substances, of which he published the following description, or
specification:--“Now know ye, that I the said James Fergusson,
in compliance with the said Proviso, do hereby declare, that the
nature of my said Invention, and the manner in which the same is
to be performed, are particularly described and ascertained by
the following explanation thereof, that is to say: In the process
of printing from Stereotype Plates, the plates are put upon, and
fastened to, certain materials or apparatus, called by different
names, such as blocks, matrix-plates, risers, &c., which are made
either of iron, brass, type-metal, bell-metal, Roman cement, gypsum,
wood of various kinds, or some other suitable substance; or, without
using any such materials or apparatus, the plates are, or may be,
put upon, and fastened to, the coffins or tables of such printing
presses as are in general use, or upon cylindrical or any other
sort of printing machines. In all cases, however, of printing from
Stereotype Plates, it is necessary to apply some remedy to the
unequal thickness of the plates; and the operation usually adopted is
that of putting layers or pieces of paper, or other material, under
the thinner places of the plates, or over the same, upon the tympan,
which operation is technically termed _underlaying_ and _overlaying_.
Now, the nature or object of my Invention is that of saving the
time and expence unavoidably sacrificed in the operation of
underlaying and overlaying; and this object I accomplish by putting
elastic substances under the Stereotype Plates, whereby the printed
impressions from them are immediately equalized wholly or in part;
for the elastic substances yield to the pressure upon the thicker
parts of the plates, and at the same time afford the necessary
resistance for obtaining sufficient strength of impressions from the
thinner parts. It must be evident, that the elastic substances are
to be interposed between the Stereotype Plates and whatever solid or
firm substance may be made use of, whether blocks, matrix-plates,
risers, cylinders, printing presses, printing machines, or any other
apparatus whatsoever. So far as I have made experiments and trials
of different elastic substances, I have hitherto found Cork to be
the best calculated for the purposes of my Invention; but, in virtue
of the Letters Patent granted unto me, I claim the exclusive right
and privilege of applying Cork, and any other elastic substance,
to all kinds of printing apparatus and machines, with the view of
remedying the inequalities in the thickness of Stereotype Plates;
and I also claim the sole right and privilege of manufacturing the
elastic articles requisite for the attainment of this object, of
vending such articles, and of granting Licenses for the use of the
same. In further explanation of the manner in which my Invention is
to be performed, it may be proper to state, that the Cork is prepared
by cutting, sawing, rasping, and filing; and by these means it is
wrought to such a uniform thickness as is required. I consider a
quarter of an inch as a proper thickness, but a lesser or a greater
may be adopted. If, when a determinate thickness has been fixed
upon, the Cork is to be applied to some apparatus now in use, that
apparatus should of course be diminished as much as is the thickness
of the Cork, in order that the same height to paper may be preserved.
The layers or beds of Cork may be formed either of single pieces,
cut to the respective sizes of pages, or made up by several slips,
whereby they may be adjusted to various widths and lengths. Whether
the Cork be laid loose upon the blocks, &c., or be attached by soft
pitch, shoemakers’ wax, or other adhesive substance, is unimportant;
but I prefer attaching it, so as to keep it in its place. Although
my Invention essentially consists in discovering the applicability
of Elastic Substances for the purpose of remedying inequalities in
the thickness of Stereotype Plates, yet, in this Specification, I
have necessarily given my explanations by particularising Cork,
that being the material which I now manufacture and prefer. How to
adapt any other elastic substance, which may answer the purpose
equally well as Cork, cannot be a matter of doubt or difficulty to
any person practically acquainted with apparatus used in Stereotype
Press-work.----In witness whereof, &c.”
Mr. T. C. Hansard took out a patent for improvements on, and
additions to, Printing Presses, and various processes relative to
Printing; these improvements included “Stereotype-Plate Risers, with
Holdfasts or Claws,” of which Mr. Hansard published the following
description:--“The Risers are made of Type Metal, or with any other
metal or substance, cast in a Type-founder’s mould, having somewhat
the form of what are called Quotations. I take the usual standard
for Printer’s ad-measurement, and cast them quadrilateral to four
Pica m’s; then longer ones as parallelograms, four by eight, four
by twelve, four by sixteen, and smaller ones, four by two, four by
one, and four by a half; in height they are about three-fourths
of an inch, or sufficient to raise the Plate to the usual height,
or somewhat higher than common Type; these being cast and dressed
perfectly true, in body and height, may be easily combined to form
the size of any page necessary, with the certainty of having a
uniform plain surface for all the plates, however numerous; they are
cast as hollow cubes, the larger combinations having divisions to
give sufficient support to every square against any pressure which
can be brought upon them.
