Joyning their Penny or more apiece to send for Drink.
“To mention spending _Chappel-money_ till _Saturday_ night, or
any other before agreed time.
“To Play at _Quadrats_, or excite any of the _Chappel_ to Play at
_Quadrats_; either for Money or Drink.
“This _Solace_ is generally purchas’d by the Master-Printer; as
well because it hinders the Workmens work, as because it Batters
and spoils the Quadrats: For the manner how they Play with them
is Thus: They take five or seven more m _Quadrats_ (generally of
the _English Body_) and holding their Hand below the Surface of
the _Correcting Stone_, shake them in their Hand, and toss them
upon the _Stone_, and then count how many _Nicks_ upwards each
man throws in three times, or any other number of times agreed
on: And he that throws most Wins the Bett of all the rest, and
stands out free, till the rest have try’d who throws fewest
_Nicks_ upwards in so many throws; for all the rest are free: and
he pays the Bett.
“For any to _Take up a Sheet_, if he receiv’d _Copy-money_; Or
if he receiv’d no _Copy-money_, and did _Take up a Sheet_, and
carryed that Sheet or Sheets off the Printing-House till the
whole Book was Printed off and Publisht.
“Any of the Workmen may purchase a _Solace_ for any trivial
matter, if the rest of the _Chappel_ consent to it. As if any of
the Workmen Sing in the _Chappel_; he that is offended at it
may, with the _Chappels_ Consent purchase a penny or two penny
_Solace_ for any Workmans singing after the _Solace_ is made; Or
if a Workman or a Stranger salute a Woman in the _Chappel_, after
the making of the _Solace_, it is a _Solace_ of such a Value as
is agreed on.
“The price of all _Solaces_ to be purchased is wholly Arbitrary
in the _Chappel_. And a Penny _Solace_ may perhaps cost the
Purchaser Six Pence, Twelve Pence, or more for the _Good of the
Chappel_.
“Yet sometimes _Solaces_ may cost double the Purchase or more.
As if some _Compositer_ have (to affront a _Press-man_) put a
Wisp of Hay in the _Press-man’s Ball-Racks_; If the _Press-man_
cannot well brook this affront, he will lay six Pence down on
the _Correcting Stone_ to purchase a _Solace_ of twelve pence
upon him that did it; and the _Chappel_ cannot in Justice refuse
to grant it: because it tends to the _Good of the Chappel_:
And being granted, it becomes every Members duty to make what
discovery he can: because it tends to the farther _Good of the
Chappel_: And by this means it seldom happens but the Agressor is
found out.
“Nor did _Solaces_ reach only the _Members of the Chappel_, but
also Strangers that came into the _Chappel_, and offered affronts
or indignities to the _Chappel_, or any of its Members; the
_Chappel_ would determine it a _Solace_. Example,
“It was a _Solace_ for any to come to the _King’s Printing-house_
and ask for a Ballad.
“For any to come and enquire of a _Compositer_, whether he had
News of such a Galley at Sea.
“For any to bring a Wisp of Hay, directed to any of the
_Press-men_.
“And such Strangers were commonly sent by some who knew the
_Customs of the Chappel_, and had a mind to put a Trick upon the
Stranger.
“Other Customs were used in the _Chappel_, which were not
_Solaces_, viz. Every new Workman to pay half a Crown; which
is called his _Benvenue_: This _Benvenue_ being so constant a
Custome is still lookt upon by all Workmen as the undoubted Right
of the _Chappel_, and therefore never disputed; yet he who has
not paid his _Benvenue_ is no Member of the _Chappel_ nor enjoys
any benefit of _Chappel-Money_.
“If a Journey-man Wrought formerly upon the same Printing House,
and comes again to Work on it, pays but half a _Benvenue_.
“If a Journey-man _Smout_ more or less on another Printing-House
and any of the _Chappel_ can prove it, he pays half a _Benvenue_.
