_In a strict sence, a good_ Compositer _need be no more than an English
Scholler, or indeed scarce so much; for if he knows but his Letters and
Characters he shall meet with in his_ Printed _or_ Written Copy, _and
have otherwise a good natural capacity, he may be a better_ Compositer
_than another Man whose Education has adorn’d him with_ Latin, Greek,
Hebrew, _and other Languages, and shall want a good natural Genius:
For by the Laws of_ Printing, _a_ Compositer _is strictly to follow
his_ Copy, _viz. to observe and do just so much and no more than his_
Copy _will bear him out for; so that his_ Copy _is to be his Rule and
Authority: But the carelesness of some good Authors, and the ignorance
of other Authors, has forc’d_ Printers _to introduce a Custom, which
among them is look’d upon as a task and duty incumbent on the_
Compositer, _viz. to discern and amend the bad_ Spelling _and_ Pointing
_of his_ Copy, _if it be English; But if it be in any Forrain Language,
the Author is wholy left to his own Skill and Judgement in_ Spelling
_and_ Pointing, _&c. his_ Copy, _and_ Correcting _the_ Prooves, _unless
they be_ Latine, Greek _or_ Hebrew, _for to those Languages there is
generally a_ Corrector _belongs to the_ Printing-House: _And how well
other Forrain Languages are_ Corrected _by the Author, we may perceive
by the English that is_ Printed _in Forrain Countries_.
_Therefore upon consideration of these accidental circumstances that
attend_ Copy, _it is necessary that a_ Compositer _be a good English
Schollar at least; and that he know the present traditional_ Spelling
_of all English Words, and that he have so much Sence and Reason, as
to_ Point _his Sentences properly: when to begin a Word with a_ Capital
Letter, _when (to render the Sence of the Author more intelligent to
the Reader) to_ Set _some Words or Sentences in_ Italick _or_ English
Letters, _&c. But of this more at large in_ ¶. 6.
_Thus much of his qualifications: Now to his Taask._
_The_ Master-Printer _gives him his_ Copy, _and directs him to his
standing Place or_ Case, _and orders him_ Letter _to Work withal_.
_If his_ Case _want_ Papering, _as all_ New Cases _do, and many times
old, He must_ Paper _his_ Case.
§. 22. ¶. 1. _Of_ Papering _and_ Laying _the_ CASE.
The _Composster_ sends the Boy to the _Master-Printer_, or to him that
attends the Warehouse, for _Half a Quire_, or a _Quire_, or so much
as he guesses he shall want, of good strong _Wast-Paper_, and cuts it
into so many several Scantlins as the number of each Scantlin of his
_Boxes_ in his _Case_ are; but he cuts his _Papers_ so large, as each
_Paper_ may ly double in its _Box_, and have enough besides to fold
almost half way towards the middle of each _Paper_, and also enough to
turn up again against the sides of each _Box_, about the thickness of a
_Pica_, or an _English_, above the bottom of the _Box_; and its _Paper_
on all its sides, except the upper side of the _Box_, which, as near
as he can, he leaves no turning up of _Paper_ to, because the tendency
the whole _Case_ has downwards by its a-slope position, the _Letter_
in each _Box_ tends also downwards, and therefore is not so apt to get
between the _Paper_ and that side of the _Box_, as between the _Paper_
and the other sides of each _Box_: But yet that upper side, and all
the other sides of the _Box_, he _Papers_ so smooth and tight, that he
leaves no wrinckles in the turnings up against the sides of the _Box_;
but if there be any, drives them carefully into the corners of the
_Box_, lest his _Letter_, especially if it be Small, should get into
the openings of those Wrinckles, and in time work their way under the
_Paper_.
Having _Paper’d_ his _Case_, he considers how the rest of the _Cases_
in that _House_ ly, _viz._ into what _Boxes_ the several _Letters_ are
to be disposed; for they are not in every _Printing-House_ disposed
alike, and accordingly he applies himself to fill his _Case_ with
_Letter_.
If a _Fount_ of _New Letter_ be brought home from the _Founders_,
the _Compositer_ has no more to do, but to fill each _Box_ in his
_Case_ with so many of each sort as each _Box_ will hold, and fall
to _Composing_ till he has emptied his _Case_; which the same way he
fills again, and _Composes_ on again till the whole _Fount_ be _Set
up_: But when he has no longer any _New Letter_ to work upon, he must
_Destribute_ some former _Set Forms_ to fill his _Case_ withal.
And before I shew you the Rules and Method of _Destributing_ and
_Composing_, it will be necessary I say somewhat of the _Case_, and
_Laying_ it.
By the _Case_ is meant, in _Printers_ common diolect, a _Pair of
Cases_, viz. the _Upper_ and the _Lower-Case_: They are described with
the most common way of _Laying_ them, in Plate 2. A the _Upper Case_, B
the _Lower Case_. The _Upper Case_ is devided into Ninety eight _Boxes_
all of equal size; but the _Lower Case_ is devided into but Fifty six
_Boxes_, and those of four different sizes (as you may see in the
Figure) by the Frame and Black streight Lines representing the several
Partitions. The manner how the several sorts of _Letters_ are disposed
in the several _Boxes_, is called, _Laying of the Case_, where in the
_Upper Case_ you see _Capital_ A Ly in the uppermost _Box_ on the
Left-hand, B C D E F G succeeding it in that Row to the Right hand, as
far as the broad Partition in the middle of the _Case_; under _Capital_
A lies _Capital_ H, I K L M N O orderly succeeding it to the right
hand, as far as the great Partition in the middle of the _Case_: But
the Figure being plain, I refer you to it.
The _Lower Case_ is not devided according to an orderly succession of
the _Alphabet_, in Ranks; for those _Letters_ that are most used are
laid in the biggest _Boxes_, about the middle of the _Case_, That the
_Compositers_ hand may have the quicker access to them. See the Figure.
¶. 2. _Of_ Rincing a Form of Letter, _in order to_ Destributing _it_.
After the _Press-man_ has _Wash’d a Form_, he brings it to the
_Rincing-Trough_, and rears it a little a-slope on one of the ends of
the _Chase_, either against a convenient place of the _Frame_ of the
_Rincing-Trough_, or towards the Wall; for so plac’d, the _Face of the
Letter_ runs less hazzard of receiving dammage, and the _Form_ stands
in a proper position for the _Compositer_ to rear a _Letter-board_
against the backside of it.
The _Compositer_ therefore brings a _Letter-board_, and puts the
Face of it against the back-side of the _Form_, and draws _Form_ and
_Letter-board_ toward him, leaning them against his Knee till he can
conveniently grasp about the middle of the sides of the _Chase_ and
_Letter-board_ between his Fingers under the _Board_, and his Thumb
upon the _Chase_ and _Furniture_: And if the _Form_ be not too heavy,
in this position he lifts it up to the _Rincing Trough_; but if it be
too heavy, as most commonly it is, He lifts it up in this position till
he brings the upper edge of one of the long sides of the _Letter-board_
to rest between his Belly and Stomach, and then sets _Letter board
Form_ and all in the _Rincing-Trough_, letting the hither side of the
_Board_ rest upon the hither Ledge of the _Rincing-Trough_; that the
_Form_ may tilt downwards.
When it is on the _Rincing Trough_, he gets the _Mallet_ and
_Shooting-stick_, and holding the _Mallet_ in his Right hand,
and the _Shooting-stick_ in his Left, he places the Foot of the
_Shooting-stick_ (that is the thin end of it) against the narrow ends
of each _Quoin_, and knocking with the _Mallet_ upon the _Head_ of the
_Shooting-stick_ as gently as he can to drive them back, he loosens
every _Quoin_; and this is call’d _Opening of the Quoins, Unlocking of
the Quoins, Opening of the Form, and Unlocking of the Form_.
But in the _Unlocking of the Form_, he observes these three
Circumstances:
_First_, He begins at the _Foot-Quoins_ of a _Quarter_, and loosens
them; then with his Fingers and Thumb he puts them up again pretty
stiff; yet not so stiff, but that he can again with his Fingers and
Thumb loosen them.