“The Holdfasts or Claws are formed of Brass or other hard metal,
accurately adjusted in thickness to a Brevier, or any other body
chosen, with a projecting Bevil at the top. They may be of various
lengths, as to 4, 8, 16, 24, or more or less, Pica m’s, the elongated
parts of the larger ones being to the height of ordinary Reglet,
having the Holdfast or Claw in the centre, or towards each end. They
may be opened, or pierced, as well to make them lighter, as to cause
them, by pressing and indenting into the furniture of the forme,
to be less liable to be drawn out: the height of the Claw is about
seven-eighths of an inch, or sufficient for the projecting bevil of
about one-eighth of an inch to lay upon the flanch of the plate when
resting on the Risers. To prepare plates for working, form with the
Risers the requisite number of pages for the forme or sheet to the
nearest size they may make by the various combinations, and add any
difference wanting by reglet, leads, or scale-board; then lay on the
Plates, and place at the head, foot, and sides of each plate as many
Holdfasts as may, from the size of the plate, be deemed sufficient
for proper fastening; thus for small pages, as in Octadecimos and
Duodecimos, one at each side and end will be sufficient; for larger
pages two or more may be thought necessary; making up the parts which
they may be deficient of the length and breadth of the pages with
quadrats or reglet of the same body; then proceed to make margin,
or dress the formes, and lock-up in the usual mode. To change the
Plates; when worked, unlock the forme, draw out the Holdfast at the
head or foot of the plate, slide off the done-with plate, replace
by the new one; lock up again; and if the Plates have all been cast
true to one gauge in thickness, width, and length, you will have
throughout the whole work exact and uniform register, and equal
impression;--when the Work is completed, the same material of Risers
and Holdfasts, by admitting every combination of size, will form into
any other sized pages for any other sized plates.”
ROBBERY. _See_ STOLEN PROPERTY.
ROLL UP BALL LEATHERS.
When the pressman leaves work at noon he draws half the nails out of
the balls, and takes the wool out; then doubles the loose half of the
leather over the remaining nailed-on half, with the inky sides of
each half next each other, and rolls up the leathers close, and lays
them in a bowl or pan of water to soak till he has dined--_M_. This
plan is entirely discontinued; the ball nails now are never drawn nor
the covering taken off till it is worn out, owing to the different
composition of the ink.
ROLLER.
A cylinder coated with composition, fixed in an iron frame, and
revolving upon an iron rod running through it, with which to ink the
forms, preparatory to taking an impression.
[Illustration: A two-handled roller.]
The roller has almost entirely superseded the use of balls in
printing; and, since the introduction of composition, I may venture
to say it has completely superseded the use of pelts for balls. _See_
PELTS.
The use of the roller is less laborious to the pressman than balls;
and for common work, and indeed all work where weak ink is used,
it coats the surface of the types, &c. more uniformly, perhaps,
than balls; but for fine work, where strong ink must be used, and
really fine work cannot be produced without strong ink, the roller
is decidedly inferior to the ball, partly owing to the difficulty of
taking ink and distributing it on the inking table; and partly owing
to the inferiority of rolling to beating with balls, in coating the
surface of the types with strong ink.
The introduction of composition in lieu of pelts has been the cause
of a complete change in printing; but for this article, machine or
cylindrical printing would never have been accomplished, as all the
first attempts were made with skins to coat the roller, and all
failed, owing to the imperfection of joining the edges; it was this
that baffled Nicholson, who died before its introduction; and it was
the introduction of this article that enabled König to avail himself
of Nicholson’s invention and to reduce it to practice, after he had
failed in his project of applying steam to the working of presses.
The composition was first introduced in printing by Mr. B. Foster,
who spread it in a melted state on canvass, and then formed it into
balls in the usual manner. I have been informed that Mr. Foster
obtained his knowledge of its properties from a cotton manufactory,
where it was used in some part of the machinery; but Mr. T. C.
Hansard says that it was in the Staffordshire potteries, in which
they use what are there called dabbers, that Mr. Foster first
observed it.
