The compositor whose matter is first in the proof should lay up the forms
on the imposing-stone and correct it; he then hands the proof to the
person who follows next. The compositor who corrects the last part of the
sheet locks up the forms.
The compositor who has matter in the first and last part, but not the
middle of the sheet, only lays up the forms and corrects his matter; the
locking up is left to the person who corrects last in the sheet.
A compositor having the first page only of the sheet is required to lay
up one form; also to lock up one form if he has but the last page.
If, from carelessness in locking up the form,—viz. the furniture binding,
the quoins badly fitted, &c.—any letters, or even a page, should fall
out, the person who locked up the form should repair the damage. But, if
the accident occur from bad justification, or from letters _riding_ upon
the ends of the leads, the loss should fall upon the person to whom the
matter belongs.
[Illustration: CHASE CABINET.]
It is the business of the locker-up to ascertain whether all the pages
are of equal length; and, though a defect in this respect is highly
reprehensible in the maker-up, (whose duty it is to rectify it,) yet, if
not previously discovered by the locker-up, and an accident happen, he
must make good the defect.
The compositor who imposes a sheet must correct the alterations in that
sheet. He must also rectify any defect in the register arising from want
of accuracy in the furniture.
Forms sometimes remain a considerable length of time before they are put
to press. In this case, particularly in summer, the furniture is likely
to shrink, and the pages may fall out. It is therefore the business of
the locker-up to attend to it in this respect, or he will be subject to
make good any accident which his neglect may occasion.
When forms which have been worked off are ordered to be kept standing,
they are considered under the care of the foreman. When they are cleared
away, it is to be done in equal proportions by the companionship. During
the time any forms may have remained under the care of the foreman,
should there have been any alteration as to form or substance which were
not made by the original compositors, they are not subject to clear away
those parts of the form thus altered. To prevent dust from settling in
the face of the type, it is well to keep the forms in a chase cabinet.
If the pressman unlock a form on the press, and any part of it fall out
from carelessness in the locking up, he is subject to the loss that may
happen in consequence.
The compositor who locks up a sheet takes it to the proof-press, and,
after he has pulled a proof, hands it, together with the foul proof, to
the reader, and deposits the form in a place appointed for that purpose.