about a man’s head, and tying it round his neck. This most filthy and
disgusting punishment is very rarely inflicted in a press room; yet I
have read an account of a trial at the Old Bailey for an assault, in
which this act was the ground of offence.
CARD.
When several bodies of letter are set in a page, compositors to
justify that page to an exact length, put a card to some white line,
or other break, and lengthen out the page the thickness of a card.
Pressmen also use a card for an underlay.--_M._ Cards are rarely used
now for these purposes; in making up pages, leads and scaleboards
are used, and, where great nicety is required, a careful compositor
will cut slips of smooth even paper, and use them where a lead or a
scaleboard would be too much. At press, underlays are not used for
types; and where an engraving on wood is much too low, the pressman
will underlay it with thick wrapper paper. In fact, cards are an
article that neither composing rooms nor press rooms are supplied
with.
CARDS.
About a quire of paper, which pressmen use to pull down the spring or
rising of a form, which it is many times subject to by hard locking
up.--_M._
The term is also applied to pieces of scaleboard, old felted hat, or
pasteboard, for they are all called cards, cut to the size of the
mortises in the cheeks of a wooden press, and laid in them, under the
tenons of the winter, and above those of the head, to cause a spring
in both these parts, for the purpose of softening the pull. I would
never place any cards under the winter, for the reasons assigned
under that article. _See_ WINTER.
CARD WOOL.
The act of carding wool to stuff the balls with, to take out the
knots, dirt, &c., for the purpose of making the balls softer, more
elastic, and to have a more even surface than would be the case if
the wool were not carded. This operation is repeated every time a
pair of balls is knocked up. Formerly it was teazed, and not carded.
CARET.
A caret, marked thus ^, is placed where some word happens to be left
out in writing, and which is inserted over the line. This mark is
also called a circumflex, when placed over some vowel of a word, to
denote a long syllable: as, “Euphrâtes.”--_Murray._
CARRIAGE,
is that part of the press that runs in under the platen, including
the plank, coffin, &c. I am aware that many printers call the long
wooden ribs and frame the carriage; but I am also satisfied that they
misname that part of the press: for who ever heard of running in the
long ribs? yet to run in the carriage is a common expression; and the
name implies that the article moves or travels. This word bore the
signification which I assign to it in the seventeenth century, for
Moxon uses it in this sense. _See_ RUN IN THE CARRIAGE.
CASE,
in which the letters are laid to compose with.--_M._
Cases are always spoken of as pairs; viz. upper case and lower case;
when placed upon a frame to compose out of, the front of the upper
case rests against the back of the lower case, lying in different
inclinations, the back of the upper case being raised to bring the
top boxes nearer the hand.
They are generally made of beech; the outer rim and the middle bar
stout, to give strength, and to nail the bottoms to, which are lined
with paper, to prevent letters falling through cracks, or joints
that might open; this lining used to be cartridge paper, which
strengthened the bottom, but the joiner now lines them with cheap and
thin demy paper; the bottom is made of thin fir deal. The dimensions
are--two feet eight inches and a half, sometimes two feet nine inches
long; one foot two inches and a half wide, and one inch and a quarter
deep; the front being about half an inch broader than the depth,
which forms a ledge for galleys to rest against, and also serves as a
guard to stop letters, &c. falling over.
It is interesting to trace the changes that take place in any art;
hence I have given the arrangement of the letters in cases at
different periods, commencing with the first English writer, Moxon,
who published his work in the year 1683; then Smith, who published
in 1755; the cases before the long ſ was discarded, in my own time;
the arrangement now generally used; and a variation, subdividing the
boxes in the upper case, and changing the arrangement, both in that
and the lower case, to afford room for a greater number of sorts, and
to make the access to them more convenient; I have also added the
late Earl Stanhope’s plan.
In Moxon’s cases it will be perceived there are no ç, ſb, ſk, Œ, ‡,
‖, ¶, [, (, |, nor any small capitals.