The Reason why he opens the _Foot-Quoins_ first, is, because the
_Letter_ is less subject to _Squabble_ between _Line_ and _Line_ (that
is _Head_ and _Foot_, the length of the _Page_) than it is between side
and side (the breadth of the _Page_): For all the _Letters_ of a _Line_
being of the same _Body_, are all of the same size in their parallel
bounds; and the two sides of the _Letter_ being generally considerably
broader than the Thickness of the _Letter_, are held by their breadth
and flatness faster and closer together in a motion towards the _Head_
or _Foot_ of the _Page_, than they are a-thwart the _Lines_, there
being generally many thin _Letters_ and _Spaces_ in a _Line_, whose
thickness is very little considerable to their _Body_ or parallel
bounds: So that if the _Form_ be loose, those Thin _Letters_ and
_Spaces_ not having a Thickness proportionable to their _Body_ to keep
them in their proper Square, their Thin Edges twist them about, and
one _Letter_ very seldom twists alone, but forces many others (perhaps
in some _Lines_ above and below it, and on each side of it) out of its
square position.
But the _Foot-Quoin_ being thrust up again with the Fingers, that the
_Lines_ may joyn again after they were knock’d open with the _Mallet_
and _Shooting-stick_, make the Thin _Letters_ in the _Lines_ less
subject to _Squabble_ (as not having the room to twist about) because
_Opening_ the _Foot-Quoins_ afterwards with the Fingers, offers less
violence than the smart knock of a _Mallet_.
_Secondly_, He holds the _Shooting-stick_ much aslant to the
_Letter-board_, so as the Foot of it touch not the Face of the
_Letter-board_, lest with knocking upon the _Shooting-stick_ (it being
hard Wood, and the grain running downwards) the Foot should batter and
spoil the Face of the _Letter-board_.
_Thirdly_, He _Unlocks_ the outermost, _viz._ the broadest _Quoins_
first, and then with his Fingers thrusts them pretty close up again,
unless the _Form_ he _Unlock_ be a great _Letter_, for then he
observes not this Circumstance so nicely; then the other _Quoin_, or
(according to the bigness of the _Form_) _Quoins_.
Having _Unlock’d_ the _Foot Quoins_, he _Unlocks_ the _Side Quoins_ in
the same manner and order; and being provided with a Pail, or a great
Pan full of fair Water, and a _Wooden Dish_; he takes a Dish full of
fair Water, or more, if the _Form_ require it, and throws it upon the
_Form_, till he have so well wetted it, that the Water may sink between
the _Letters_ in the _Form_, to hold and keep every _Letter_ contiguous
to its next.
Then he _Opens_ the _Quoins_ pretty loose, the _Foot Quoins_ first, and
in _Opening_ them he considers the _Body_ of the _Letter_, whether it
be Great or Small, and accordingly he _Opens_ them; for at the _Foot_
he _Opens_ them about the thickness of the _Body_ of the _Letter_: But
on the _Sides_ not above half the _Body_.
By _Opening_, you must now understand removing the _Quoins_, till they
stand loose, or distant from the _Furniture_, the _Body_, or half the
_Body_ of the _Letter_.
He _Opens_ but one _Quarter_ at a time, _viz._ one of the hithermost
_Quarters_, till he have well _Rinc’d_ that, which when he has done,
with his Fingers he thrusts the _Quoins_ of that _Quarter_ stiff up
again, aswell that it may be the less subject to _Squabble_ or _Break_,
as that the Water may the better be squeezed out from between the
_Letter_; when he comes to _Destribute_ it.
Having thus _Opened_ the _Quoins_, He also _Opens_ the _Furniture_,
viz. the _Head sticks_, and the _Inner Side-sticks_ and
_Gutter-sticks_, if the _Form_ have any, to make himself the more room
to _Open_ the _Letter_: The Balls of the three first Fingers of each
Hand he places near the ends of the _Head-stick_, and _Opens_ it by
taking as good hold as he can of so much of it as stands above the
_Cross_ of the _Chase_, drawing the _Head-stick_ towards him about
half the _Body_ of the _Letter_. And in the like manner he _Opens_ the
inner _Side-sticks_, but draws them towards him about a quarter of the
_Body_ of the _Letter_. Yet sometimes this Office is not perform’d
with the three Fore-fingers of each Hand, but with the two Thumbs;
and this is when the _Quarter_ of _Letter_ stands between the _Head_
or _Side-sticks_, and then he places his two Thumbs near the ends of
the _Sticks_, as before he did his Fingers, and thrusts the _Sticks_,
_Letter_ and all, from him.
And having _Opened_ the _Quoins_ and _Furniture_ of one _Quarter_,
he also _Opens_ the _Letter_, that it may receive the Water more
plentifully: He _Opens_ the _Letter_, by fixing the Balls of his
Fingers of both his Hands upon the _Face_, and so thrusting and
joggling it from him, and drawing it towards him from _Head_ to _Foot_,
and from _Side_ to _Side_, and then throws a good Dish full or two of
Water upon it, and with the Balls of his Fingers still rubs upon the
_Face_ of the _Letter_, that by shaking and joggling the _Letter_,
the Water (e’re it sink through the _Letter_) may the better _Rince_
away that _Ly_ that by the _Press-mans_ washing soak’d into it: And
this joggling the _Letter_, and throwing on fresh Water he continues
till the Water that spurts out from between the _Letters_ by this
joggling, be as clear as it was when it was thrown on, and then, and
not till then, he knows his _Quarter_ is well _Rinc’d_: Then with his
two Thumbs, one placed on the side of the _Foot-stick_ and the other
on the side of the _Side-stick_, as near as he can, he thrusts both at
once towards their opposite _Cross_, and so thrusts the _Letter_ and
_Furniture_ close up again: And that the _Letter_ may not be in danger
of _Squabbling_ or _Breaking_, he thrusts the _Quoins_ loosly up again
also.
As he _Open’d_ and _Rinc’d_ this first _Quarter_, he _Opens_ and
_Rinces_ the others.
The reason why he _Opens_ and _Rinces_ the hithermost _Quarter_ first,
is, because the Water that descends from the hithermost _Quarters_ does
in a degree help to Rince the nethermost also.
Having thus _Rinced_ the whole _Form_, and with his Fingers shut it up
again, he lets it stand a little while to drain; then grasping the two
ends of the _Letter-board_ a little beyond the middle, with his Fingers
underneath, and the Thumb-balls of his two Hands upon it, he sets one
side of the _Letter-board_ against the bottom of his Stomach, and
carries _Letter-board_, _Form_, and all to the _Destributing Frame_.
Then he falls to _Stripping_ of one _Quarter_ first: Taking the
_Quoins_ quite out, and laying them upon the _Face_ of the _Letter_,
either on the same or another _Quarter_ (if he _Strips_ but one
_Quarter_ at once) with their ends standing the same way they stood
in the _Chase_, and in the same order of succession; then he removes
the _Side_ and _Foot-sticks_ to their respective sides, close to the
inside of the _Chase_, and again removes the _Quoins_, laying them in
the same order he laid them upon the _Face_ of the _Letter_, upon the
upper sides of the _Side_ and _Foot-sticks_, and _Chase_; then, as I
told you before, how he _Opened_ the Inner _Side-sticks_, just so again
he not only opens them, but by the _Side_ and _Head-sticks_ he draws
or slides the _Letter_ from the _Crosses_, that he easily takes them
out if he pleases; or if he have room enough to come at the _Letter_
without, he lets them stay in.
Thus the first _Quarter_ is _Stript_, and so the other _Quarters_
successively, in order to be _Destributed_.
[Illustration:_Plate 23._]
¶ 3. _Of_ Destributing.