“I told you before that abusive Language or giving the Lye was
a _Solace_: But if in discourse, when any of the Workmen affirm
any thing that is not believed, the _Compositer_ knocks with the
back corner of his _Composing-stick_ against the lower Ledge of
his _Lower Case_, and the _Press-man_ knocks the handles of his
_Ball-stocks_ together: Thereby signifying the discredit they
give to his Story.
“It is now customary that Journey-men are paid for all Church
Holy days that fall not on a _Sunday_, Whether they Work or
no: And they are by Contract with the Master Printer paid
proportionably for what they undertake to Earn every Working
day, be it half a Crown, two Shillings, three Shillings, four
Shillings, &c.
“It is also customary for all the Journey-men to make every
Year new Paper Windows, whether the old will serve again or no;
Because that day they make them, the Master Printer gives them a
_Way-goose_; that is, he makes them a good Feast, and not only
entertains them at his own House, but besides, gives them Money
to spend at the Ale-house or Tavern at Night; And to this Feast
they invite the _Correcter_, _Founder_, _Smith_, _Joyner_, and
_Inck-maker_, who all of them severally (except the _Correcter_
in his own Civility) open their Purse-strings and add their
Benevolence (which Workmen account their duty, because they
generally chuse these Workmen) to the Master Printers: But from
the _Correcter_ they expect nothing, because the Master Printer
chusing him, the Workmen can do him no kindness.
“These Way-gooses, are always kept about Bartholemew-tide.
And till the Master-Printer have given this _Way-goose_, the
journey-men do not use to work by Candle Light.
“If a Journey-man marry, he pays half a Crown to the _Chappel_.
“When his Wife comes to the _Chappel_, she pays six Pence: and
then all the Journey-men joyn their two Pence apiece to Welcome
her.
“If a Journeyman have a Son born, he pays one Shilling.
“If a Daughter born, six Pence.
“The _Father_ of the _Chappel_ drinks first of _Chapel Drink_,
except some other Journey-man have a _Token_; viz. Some agreed
piece of Coin or Mettle markt by consent of the _Chappel_: for
then producing that _Token_, he Drinks first. This _Token_ is
always given to him who in the Round should have Drank, had the
last _Chappel-drink_ held out. Therefore when _Chappel-drink
comes in_, they generally say, _Who has the Token?_
“Though these Customs are no _Solaces_; yet the _Chappel_
Excommunicates the Delinquent; and he shall have no benefit of
_Chappel-money_ till he have paid.
“It is also customary in some Printing-houses that if the
_Compositer_ or _Press-man_ make either the other stand still
through the neglect of their contracted Task, that then he who
neglected, shall pay him that stands still as much as if he had
Wrought.
“The Compositers are Jocosely called _Galley Slaves_: Because
allusively they are as it were bound to their _Gallies_.
“And the _Press-men_ are Jocosely called _Horses_: Because of the
hard Labour they go through all day long.
“An Apprentice when he is Bound pays half a Crown to the
_Chappel_, and when he is made Free, another half Crown to the
_Chappel_; but is yet no Member of the _Chappel_; And if he
continue to Work Journey-work in the same House, he pays another
half Crown, and is then a Member of the _Chappel_.
“The Printers of _London_, Masters and Journey-men, have every
Year a general Feast, which since the re-building of Stationers
Hall is commonly kept there. This Feast is made by four Stewards,
viz. two Masters and two Journey-men; which Stewards, with the
Collection of half a Crown apiece of every Guest, defray the
Charges of the whole Feast; And as they collect the Half-Crowns,
they deliver every Guest a Ticket, wherein is specified the Time
and Place they are to meet at, and the Church they are to go to:
To which Ticket is affixed the Names and Seals of each Steward.
“It is commonly kept on or about _May-day_: When, about ten
a Clock in the Morning they meet at _Stationers Hall_, and
from thence go to some Church thereabouts; Four Whifflers (as
Servitures) by two and two walking before with White Staves in
their Hands, and Red and Blew Ribbons hung Belt-wise upon their
left Shoulders. Those go before to make way for the Company.
