order; and it shall be
lawful for the Magistrate or Magistrates, Justice or Justices
before whom any such Offender or Offenders shall be convicted
to cause the Offender’s Name, Place of Abode, and Offence to be
published in some Newspaper or Newspapers which shall be printed
or published in or near the City, County, Borough, or Place where
the Offence shall have been committed; and the Proprietor and
Proprietors, Printer and Printers, and every other Person or
Persons concerned therein, are hereby authorized to print and
publish the same when he, she, or they is or are required so to
do by or by the Order of such Magistrate or Magistrates, Justice
or Justices; and he, she, or they is and are hereby indemnified
from any Prosecution or Prosecutions for printing and publishing
the same or causing the same to be printed and published in
such Newspaper or Newspapers by or from any Person or Persons
whomsoever, any Law, Statute, or Usage to the contrary thereof
in anywise notwithstanding; and the Costs and Charges of such
printing and publishing shall be paid out of such last-mentioned
Penalty or Forfeiture, in case any shall be so forfeited, paid,
or recovered.”

s. 11. “And be it enacted, That every Miller, Mealman, Flour
Factor, or Baker in _Ireland_, in whose House, Mill, Shop, Stall,
Bakehouse, Bolting-house, Pastry Warehouse, Outhouse, Ground
or Possession any Ingredient or Mixture shall be found which
shall, after due Examination, be adjudged by any Magistrate
or Magistrates, Justice or Justices of the Peace to have been
deposited there for the Purpose of being used in adulterating
Meal, Flour, Dough, or Bread, shall, upon being convicted of
any such Offence, either by his, her, or their Confession, or
by the Oath, or in case of a Quaker by Affirmation, of One or
more credible Witness or Witnesses, forfeit and pay on every
such Conviction any Sum not exceeding Ten Pounds nor less than
Forty Shillings for the First Offence, Five Pounds for the
Second Offence, and Ten Pounds for every subsequent Offence, or
in default of Payment thereof shall, by Warrant under the Hand
and Seal or Hands and Seals of the Magistrate or Magistrates,
Justice or Justices before whom such Offender shall be convicted,
be apprehended and committed to the House of Correction or some
Prison of the City, County, or Place where the Offence shall have
been committed, or the Offender or Offenders shall be, there
to remain for any Time not exceeding Three Calendar Months,
with or without hard Labour, from the Time of such Commitment,
(unless the Penalty be sooner paid,) as any such Magistrate or
Magistrates, Justice or Justices shall think fit and order; and
it shall be lawful for the Magistrate or Magistrates, Justice
or Justices before whom any such Offender shall be convicted to
cause the Offender’s Name, Place of Abode, and Offence to be
published in some Newspaper or Newspapers which shall be printed
or published in or near the City, County, Borough, or Place
where the Offence shall have been committed; and the Proprietor
or Proprietors, Printer or Printers, and every other Person
and Persons concerned therein, are hereby authorized to print
and publish the same when he, she, or they is or are required
so to do by or by the Order of such Magistrate or Magistrates,
Justice or Justices; and he, she, or they is and are hereby
indemnified from any Prosecution or Prosecutions for printing
and publishing the same or causing the same to be printed and
published in such Newspaper or Newspapers by or from any Person
or Persons whomsoever, any Law, Statute, or Usage to the contrary
notwithstanding; and the Costs and Charges of such printing and
publishing shall be paid out of such last-mentioned Penalty
or Forfeiture, if any such shall be so forfeited and paid or
recovered.”

BREAK.

A piece of a line.--_M._ The last line of a paragraph.

BREVE. _See_ ACCENTED LETTERS.

BREVIER.

The name of a type, a size smaller than Bourgeois, and larger than Minion. In Moxon’s time 112 Brevier bodies measured a foot. _See_ TYPES.

BRING-UP.

To bring-up a form of types is to place overlays over those parts on which the pressure is deficient in order to increase it and to equalize it over the whole surface of the form.

With wood-cuts, in which an equal pressure over the whole surface is not wanted, it is to place underlays on the bottom of the block, under those parts which require to come stronger than the rest, these are the dark parts and the foreground, and to cut away the tympan sheet over the light parts and the distances when requisite, and to overlay those parts which require to be firm, with smooth thin paper. I have always found India paper the best, but the minute hard particles and all the extraneous substances, should be taken out by scraping it carefully with a knife, so as to render it quite smooth and even, otherwise the engraving will be injured.