The _Compositer_ seeks among the _Furniture_ for a _Riglet_, a little
longer (about a _Pica_ or _English_) than the _Line_ of the _Page_ he
is to _Destribute_; or else he cuts a _Riglet_ to that length (this
_Riglet_ is called a _Destributing-stick_) and coming to his _Stript
Form_, or _Quarter_ of the _Form_ he is to _Destribute_, he places one
flat side of the _Riglet_ against the Head of the _Page_, and claps the
Balls of his two Fore-fingers behind it, and the inner Joints (next
his Fore-fingers) of his middle Fingers he claps against the ends of
so many _Lines_ as he intends to _Take up_, supposing it _Pica_, about
Seven; and presses them pretty close to the sides of the _Lines_: Then
with the ends of the Balls of his two Thumbs he parts that number of
_Lines_ from the rest of the _Page_, by pressing gently towards his
_Riglet_ or _Destributing-stick_ upon the _Face_ of the _Letter_ of
the farthest _Line_, which, if the Joints of his middle Fingers press
pretty hard towards each other at first, easily part, and he may open
that number of _Lines_ so far from the rest of the _Page_, that he may
get the Balls of his Thumbs far enough upon the shank of the _Letter_:
So that the pressing the _Lines_ yet a little harder between the Joints
of his middle Fingers, and pinching with his Thumbs the _Letter_ hard
against the _Riglet_, with a quick jerk he rears that _Taking-up_ upon
his _Destributing-stick_. See _Plate 23. at_ A.
Having it upon his _Destributing-stick_ between both his Hands, with
the _Face_ of the _Letter_ from him, he disingages his middle Fingers,
and with his fore Fingers and Thumbs holding the _Riglet_, and now
the Top of his _Taking-up_ pretty loosly between them, he turns (as
on two moving Axises) the ends of the _Lines_ that were towards his
Right Hand, and guides them to the Thumb-ball of his Left Hand: Thus
the _Face_ of the _Letter_ is turn’d towards him; then bowing the inner
Joynt of the middle Finger of his Left Hand (which before prest the
left side of the _Line_) under the middle of the _Riglet_ he takes the
weight of the _Taking-up_ upon it, which yet he eases as he lifts,
by mounting the now Right Hand end of the _Lines_ a little above an
Horizontal level, and depressing the Left Hand ends a little below; so
that now he he has his _Taking up_ in his Hand, with the _Face_ of his
_Letter_ towards him, and the _Notches_ upwards, he goes with it to his
_Case_, and places himself against the middle of it. See _Plate 23. at_
B.
Then clapping the Ball (or if he will take off more than the length
of the Ball) of his middle Finger of his Right Hand, of the second
Joint of that Finger, against the bottom of the uppermost _Line_ of
his _Taking up_ towards his Right Hand, and his fore Finger about the
middle of the shank of the _Letter_, he slides or draws towards him
about an Inch or an Inch and an half of that _Line_ upon the Ball of
his Thumb, which is placed at the _Face_ of the _Letter_ to receive it:
And as it comes off the _Taking up_, he with his aforesaid two Fingers
and Thumb disposes it so among his Fingers that he gathers the Ball of
his fourth Finger under the bottom of the _Letter_, and then he brings
what he has taken off towards his Sight to read; then with a sleight
thrusting the Ball of his Thumb outwards, and drawing inwards the
Balls of his fore and middle Fingers, he spreads and _Squabbles_ the
shanks of the _Letters_ between his Fingers askew; and remembring what
_Letters_ he read, he nimbly addresses his Hand with a continued motion
to every respective _Box_, which his Fingers, as they pass by, lets a
_Letter_ drop into, till his _Taking off_ be quite _Destributed_.
Having _Destributed_ that _Taking off_ he makes another _Taking off_
as before, and so continues his _Takings off_ till his whole _Taking
up_ be Distributed: And thus he _Takes up_ and _Destributes_ till his
_Case_ is full.
If the _Form_ were not well _Rinc’d_, the shanks of of the _Letters_
will be more or less slippery, and with long _Destributing_ will make
the Balls of the Fingers and Thumb supple, by the wetness of the
_Letter_ and sharpness of the _Ly_; and consequently the grain of the
skin will be made clumsie, and those Joints feeble; so that they will
not so well fasten upon the sides of the Shank to command the _Letter_,
and draw it askew, or be so nimble at disposing them into their several
_Boxes_.
This happens most if they work upon small _Letter_, and that old, and
the _Ly_ old too, for then the _Ly_ will have much _Inck_ mingled in
it: And the _Compositer_ will have much ado to _Rince_ his _Form_ so
clean but that the _Letter_ will be slippery, and consequently not
spread, as aforesaid. But against it they may use a remedy, which is,
to have a piece of Allom about the bigness of a Hasel-nut, lye in one
of the _Boxes_ of the _Case_; for by feeling that now and then, the
dilated pores of their Fingers are again contracted, and fit to do
their office: For by the greasiness of the _Letter_, the grain of the
Skin of the Fingers were so dilated, that the _Compositer_ could not so
actively draw the Shanks of the _Letters_ askew, as aforesaid.
The _Compositer_, if conveniences suit, chuses to _Destribute_ his
_Letter_ over Night, that he may have a _dry Case_ (as he calls it)
to work at in the Morning, because Wet _Letters_ are not so ready and
pleasant to pick up as Dry; and besides are apt to make the Fingers
sore, especially if the _Ly_ be not so well _Rinc’d_ from the _Letter_
as it should be. In the Winter, when he _Destributes_ in the Day time,
he commonly brings the _Lower Case_, when full of _Letter_, to the Fire
to dry, rearing the farther side of the _Case_ a little upwards: And
when it is well dryed, he sets it again upon the _Frame_.
[Illustration: _Plate 24_]
¶ 4. _Of_ Composing.
The _Compositer_ now addresses himself to _Composing_: And looking
a little over his _Copy_, to see how it pleases him, for he runs
different fortunes, either of good or bad _Copy_, viz. well or ill
writ, if it be a _Written Copy_, or much _Italick_, _Latin_ or _Greek_,
or _Marginal Notes_, or few _Breaks_, _&c._ for this he likes not in
his _Copy_: But a _Printed Copy_, or a fair Written Hand, and full of
_Breaks_ pleases him well, and is by _Compositers_ call’d _Good Copy_,
_Light_, _Easie Work_; when the former they call _Bad_, _Heavy_, _Hard
Work_: And if a Price be already made for a whole Book, the Good and
Bad is done at the same Price.
If the _Measure_ be already made, that is, if he was already upon that
_Work_ before, and his _Composing-stick_ be set to the _Measure_ of
that _Work_, he needs not, or must not alter his _Composing-stick_:
But if his _Measure_ be not made, he must unskrew the _Skrew_ of his
_Composing-stick_, and slide the _Cheeks_ nearer to, or farther off the
_Head_ of his _Composing-stick_, till he have exactly fitted his given
_Measure_.
If it be a _Printed Copy_ he is to Work on, and his Work must run
_Line for Line_ with his _Copy_, he then without more ado, _Sets_ or
_Composes_ the fullest _Line_ he finds in his _Copy_, and slides up the
_Cheeks_ of his _Composing-stick_, and pinches that _Line_ between the
_Cheeks_ and the _Head_, till it stands as stiff or hard in the _Stick_
as he intends to _Justifie_ all the rest of his _Lines_: Then screws up
the _Composing-stick_.
_Justifying_ (in _Compositers_ Language) is the stiff or loose filling
of his _Stick_, for if it be fill’d very stiff with _Letters_ or
_Spaces_, they say it is _hard Justified_, if loosly, they say it is
_loose Justified_.
Having the _Measure_ fitted, he places the _Galley_ on his _Upper
Case_ on the Right Hand, for those _Boxes_ are seldomest used, because
in them are placed only the _Latin sorts_, or sometimes the _Small
Capitals_, _Astronomical Signs_, &c.
He places his _Galley_ so, that the Left Hand corner of the bottom of
its Frame stands lower upon the _Case_ than any of the other Corners,
for in that position the _Letters_ at the end of every _Line_ stand
safest from falling, as leaning towards the rest of the _Page_.