Then walks the Beadle of the Company of _Stationers_, with the
Company’s Staff in his Hand, and Ribbons as the Whifflers, and
after him the Divine (whom the Stewards before ingag’d to Preach
them a Sermon) and his Reader. Then the Stewards walk by two and
two, with long White Wands in their Hands, and all the rest of
the Company follows, till they enter the Church.
“Then Divine Service begins, Anthems are Sung, and a Sermon
Preached to suit the Solemnity: Which ended, they in the same
order walk back again to _Stationers Hall_; where they are
immediately entertain’d with the City Weights and other Musick:
And as every Guest enters, he delivers his Ticket (which gives
him Admittance) to a Person appointed by the Stewards to receive
it.
“The Master, Wardens and other Grandees of the Company (although
perhaps no Printers) are yet commonly invited, and take their
Seats at the upper Table, and the rest of the Company where it
pleases them best. The Tables being furnish’d with variety of
Dishes of the best Cheer: And to make the entertainment more
splendid is usher’d in with Loud Musick. And after Grace is said
(commonly by the Minister that Preach’d the Sermon) every one
Feasts himself with what he likes Best; whiles the Whifflers and
other Officers Wait with Napkins, Plates, Beer, Ale, and Wine,
of all sorts, to accommodate each Guest according to his desire.
And to make their Cheer go cheerfuller down, are entertained with
Musick and Songs all Dinner time.
“Dinner being near ended, the Kings and the Dukes Healths is
begun, by the several Stewards at the several Tables, and goes
orderly round to all the Guests.
“And whiles these Healths are Drinking, each Steward sets a Plate
on each Table, beginning at the upper end, and conveying it
downwards, to Collect the Benevolence of Charitable minds towards
the relief of _Printers_ Poor Widows. And at the same time each
Steward distributes a Catalogue of such Printers as have held
Stewards ever since the Feast was first kept, _viz._ from the
Year of Christ 1621.
“After Dinner, and Grace said, the Ceremony of Electing new
Stewards for the next Year begins: Therefore the present Stewards
withdraw into another Room: And put Garlands of Green Lawrel, or
of Box on their Heads, and White-wands in their Hands, and are
again Usher’d out of the withdrawing Room by the Beadle of the
Company, with the Companys Staff in his Hand, and with Musick
sounding before them: Then follows one of the Whifflers with a
great Bowl of White-wine and Sugar in his Right Hand, and his
Whifflers Staff in his Left: Then follows the Eldest Steward, and
then another Whiffler, as the first, with a Bowl of White-wine
and Sugar before the second Steward, and in like manner another
Whiffler before the Third, and another before the Fourth. And
thus they walk with Musick sounding before them three times round
the Hall: And in a fourth round the first Steward takes the Bowl
of his Whiffler and Drinks to one (whom before he resolved on) by
the Title of Mr. Steward Elect: And taking the Garland off his
own Head puts it upon the Steward Elects Head. At which Ceremony
the Spectators clap their Hands, and such as stand on the Tables
or Benches, so Drum with their Feet that the whole Hall is
filled with Noise, as applauding the Choice. Then the present
Steward takes out the Steward Elect, giving him the Right
Hand, and walks with him Hand in Hand, behind the three present
Stewards another Round about the Hall: And in the next Round, as
aforesaid, the second Steward Drinks to another with the same
Ceremony as the first did; and so the Third Steward, and so the
Fourth, and then all walk one Round more Hand in Hand about the
Hall, that the Company may take notice of the Stewards Elect. And
so ends the Ceremony of the Day.
“This Ceremony being over, such as will go their ways; but others
that stay, are Diverted with Musick, Songs, Dancing, Farcing, &c.
till at last they all find it time to depart.”
ANCIENT NAMES OF CITIES AND TOWNS. _See_ NAMES.
ANGLO-SAXON. _See_ SAXON.
ANTEPENULTIMATE.
The last syllable but two of a word.
APOSTROPHE.
An apostrophe, marked thus ’, is used to abbreviate or shorten a
word: as, _’tis_ for _it is_; _tho’_ for _though_; _e’en_ for _even_;
_judg’d_ for _judged_. Its chief use is to show the genitive case of
nouns: as, “A man’s property; a woman’s ornament.”--_Murray._
Authors frequently, in the hurry of writing, abbreviate their words
and use the apostrophe; but a compositor, however his copy may be
written, should never abbreviate any word in prose works, except he
be particularly ordered so to do.