Smith, in his Printer’s Grammar, gives “Schemes for Three Pair of
Cases, shewing the Difference in the Disposition of their Sorts.” I
have given his No. I. and No. III.; No. II. is the same as the one
before the long ſ was discarded, with the exception of the q being
in the comma box, and the comma in the q box.
This arrangement of the letters before the long ſ was discarded,
continued down to our own time, except the transposition of the q
and the comma; and the “schemes” Smith gives as No. I. and No. III.
became obsolete.
When the long ſ was discarded, and we confined ourselves to one shape
of the same letter, the ligature ct was also disused; we thus lost
the ct, ſb, ſh, ſi, ſk, ſl, ſſ, ſſi, ſſl, and ſt, which gave ten
additional boxes for other sorts; these have afforded convenience for
metal rules and braces, which before were wanted, and also for the £
and [#] that are now frequently sent with a fount, particularly the
£.
The discarding of the long ſ originated with the late John Bell, who
printed and published an edition of Shakspeare, the British Theatre,
and the Poets: the change was not generally adopted for some years,
and many retained one ſ when two came together, as ‘Eſsay;’ but the s
prevailed, and no other is now used.
In the present arrangement, the figures are brought lower down to be
nearer the hand, and the vowels with the diæresis moved higher up;
for the same reason the acute accented vowels have changed places
with those of the grave accent.
Mr. Johnson, in his Typographia, has given a variation in the
arrangement that he has adopted. I do not see any improvement in the
lower case to induce master printers to change the general mode,
which would only tend to create confusion and put the boxes into pie.
A subdivision of the boxes in the upper case, would be useful in two
or three pairs in large founts, that had superiors and fractions cast
to them; but as few founts have them, these subdivisions would not
only be useless, but inconvenient, if applied to all the cases, as
they would not leave sufficient room for metal rules, braces, &c.,
neither do they afford convenience for all the fractions that are
cast in a piece; besides, vowels with the long and short accents are
so rarely used in the general routine of business, that it is not
necessary to cramp the boxes to make provision for them; and there
is always room in the back boxes of the Italic cases in which to
put sorts that are seldom wanted; to this we may add the additional
expense of making these cases, which in an extensive business would
be considerable.
Among the various arrangements of the types in cases at different
periods and by different persons, I am gratified at being enabled
to give that of the late Earl Stanhope, from a stereotype plate of
his Lordship’s casting; this plan of the cases, the logotypes, the
alteration of the letter f, and the shape of the boxes, were never
adopted in the trade.
[Illustration: Layout of Moxon’s cases]
MOXON’S CASES. 1683.
Upper.
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| A | B | C | D | E | F | G || â | ê | î | ô | û | ó | Δ |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| H | I | K | L | M | N | O || ä | ë | ï | ö | ü | ✱ | ৪ |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| P | Q | R | S | T | V | W || á | é | í | ó | ú | □ | |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| X | Y | Z | Æ | J | U | || à | è | ì | ò | ù | ☊ | † |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| ♄ |♃ | ♂ | ⊙ | ⚴ | ☿ |☽ || ♈| ♉ |♊ |♋ | ♌ | ♍︎ | * |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 ||♎ | ♏ |♐ | ♑| ♒ | ♓ | |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
| 8 | 9 | 0 | | |ſt | k ||ſſi| ffi |ſſl| ffl | ℞ | ⊕ | § |
+---+---+---+---+---+---+---++---+---+---+---+---+---------+-------+
Lower.
+----+---+---+---+---+----+---------++-------+---+---+---+---+----+----+
| j | | | | æ | œ | || s | | | | | ſl | fl |
+----+---+---+---+---+----+ ++-------+---+---+---+---+----+----+
| ’ | | | | || | | | | | ſſ | ff |
+----+ b | c | d | e || i | ſ | f | g |ſh +----+----+
| & | | | | || | | | | | ſi | fi |
+----+---+-------+--------+---------++-------+---+---+---+---+----+----+
| ct | | | | || | | | | | | ? |
+----+ l | m | n | h || o | y | p | q | w +----+----+
| ; | | | | || | | | | |_en_|_em_|
+----+---+-------+--------+---------++-------+---+---+---+---+----+----+
| z | | | | || | | , | : | |
+----+ v | u | t | _Sp._ || a | r +---+---+ _Quadr._|
| x | | | | || | | . | - | |
+----+---+-------+--------+---------++-------+-------+---+---+---------+
[Illustration: Layout of Smith’s cases]
SMITH’S CASES. No. I. 1755.