Some _Compositers_ use _Visorums_, as is described in _Plate 2._ at
i. Therefore pricking the point of the _Visorum_ most commonly upon
the Border or Frame of the _Case_ on the Left Hand about the &-_Box_,
they fold the _Leaf_ of _Copy_ they _Compose_ by, so as the bottom of
it may rest upon the Square-Shoulder near the bottom of the _Visorum_;
then with two pieces of _Scaboard_ tyed together at one end, they clasp
both the _Copy_ and _Visorum_ between these two _Scaboards_, which two
_Scaboards_ pinch the _Copy_ and _Visorum_ fast enough to keep the
_Copy_ in its place, and at the same time also serves for an _Index_ to
direct the Eye to every _Line_, as the _Compositer_ moves it downward.
After this preparation, the _Compositer_ falls to _Composing_. But
first reads so much of his _Copy_ as he thinks he can retain in his
memory till he have _Composed_ it, as commonly is five or six words,
or sometimes a longer Sentence. And having read, he falls a Spelling
in his mind; yet so, that his Thoughts run no faster than his Fingers:
For as he spells A, he takes up A out of the A _Box_, as he names n in
his thoughts, he takes up n out of the n _Box_, as he names d in his
thoughts he takes up d out of the d _Box_; which three _Letters_ set
together make a Word, viz. And; so that after the d he sets a _Space_:
Then he goes on to the next _Word_, and so _Composes_ on, _Setting_
a _Space_ after every _Word_ till the _Words_ come to the end of the
_Line_, for then he sets no _Space_.
When he _Composes_ the _Letters_ he holds the _Composing-stick_ in
his Left Hand, placing the Second Joynt of his Thumb over the moving
_Cheek_ of the _Stick_, and the end of the Ball of his Thumb reaches
down to the bottom of the _Cheek_ and _Stick_; so that with the end
of the Ball of his Thumb he gently presses the _Letter_ close to the
_Cheek_, and keeps the _Letters_ tight and square together, as he
places them in the _Stick_ successively. _See Plate 24. at_ A.
And as his Eyes are very quick in reading his _Copy_, and in shifting
its Visual Ray to the several _Boxes_ he is to have a _Letter_ out of,
so is his choice what _Letter_ to take up very sudden; for though the
_Box_ be full of _Letters_, yet in an instant he resolves and pitches
his Fingers upon that one, which for its posture and position his Fancy
reckons lyes most commodious for his immediate seizing. For position,
he generally chuses that which lies uppermost, because it is readiest
at Hand to snatch up: And for posture, that which lies with its _Face_
towards his Right Hand, because catching at the _Letter_ near the
_Face_-end of the _Shank_, he by an accustomed sleight, in his Fingers
while it is coming to the _Stick_, disposes it so, that as the bottom
of the Shank goes directly forwards, towards the bottom of the _Stick_,
so the _Notch_ of the _Letter_ shall also be placed upwards.
Most _Compositers_ use a _Composing-Rule_, which is only a piece of a
_Brass-Rule_ cut to the length of the _Measure_, with a small Ear left
at either end, to take it out by when the _Line_ is full, and to lay it
upon the _Compos’d Line_, to _Set_ successively a succession of _Lines_
upon, till the _Stick_ be full.
This _Rule_ is very commodious to Work with, because the _Letter_
slides easier and smoother down to the _Back_ of the _Stick_, than it
will upon a _Line_ of _Letters_: Besides, the _Letters Compos’d_ on it
stand streighter and truer in _Line_, and are less subject to _Hang_,
than those _Compos’d_ on a _Line of Matter_; unless with a _Riglet_ (as
that they many times do) they rub pretty strongly along the _Line_ they
have _Compos’d_, which is a labour more than needs, and the loss of
some time to make the Work more unpleasant.
Having _Composed_ one _Line_, if it ends with a _Word_ or a _Syllable_
and a _Division_, and just fill the _Measure_, it needs no more
_Justifying_; but if the _Line_ conclude not as aforesaid, then he puts
a _Space_ more between every Word, or so many Words as will fill up the
_Measure_ pretty stiff, viz. _Justifie_ the _Line_. But if the _Line_
be not yet _Justified_, he puts another _Space_ between every Word, or
between several Words, till the _Line_ be _Justified_: So that here
is now three _Spaces_, and strictly, good Workmanship will not allow
more, unless the _Measure_ be so short, that by reason of few _Words_
in a _Line_, necessity compells him to put more _Spaces_ between the
_Words_. This often happens in _Marginal Notes_, where the _White_
between _Words_ is often as great or greater than between _Line_ and
_Line_.
These wide _Whites_ are by _Compositers_ (in way of Scandal) call’d
_Pidgeon-holes_, and are by none accounted good Workmanship, unless in
such cases of necessity, as aforesaid.
And as _Lines_ may be too much _Spaced-out_, so may they be too close
_Set_: It maybe accounted too close _Set_ when only a _Thin-space_
is set between Words, especially if no _Capital Letter_ follows the
_Thin-space_ or _Point_ go before it. _Thin-spaces_ being intended and
_Cast_ only that the _Compositer_ may _Justifie_ his _Lines_ the Truer,
and not to serve for convenient distinction between Words; yet do some
_Compositers_ too often commit this error, rather than put themselves
to the trouble of _Spacing_ out a _Line_, where many _Spaces_ must be
used to _Space_ it out.
A good _Compositer_ takes care not to _Set_ too Close, or too Wide;
for if he _Set_ too Close, and should happen to leave out a Word or
two, it will give him a great deal of trouble to get those Words in;
Nay perhaps when he comes to a _Break_ he drives out a _Line_, for
which _Line_ perchance he may be forc’d to _Over-run_ all the _Pages_
that are _Set_ forwards upon that _Matter_. And if he _Sets_ too Wide,
and he chance to _Set_ a Word or two twice over, he may be forc’d to
make _Pidgeon-holes_ e’re he come to a _Break_, and then perhaps his
_Break_ is got in too, and his _Page_ a _Line_ too short, and he forc’d
to _Over-run_ several _Pages_ e’re he can drive that _Line_ out. As I
shall farther shew you when I come to the ¶ of _Correcting_.
In _Justifying_ his _Line_ he takes great care that it do not _Hang_:
It is an unproper Term, yet grown into Use, for when the _Letter_
stands askew, and not directly Square, they say it _Hangs_. New
_Letter_ is most subject to _Hang_, especially if not very smoothly
_Drest_; Because the least Bur, or sharpness of its Angles, may catch
in the Burs or Angles of the _Letters_ that stand next them, and so
make them stand aslope, and one _Letter_ standing aslope is very
subject to make all the other _Letters_ in that _Line_ stand aslope
too. Therefore if he find his _Letter Hang_, while his _Line_ is yet
_loose_, viz. Unjustified, he gently with the Ball of the Thumb of his
Left Hand, thrusts the top of the shank of the _Line_ where it _Hangs_,
moving the _Letter_ somewhat from him, towards the farther end of
the _Stick_, and with the Balls of the two Fore-fingers of his Right
Hand pats upon the _Face_ of the _Letter_, till he have got them into
an upright position. He moves or drives the top of the Shank of the
_Letter_ from him, because generally the placing the Ball of his Thumb
on the top of the shank of the _Letter_ when he _Composes_ (as was
shewn before) is subject to draw the _Letter_ askew towards him, but
that his care commonly prevents it: Yet if by chance the _Line_ should
_Hang_ from him, then he with the Ball of his Thumb as aforesaid, draws
the _Letter_ towards him, to set it upright.
Here is now one _Line Compos’d_: And as he _Compos’d_ that _Line_,
so he _Composes Line_ upon _Line_ till his _Stick_ be full: When his
_Stick_ is full, he _Empties_ thus; He lays his _Stick_ down upon his
_Lower Case_, with the bottom of his _Stick_ against the hither _Ledge_
of the _Case_, and the _Face_ of the _Letter_ upwards; being provided
of a _Riglet_ just the Length of his _Line_, he lays his _Riglet_
against his last _Line_, and places the Balls of his two Fore-fingers
behind the _Riglet_, near the middle of it, if the _Line_ be not too
long, and then only as near the middle as he can to command it with
his Fore-fingers; and he places the Balls of his Thumbs against the
first _Line_ in his _Stick_ as far below the _Face_ of the _Letter_ as
he can, and he places first the Joints of his middle-fingers against
the Sides of the _Letter_ at the two ends of the _Line_, so as I
shewed you he did when he was _Taking up_ his _Letter_ to Destribute
it; and in this posture pinching the _Letter_ between his Thumbs and
his Fore-fingers, and and squeezing his two middle fingers towards
each other, he leans the _Letter_ in the _Stick_ almost flat upon the
_Riglet_: But if his _Lines_ were _Hard Justified_, he cannot perhaps
with the first leaning the _Letter_ back get them clear out of the
_Stick_, therefore he again wriggles the _Stick_ of _Letter_ forwards
and backwards, till he gets them quite out. _See Plate 24. at_ B.