In order to produce the finest impression possible, it is necessary that it should be the impression of the surface of the types and the engraving, and the surface only; therefore it is requisite to have very little blanket in the tympans, and that of the finest kerseymere or woollen cloth, or paper alone, so that it shall not be pressed in between the lines, which, when the pressman neglects this precaution, produces rough coarse lines; of course the overlays should be as few as possible and of very thin paper. _See_ FINE PRESSWORK, MAKING READY, OVERLAY, UNDERLAY.

BROAD.

The technical name of a piece of furniture equal in width to a broad quotation.

BROADSIDE.

A form of one full page, printed on one side of a whole sheet of paper, whatever size the paper may be of: thus, we have demy broadsides--royal broadsides--double crown broadsides, &c.

BROKEN LETTER.

By broken letter is not meant the breaking of the shanks of any of the letters, but the breaking of the orderly succession in which the letters stood in a line, page, or form, &c. and mingling the letters together, these mingled letters being called pie.--_M._ Instead of Broken Letter it is now styled Broken Matter.

BROKEN MATTER.

The deranging the order of types after they are composed, so as to make it pie. Moxon styles it BROKEN LETTER, which _see_.

BROKEN NECK.

A ball is said to be broken-necked, when the wool in the bowl of the ball stock separates from the body of wool in the ball; so that when the ball is held in a horizontal position by the handle it hangs down in a flabby manner.

BULK.

A platform fixed to the end of a frame on which to put a letter board with letter; there is another sort sometimes adopted, called a Loose Bulk, which is a small table made of deal, for the same purpose, but moveable to any part where it is most convenient to use it.

BULLET.

When a workman, at case or press, either for neglect, want of punctuality, or for gross misconduct, is discharged instanter, and the usual notice of “a fortnight” is not given, it is said, _He has got the Bullet_.

BUNDLE.

A bundle of paper consists of two reams. _See_ PAPER, REAM.

BUR. _See_ RAG.

BUTTON OF THE TYMPAN.

An iron button with a female screw, screwed on a square shanked bolt, that goes through the bottom frame of the outer tympan, in wooden presses, and turns on the upper side of the inner tympan, to assist in keeping it tight in its place.

In very fine work also, when the paper is stout and heavy and large sheets, and it is not customary to fly the frisket, but to turn it down upon the paper before the tympan is turned down upon the form, a button is placed upon the lower frame of the outer tympan, which clasps the extreme end of the frisket, and confines the sheet of paper in its place on the tympan, and prevents it slipping down.

CANCEL.

At the conclusion of a work, if there be any leaves cancelled, it is useful to place a mark in the white line of the odd page of the reprinted leaf, to prevent a mistake on the part of the bookbinder; a *, †, ‡, ‖, or §, either upright or laid flat. This is too frequently neglected, and when the warehouseman omits tearing or cutting the cancelled leaf, the wrong one occasionally is bound in the book. To save press work and paper, cancel leaves are always imposed with the fragments, if possible.

Before the book is gathered, the warehouseman should either tear the cancelled leaf or run his knife up it, so as to prevent it being overlooked by the bookbinder; running the knife up it is the most expeditious method, and, to prevent mistakes, he ought to do this himself, and not to entrust it to boys, as cutting a wrong leaf would cause another leaf to be reprinted, and he might be held responsible for the expense, and also incur censure on account of delay.

CANON.

The name of a type, a size larger than Trafalgar, and the largest with a specific name. The body is four Picas, the next size being four line Pica, and so upwards, reckoning by lines of Pica. _See_ TYPES.

CAP.

The top part of a wooden press; it has two mortises at each end to receive the tenons at the upper end of each cheek, by which it keeps the cheeks at a proper distance at the top; and the head is suspended from it by two iron bolts, with screws and nuts at the upper end, by which the pull also is regulated.

CAPITALS.

The following directions respecting the use of capital letters, are extracted from Lindley Murray’s English Grammar.

‘It was formerly the custom to begin every noun with a capital: but as this practice was troublesome, and gave the writing or printing a crowded and confused appearance, it has been discontinued. It is, however, very proper to begin with a capital,

‘1. The first word of every book, chapter, letter, note, or any other piece of writing.

‘2. The first word after a period; and, if the two sentences are _totally independent_, after a note of interrogation or exclamation.