The apostrophe is also used in printing to close an extract, or to
show where it finishes; and in dialogues, frequently, to close each
person’s speech; in both cases it is usually put close to the end
of the word, without any space before it, except where the word
finishes with a kerned letter, and then a hair space, or one just
sufficient for their preservation is used; when it comes after an
ascending letter, a hair space should also be put between them. _See_
QUOTATION.
The apostrophe is not used for abbreviation in the Holy Scriptures,
nor in Forms of Prayers; but every thing there is set full and at
length. To this even the Latin law language had regard, and did not
shorten the word DOMINUS, when it had reference to God; whereas _Dom.
Reg._ is put where our Lord the King is understood.
APPLEGATH, AUGUSTUS. _See_ MACHINES.
ARABIC.
Arabic is read from right to left. The method of composing it is
upside down, and after the points are placed at the top of the
letters it is turned in the composing stick.
Mr. Astle says, “The old Arabic characters are said to be of very
high antiquity; for Ebn Hashem relates, that an inscription in it was
found in Yaman, as old as the time of Joseph. These traditions may
have given occasion to some authors to suppose the Arabians to have
been the inventors of letters; and Sir Isaac Newton supposes, that
Moses learned the alphabet from the Midianites, who were Arabians.
“The Arabian alphabet consists of twenty-eight letters, which are
somewhat similar to the ancient Kufic, in which characters the first
copies of the Alcoran were written.
“The present Arabic characters were formed by Ebn Moklah, a learned
Arabian, who lived about 300 years after Mahomet. We learn from the
Arabian writers themselves, that their alphabet is not ancient.”
Seven different styles of writing are used by the Arabs in the
present day. Herbin has given descriptions and specimens of them in
an Essay on Oriental Caligraphy at the end of his “Développemens des
Principes de la Langue Arabe Moderne.”
The alphabets are copied, and the following observations are
translated, from Baron De Sacy’s Arabic Grammar, 2 vol. 8vo. _Paris_,
1831.
7. It was long thought that the written character which the Arabs
most generally use at the present day, and which is called _neskhi_,
was invented only about the commencement of the 4th century of the
Hegira; and, indeed, it appears that the Arabs, before this epoch,
used another character which we call Cufic, or Coufic, from the town
of Coufa, where, doubtlessly, it first was brought into use. This
character has so great a resemblance to the ancient Syriac character
called _Estranghelo_, that it is extremely probable that the Arabs
borrowed it from the people of Syria. Nevertheless, even the name of
Coufic, given to this character, proves that it is not that which
the Arabs of the Hedjaz made use of in the time of Mohammed, the
town from which it takes its name having been founded only in A. H.
17. Some papyri lately discovered in Egypt have apprised us that
the character which the Arabs of the Hedjaz made use of in the 1st
century of the Hegira, differed little from that which is called
_neskhi_. Moreover, in the time of Mohammed, writing was, among these
Arabs, if we may believe their historic traditions, an invention very
recent, and its use was very circumscribed. But it was otherwise,
according to all appearances, among the Arabs, whether nomadic or
settled, of Yemen, of Irak, and perhaps of Central Arabia; for,
although we do not know the characters which the Arabs made use of in
very ancient times, and the few traditions which Mussulman writers
have handed down to us on this subject throw but very little light
on this point of antiquity, it is scarcely possible to imagine that
all the people of Arabia should have remained without a written
character until the 6th century of the Christian era. The Jewish
and the Christian religions were widely diffused in Arabia; the
Ethiopians, who professed the latter faith, had even conquered Yemen,
and retained its possession for a long while: another part of Arabia
had frequent political relations with Persia, and it is found at
many times in a state of dependence, more or less immediate, on the
kings of the Sassanian dynasty. Under these circumstances, can it
be reasonably supposed that the Arabs were ignorant of the use of
writing? Is it not more likely that what history tells us of their
ignorance in this respect is true only of some tribes, of those, for
example, who were settled at Mecca or in the neighbourhood of that
town; and that the character which these received from Mesopotamia,
a short time previous to Mohammed, having been employed to write the
Kurán, soon spread over all Arabia with the Mohammedan religion,
and caused the other more ancient sorts of writing to fall into
desuetude? It is true, no vestige of these characters remains, but if
one may be permitted to hazard a conjecture, they did not materially
differ from that ancient alphabet, common to a great many nations
of the East, and of which the Phœnician and Palmyrenian monuments,
as well as the ruins of Nakschia-Roustam and of Kirmanschah, and
the coins of the Sassanides, have perpetuated the knowledge even to
our own days. Perhaps another sort of writing, peculiar to Southern
Arabia, was only a variety of the Ethiopic.