Having gotten them out, and in this posture fast between his Thumbs and
Fingers, and the _Letter_ leaning almost flat upon his _Riglet_, he
directs both his hands together to his _Galley_, and nimbly claps that
_Stick_ of _Letter_ down into the _Galley_, placing the first _Line_
close and upright against the lower ledge of the _Galley_, and the
begining of his _Lines_ close and upright against the left hand _Ledge_
of the _Galley_, and then disingages his Fingers and Thumbs, and leaves
his _Riglet_ standing in its place till he have occasion to use it in
like manner for the next _Stick_ of _Letter_.
As he _Set_ this _Stick_ of _Letter_, so he _Sets_ on till his _Page_
is _Out_, Remembring after the last _Line_ of every _Page_ to set a
_Direction_: That is, he _Sets_ a _Line_ of _Quadrats_ and at the end
of it the first word of the next _Page_, or if the Word be very long
and the _Line_ very short, two _Syllables_, or sometimes but one of
that _Word_. And if it be the _First Page_, viz. the first _Page_ of
that _Sheet_, he _Sets_ a _Signature_ about the middle of the _Line_,
or rather a small matter nearer the end than the middle is, (because
when the _Sheets_ are wrought off and gather’d, they _Collation_
something quicker: The _Collationer_ not being forced to prick up with
his _Bodkin_ the corners of the _Sheet_ so high to see the _Signature_:
which in a long train of work saves time.
If it be the _First Page_ of the first _Sheet_ of a _Book_ the
_Signature_ is A, if the first of the second _Sheet_ B, if the first
of the third C, and so successively till he come to W, which is always
skipt, because the _Latin Alphabet_ has not that _Letter_ in it; but
next V follows X Y Z, so that if the _Book_ contain above three and
twenty _Sheets_, the _Signature_ of the four and twentieth _Sheet_ must
be A a, if five and twenty B b; till in like manner he run through the
_Second Alphabet_, and comes to the third, fourth, _&c._ still as he
begins a new _Alphabet_ adding an a.
To the second _Page_, or any other _Even Page_, he _Sets_ no
_Signature_, but to the Third which is an _Odd Page_ he does, viz. A 2.
The _Figure_ of 2 is no part of the _Signature_, but is only an adjunct
to shew the _Book-binder_ the Second _Leaf_ of that _Sheet_, that he
may the surer _Fold_ the _Sheet_ right.
If it be a _Folio Sheet_ he cannot set A 3 in a single _Sheet_, because
it has but two _Odd Pages_ in it; but if they be _Quir’d Sheets_, that
is, two, three, or four _Sheets Quir’d_ together, he must set A 3 in a
_Folio_, though not in the First, but Third _Sheet_ of that _Quire_.
But no wise _Compositer_, except he work on _Printed Copy_ that runs
_Sheet_ for _Sheet_, will be willing to _Compose_ more _Sheets_ to a
_Quire_ than he shall have a _Fount_ of _Letter_ large enough to set
out, unless he will take upon him the trouble of _Counting off_ his
_Copy_: because he cannot _Impose_ till he has _Set_ to the last _Page_
of that _Quire_; all the other _Sheets_ being _Quired_ within the first
_Sheet_, and the last _Page_ of the _Quire_ comes in the first _Sheet_.
But when he _Composes Quir’d Work_, the _Signature_ of the first _Page_
is A, the _Signature_ of the _Sheet Quir’d_ next within the first
_Sheet_ is A 2, the first _Page_ of the next _Quir’d-Sheet_ A 3: So
that the _Signatures_ of all the _Sheets_ in the first _Quire_ is A, A
2, A 3, _&c._ according to the number of _Sheets Quired_ together. The
second _Quire_ begins B, B 2, B 3, _&c._ The Third _Sheet_ C, _&c._
according to the number of _Quires_. This is called _Printing_ in
_Quires_. Now to return.
If the _Form_ be _Quarto_, he _Sets_ under the Fifth _Page Signature_
3. If _Octavo_, he sets also under the Fifth _Page Signature_ 3.
and under the Seventh _Page Signature_ 4. If _Twelves_, he sets
also under the Fifth _Page Signature_ 3, and under the Seventh _Page
Signature 4_, and under the Ninth _Page Signature_ 5, and under the
Eleventh _Page Signature_ 6. The Rule is, that all _Odd Pages_ should
have a _Signature_, if they stand on the _Out-side_ of the _Sheet_;
and the reason for the Rule is, that the _Gatherer_, _Collater_ and
_Bookbinder_ may the readier lay _Sheets_ right, if they be turned
wrong. This Rule is not among _Compositers_ so well observed as it
ought to be: For in _Quarto’s_ they not only leave the _Signature_ 4
out, but rarely put in _Signature_ 3.
¶ 5. _Some Circumstances a good_ Compositer _considers and observes in_
Composing.
A good _Compositer_ is ambitious as well to make the meaning of his
_Author_ intelligent to the _Reader_, as to make his Work shew graceful
to the Eye, and pleasant in Reading: Therefore if his _Copy_ be Written
in a Language he understands, he reads his _Copy_ with consideration;
that so he may get himself into the meaning of the _Author_, and
consequently considers how to order his Work the better both in the
_Title Page_, and in the matter of the _Book_: As how to make his
_Indenting_, _Pointing_, _Breaking_, _Italicking_, _&c._ the better
sympathize with the _Authors_ Genius, and also with the capacity of the
Reader.
Nor does a _Compositer_ the least shew his skill in the well ordering
and humouring of a _Title Page_, which, because it is the first _Page_
of a _Book_, we shall begin the _Compositers_ Considerations at.
He, as aforesaid, judiciously reads his _Title Page_, and considers
what _Word_ or _Words_ have the greatest Emphasis in it. If many
_Words_ precede the Emphasis, he considers whether it be best to make
one or two _Lines_, or more of them, by electing a _Body_ bigger or
less to _Set_ the precedent _Matter_ in, and whether any of these
_Lines_ ought to be _Indented_, either at one end or both, viz. _Set_
in the middle of the _Line_. And what Words of Emphasis come in that
precedent _Matter_; that he may _Set_ them either in _Capitals_,
_Roman_, _Italick_, or _English_; and at last bring the great Emphasis,
which is generally the _Title_ or _Name_ of the _Book_ in a _Line_ by
it self, and just fill it if he can; which he has some helps to do, by
the great _Bodied Letters_ of the _Lower Case_, or else by _Capitals_,
_Roman_, _Italick_ or _English_, of a proper _Body_, which best pleases
his fancy, or is in present mode.
If this _Word_ of great Emphasis be _Set_ in the _Lower Case_, yet he
_Sets_ the first _Letter_ a _Capital_, and he _Sets_ no _Space_ between
_Letter_ and _Letter_, but between _Word_ and _Word_ he does, if
there happens more than one _Word_ in that _Line_: But if that _Word_
be _Set_ in _Capitals_, he chuses to _Set_ a _Space_ between every
_Letter_, and sometimes he _Sets_ two _Spaces_, yet that is rather to
drive out the _Line_.
If he _Sets_ but one _Space_ between the _Letters_ in a _Word_, he
_Sets_ three _Spaces_ between _Word_ and _Word_: And if he _Set_ two
_Spaces_ between _Letter_ and _Letter_, he _Sets_ four _Spaces_ betwen
_Word_ and _Word_, as well to give a graceful appearance to the Eye,
as to make a Visible and proportionable distinction between _Word_ and
_Word_.