‘But if a number of interrogative or exclamatory sentences are thrown into one general group, or if the construction of the latter sentences depends on the former, all of them, except the first, may begin with a small letter: as, “How long, ye simple ones, will ye love simplicity? and the scorners delight in their scorning? and fools hate knowledge?” “Alas! how different! yet how like the same!”

‘3. The appellations of the Deity: as, “God, Jehovah, the Almighty, the Supreme Being, the Lord, Providence, the Messiah, the Holy Spirit.”

‘4. Proper names of persons, places, streets, mountains, rivers, ships: as, “George, York, the Strand, the Alps, the Thames, the Seahorse.”

‘5. Adjectives derived from the proper names of places: as, “Grecian, Roman, English, French, and Italian.”

‘6. The first word of a quotation, introduced after a colon, or when it is in a direct form: as, “Always remember this ancient maxim: ‘Know thyself.’” “Our great Lawgiver says, ‘Take up thy cross daily, and follow me.’” But when a quotation is brought in obliquely after a comma, a capital is unnecessary: as, “Solomon observes, ‘that pride goes before destruction.’”

‘The first word of an example may also very properly begin with a capital: as, “Temptation proves our virtue.”

‘7. Every substantive and principal word in the titles of books: as, “Johnson’s Dictionary of the English Language;” “Thomson’s Seasons;” “Rollin’s Ancient History.”

‘8. The first word of every line in poetry.

‘9. The pronoun _I_, and the interjection _O_, are written in capitals: as, “I write:” “Hear, O earth!”

‘Other words, besides the preceding, may begin with capitals, when they are remarkably emphatical, or the principal subject of the composition.’

CAPPING BALLS.

Wrapping up pelt balls in blankets soaked in urine at night, and when they are not in use, to keep them soft. They are generally left on the floor of the sink.

CAPPING A MAN.

Wrapping one of the blankets with which the pelt balls are capped about a man’s head, and tying it round his neck. This most filthy and disgusting punishment is very rarely inflicted in a press room; yet I have read an account of a trial at the Old Bailey for an assault, in which this act was the ground of offence.

CARD.

When several bodies of letter are set in a page, compositors to justify that page to an exact length, put a card to some white line, or other break, and lengthen out the page the thickness of a card. Pressmen also use a card for an underlay.--_M._ Cards are rarely used now for these purposes; in making up pages, leads and scaleboards are used, and, where great nicety is required, a careful compositor will cut slips of smooth even paper, and use them where a lead or a scaleboard would be too much. At press, underlays are not used for types; and where an engraving on wood is much too low, the pressman will underlay it with thick wrapper paper. In fact, cards are an article that neither composing rooms nor press rooms are supplied with.

CARDS.

About a quire of paper, which pressmen use to pull down the spring or rising of a form, which it is many times subject to by hard locking up.--_M._

The term is also applied to pieces of scaleboard, old felted hat, or pasteboard, for they are all called cards, cut to the size of the mortises in the cheeks of a wooden press, and laid in them, under the tenons of the winter, and above those of the head, to cause a spring in both these parts, for the purpose of softening the pull. I would never place any cards under the winter, for the reasons assigned under that article. _See_ WINTER.

CARD WOOL.

The act of carding wool to stuff the balls with, to take out the knots, dirt, &c., for the purpose of making the balls softer, more elastic, and to have a more even surface than would be the case if the wool were not carded. This operation is repeated every time a pair of balls is knocked up. Formerly it was teazed, and not carded.

CARET.

A caret, marked thus ^, is placed where some word happens to be left out in writing, and which is inserted over the line. This mark is also called a circumflex, when placed over some vowel of a word, to denote a long syllable: as, “Euphrâtes.”--_Murray._

CARRIAGE,

is that part of the press that runs in under the platen, including the plank, coffin, &c. I am aware that many printers call the long wooden ribs and frame the carriage; but I am also satisfied that they misname that part of the press: for who ever heard of running in the long ribs? yet to run in the carriage is a common expression; and the name implies that the article moves or travels. This word bore the signification which I assign to it in the seventeenth century, for Moxon uses it in this sense. _See_ RUN IN THE CARRIAGE.

CASE,

in which the letters are laid to compose with.--_M._

Cases are always spoken of as pairs; viz. upper case and lower case; when placed upon a frame to compose out of, the front of the upper case rests against the back of the lower case, lying in different inclinations, the back of the upper case being raised to bring the top boxes nearer the hand.

