Grammatica Syra, Leyden, 1619, and from Jacob Alting’s Synopsis
Institutionum Chaldæarum et Syrarum, Frankfort-on-the-Main, 1717.
_Syriac in the British Founderies._
_Double Pica._ V. & J. Figgins; cut under the direction and
partly at the expense of the late Claudius Buchanan.
_English._ Caslon; cut for Walton’s Polyglot, 1657. V. & J.
Figgins; cut under the same circumstances as the Double Pica.
Oxford.
_Long Primer._ Caslon. Fry, to Thorowgood and Besley. V. & J.
Figgins; cut under the same circumstances as the Double Pica.
_Brevier._ V. & J. Figgins; cut under the same circumstances as
the Double Pica.
_Nonpareil_. Fry, to Thorowgood and Besley; cut for Bagster’s
Polyglot.
T.
TABLE WORK.
Figure work, &c., composed with column rules, consisting of five
columns or more. It is paid double the price of common matter at case.
TABULAR.
Figure work, &c., composed with column rules, consisting of three or
four columns. It is paid one and a half the price of common matter.
TAIL PIECES.
Ornaments placed in a short page to fill up the vacancy. The same
observations apply to Tail Pieces as to HEAD PIECES, which see; as
also FAC.
TAKE INK.
Dabbing a ball upon the ink block for it to receive a small quantity
of ink to distribute on the two balls.--_M._ It is equally termed
Taking Ink when rollers are used.
TAKING DOWN.
Taking the sheets from the poles with a peel when they are dry.
TAKE-OFF. _See_ ANCIENT CUSTOMS; also FLY. Boys are employed in
machine printing to take away the sheets as they are printed, and to
lay them straight and even; this is also styled Taking-off, and the
boys taking-off boys.
TAKE UP.
To take letters up with a composing rule to distribute.--_M._ When
a compositor is distributing, he places his composing rule against
the head of the matter he means to take up, and putting the sides
of his two third fingers, near the ends, to the ends of the rule,
and the sides of his fingers against the sides of the matter, with
his fore fingers at the extreme end, round the corners of the matter
he intends to take up, and the ends of his thumbs against the back
of the rule, he thus grasps it, and then generally tries if it will
lift, when by a sudden lifting of the bottom end of the matter, and
turning up of the rule with his thumbs, he raises it from the board
to a perpendicular direction, resting on the rule; and turning it
with the face of the letter to him, with one part of the rule resting
on the third finger of his left hand, and the other end against the
ball of his thumb, while the sides of the matter are guarded by his
thumb and forefinger, when the measure is not too wide, he begins to
distribute.
In like manner he takes up matter to move from one galley to another,
when he is making up; except that he places his rule against the
foot of the matter, and when he grasps it he does not raise it
perpendicularly, but lifts it to him under his hands, his forefinger
being against the rule, and his thumbs grasping the head of the
matter.
A stranger to the business would be surprised to see the number of
lines of types that an expert compositor will lift in this manner.
TAKE UP A SHEET. _See_ ANCIENT CUSTOMS.--_M._ It appears that in
Moxon’s time the compositor had a copy of each work he was engaged
on, or received what was termed copy money in lieu of it. This custom
is abolished; and no workman is permitted to take a copy of any thing
that is printed in the house as a matter of right.
TAKING COPY.
A compositor receiving copy from the overseer, or other person who
has the charge of it, to compose; if in a companionship, the clicker
receives it, and gives it out to the companions.
TAKING OFF.
Part of a page taken up to distribute.--_M._ Obsolete.
TALEEK. _See_ PERSIAN.
TAMUL.
[Illustration: The Tamul Alphabet]
THE TAMUL ALPHABET.