Upper.
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| X | Y | Z | Æ | J | U | Œ || X | Y | Z | Æ | J | U | Œ |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || â | ê | î | ô | û | ¶ | § |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| 8 | 9 | 0 | ſb| ſk|ſſi| ffi || à | è | ì | ò | ù | † | ‡ |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
| ä | ë | ï | ö | ü |st | k || á | é | í | ó | ú | ‖ | * |
+---+---+---+---+---+---+---++---+---+---+---+---+---+---+
Lower.
+----+---+---+----+---+----+---------++-------+---+---+---+---+----+----+
| ct |[ ]| æ | œ | ç | ’ | || s |( )| ? | ! | ; | ſl | fl |
+----+---+---+----+---+----+ ++-------+---+---+---+---+----+----+
| & | | | | || | | | | | ſſ | ff |
+----+ b | c | d | e || i | f | ſ | g |ſh |----+----+
| ffl | | | | || | | | | | ſi | fi |
+----+---+--------+--------+---------++---+---+---+---+---+---+----+----+
| j | | | | || | | | | | | |
+----| l | m | n | h || o | y | p | q | w |_en_|_em_|
|H.S | | | | || | | | | | | |
+----+---+--------+--------+---------++-------+---+---+---+---+----+----+
| z | | | | || | | , | : | |
+----+ v | u | t | _Sp._ || a | r |---+---+ _Quadr._|
| x | | | | || | | . | - | |
+----+---+--------+--------+---------++-------+-------+---+---+---------+
[Illustration: Layout of Smith’s cases]
SMITH’S CASES. No. III. 1755.
Upper.
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| X | Y | Z | Æ | Œ | J | U || X | Y | Z | Æ | Œ | J | U |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| ä | ë | ï | ö | ü |H.S.|[ ]|| â | ê | î | ô | û | ¶ | § |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || á | é | í | ó | ú | ‖ | ‡ |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 8 | 9 | 0 |ſb |ſk | ſt | k || à | è | ì | ò | ù | † | * |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
Lower.
+----+---+----+---+---+----+---------++---+---+---+---+---+----+----+
| ct | æ | œ | ç | ? | ’ | || s |( )|ſſi|ffi | ffl | ſl | fl |
+----+---+----+---+---+----+ ++---+---+---+---+---+----+----+
| & | | | | || | | | | | ſſ | ff |
+----+ b | c | d | e || i | ſ | f | g |ſh +----+----+
| j | | | | || | | | | | ſi | fi |
+----+---+--------+--------+---------++---+---+---+---+---+----+----+
| | | | | | || | | | | | | |
+----+ l | m | n | h || o | y | p | w | v |_en_|_em_|
| ; | | | | || | | | | | | |
+----+---+--------+--------+---------++---+---+---+---+---+-----+---+
| % | | | | || | | , | : | |
|----+ q | u | t | _Sp._ || a | r +---+---+ _Quadr._|
| x | | | | || | | . | - | |
+----+---+--------+--------+---------++---+-------+---+---+---------+
[Illustration: Layout of cases with long ſ]
CASES BEFORE THE LONG ſ WAS DISCARDED.
Upper.
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| X | Y | Z | Æ | Œ | U | J || X | Y | Z | Æ | Œ | U | J |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || â | ê | î | ô | û | § | ‡ |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
| 8 | 9 | 0 | ç | Hair sp.| ſb | ſk || á | é | í | ó | ú | ‖ | † |
| | +---+---+---------+----+----++---+---+---+---+---+---+----+
| ä | ë | ï | ö | ü | ſt | k || à | è | ì | ò | ù | ¶ | * |
+---+---+---+---+---------+----+----++---+---+---+---+---+---+----+
Lower.