They are generally made of beech; the outer rim and the middle bar stout, to give strength, and to nail the bottoms to, which are lined with paper, to prevent letters falling through cracks, or joints that might open; this lining used to be cartridge paper, which strengthened the bottom, but the joiner now lines them with cheap and thin demy paper; the bottom is made of thin fir deal. The dimensions are--two feet eight inches and a half, sometimes two feet nine inches long; one foot two inches and a half wide, and one inch and a quarter deep; the front being about half an inch broader than the depth, which forms a ledge for galleys to rest against, and also serves as a guard to stop letters, &c. falling over.

It is interesting to trace the changes that take place in any art; hence I have given the arrangement of the letters in cases at different periods, commencing with the first English writer, Moxon, who published his work in the year 1683; then Smith, who published in 1755; the cases before the long ſ was discarded, in my own time; the arrangement now generally used; and a variation, subdividing the boxes in the upper case, and changing the arrangement, both in that and the lower case, to afford room for a greater number of sorts, and to make the access to them more convenient; I have also added the late Earl Stanhope’s plan.

In Moxon’s cases it will be perceived there are no ç, ſb, ſk, Œ, ‡, ‖, ¶, [, (, |, nor any small capitals.

Smith, in his Printer’s Grammar, gives “Schemes for Three Pair of Cases, shewing the Difference in the Disposition of their Sorts.” I have given his No. I. and No. III.; No. II. is the same as the one before the long ſ was discarded, with the exception of the q being in the comma box, and the comma in the q box.

This arrangement of the letters before the long ſ was discarded, continued down to our own time, except the transposition of the q and the comma; and the “schemes” Smith gives as No. I. and No. III. became obsolete.

When the long ſ was discarded, and we confined ourselves to one shape of the same letter, the ligature ct was also disused; we thus lost the ct, ſb, ſh, ſi, ſk, ſl, ſſ, ſſi, ſſl, and ſt, which gave ten additional boxes for other sorts; these have afforded convenience for metal rules and braces, which before were wanted, and also for the £ and [#] that are now frequently sent with a fount, particularly the £.

The discarding of the long ſ originated with the late John Bell, who printed and published an edition of Shakspeare, the British Theatre, and the Poets: the change was not generally adopted for some years, and many retained one ſ when two came together, as ‘Eſsay;’ but the s prevailed, and no other is now used.

In the present arrangement, the figures are brought lower down to be nearer the hand, and the vowels with the diæresis moved higher up; for the same reason the acute accented vowels have changed places with those of the grave accent.

Mr. Johnson, in his Typographia, has given a variation in the arrangement that he has adopted. I do not see any improvement in the lower case to induce master printers to change the general mode, which would only tend to create confusion and put the boxes into pie. A subdivision of the boxes in the upper case, would be useful in two or three pairs in large founts, that had superiors and fractions cast to them; but as few founts have them, these subdivisions would not only be useless, but inconvenient, if applied to all the cases, as they would not leave sufficient room for metal rules, braces, &c., neither do they afford convenience for all the fractions that are cast in a piece; besides, vowels with the long and short accents are so rarely used in the general routine of business, that it is not necessary to cramp the boxes to make provision for them; and there is always room in the back boxes of the Italic cases in which to put sorts that are seldom wanted; to this we may add the additional expense of making these cases, which in an extensive business would be considerable.

Among the various arrangements of the types in cases at different periods and by different persons, I am gratified at being enabled to give that of the late Earl Stanhope, from a stereotype plate of his Lordship’s casting; this plan of the cases, the logotypes, the alteration of the letter f, and the shape of the boxes, were never adopted in the trade.

MOXON’S CASES. 1683.

Upper.

+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| A | B | C | D | E | F | G || â | ê | î | ô | û | ó | Δ |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| H | I | K | L | M | N | O || ä | ë | ï | ö | ü | ✱ | ৪ |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| P | Q | R | S | T | V | W || á | é | í | ó | ú | □ | |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| X | Y | Z | Æ | J | U | || à | è | ì | ò | ù | ☊ | † |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| ♄ |♃ | ♂ | ⊙ | ⚴ | ☿ |☽ || ♈| ♉ |♊ |♋ | ♌ | ♍︎ | * |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 ||♎ | ♏ |♐ | ♑| ♒ | ♓ | |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| 8 | 9 | 0 | | |ſt | k ||ſſi| ﬃ |ſſl| ﬄ | ℞ | ⊕ | § |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+

Lower.