+-------------+---+----+----+----+----+----+---+----+----+----+----+----+
| | a | ā | i | ī | u | ū | e | ē | ei | o | ō | ou |
+-------------+---+----+----+----+----+----+---+----+----+----+----+----+
| |அ | ஆ | இ | ஈ | உ | ஊ | எ | ஏ | ஐ | ஒ | ஓ | ஔ|
+-------------+---+----+----+----+----+----+---+----+----+----+----+----+
|ka | க | கா | கி | கீ | கு | கூ |கெ |கே | கை |கொ | கோ|கௌ|
|nga | ங | | | | | | | | | | | |
|cha | ச | | | | சு | சூ | | | | | | |
|nya | ஞ | | | |[#] |[#] | | | | | | |
|Cerebral ḍa | ட | | டி | டீ | டு | டூ | | | | | | |
|Cerebral ṇa | ண|ணா |ணி | ணீ |ணு |ணூ | | |ணெஇ|ணொ|ணோ| |
|ta | த | தா | | | | | | | | | | |
|na | ந | | | | | | | | | | | |
|pa | ப | | | | பு | பூ | | | | | | |
|ma | ம | | | | மு | மூ | | | | | | |
|ya | ய | | | | யு | யூ | | | | | | |
|ra | ர | | | | ரு | ரூ | | | | | | |
|la | ல | | | | லு | லூ | | |லை | | | |
|va | வ | | | | வு | வூ | | | | | | |
|Cerebral ṛa | ழ | | | | ழு | ழூ | | | | | | |
|Cerebral ḷa | ள | | | | ளு | ளூ| | |ளை | | | |
|Cerebral rra | ற | றா | | | று | றூ | | | |றொ |றோ | |
|na | ன |னா | | | னு | னூ| | |னை |னொ|னோ | |
+-------------+---+----+----+----+----+----+---+----+----+----+----+----+
க--As a medial, this letter has, when single, the sound of _gh_; when
double, of _kk_. As an initial also it represents _gh_ in certain
words derived from the Sanscrit.
ச--This letter has, when single, the sound of _s_, _sh_, and the
French _g_ in _âge_; when double, it has the sound of _ch_. In words
of Sanscrit origin, it represents the _ja_ and _cha_ of the Sanscrit
alphabet.
த--This letter, when combined with [#], has the sound of the French
_n_ in _Ange_.
ட--This letter has, when single, the sound of _d_; when double, of
_tt_, with a strong cerebral articulation.
த--As a medial, this letter has, when single, the sound of _d_; when
double of _tt_. As an initial, also, it represents _d_ in certain
words of Sanscrit origin.
ந--This is the initial _n_. It is medial only before த.
ப--As a medial, this letter has, when single, the sound of _b_; when
double, of _pp_. And in certain words of Sanscrit origin it has, as
an initial also, the sound of _b_.
ழ--This letter is articulated somewhat like the hard ṛ of the
Hindustani alphabet. It may be said to possess generally as a medial,
the sound of _r_, and as a final, that of _l_, with a cerebral
articulation.
ற--This letter has, when single, the sound of _rr_; and, when double,
the sound of a _double tt_.
The word “soul,” is used metaphorically in Tamul for a vowel; the
word “body,” for a consonant; and the compound word “soul and body,”
for a syllable. In the same metaphorical language, a consonant is
termed “a dead letter.”
It will be seen, in the foregoing scheme, that when the short vowel
_a_ is employed to give utterance, or (to adopt the metaphor of the
Tamul grammarians) _animation_ to the consonants, no additional
character is required; it being considered to be inherent in each
consonant, as essential to its original articulation. The removal of
this originally inherent vowel is usually denoted by a dot or a small
circle placed over the consonant, as ன் (_n_), ர் (_r_).
In the elegant dialect, a character written thus ஃ, and termed
_āyadam_, is used in addition to the ordinary letters of the
alphabet. It is not, strictly speaking, either a vowel or a
consonant; but it has the power of a consonant; it is pronounced
gutturally, and it lengthens the preceding syllable if short by
nature: as இஃது (_ighdu_) “this,” instead of இது (_idu_).
இ before the cerebrals, viz. ட, ண, ழ, ள, ற, has an obscure sound,
best expressed by a short _u_, and may be considered as nearly lost.
ஈ before the cerebrals, possesses nearly the sound of long _u_,
though a practised ear distinguishes a peculiarity in its utterance.
In Tamul, a measure of time, termed _māttirei_, which is described
as occupying the period of the twinkling of an eye, or the snap of
a finger, is assigned to the letters in the manner following; viz.
to a consonant is assigned half a measure; to a short vowel, one
measure; and to a long vowel, two measures.
The character [#] is the consonant _s_ of the Grandonic alphabet.
_Cardinal Numbers._
Figures.