He also considers what _Whites_ to _Set_ between his _Lines_; as either
a _Line_ of _Quadrats_, and of what _Body_; or (if his _Title Page_
be large) but a _Scaboard_: and at last _Justifies_ his _Page_ in
_Length_, either by adding more _Whites_ (where they may be proper)
if his _Page_ be too short, or by taking out or diminishing _Whites_
if the _Page_ be too long: And this he does by altering the _Body_ of
_Whites_, for if a _White-line_ be _English_, he may take it out, and
in its room put in _Pica_, _Long-primmer_ or _Brevier_, according as he
finds he has _Run out_; yet this he does with Consideration, where more
or less _White_ is properest.
But the mode of ordering _Titles_ varies; as may be seen by comparing
the _Title Pages_ of every twenty years: Therefore a Lasting Rule
cannot be given for the ordering them: only what has been said in
general concerning Emphasis, and in particular to humour the Eye, the
_Compositer_ has a constant regard to.
When he is to Work upon a continued Series of _Matter_, he _Sets_ the
_Title_ of the _Chapter_ or _Section_ in a bigger _Body_ and different
Character than his _Matter_ is _Set_ in; as if the _Matter_ be _Set_
in _English Roman_, he _Sets_ the _Title_ in _Great Primer_ or _Double
Pica Italick_, but the _Words_ of _Emphasis_ he will _Set_ in _Roman_,
and varies the Character for them as well in the _Title_, as he does in
the _Matter_.
If his _Title_ be short, he _Sets_ it in the middle of the _Line_, by
_Setting Quadrats_ on both sides: If his _Title_ be long, he _Sets_
the middle _Line_ in the middle: If it make three or more _Lines_, he
_Indents_ the first with an m _Quadrat_, and the other with two m
_Quadrats_. Before his _Title_ he sets a _White-line_, viz. a _Line_
of _Quadrats_, and so he does after it; but with regard to what the
bigness of the _Body_ of the _Letter_ the _Title_ is _Set_ in, _Runs
out_; for these _Whites_ must be set of such _Bodies_ (bigger or
less) as will make the difference of the _Body_ the _Title_ is _Set_
in, a just number of _Lines_ with those of the _Body_ the _Matter_
is _Set_ in, because the length of the _Page_, as aforesaid, must be
_Justified_. And he always forecasts to put rather more than less
_White_ before the _Title_ than after it; because the _Title_ has
relation to the _Matter_ of the _Chapter_ or _Section_ it is _Set_
to, and therefore ought not to be so distinct, as from the precedent
_Chapter_ or _Section_.
After his _Title_, he begins his _Chapter_ or _Section_ with a
_Two-lin’d Letter_, or _Three_ or _Four-lin’d Letter_, but _Indents_ it
not. He begins his _Chapter_ or _Section_ with the first _Line_ in the
_Stick_, unless his _Stick_ be very Deep, or his _Two_ or _Three-lin’d
Letter_ small, because it may else reach above the top of the _Stick_,
and so hinder him from filling up _Lines_ to the _Body_ of the _Two_ or
_Three-lin’d Letter_.
After the _Two_ or _Three-lin’d Letter_, he _Sets_ a _Capital Letter_
of the _Body_ his _Matter_ is of, and _Indents_ all, those _Lines_ that
are to fill up the _Great Letter_ with an n _Quadrat_.
He cannot use his _Composing-Rule_ (mentioned in the foregoing part
of this ¶) till he have filled up _Lines_ to the _Body_ of the said
_Great Letter_; because his _Composing-Rule_ is too long to go between
the _Great Letter_ and the _Head_ of the _Stick_: but then he uses
the end of a _Riglet_ to rub along the _Lines_ he has _Composed_
to smoothen them, and so _Set_ on till he has filled up the whole
_Body_ of the _Great Letter_, and most times somewhat above it; which
_Letter_ he afterwards _Justifies_ with _Small Bodied Quadrats_,
or with _Scaboards_ or _Cards_, or with any or all of them till
the _Great-letter_ stands even with the number of _Lines_ that it
_Indents_, and afterwards uses his _Composing Rule_, and _Sets_ the
succeeding _Lines_ to their full Length.
If it be a great _Wooden Letter_, he begins his _Chapter_ or _Section_
with, it is most times too _Deep_ for the height of the _Cheeks_ of his
_Stick_; therefore he _Justifies_ his _Stick-full_ just to the breadth
of the _Wooden Letter_ with _Quadrats_ or _Quotations_, and _Sets_ on
between those _Quadrats_ or _Quotations_ and the _Head_ of his _Stick_,
as I shewed before, till his _Stick_ be full of _Lines_; which _Lines_
he _Empties_, leaving the _Quadrats_ or _Quotations_ in his _Stick_, to
serve, as before, for the succeeding _Stick_ or _Sticks_, till he have
_Composed Lines_ enough for the _Depth_ of the _Wooden Letter_.
As he _Sets_ on, he considers how to _Point_ his Work, viz. when to
_Set_ , where ; where : and where . where to make ( ) where [ ] ? !
and when a _Break_. But the Rules for these having been taught in many
School-books, I need say nothing to them here, but refer you to them.
And as he considers how to _Point_, so he considers what proper Names,
either of Persons or Places, he meets with in his _Copy_, as also what
Words of great Emphasis, and what Words of smaller Emphasis, what
Obsolete Words, and what Foreign, _&c._
When he meets with proper Names of Persons or Places he _Sets_ them in
_Italick_, if the Series of his _Matter_ be _Set_ in _Roman_; or in
_Roman_ if the Series of his _Matter_ be Set in _Italick_, and _Sets_
the first Letter with a _Capital_, or as the Person or Place he finds
the purpose of the Author to dignifie, all _Capitals_; but then, if
conveniently he can, he will _Set_ a _Space_ between every _Letter_,
and two or three before and after that Name, to make it shew more
Graceful and Stately. For _Capitals_ express Dignity where-ever they
are _Set_, and Space and Distance also implies stateliness.
_Words_ of great Emphasis are also _Set_ in _Italick_, and sometimes
begin with a _Capital Letter_: If the Emphasis bear hard upon the Word
to be exprest as well as the Thing to be exprest, it ought to begin
with a _Capital_. I shall bring for instance an Observation I made
above forty years ago on the Word _that_, viz. that that Word may be
reitterated five times, and make good Sense: If it be set thus it will
seem nonsense, that that that that that; but if it be _Set_ thus, that
that That that that Man would have stand at the beginning of the _Line_
should stand at the end; it will, by toning and laying Emphasis on the
middlemost That become good Sense. Now all the thats ought to be _Set_
in _Italick_, and the middlemost That ought to begin with a _Capital_,
because it is both the Thing and Word.
Words of a smaller Emphasis may be _Set_ in the running Character,
viz. _Roman_, if it be the Series of the _Matter_; or _Italick_, if
_Italick_, but begun with a _Capital_: Instance in the last Sentence,
That which expresses both the Thing and Word, _&c._ Here Thing and Word
both bear Emphasis, though not very great, and therefore ought to be
dignified more than those Words that precede or follow those Words. Yet
I know some Authors are now so nice to mark both the Word Thing and the
Word Word in _Italick_.
After a . though not at the end of a _Break_ he begins with a _Capital_.
When in _Composing_ he comes near a _Break_, he for some _Lines_ before
he comes to it considers whether that _Break_ will end with some
reasonable _White_; If he finds it will, he is pleas’d, but if he finds
he shall have but a little single _Word_ in his _Break_, he either
_Sets_ wide to drive a Word or two more into the _Break-line_, or else
he _Sets_ close to get in that little Word, because a _Line_ with only
a little Word in it, shews almost like a _White-line_, which unless it
be properly plac’d, is not pleasing to a curious Eye.
Nor do good _Compositers_ account it good Workmanship to begin a _Page_
with a _Break-line_, unless it be a very short _Break_, and cannot be
gotten in in the foregoing _Page_; but if it be a long _Break_, he will
let it be the _Direction-line_ of the fore-going _Page_, and _Set_ his
_Direction_ at the end of it.