+----+---+---+---+---+----+---------++-------+---+---+---+---+----+----+
| j | | | | æ | œ | || s | | | | | ſl | ﬂ |
+----+---+---+---+---+----+ ++-------+---+---+---+---+----+----+
| ’ | | | | || | | | | | ſſ | ﬀ |
+----+ b | c | d | e || i | ſ | f | g |ſh +----+----+
| & | | | | || | | | | | ſi | ﬁ |
+----+---+-------+--------+---------++-------+---+---+---+---+----+----+
| ct | | | | || | | | | | | ? |
+----+ l | m | n | h || o | y | p | q | w +----+----+
| ; | | | | || | | | | |_en_|_em_|
+----+---+-------+--------+---------++-------+---+---+---+---+----+----+
| z | | | | || | | , | : | |
+----+ v | u | t | _Sp._ || a | r +---+---+ _Quadr._|
| x | | | | || | | . | - | |
+----+---+-------+--------+---------++-------+-------+---+---+---------+

SMITH’S CASES. No. I. 1755.

Upper.

+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| X | Y | Z | Æ | J | U | Œ || X | Y | Z | Æ | J | U | Œ |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || â | ê | î | ô | û | ¶ | § |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| 8 | 9 | 0 | ſb| ſk|ſſi| ﬃ || à | è | ì | ò | ù | † | ‡ |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| ä | ë | ï | ö | ü |st | k || á | é | í | ó | ú | ‖ | * |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+

Lower.

+----+---+---+----+---+----+---------++-------+---+---+---+---+----+----+
| ct |[ ]| æ | œ | ç | ’ | || s |( )| ? | ! | ; | ſl | ﬂ |
+----+---+---+----+---+----+ ++-------+---+---+---+---+----+----+
| & | | | | || | | | | | ſſ | ﬀ |
+----+ b | c | d | e || i | f | ſ | g |ſh |----+----+
| ﬄ | | | | || | | | | | ſi | ﬁ |
+----+---+--------+--------+---------++---+---+---+---+---+---+----+----+
| j | | | | || | | | | | | |
+----| l | m | n | h || o | y | p | q | w |_en_|_em_|
|H.S | | | | || | | | | | | |
+----+---+--------+--------+---------++-------+---+---+---+---+----+----+
| z | | | | || | | , | : | |
+----+ v | u | t | _Sp._ || a | r |---+---+ _Quadr._|
| x | | | | || | | . | - | |
+----+---+--------+--------+---------++-------+-------+---+---+---------+

SMITH’S CASES. No. III. 1755.

Upper.

+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| X | Y | Z | Æ | Œ | J | U || X | Y | Z | Æ | Œ | J | U |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| ä | ë | ï | ö | ü |H.S.|[ ]|| â | ê | î | ô | û | ¶ | § |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || á | é | í | ó | ú | ‖ | ‡ |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 8 | 9 | 0 |ſb |ſk | ſt | k || à | è | ì | ò | ù | † | * |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+

Lower.

+----+---+----+---+---+----+---------++---+---+---+---+---+----+----+
| ct | æ | œ | ç | ? | ’ | || s |( )|ſſi|ﬃ | ﬄ | ſl | ﬂ |
+----+---+----+---+---+----+ ++---+---+---+---+---+----+----+
| & | | | | || | | | | | ſſ | ﬀ |
+----+ b | c | d | e || i | ſ | f | g |ſh +----+----+
| j | | | | || | | | | | ſi | ﬁ |
+----+---+--------+--------+---------++---+---+---+---+---+----+----+
| | | | | | || | | | | | | |
+----+ l | m | n | h || o | y | p | w | v |_en_|_em_|
| ; | | | | || | | | | | | |
+----+---+--------+--------+---------++---+---+---+---+---+-----+---+
| % | | | | || | | , | : | |
|----+ q | u | t | _Sp._ || a | r +---+---+ _Quadr._|
| x | | | | || | | . | - | |
+----+---+--------+--------+---------++---+-------+---+---+---------+

CASES BEFORE THE LONG ſ WAS DISCARDED.

Upper.