௧ 1
௨ 2
௩ 3
௪ 4
௫ 5
௬ 6
௭ 7
௮ 8
௯ 9
௰ 10
௰௧ 11
௰௨ 12
௰௩ 13
௰௪ 14
௰௫ 15
௰௬ 16
௰௭ 17
௰௮ 18
௰௯ 19
௨௰ 20
௨௰௧ 21
௨௰௨ 22
௨௰௩ 23
௨௰௪ 24
௨௰௫ 25
௨௰௬ 26
௨௰௭ 27
௨௰௮ 28
௨௰௯ 29
௩௰ 30
௩௰௧ 31, &c.
௪௰ 40
௫௰ 50
௬௰ 60
௭௰ 70
௮௰ 80
௯௰ 90
௱ 100
௱௧ 101, &c.
௨௱ 200
௩௱ 300
௯௱ 900
௲ or [#] 1,000
௲௧ or [#] 1,001, &c.
௲௱ or [#] 1,100, &c.
௨௲ 2,000
௰௲ 10,000
௨௰௲ 20,000
௱௲ 1,00,000
௨௱௲ 2,00,000
௨௱௱௲ 20,00,000
௱௱௲ 100,00,000, or
10,000,000
It will be observed that, in many instances, the letters of the
alphabet are employed, as in Greek and Latin, to express numerical
value.
From “Rudiments of Tamŭl Grammar.” By Robert Anderson, Assistant
Professor of Oriental Languages at the East India Company’s College.
4to. 1821.
_Tamul in British Founderies._
_English._ _Fry_; to Thorowgood and Besley; for the College of
Madras. _Oxford_.
_Pica._ _Fry_; to Thorowgood and Besley.
TAYLOR AND MARTINEAU’S PRESS.
This is an iron press, the frame of which forms two upright cheeks
and the head. The power is not obtained by a screw, but by a cylinder
with a knee-joint in the middle, which is bent when not pulling; this
allows the platen to rise from the form, which is accomplished by a
weight behind, that counter-balances the platen. The pull is effected
by a bar, in the usual manner, that brings the knee-joint straight,
depresses the platen, and produces the impression. The power is
regulated by a screw through the head, that acts upon the cylinder.
TEASE WOOL, or HAIR.
Teasing the hard and almost matted knots in the wool, or hair, with
which the balls are stuffed.--_M_. Wool only is now used for stuffing
balls, which is combed with strong wool combs, previous to knocking
up balls. It appears by this extract, that hair was used for this
purpose as well as wool in the seventeenth century.
TESTAMENT.
For the allowance of the duty on paper used in the printing of
Testaments, _see_ PAPER.
THEFT.
For the penalty for printing advertisements with “_No Questions
Asked_,” _see_ STOLEN PROPERTY.
THICK SPACE.
A space, three of which are equal to the body of the letter to which
it belongs; it is the thickest space that is cast, the next in
thickness being the en quadrat.
THIN SPACE
ought, by a strict orderly and methodical measure, to be made of the
thickness of the seventh part of the body, though Founders make them
indifferently thicker or thinner.--_M_. Six thin spaces are now equal
to the body.
THIRTY-SIXMO.
A sheet of paper folded into thirty-six leaves, seventy-two pages, is
termed thirty-sixmo.
THIRTY-TWOMO.
A sheet of paper folded into thirty-two leaves, sixty-four pages, is
termed thirty-twomo.
THROW.
Both compositors and pressmen, when they gamble in the office, or
take a chance for any advantage arising in work, generally _throw
for it_; that is, they take nine em quadrats, usually English, and,
shaking them well together in the hollow of both their hands, throw
them upon the imposing stone, or press stone, and he who throws most
nicks upward in three times is the winner. They choose quadrats with
three deep nicks in each, when such a fount is in the office, as
being most easily distinguished.
THUMB PIECE. _See_ EAR OF THE FRISKET.
TIGHTENING THE QUOINS.
This is necessary, particularly in summer time, as also with forms
that are placed contiguous to the fire in winter, to prevent the
matter from falling out. Examining the forms occasionally that have
been some time in chase should not be neglected; for if they have
been imposed when the furniture was wet, the matter is very likely to
fall out, from the gutters and other pieces shrinking. The quoins are
generally tightened with an old cross bar, with the fire poker, or
the claw end of a sheep’s foot, as being heavier and more efficacious
than a piece of light furniture; but the best method, after securing
them in this manner, is to lay them upon the imposing stone, plane
them down, and then lock them up afresh in a regular manner. _See_
FALLING OUT.