+-----+---+---+---+----+---+---------++---+---+---+---+----+------+----+
| ct | [ | æ | œ | ’ | j | || s | ( | ? | ! | ; | ſl | fl |
+-----+---+---+---+----+---+ ++---+---+---+---+----+------+----+
| & | | | | || | | | | | ſſ | ff |
+-----+ b | c | d | e || i | ſ | f | g | ſh +------+----+
| ſſi | | | | || | | | | | ſi | fi |
+-----+---+-------+--------+---------++---+---+---+---+----+------+----+
| ffi | | | | || | | | | | | |
+-----+ l | m | n | h || o | y | p | , | w | _en_ |_em_|
| ffl | | | | || | | | | | | |
+-----+---+-------+--------+---------++---+---+---+---+----+------+----+
| z | | | | || | | q | : | |
+-----+ v | u | t | _Sp._ || a | r +---+----+ _Quadr._ |
| x | | | | || | | . | - | |
+-----+---+-------+--------+---------++---+-------+---+----+-----------+
[Illustration: Layout of present cases without long ſ]
PRESENT ARRANGEMENT OF THE TYPES.
Upper.
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| A | B | C | D | E | F | G || A | B | C | D | E | F | G |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| H | I | K | L | M | N | O || H | I | K | L | M | N | O |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| P | Q | R | S | T | V | W || P | Q | R | S | T | V | W |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| X | Y | Z | Æ | Œ | J | U || X | Y | Z | Æ | Œ | J | U |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| ä | ë | ï | ö | ü | | || â | ê | î | ô | û | § | ‡ |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 1 | 2 | 3 | 4 | 5 | 6 | 7 || à | è | ì | ò | ù | ‖ | † |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
| 8 | 9 | 0 | £ | ç |H.S.| k || á | é | í | ó | ú | ¶ | * |
+---+---+---+---+---+----+---++---+---+---+---+---+---+---+
Lower.
+---+---+---+---+---+---+-------++----------+---+---+---+---+----+----+
| & | [ | æ | œ | ’ | j | ||_Thin Sp._| ( | ? | ! | ; | | fl |
+---+---+---+---+---+---+ ++----------+---+---+---+---+----+----+
| | | | | || | | | | | ff |
+---| b | c | d | e || i | s | f | g +----+----+
| | | | | || | | | | | fi |
+---+---+-------+-------+-------++----------+---+---+---+---+----+----+
| ffi | | | | || | | | | | | |
+---+ l | m | n | h || o | y | p | , | w |_en_|_em_|
| ffl | | | | || | | | | | | |
+---+---+-------+-------+-------++----------+---+---+---+---+----+----+
| z | | | | || | | q | : | |
+---+ v | u | t | _Sp._ || a | r |---+---+ _Quadr._|
| x | | | | || | | . | - | |
+---+---+-------+-------+-------++----------+---+---+---+---+---------+
[Illustration: Layout of the Stanhope cases]
STANHOPE COMPOSING CASES.
UPPER CASE.
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| | | | | | ☞ | ‖ || x | y | z | 1m | 2m | J | U |
| | | | | | | || | | |dash|dash| | |
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| | | | | | ¶ | ‡ || P | Q | R | S | T | V | W |
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| | | | | | § | † || H | I | K | L | M | N | O |
+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| X | Y | Z | 2 m | 3 m | J | U || A | B | C | D | E | F | G |
| | | |brace|brace| | || | | | | | | |
Galley+---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
ledge +---+---+---+-----+-----+---+---++---+---+---+----+----+---+---+
| P | Q | R | S | T | V | W || 3 | 6 | 9 | [ ]| on | ! |
+---+---+---+-----+-----+---+---++---+---+---+----+--------+---+
| H | I | K | L | M | N | O || 2 | 5 | 8 | ( )| of | & |
+---+---+---+-----+-----+---+---++---+---+---+----+--------+---+
| A | B | C | D | E | F | G || 1 | 4 | 7 | 0 | to | ? |
+---+---+---+-----+-----+---+---++---+---+---+----+--------+---+
LOWER CASE.