+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| X | Y | Z | Æ | Œ | U | J || X | Y | Z | Æ | Œ | U | J |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || â | ê | î | ô | û | § | ‡ |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| 8 | 9 | 0 | ç | Hair sp.| ſb | ſk || á | é | í | ó | ú | ‖ | † |
| | +---+---+---------+----+----++---+---+---+---+---+---+----+
| ä | ë | ï | ö | ü | ſt | k || à | è | ì | ò | ù | ¶ | * |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+

Lower.

+-----+---+---+---+----+---+---------++---+---+---+---+----+------+----+
| ct | [ | æ | œ | ’ | j | || s | ( | ? | ! | ; | ſl | ﬂ |
+-----+---+---+---+----+---+ ++---+---+---+---+----+------+----+
| & | | | | || | | | | | ſſ | ﬀ |
+-----+ b | c | d | e || i | ſ | f | g | ſh +------+----+
| ſſi | | | | || | | | | | ſi | ﬁ |
+-----+---+-------+--------+---------++---+---+---+---+----+------+----+
| ﬃ | | | | || | | | | | | |
+-----+ l | m | n | h || o | y | p | , | w | _en_ |_em_|
| ﬄ | | | | || | | | | | | |
+-----+---+-------+--------+---------++---+---+---+---+----+------+----+
| z | | | | || | | q | : | |
+-----+ v | u | t | _Sp._ || a | r +---+----+ _Quadr._ |
| x | | | | || | | . | - | |
+-----+---+-------+--------+---------++---+-------+---+----+-----------+

PRESENT ARRANGEMENT OF THE TYPES.

Upper.

+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| X | Y | Z | Æ | Œ | J | U || X | Y | Z | Æ | Œ | J | U |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| ä | ë | ï | ö | ü | | || â | ê | î | ô | û | § | ‡ |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || à | è | ì | ò | ù | ‖ | † |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 8 | 9 | 0 | £ | ç |H.S.| k || á | é | í | ó | ú | ¶ | * |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+

Lower.

+---+---+---+---+---+---+-------++----------+---+---+---+---+----+----+
| & | [ | æ | œ | ’ | j | ||_Thin Sp._| ( | ? | ! | ; | | ﬂ |
+---+---+---+---+---+---+ ++----------+---+---+---+---+----+----+
| | | | | || | | | | | ﬀ |
+---| b | c | d | e || i | s | f | g +----+----+
| | | | | || | | | | | ﬁ |
+---+---+-------+-------+-------++----------+---+---+---+---+----+----+
| ﬃ | | | | || | | | | | | |
+---+ l | m | n | h || o | y | p | , | w |_en_|_em_|
| ﬄ | | | | || | | | | | | |
+---+---+-------+-------+-------++----------+---+---+---+---+----+----+
| z | | | | || | | q | : | |
+---+ v | u | t | _Sp._ || a | r |---+---+ _Quadr._|
| x | | | | || | | . | - | |
+---+---+-------+-------+-------++----------+---+---+---+---+---------+

STANHOPE COMPOSING CASES.

UPPER CASE.

+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| | | | | | ☞ | ‖ || x | y | z | 1m | 2m | J | U |
| | | | | | | || | | |dash|dash| | |
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| | | | | | ¶ | ‡ || P | Q | R | S | T | V | W |
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| | | | | | § | † || H | I | K | L | M | N | O |
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| X | Y | Z | 2 m | 3 m | J | U || A | B | C | D | E | F | G |
| | | |brace|brace| | || | | | | | | |
Galley+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
ledge +---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| P | Q | R | S | T | V | W || 3 | 6 | 9 | [ ]| on | ! |
+---+---+---+-----+-----+---+---++---+---+---+----+--------+---+
| H | I | K | L | M | N | O || 2 | 5 | 8 | ( )| of | & |
+---+---+---+-----+-----+---+---++---+---+---+----+--------+---+
| A | B | C | D | E | F | G || 1 | 4 | 7 | 0 | to | ? |
+---+---+---+-----+-----+---+---++---+---+---+----+--------+---+

LOWER CASE.