8. The Arabs of Africa have a character differing slightly from that
made use of by the Arabs of Asia. I do not comprehend, among the
Africans, the inhabitants of Egypt, for they use the same character
as the Asiatics. For the sake of comparison I have shown the manner
in which the Jews and Syrians employ their peculiar character when
they are writing in the Arabic language.
I do not speak here of the character called _talik_ تعلیق or
_nestalik_ نستعليق, because it is peculiar to the Persians. I may
say as much of the different kinds of writing proper to the Turks
or to the people of India, among whom the Mussulmans of Persia have
introduced their characters with their language and religion.
[Illustration: The Arabic Alphabet]
_Arabic Alphabet.--The Neskhi Character._
Key to Column Headers--
U - Unconnected.
JP - Joined to the preceding Letter only.
J - Joined to the preceding and following Letter.
JF - Joined to the following Letter only.
PL - Powers of the Letters.
NV - Numerical Value.
Order Name U JP J JF PL NV.
1. Elif ا ـا ... ... A. 1.
2. Ba ب ـب ـبـ بـ B. 2.
3. Ta ت ـت ـتـ تـ T. 400.
4. Tsa ث ـث ـثـ ثـ Ts. 500.
5. Djim ج ـج ـجـ جـ Dj. 3.
6. Ha ح ـح ـحـ حـ H. 8.
7. Kha خ ـخ ـخـ خـ Kh. 600.
8. Dal د ـد ... ... D. 4.
9. Dzal ذ ـذ ... ... Dz. 700.
10. Ra ر ـر ... ... R. 200.
11. Za ز ـز ... ... Z. 7.
12. Sin س ـس ـسـ سـ S, Ç. 60.
13. Schin ش ـش ـشـ شـ Sch. 300.
14. Sad ص ـص ـصـ صـ S, Ç. 90.
15. Dhad ض ـض ـضـ ضـ Dh. 800.
16. Tha ط ـط ـطـ طـ Th. 9.
17. Dha ظ ـظ ـظـ ظـ Dh. 900.
18. Aïn ع ـع ـعـ عـ ’A 70.
19. Ghaïn غ ـغ ـغـ غـ Gh. 1,000.
20. Fa ف ـف ـفـ فـ F. 80.
21. Kaf ق ـق ـقـ قـ K. 100.
22. Caf ك ـك ـكـ كـ C. 20.
23. Lam ل ـل ـلـ لـ L. 30.
24. Mim م ـم ـمـ مـ M. 40.
25. Noun ن ـن ـنـ نـ N. 50.
26. Hé ه ـه ـهـ هـ Hé. 5.
27. Waw و ـو ... ... W. 6.
28. Ya ي ـي ـيـ يـ Y. 10.
Lam-élif لا [#] ـلا ... ... La.
[Illustration: Harmonical Alphabet]
_Harmonical Alphabet, Arabic, Hebrew, and Syriac._
Arabic. Hebrew. Syriac.
