Chapter II: Preface (2)

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

¶ 6. _Of Tying up a_ Page.

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

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

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

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

¶ 7. _Of_ Imposing.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

¶ 8. _Of_ Correcting.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

¶ 9. _Of_ Counting _or_ Casting off Copy.

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

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

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

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

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

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

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

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

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

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

_Another way Arithmetically perform’d._

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

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

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

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

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

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

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

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

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

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

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

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

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

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

¶ 10. _Of_ Papering up _of_ Pages.

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

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