+-----+----+------+----+--------+---+---+---------------+---------+
| z | x | | | | | | | |
+-----+----+ re | an | | f | g | in | v |
| j | k +------+----+ e +---+---+---------------+---------+
+-----+----+ | | | | | | |
| b | c | d | |th | h | se | w |
+----------+ | | | | +-------+-------+---------+
| l +------+----+--------+---+---+ ; | : | m space |
+----------+ | | | | |-------+-------+ |
| p | m | n | i | o | s | , +---------+
+----------+ | | | | +-------+-------+ |
| y +------+----+--------+---+---+ | | n space |
+-----+----+ | | Thick | | | . | Thin +---------+
| | | | | and | a | r | | sp. | |
| ’ | q | u | t |middling| | +-------+-------+ Quadrats|
| | | | | spaces | | | Hair | - | |
| | | | | | | | sp. | Hyp. | |
+-----+----+------+----+--------+---+---+-------+-------+---------+

PECULIARITIES AND ADVANTAGES OF THESE CASES.

_First._ The nine logotypes now in use are omitted. They are
proposed to be printed with separate types, thus: ff, fi, fl,
ffi, ffl, &c. instead of ﬀ, ﬁ, ﬂ, ﬃ, ﬄ, &c. And the Italic
thus: _ff_, _fi_, _fl_, &c. _instead of ﬀ_, _ﬁ_, _ﬂ_, &c. In 20
pages of Enfield’s Speaker, (namely, from page 71 to 90, both
inclusive,) those logotypes occur only 95 times, viz.

PRESENT LOGOTYPES.

ff fi fl ffi ffl Æ Œ æ œ } TOTAL,
28 51 10 4 2 0 0 0 0 } 95.

_SECONDLY._ EIGHT NEW LOGOTYPES ARE INTRODUCED. THEIR REGULAR
AND FREQUENT OCCURRENCE EXPEDITE THE PROCESS OF COMPOSITION IN A
VERY CONSIDERABLE DEGREE; FOR, IN THOSE SAME 20 PAGES, THE NEW
LOGOTYPES WOULD SAVE TO THE COMPOSITOR NO LESS THAN 3073 LIFTS,
VIZ.

STANHOPE LOGOTYPES.

th in an re se to of on } Total,
771 441 413 385 291 279 264 229 } 3073.

_Thirdly._ The introduction of the new logotypes, and the great
imperfection of the various existing arrangements of composing
cases, have caused the above new and very superior arrangement to
be adopted.

_Fourthly._ The front side of each box of the lower case is made
sloping, instead of upright: which shape is convenient both to
the view and to the hand of the compositor, and it enables him
to lift the types with the same rapidity and ease when the boxes
are nearly empty as when they are full. The types are much better
preserved from wear, by means of this shape. It also allows the
lower case to be made deeper than usual; so that, two of them
contain as much as three lower cases on the old construction.
At the bottom of each box of the upper case, the internal front
arras is filled up.

The saving of time is of immense importance, especially in all
cases where dispatch is particularly required. The new cases are,
by experience, found to save full _one day_ out of _six_ to the
compositor.

Fifteen boxes on the left-hand side of the upper case are
represented empty. They are intended for the sorts which are
sometimes used for particular works; such as, accented letters,
mathematical marks, &c.

As the asterisk, or star, [*] is very liable to be filled with
ink at press, it is intentionally excluded from among the
reference-marks.

_Stereotyped and Printed by EARL STANHOPE, Chevening House, Kent._

CASE IS FULL.

A case full of letters, wanting no sorts.--_M._

CASE IS LOW.

When a case grows empty, compositors say, The Case is Low.--_M._

CASE RACK.

A frame made of strong deal boards, with ledges nailed on the inside of the sides, in which to slide cases that are not in use, to keep them safe. They are usually made to contain fourteen pairs of cases; they are two feet nine inches wide in the clear, and seven feet high.

Where full cases of letter are kept for the purpose of expediting any new work that requires great despatch, some houses have a bar of iron from top to bottom, and lock the cases up to preserve the letter.

CASE RUNS OVER.

When a compositor distributes so much letter into a case as to fill the boxes till the letters mingle with those in the adjoining boxes, he says, his _Case runs over_, or it overflows. This frequently causes additional errors in the proof, and of course is not an advisable practice.

CASE STANDS STILL.

When the compositor is not at work at his case, it is said, The Case stands still.--_M._ Obsolete.

CASSIE PAPER.

The two outside quires of a ream. They are also called Cassie Quires, because they serve for cases to the ream.--_M._ _See_ OUTSIDE QUIRES.

CASTING. _See_ ELECTROTYPE.