_Composition._--Mr. Hansard, a printer of extensive practice, in his
Typographia, says, “The composition consists principally of glue and
molasses, or treacle. I have seen various receipts of ingredients and
proportions, some possessing the recommendations which distinguish
the recipes of ancient physicians; namely, a vast variety of articles
with counteracting properties. But the simple prescription which my
experience has proved best, is, to provide _glue_ of the finest
quality, made from the cuttings of parchment or vellum; fine green
_molasses_, pure from the sugar refiner, at least not adulterated for
the bakers’ or grocers’ shops; and a small quantity of the substance
called Paris-white [carbonate of barytes], and you will have every
ingredient requisite for the compo. The proportions have been so
variously stated, and so different from what I have found to be
eligible, that I am wholly at a loss to account for such differences.
Pounds of
Glue. Molasses.
One receipt which now lies before me _in print_, says 2 1
Another, MS. 2 3
I find a mixture of 2 6 or 2 7
and about half a pound of the Paris-white, will make the compo of a
superior quality to any other proportions, and will be sufficient for
two demy rollers. The great disparity which appears in these receipts
may perhaps be attributed to a difference in the quality of the
materials, and to the mode of management.” Thus far Mr. Hansard on
the component parts of the composition.
The late Mr. Robert Branston, an eminent engraver on wood, and who
was also very skilful in printing his productions in a superior
manner, told me that he made his balls of glue, treacle, and a little
shoemakers wax, and that they answered as well as Foster’s. The Cave
of Despair, in my Practical Hints on Decorative Printing, will serve
as a specimen of his abilities in both these departments.
An ingenious printer in the country, and a good workman, sent me
the following receipt, from which he used to make balls for his own
use:--Take a pound and a half of glue, let it soak in cold water
twelve hours, boil it without any additional water; when it is hot
add half a pound of treacle, half an ounce of turpentine, and a
quarter of a pound of tar; this quantity is sufficient for a pair of
balls. Prepare your canvass or coarse cloth of the size the balls are
wanted, by rubbing on it bees wax, (or common paste will answer the
purpose after it has been allowed to dry,) to prevent the composition
running through the pores; when the mixture is nearly cold, pour it
on the canvass, held in a concave manner, in order that it may be the
thickest in the middle, and thinner at the edges; then knock up the
balls in the usual way.
Another receipt, from which a large establishment in London made
their balls and rollers, and the latter both for their machines and
presses, is equal parts of glue and treacle; but as the composition
is affected by the state of the atmosphere, it is found by experience
that in cold weather a greater proportion of treacle is required, and
in warm weather a greater proportion of glue.
This establishment was of opinion that the glue known by the name of
London Glue is the strongest and best.
These different receipts, each of which was held in high estimation
by the party who made use of it on account of its individual
superiority over others, tend to show that different proportions
of the same materials with different ingredients incorporated with
the mixture, produce a composition that possesses all the requisite
qualities.
_Casting Rollers._--Mr. Hansard gives the following directions:--“The
cylinder upon which the compo is cast is made of alder-wood, turned
to a requisite diameter, so that the coat of compo which it receives
is half an inch. The cylinder is perforated through its centre,
having a brass bush or collar driven into each end, through which is
passed an iron rod, as an axis, with an enlarged head at one end, and
tapped with a screw at the other.
“It is necessary to procure a mould very accurately made and well
finished. Mine is made of brass, in two parts, adjusted to each
other with rebates, the inside being finely turned and polished, and
having flanches projecting by which the parts are screwed together
by the screw and lock-burr. To each end is also fitted a collar; and
a circular plate of iron is accommodated with great precision to
the bore of the mould, having a projection in its centre to enter
a cylinder of wood about which the compo is to attach itself, and
to hold it exactly in the centre of the mould, and the other end of
which is kept in a corresponding position by means of a brass piece
to allow of the compo passing down between the interior surface of
the mould and the wooden cylinder. There are little projections on
the sides of the mould, which serve as feet to support each half in
a steady position while lying upon a table or elsewhere. Previous to
joining, the parts of the mould must be nicely cleaned and oiled, and
the greatest care taken that no particle of compo, grit, or dirt,
remain in the rebate. The parts being carefully placed on each other,
and the wooden cylinder fixed inside, the screws must be put into
their respective places in the flanches, and when all is properly
made tight the mould is to be set upright for receiving the compo.
“The next material part of the apparatus is the melting kettle.
This must be a double vessel like a glue-kettle, so that the compo
in the interior may be melted by the heat of the boiling water in
the exterior. For this purpose a strong boiler may be the best or
readiest thing found, into which let a tin vessel be fitted, with a
flanch to rest on the rim, so as to leave one or two inches clear
under it. This vessel may be six or eight inches above the top of the
boiler, so that the lid of the one may fit the other; and it must
have a handle on each side; also a large lip for pouring out the
compo.