+-----+----+------+----+--------+---+---+---------------+---------+
| z | x | | | | | | | |
+-----+----+ re | an | | f | g | in | v |
| j | k +------+----+ e +---+---+---------------+---------+
+-----+----+ | | | | | | |
| b | c | d | |th | h | se | w |
+----------+ | | | | +-------+-------+---------+
| l +------+----+--------+---+---+ ; | : | m space |
+----------+ | | | | |-------+-------+ |
| p | m | n | i | o | s | , +---------+
+----------+ | | | | +-------+-------+ |
| y +------+----+--------+---+---+ | | n space |
+-----+----+ | | Thick | | | . | Thin +---------+
| | | | | and | a | r | | sp. | |
| ’ | q | u | t |middling| | +-------+-------+ Quadrats|
| | | | | spaces | | | Hair | - | |
| | | | | | | | sp. | Hyp. | |
+-----+----+------+----+--------+---+---+-------+-------+---------+
PECULIARITIES AND ADVANTAGES OF THESE CASES.
_First._ The nine logotypes now in use are omitted. They are
proposed to be printed with separate types, thus: ff, fi, fl,
ffi, ffl, &c. instead of ff, fi, fl, ffi, ffl, &c. And the Italic
thus: _ff_, _fi_, _fl_, &c. _instead of ff_, _fi_, _fl_, &c. In 20
pages of Enfield’s Speaker, (namely, from page 71 to 90, both
inclusive,) those logotypes occur only 95 times, viz.
PRESENT LOGOTYPES.
ff fi fl ffi ffl Æ Œ æ œ } TOTAL,
28 51 10 4 2 0 0 0 0 } 95.
_SECONDLY._ EIGHT NEW LOGOTYPES ARE INTRODUCED. THEIR REGULAR
AND FREQUENT OCCURRENCE EXPEDITE THE PROCESS OF COMPOSITION IN A
VERY CONSIDERABLE DEGREE; FOR, IN THOSE SAME 20 PAGES, THE NEW
LOGOTYPES WOULD SAVE TO THE COMPOSITOR NO LESS THAN 3073 LIFTS,
VIZ.
STANHOPE LOGOTYPES.
th in an re se to of on } Total,
771 441 413 385 291 279 264 229 } 3073.
_Thirdly._ The introduction of the new logotypes, and the great
imperfection of the various existing arrangements of composing
cases, have caused the above new and very superior arrangement to
be adopted.
_Fourthly._ The front side of each box of the lower case is made
sloping, instead of upright: which shape is convenient both to
the view and to the hand of the compositor, and it enables him
to lift the types with the same rapidity and ease when the boxes
are nearly empty as when they are full. The types are much better
preserved from wear, by means of this shape. It also allows the
lower case to be made deeper than usual; so that, two of them
contain as much as three lower cases on the old construction.
At the bottom of each box of the upper case, the internal front
arras is filled up.
The saving of time is of immense importance, especially in all
cases where dispatch is particularly required. The new cases are,
by experience, found to save full _one day_ out of _six_ to the
compositor.
Fifteen boxes on the left-hand side of the upper case are
represented empty. They are intended for the sorts which are
sometimes used for particular works; such as, accented letters,
mathematical marks, &c.
As the asterisk, or star, [*] is very liable to be filled with
ink at press, it is intentionally excluded from among the
reference-marks.
_Stereotyped and Printed by EARL STANHOPE, Chevening House, Kent._
CASE IS FULL.
A case full of letters, wanting no sorts.--_M._
CASE IS LOW.
When a case grows empty, compositors say, The Case is Low.--_M._
CASE RACK.