CASTING UP.

Calculating the number of thousands of letters in a sheet of any work, or in a job, in order to fix the price for composing it.

To facilitate the ascertainment of the number of thousands of letters in a sheet of bookwork, and also of jobs, I have given a set of tables, which I believe includes, generally speaking, the sizes of the pages that usually occur in practice. These tables will be found useful to those compositors who are not expert at figures, while those who are so may save time by referring to them, and they may also serve as a check to their own casting up. The figures at the top designate the number of lines the page is long; and the figures in the column specify the number of thousands of letters in a sheet, according to the size named in the head. To ascertain the number of thousands of letters, the established rule is, to take the number of lines the page is long, including the head line and the direction line, and the number of en quadrats in the width of the page, the en quadrat being estimated as the average thickness of the letters, and on multiplying the one by the other the product will give the number of letters in a page; and this product multiplied by the number of pages in a sheet, gives the number of letters in a sheet; where there is a fraction of a thousand, and that fraction amounts to 500 or upwards, it is reckoned and charged as 1,000; when it is less than 500 it is dropped, and not included in the calculation. There are some exceptions to this general rule of taking the dimensions when the type exceeds a certain size, for which _see_ SCALE OF PRICES.

TABLE OF THE NUMBER OF THOUSANDS IN A SHEET.

+-----------------------------------------+
| NUMBER OF THOUSANDS IN A SHEET. |
| The figures at the top designate the |
| number of lines the page is long. |
+-----------------------------------------+
| 15 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 12 | 1 | 3 | 4 | 6 |
| 13 | 2 | 3 | 5 | 7 |
| 14 | 2 | 3 | 5 | 8 |
| 15 | 2 | 4 | 5 | 8 |
| 16 | 2 | 4 | 6 | 9 |
| 17 | 2 | 4 | 6 | 9 |
| 18 | 2 | 4 | 6 | 10 |
| 19 | 2 | 5 | 7 | 10 |
| 20 | 2 | 5 | 7 | 11 |
| 21 | 3 | 5 | 8 | 11 |
| 22 | 3 | 5 | 8 | 12 |
| 23 | 3 | 6 | 8 | 12 |
| 24 | 3 | 6 | 9 | 13 |
| 25 | 3 | 6 | 9 | 14 |
| 26 | 3 | 6 | 9 | 14 |
| 27 | 3 | 6 | 10 | 15 |
+-----------+------+------+-------+-------+

+-----------------------------------------+
| 16 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 12 | 2 | 3 | 5 | 7 |

+-----------------------------------------+
| 17 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 13 | 2 | 4 | 5 | 8 |

+-----------------------------------------+
| 18 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 13 | 2 | 4 | 6 | 8 |

+-----------------------------------------+
| 19 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 13 | 2 | 4 | 6 | 9 |

+-----------------------------------------+
| 20 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 14 | 2 | 4 | 7 | 10 |

+-----------------------------------------+
| 22 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 14 | 2 | 5 | 7 | 11 |

+-----------------------------------------+
| 23 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 16 | 3 | 6 | 9 | 13 |

+-----------------------------------------+
| 24 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 16 | 3 | 6 | 9 | 14 |

+-----------------------------------------+
| 25 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 17 | 3 | 7 | 10 | 15 |

+-----------------------------------------+
| 26 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 17 | 4 | 7 | 11 | 16 |

+-----------------------------------------+
| 28 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 18 | 4 | 8 | 12 | 18 |

+-----------------------------------------+
| 29 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 19 | 4 | 9 | 13 | 20 |

+-----------------------------------------+
| 30 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 20 | 5 | 10 | 14 | 22 |

+-----------------------------------------+
| 31 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 21 | 5 | 10 | 16 | 23 |

+-----------------------------------------+
| 32 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 22 | 6 | 11 | 17 | 25 |

+-----------------------------------------+
| 34 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 24 | 7 | 13 | 20 | 29 |

+-----------------------------------------+
| 35 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 25 | 7 | 14 | 21 | 32 |

+-----------------------------------------+
| 36 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 26 | 7 | 15 | 22 | 34 |

+-----------------------------------------+
| 37 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 27 | 8 | 16 | 24 | 36 |

+-----------------------------------------+
| 38 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 28 | 9 | 17 | 26 | 38 |

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A dictionary of the art of printingChapter VII: Part 7

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