“Being thus prepared, put the glue into a little water for a few
hours to soak. Pour off all the liquid, and put the glue into the
inner vessel, the boiler having in it as much water as it will
contain when the inner vessel is in its place. Put it on the fire,
and boil the water as quick as you please, the heat of which will
soon cause the glue to dissolve, and evaporate part of the water.
When the glue is all melted, add the molasses, and let them be well
incorporated together for at least an hour, receiving heat from the
boiling water, which is an uniform degree that cannot exceed 212°
of Fahrenheit. Then with a very fine sieve, mix the white powder,
frequently stirring the compo. In another hour, or less, it will be
fit to pour off; and when it is, take the inner vessel out of the
boiler, and pour the mixture gently into the mould through the opened
brass keeper. In about an hour, if the weather be dry and favourable
you may take the roller out of the mould; hang it in a cool, dry,
situation, or lay it horizontally in a rack made for the purpose, and
the next day it will be sufficiently hardened for use. As there will
be rather more of the compo at each end of the cylinder than would
work clear of the frame in which it is to revolve, cut off from each
extremity about half an inch, by encircling it with a piece of fine
twine.”
There is a serious practical disadvantage in the mould being formed
of two pieces; that of having a seam or ridge running the whole
length on both sides of the roller. This seam prevents that accurate
distribution of the ink which is essentially necessary, and increases
the probability and danger of producing monks in the impression,
which ought to be avoided as much as possible, as destructive to good
printing.
I have at different times heard complaints of the difficulty of
drawing the roller out of the mould, and of the injury it frequently
receives from the surface being damaged, which spoils it, and makes
it necessary to be recast. This accident occasions disappointment
and loss of time; as cleaning the mould from the composition which
adheres to it when this happens is tedious. I attribute this to the
mould being made too thin, which expands when the hot mixture is
poured into it, and contracts as the mixture cools, thus becoming, by
the contraction, too small for the roller, and binding it so tight as
to prevent its being drawn out with facility, and without great risk
of injury.
I know one house in the Metropolis that makes rollers in the most
perfect manner, and experiences little or no trouble in drawing
them from the mould; and I know a person who had a mould made, with
the same result. These moulds were made out of a solid cylinder of
metal (tin, or type metal is equally good for the purpose, and more
durable), the aperture bored to the size of the required roller,
and carefully polished on the inside, the tube being thick, in some
instances two inches, so that it was not much affected by the heat
of the composition, the expansion being very trifling, and of course
the contraction small in proportion; so that the roller when cold
was not compressed by the mould, or so slightly as not to cause any
inconvenience or damage to it in drawing out. The inside of the mould
should be carefully wiped out before using, so as to be perfectly
free from dust or dirt, and slightly oiled, which causes the roller
to quit it more readily.
_Preservation._--Mr. Hansard says, “To keep the rollers in good
condition for working, a place should be chosen where the air has
free circulation, without being subject to the extreme heat of the
sun in Summer, or the freezing damp air in winter; in short, in as
even a temperature as possible. It will be necessary to keep a stock
of more rollers than are at work; as it is frequently found, when a
roller is _sick_, or greasy, or soft, or you do not know what is its
ailment, that washing it clean, and hanging it to rest for a time,
restores it to as good a state as ever.
“One other circumstance must be noticed, namely, the influence of the
variable temperatures of different situations on this composition.
This I have had particular opportunities of knowing, from having
carried on business in two distant offices. It frequently happened
that when the compo was working kindly at one office, nothing could
be more teazing than its progress at the other. Indeed, while I was
supplied by those who make for the trade, one of my houses frequently
gave them a great deal of trouble. I have heard both Foster and
Harrild say, ‘that they were obliged to make a harder compo on
purpose for my house and one or two others similarly situated, than
the customary temper of the mixture:’ and, frequently, the only
alternative was, to find me a roller that had got hard and useless at
some other house, to suit the low temperature of mine. The difference
was this--one of my houses had the press-room on the ground-floor,
the joists and flooring lying on the earth; the sink room adjoining;
wet sheets hanging very low; very little influence from the sun,
and no thorough ventilation; consequently, from the humidity of the
atmosphere engendered by these circumstances, it was a constant
complaint that the compo was too soft. At my other house the
press-room was on the two-pair floor; the poles very high; the sun’s
rays had free admittance, and the ventilation was very complete.