A frame made of strong deal boards, with ledges nailed on the inside
of the sides, in which to slide cases that are not in use, to keep
them safe. They are usually made to contain fourteen pairs of cases;
they are two feet nine inches wide in the clear, and seven feet high.
Where full cases of letter are kept for the purpose of expediting any
new work that requires great despatch, some houses have a bar of iron
from top to bottom, and lock the cases up to preserve the letter.
CASE RUNS OVER.
When a compositor distributes so much letter into a case as to fill
the boxes till the letters mingle with those in the adjoining boxes,
he says, his _Case runs over_, or it overflows. This frequently
causes additional errors in the proof, and of course is not an
advisable practice.
CASE STANDS STILL.
When the compositor is not at work at his case, it is said, The Case
stands still.--_M._ Obsolete.
CASSIE PAPER.
The two outside quires of a ream. They are also called Cassie Quires,
because they serve for cases to the ream.--_M._ _See_ OUTSIDE QUIRES.
CASTING. _See_ ELECTROTYPE.
CASTING UP.
Calculating the number of thousands of letters in a sheet of any
work, or in a job, in order to fix the price for composing it.
To facilitate the ascertainment of the number of thousands of letters
in a sheet of bookwork, and also of jobs, I have given a set of
tables, which I believe includes, generally speaking, the sizes of
the pages that usually occur in practice. These tables will be found
useful to those compositors who are not expert at figures, while
those who are so may save time by referring to them, and they may
also serve as a check to their own casting up. The figures at the
top designate the number of lines the page is long; and the figures
in the column specify the number of thousands of letters in a sheet,
according to the size named in the head. To ascertain the number of
thousands of letters, the established rule is, to take the number of
lines the page is long, including the head line and the direction
line, and the number of en quadrats in the width of the page, the en
quadrat being estimated as the average thickness of the letters, and
on multiplying the one by the other the product will give the number
of letters in a page; and this product multiplied by the number of
pages in a sheet, gives the number of letters in a sheet; where there
is a fraction of a thousand, and that fraction amounts to 500 or
upwards, it is reckoned and charged as 1,000; when it is less than
500 it is dropped, and not included in the calculation. There are
some exceptions to this general rule of taking the dimensions when
the type exceeds a certain size, for which _see_ SCALE OF PRICES.
TABLE OF THE NUMBER OF THOUSANDS IN A SHEET.
[Illustration: First page of six tables]
+-----------------------------------------+
| NUMBER OF THOUSANDS IN A SHEET. |
| The figures at the top designate the |
| number of lines the page is long. |
+-----------------------------------------+
| 15 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 12 | 1 | 3 | 4 | 6 |
| 13 | 2 | 3 | 5 | 7 |
| 14 | 2 | 3 | 5 | 8 |
| 15 | 2 | 4 | 5 | 8 |
| 16 | 2 | 4 | 6 | 9 |
| 17 | 2 | 4 | 6 | 9 |
| 18 | 2 | 4 | 6 | 10 |
| 19 | 2 | 5 | 7 | 10 |
| 20 | 2 | 5 | 7 | 11 |
| 21 | 3 | 5 | 8 | 11 |
| 22 | 3 | 5 | 8 | 12 |
| 23 | 3 | 6 | 8 | 12 |
| 24 | 3 | 6 | 9 | 13 |
| 25 | 3 | 6 | 9 | 14 |
| 26 | 3 | 6 | 9 | 14 |
| 27 | 3 | 6 | 10 | 15 |
+-----------+------+------+-------+-------+
+-----------------------------------------+
| 16 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 12 | 2 | 3 | 5 | 7 |
+-----------------------------------------+
| 17 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 13 | 2 | 4 | 5 | 8 |
+-----------------------------------------+
| 18 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 13 | 2 | 4 | 6 | 8 |
+-----------------------------------------+
| 19 |
+-----------+------+------+-------+-------+
| Ens wide. | 4to. | 8vo. | 12mo. | 18mo. |
+-----------+------+------+-------+-------+
| 13 | 2 | 4 | 6 | 9 |