Elif ـا א ܐ
Ba بـ ב ܒ
Ta تـ ת ܛ
Tsa ثـ תֿ ܛ
Djim جـ ג̱ ܓ
Ha حـ ח ܚ
Kha خـ ךֿ כֿ ܟ
Dal ـد ד ܕ
Dzal ـذ דֿ ܕ
Ra ـر ר ܪ
Za ـز ז ܙ
Sin سـ ס ܣ
Schin شـ ש ܫ
Sad صـ ץ צ ܨ
Dhad ضـ ץֿ צֿ ܨ
Tha طـ ט ܬ
Dha ظـ טֿ ܬ
Aïn عـ ע ܥ
Ghaïn غـ גֿ ܓ
Fa فـ ף פ ܦ
Kaf قـ ק ܩ
Caf كـ ך כ ܩ
Lam لـ ל ܠ
Mim مـ ם מ ܡ
Noun نـ ן נ ܢ
Hé هـ ה ܗ
Waw ـو ו ܘ
Ya يـ י ܝ
_Observations on the Alphabet._
9. The letters of the Arabic alphabet have not always been arranged
in the order in which they are at the present day. The Arabs
themselves have preserved the remembrance of a more ancient order,
and the value which they give to the letters when they are employed
as figures, confirms the existence of this order, which they term
_aboudjed_, in like manner as we call the alphabet _a be ce_.
The twenty-two first letters of the Arabic alphabet, thus arranged,
are the same, and follow the same order, as those of the Hebrews and
Syrians. It is very probable that the Arabs, as well as the others,
had only these twenty-two letters originally, and that the other
six were added afterwards, though it is not possible to determine
precisely the time at which this addition took place.
10. The _lam-elif_ لا is not a character _per se_, but only a
junction of the _lam_ ل to the _élif_ ا.
12. The alphabet is divided into eight columns: the first contains
the numbers which indicate the order of the letters; the second,
the names of the letters; the third, fourth, fifth, and sixth show
the different forms of which each letter is susceptible when it is,
first, entirely isolated; second, joined only to that which precedes
it; third, joined to that which precedes and also to that which
follows it; and, fourth, joined only to that which follows it. There
are several letters which are never joined to those which follow
them: this causes the blanks in the fifth and sixth columns. It is as
well, however, to observe, that when the د, the ذ, the ر, the
ز, and the و, are found followed by ه, at the end of a word,
they may be joined together.
13. Many letters differ from each other only by the absence or
addition of one or more points. These points are called by the Arabs
نُقْطَةٌ; we call them diacritical points, a term derived from the
Greek, signifying _distinctive_.
30. The _elif_ ا, when marked with the _hamza_ ء, is not a vowel.
The sound may then be compared to the _h_ not aspirated in the French
words _habit_, _histoire_, _homme_, _Hubert_.
The _elif_, without the _hamza_, has no pronunciation of its own; it
serves only to prolong the vowel _a_ which precedes it; sometimes
this vowel and the _elif_ which follows, take a strong sound
approaching to the French _i_.
31. The ب answers to _B_, and the ت to _T_. In Africa the
pronunciation of ث is often given to the letter ت.
32. The ث answers to the English _th_, as in the word _thing_;
and it cannot be rendered in French better than by the two letters
_TS_. The greater part of the Arabs make no distinction between the
pronunciation of this letter and that of ت; some indeed regard as
vicious the pronunciation here indicated. The Persians and the Turks
pronounce the ث as the French _ç_; I render it ordinarily by _TH_.
33. The ج represents a sound similar to that of the Italian _g_,
when followed by an _i_, as in _giardino_, and may be expressed by
the letters _DJ_. This pronunciation, which is most used, is that of
the people of Arabia and Syria; but in Egypt, at Muscat, and perhaps
in some other provinces, the ج is pronounced as _g_ hard followed
by an _a_ or _o_, as in _garrison_, _agony_.
34. The ح indicates an aspiration stronger than that of the French
_h_ in the words _heurter_, _héros_, and similar to the manner in
which the Florentines pronounce the _c_ before _a_ and _o_. At the
end of words, this aspiration is still more difficult to imitate. For
example, the word لُوح is pronounced as _louèh_.
35. The خ answers to the _ch_ of the Germans when it is preceded by
an _a_ or an _o_, as in the words _nacht_, _noch_.
36. The د answers exactly to _D_.