_Indenting_ after a _Break_ (unless it be the end of a _Chapter_ or
_Section_) is an m _Quadrat_, (more or less is not proper) _Set_ at the
beginning of the _Line_: But when Verses are _Indented_, two, three or
four m _Quadrats_ are used, according to the number of the Feet of the
Verses, but most times according to the fancy of the Author.
_English_ obsolete Words he _Sets_ in the _English_ Character, the
first _Letter_, if the dignity of the Word require it, as aforesaid,
with a _Capital_.
Foreign Languages he meets with in his _Copy_, if the _Master Printer_
have them in his House, he _Sets_ them in the proper Character; if not,
the Author must write them in the common Character, and the _Compositer
Sets_ them as they are written.
That I may be the less unintelligent to the Reader, I will inform him
that in _Printers_ Dialect (as in this last Paragraph it is used)
_Language_ is understood _Letter_: For the _Compositer_ does say, I
shall use a Word or two of _Greek Letter_, or _Hebrew Letter_, or
_Saxon Letter_, _&c._ but I shall use a word or two of _Greek_, a Word
or two of _Hebrew_, _Saxon_, _&c._ so that the Word _Letter_, is in
_Compositers_ Dialect, understood by naming the Language.
If _Indentures_ instead of _Marginal Notes_ come in a number of
_Lines_, he _Indents_ his _Stick_, as I shewed you he did for a
_Wooden Letter_, leaving a convenient _White_ between his _Matter_ and
_Indenture_, and then again _Indents_ his _Stick_ to _Set_ the _Matter_
that comes in those _Indentures_, allowing a reasonable _White_ between
the Top and the Bottom of his _Indenture_, and then _Justifies_ it up
to an exact number of _Lines_, as he did the _Wooden Letter_.
If _Marginal Notes_ come down the side (or sides, If the _Page_ have
two Columns) he chuses to _Set_ them in on the _Stone_, rather than in
his _Galley_; because both his _Page_ and _Notes_ stand safer, being
cloathed with the _Furniture_, than they do when they stand Naked in
the _Galley_. Therefore I shall say nothing of _Marginal Notes_ till I
come to _Imposing_.
Some other Circumstances (according as variety of Work does happen) a
_Compositer_ may meet with; but by what has been said upon this and
several other Trades, the Ingenious (as they occur) may easily consider
how they are to be performed.
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.
[Illustration: _Plate 25._]
¶ 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_.
[Illustration: _Plate 26._]
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.
[Illustration: _Plate 27_]
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.
[Illustration: _Plate 28._]
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_.
The _Compositer_ having _Stript_ the _Form_, whips _Cords_ as tight as
he can about every _Page_, not to _Tye_ them up for good and all, but
aswell to keep up the _Letter_ on the sides of the _Pages_ that it fall
not down, while it stands by for some dayes on the _Letter-board_ to
_Dry_, as to keep the _Letter_ tight together that he may the better
with his Hands take an whole _Page_ at once off the _Letter-board_.
When it is _Dry_, if the _Pages_ are not too broad for his Grasp, he
places his Body against a side of the _Pages_, and the Balls of his
two Thumbs against the side of a _Page_, one indifferently between the
middle and _Head_ of the _Page_, and the other between the middle and
_Foot_ of the _Page_, and with the three Fore-fingers of each Hand
placed on the other side of the _Page_, grasps the _Page_ between them
and his Thumbs; and to keep his Hands the steddier, stretches the
insides of his Little-fingers one against the _Head_ the other against
the _Foot_ of the _Page_: And having the _Page_ thus Steddy between
his Hands close prest on all the sides of the _Page_, he with a quick
motion nimbly rears one side of the _Page_ upright, and receives the
weight of it either on the Balls of his Thumbs or on the Balls of his
Fingers, as best likes him; and so carries it to his _Galley_ and
_Tyes_ it firmly up; as was shewed ¶ 6. of this Section.
As he took and _Tyed_ up this one _Page_, so he takes and Tyes up all
the _Pages_. But if a _Page_ be too big for his Grasp, he underlays the
_Slice_ of a _Galley_ till it lye within a Scaboard so high as the edge
of the _Letter-board_, and getting some one to hold the _Slice_ steddy
against the edge of the _Letter-board_ he slides the _Page_, with the
_Head_ or _Foot_ forwards upon the _Slice_, and so carries the _Page_
to the _Galley_ and _Tyes_ it up, as aforesaid.
He sends the Boy to the Warehouse-keeper for so much Paper as he
finds he shall want; and if the _Pages_ are small, he layes a single
Sheet down on the _Correcting-Stone_ or on a _Letter-board_, and
sets a _Page_ down on that Sheet of Paper, so as the farther Side of
the _Page_ may stand towards one end of the Sheet; and so far on the
Sheet, as that the end of it may lap over the _Face_ of the _Letter_,
and about half way down the _Shank_ of the _Letter_, on the hither
side the _Page_: And smoothing the Paper tight over the _Face_ of the
_Letter_, and half way down the _Shank_ on the hither Side, and quite
down the _Shank_ at the _Head_ and _Foot_ of the _Page_, he folds the
loose Paper that hangs over the ends of the _Page_, from each corner
of the _Page_, to end in an Angle in the middle of the loose Paper,
and then folds the other end of the Sheet of Paper tight over the
Paper that covers the _Face_ of the _Letter_; and also folds the loose
Paper at the ends of the _Page_ down into Angles, as he did the former
loose ends: Then rearing his _Page_ over the further side, lays the
_Face_ downwards, still smoothing the Paper tight, and folding in the
un-folded corners, to meet in the same Angles with the former folded
Angles in the middle of the loose Paper: And thus so long as he has
Paper to spare he turns his _Page_, wrapping it at least twice, or if
he can thrice about in Paper, folding and doubling down the Loose Paper
into Angles as before: And at last turns up those Angles or Lappets
either over the _Face_ or Bottom of the _Letter_, and turns the _Page_
upon those folded Lappets, that its weight may press and keep them
close under the _Page_.
If the Pages are large, so as one _Sheet_ will not compass them twice
or thrice about, to be strong enough to bear the _Letter_, which
generally sinks downwards into the middle of a _Page_, he lays two, or
sometimes three Sheets under the _Page_: And as he wrapt up the first
Lay of Sheets, adds more to lengthen them out, that they may wrap at
least three or four times about the great _Page_.
Having thus _Paper’d up_ the _Pages_, and folded the Lappets under
them, he writes upon the upper side what _Letter_ it is, _viz._
_Long-Primer Roman_, _Long-Primer Italick_, _Pica Roman_, _Pica
Italick_, _Pica English_, _English Roman_, _Italick_, _&c._ and sets
them by for the _Master-Printer_ to dispose of.
§. 23. _Of the_ Correcter, _and his Office_.
A _Correcter_ should (besides the _English_ Tongue) be well skilled in
Languages, especially in those that are used to be Printed with us,
_viz._ the _Latin_, _Greek_, _Hebrew_, _Syriack_, _Caldæ_, _French_,
_Spanish_, _Italian_, _High Dutch_, _Saxon_, _Low Dutch_, _Welch_,
_&c._ neither ought my innumerating only these be a stint to his skill
in the number of them, for many times several other Languages may
happen to be Printed, of which the Author has perhaps no more skill
than the bare knowledge of the Words and their Pronunciations, so that
the Orthography (if the _Correcter_ have no knowledge of the Language)
may not only be false to its Native Pronunciation, but the Words
altered into other Words by a little wrong Spelling, and consequently
the Sense made ridiculous, the purpose of it controvertible, and the
meaning of the Author irretrievably lost to all that shall read it in
After times.
He ought to be very knowing in Derivations and Etymologies of Words,
very sagacious in _Pointing_, skilful in the _Compositers_ whole Task
and Obligation, and endowed with a quick Eye to espy the smallest
_Fault_.
But I shall say no more of his Qualifications; but suppose him endowed
with all necessary accomplishments for that Office.