Here the compo, complained of as too soft at the former house, was
all that could be wished: hence it became the roller-nursery; and by
sending them to hang up a day or two, when out of order at the other
place, they became firm and fit for work.”
From this statement it appears that any fixed proportions of the
materials for the composition cannot answer generally, and that they
must vary according to circumstances. And it may cause us to cease
wondering at the number of recipes, and of the different proportions
of the various articles, and at being told that they all answered
very well; for it is evidently owing to the situation, whether moist
or dry, of the press-room of a printing office, that different
proportions of ingredients are requisite to make a roller work well,
under different circumstances.
The usual method of keeping rollers in working condition is to cover
them at night, and when they are not likely to be wanted for some
time, with a coating of common or refuse ink; this does not dry, and
prevents evaporation, and thus keeps them in working condition: the
ink must be scraped off when they are required for use. A roller will
get foul in the course of working, or become too hard, it should
then be washed well with lye and the lye brush, which will remove
the foulness, and it may be further washed with clean water and the
hand to remove the lye, and to give it a clean surface; it would
then be necessary to distribute it well on a clean table. It would
be now advisable to proceed with the presswork with a fresh roller,
and allow the one that was washed to have a rest, which generally
improves its working condition. If a roller become too hard, and the
surface is clean, then washing it with clean water and the hand,
distributing it on a clean table, and placing it in a damp situation,
will restore it; in fact, when the press-room is dry and well
ventilated, keeping the rollers in a damp situation when not in use
is preferable, in my opinion, to softening them with water, as the
moisture is gradually imbibed by the composition, and makes it more
uniformly soft and kind.
When rollers get too soft, the general practice is to hang them up
in a current of cool dry air, which evaporates the superabundant
moisture, cools the composition if the room has been too warm, and
brings them to a good working state. But a more expeditious and
effective method, is to sponge them with spirit of turpentine, which
restores them to a proper condition sooner than any other method, and
also cleans them more effectually than lye. If the same rollers are
required to be used when it is necessary to change the colour of the
ink, there is not any article that will clean them so expeditiously,
and take the ink which had been used out of them so completely, as
spirit of turpentine.
Occasionally the pressman finds that he cannot produce good and clear
impressions with all the care and attention that he can bestow upon
his work, and this when his roller seems to be in good condition, and
no apparent cause can be assigned for the deficiency of quality; the
roller is then said to be _sick_, or _tired_; and the only remedy
that has yet answered to remove this inconvenience is to _give the
roller rest_; that is, to hang it up, and take another roller for the
work in hand; after resting for some time, it will be found that the
sick or tired roller has resumed its original qualities, and will
again produce good work.
Rollers, when not in use, should always be hung up in a shady place,
which is generally done by one end of the frame, for if left on the
inking table they would stick to it, and the composition would be
torn in the act of separation; neither should they be exposed to
the action of the rays of the sun in summer, which will soften the
composition so much as to cause it to run, and thus spoil the roller.
These observations apply equally to composition balls.
The following is an abstract of the French method of making and
treating rollers.
The French roller-makers proportions are eight pounds of glue and
twelve pounds of treacle, which is sufficient for four rollers used
at press; the quantity required for those used at machines will vary
according to their length and diameter.
Paris made glue is the best: it ought to be transparent, have little
colour, and break like glass. Flexibility in glue is a proof of its
weakness; and it is injured by being left in a damp place.
The treacle ought to be pure; the most compact is the best. To avoid
being deceived, it is best to buy the refined. The old is weak, and
not of a good quality for rollers.
In preparing to make four rollers, two pounds of good glue must be
soaked in river water; the strength of the glue must determine how
long; but if too long the glue loses its strength, and the rollers
are injured.
This portion of the glue, thus soaked, is then put into the melting
kettle, and placed over a fire, and stirred with a spatula; and
when it is quite melted, the rest of the glue is added in similar
portions, till the whole eight pounds are melted, which ought to have
an hour’s boiling before adding the twelve pounds of treacle. The
treacle is then gently poured into the melted glue, stirring them
until they are well incorporated. This done, they are left over a
moderate fire for an hour, stirring them with a spatula every ten
minutes. The surface must be skimmed, and afterwards the vessel must
be left a little time to slightly cool, before being poured into the
mould.
The cylindrical tube in which the rollers are cast should be smeared
in the inside with a brush with oil; neatsfoot oil is the best; and
it is necessary that every part should be carefully oiled, and that
the wooden cylinder should be well cleaned and free from moisture.