The _Compositer_ either carries him a _Proof_, or sends the Boy with it
to his Appartment, which is commonly some little Closet adjoyning to
the _Composing-room_; And the _Master-Printer_ appoints him some one
that is well skill’d in true and quick Reading, to Read the _Copy_ to
him, whom I shall call the _Reader_.
This _Reader_, as I said, Reads the _Copy_ to him, and the _Correcter_
gives attention; and at the same time carefully and vigilantly examines
the _Proof_, and considers the _Pointing_, _Italicking_, _Capitalling_,
or any error that may through mistake, or want of Judgement be
committed by the _Compositer_.
If he finds one _Letter Set_ instead of another, as
in this Word tho for the, he dashes out the wrong
_Letter_ thus thø, and Writes the _Letter_ e/
it should be on the Right Hand _Margin_
of the _Page_, right against the same _Line_,
and makes a Dash behind it, as you may
see in the _Margin_.
If two or three, or more Words in the
same _Line_ have _Faults_ in them, as in these
Words, [Illustration]; where first a/ c/ r/ o/
an o is _Set_ instead of a, e instead of c,
t instead of r, and c instead of o: These
he marks in an orderly succession towards
the Right Hand, against the same _Line_,
as you may see in the _Margin_.
But if one word be _Set_ instead of another,
as Scoff instead of Smile, here he
marks Scoff out thus [Illustration], and writes Smile /
Smile, as in the _Margin_.
If a _Word_ or _Words_, or _Letter_, or _Point_
be _Left out_ he makes this mark ʌ where
it is _Left out_ for a mark of Insertion, and
Writes in the _Margin_ what must come in.
If a _Space_ be _Left out_ he makes the former
mark of Insertion where it should
come in, and makes this mark [Illustration] in the
Margin. [Illustration]/
If a whole Sentence be _Left out_, too
long to be Writ in the _Margin_, he makes
the mark of _Insertion_ where it is _Left out_,
and only Writes (Out) in the _Margin_. If (Out)
the Sentence _Left out_ be not very long,
he Writes it under the _Page_, or on the
Left Hand _Margin_ of the _Page_: But if
it be too large to be Writ in the
_Margin_, or under the _Page_, he
Writes in the _Margin_, See the Copy. (See the Copy)
If a Word or Sentence be _Set_
twice, as Him Him, he marks out
one Him thus [Illustration], and makes
this mark [Illustration] in the _Margin_, [Illustration] /
for _Deleo_,to take out.
If a _Letter_ be turned thus [Illustration], he [Illustration] /
dashes it out as you see, and makes
this mark in the _Margin_.
If Words are _Transposed_, that is,
if one Word stand in another
Words place, as, no I love Swearing,
and it should be, I love no
Swearing; he marks this _Fault_
thus, [Illustration], and
makes this mark [Illustration] in the _Margin_. [Illustration] /
The like mark he makes
in _Matter_ and _Margin_ if two _Letters_
are _Transpos’d_.
If a _Space_ or an m or n _Quadrat_,
_&c._ stick up, and _Print Black_, as
between these[Illustration]words, he marks
in the _Margin_ thus. |
If a _Word_ be _Set_ in _Roman Letter_
instead of _Italick_ or _English Letter_,
he dashes the Word underneath
~thus~, and Writes _Ital._ or
_Eng._ in the _Margin_. Ital/ Eng/
In like manner, if a single _Let-_
or more _Letters_ be Set in _Roman
Letter_, and it should be _Italick_ or
_English Letter_; or if in _English_ or
_Italick_, and it should be _Roman Letter_,
he dashes the _Letter_ or _Letters_
~thus~ underneath, and writes _Ital._ Ital/ Rom/ Eng/
_Rom._ or _Eng._ in the _Margin_: Or if
_Lower-Case Letters_ be _Set_ instead of
_Capitals_, he dashes them underneath,
and Writes _Capt._ in the _Margin_. Capt./
Having Read the _Matter_ of the _Proof_ he examines again if the _Form_
be right _Impos’d_, for though he before turn’d the _Pages_ in the
_Proof_ as he read them according to their orderly places, yet he will
scarce trust to that alone, but again examines them on purpose, and
distinctly, which he does not only by the _Direction Word_, but by
examining the whole Sentence the _Direction_ comes in, both at the end
of the _Page_, and the beginning of the next _Page_.
He examines that all the _Signatures_ are right, and all the _Titles_
and _Folio’s_.
If the Work be large _Forms_ and small _Letter_, he has a second, and
sometimes a third _Proof_, which he Reads as the first.
After the Second or Third _Proof_ he has a _Revise_, which is also a
_Proof-sheet_: He examines in this _Revise_, _Fault_ by _Fault_, if all
the _Faults_ he markt in the last _Proof_ were carefully mended by the
_Compositer_; if not, he marks them in the _Revise_.
Thus you see it behoves him to be very careful as well as skilful; and
indeed it is his own interest to be both: For if by his neglect an
_Heap_ be spoiled, he is obliged to make Reparation.
Advertisement to AUTHORS.
_Although I have in the precedent_ Exercises _shew’d the
Accomplishments of a good_ Compositer, _yet will not a curious Author
trust either to his Care or Abilities in_ Pointing, Italicking,
Capitalling, Breaking, &c. _Therefore it behoves an Author to examine
his_ Copy _very well e’re he deliver it to the_ Printer, _and to Point
it, and mark it so as the_ Compositer _may know what Words to_ Set _in_
Italick, English, Capitals, &c.
_For his_ Italick _Words he draws a line under them ~thus~: For_
English _Words he draws two lines under them ~thus~; and for_
Capitals _a line of Pricks ~thus~, or else draws a line with Red
Inck_.
_If his_ Copy, _or any part of it, be Written in any Foreign Language,
he is strictly to spell that Foreign Language right: Because the_
Compositer, _as I said in the Preface to this_ [Illustration], _takes no notice of
any thing therein but the very_ Letters, Points _and_ Characters _he
finds in his_ Copy.
_If an Author have not (through haste in Writing) made_ Breaks _in
proper places; when he comes to peruse his_ Copy _he may find cause to
make several_ Breaks _where he made none: In such a case he makes a_
Crotchet [ _thus, at the Word he would have begin his new Paragraph_.
_Thus in all particulars he takes care to deliver his_ Copy _perfect:
For then he may expect to have his Book perfectly Printed. For by no
means he ought to hope to mend it in the_ Proof, _the_ Compositer _not
being obliged to it: And it cannot reasonably be expected he should be
so good Natured to take so much pains to mend such Alterations as the
second Dictates of an Author may make, unless he be very well paid for
it over and above what he agreed for with the_ Master-Printer.
* * * * *
The next _Exercises_ (God willing) shall be the _Press-mans_ Trade,
The Office of the _Ware-house-keeper_, The _Customs_ of the _Chapel_,
And a _Dictionary_ to explain the hard Words and Phrases used in the
whole Practice of _Typography_: Which will be the Conclusion of this
Second Volume.
_ADVERTISEMENT._
There is now coming forth a small Book, intituled _Enneades
Arithmeticæ_; the Numbring Nines, or _Pythagoras_ his Table, extended
to all Whole Numbers under 10000. And the Numbring Rods of the Right
Honourable _John_ Lord _Nepeer_, enlarged with 9999 Fixt Columns or
Rods, of Single, Double, Triple and Quadruple Figures, and with a new
sort of Double and Movable Rods, for the much more sure, plain and
easie performance of Multiplication, Division, and Extraction of Roots.
The whole being very useful for most Persons, of whatsoever Calling and
Employment, in all Arts and Sciences: All having frequent Occasions
of Accompts, Numbring, Measuring, Surveying, Gauging, Weighing,
Demonstrating, _&c._ The Divine Wisdom having from the Beginning
_Disposed all things in Measure, Number and Weight_, Sap. 11. 21.
Printed for _Joseph Moxon_, at the Sign of _Atlas_ in _Ludgate-street_.
Where also these Numbring Rods, (commonly call’d _Napier’s_ Bones) are
made and sold.
[Illustration]
The Press-mans Trade.