TILL, or SHELF.
A mahogany shelf, in wooden presses, divided in two longitudinally,
that clasps the hose, and causes it and the spindle to come down
perpendicularly without any play. It is dovetailed at both ends, and
fits into the cheeks, with block wedges underneath to keep it up
in its situation; the dovetails also keep the cheeks together, and
answer the same purpose that the summer formerly did. The opening
that the hose works in is lined with brass, and is made to fit it
accurately.
TITHES COMMUTATION.
6 & 7 Will. 4. c. 71. “An Act for the Commutation of Tithes in
_England_ and _Wales_.”
s. 91. “And be it enacted, That no Advertisement inserted by
Direction of the Commissioners or any Assistant Commissioner,
or by any Tithe Owner or Land Owner, in the _London Gazette_,
or in any Newspaper, for the Purpose of carrying into effect
any Provision of this Act, and no Agreement, Award, or Power
of Attorney made or confirmed or used under this Act, shall be
chargeable with any Stamp Duty.”
TOE OF THE SPINDLE.
The very bottom of the spindle.--_M_. It is of hardened steel, and
works in the platen stud.
TOKEN.
Ten quires of paper.--_M_. It is now ten quires eighteen sheets, or
half a ream of perfect paper, and contains 258 sheets. All paper for
book work is given out in tokens to wet, the quires in each token
are placed the same way, and the tokens arranged one upon the other,
back and fore edge, for the person who has to wet the paper to take
away. It has become a practice in many houses, for the warehouseman
to give out the paper in tokens alternately of ten quires and a half
and eleven quires; this in my opinion should never be done, for I
have known many serious mistakes arise from it; for instance, in a
book that is a long number, a pressman who is working a sheet, will
borrow a token of paper from another sheet, or three or five, or
more, on account of being in better condition, or for some other
cause; he takes the tokens indiscriminately as they arise, and they
are replaced in the same manner; and not unfrequently ten quires and
a half are returned for eleven quires borrowed; the consequence is,
that one signature has an overplus number and the other is deficient,
and has to be reprinted at the expense of the master printer: these
mistakes would not occur if the paper were given out in regular
tokens of ten quires eighteen sheets.
TOKEN SHEET.
In wetting paper the last sheet of each token is doubled down, so
that the corner projects, when there is a pile of paper wetted; this
projecting sheet marks the division of the pile into tokens, and is
styled the _token sheet_.
TOPS.
In piling the printed sheets of a work away, after they have been
dried and taken from the poles, the warehouseman takes a few sheets
of each signature, and lays them at the top of the pile; these are
called Tops, and enable him, with little trouble, to deliver a copy
as far as it is printed, when required, which frequently occurs in
the progress of a work, without having to take down all the piles.
TOWNS, ANCIENT NAMES OF. _See_ NAMES.
TRAFALGAR.
The name of a type, the next size larger than Two Line Double Pica,
and smaller than Canon. It is a size that has been introduced of late
years.
TRANSPOSE.
In imposing, to place the pages in a wrong order, when it is said
the pages are transposed: in composing, if letters, or words,
or lines, do not follow in their proper order, they are said to
be transposed.--_M_. We use the word also when we correct the
arrangement, and put the pages or the matter in their proper order,
by saying we have transposed the pages, the words, or the lines.
TRANSPOSITION OF PAGES.
Many sizes, after the white paper in a half sheet has been worked
off, require some of the pages to be transposed, before the
reiteration is worked; for those sizes, _see_ IMPOSING.
TREADING PELT.
Trampling on the pelt, to make it soft and pliable, after it has
been soaked in the pelt pot, and to get rid of the superfluous
moisture, previous to knocking-up. This is usually done when the
pressmen are at work, and by him who is beating.
This is an inconvenient process when a man is working at half press;
but it may be dispensed with; for a pelt well curried will answer
equally well: it appears as if treading was the ancient practice,
before the currying iron was introduced.
TURN FOR A LETTER.
It often happens that when matter runs upon sorts, especially in
capitals, or some other sorts seldom used, that the compositor wants
that sort the matter runs on; wherefore he is loth to distribute
letter for that sort; or perhaps his case is otherwise full.
Wherefore, instead of that letter or sort, he turns a letter of the
same thickness, with the foot of the shank upwards, and the face
downwards; which turned letter being easy to be seen, he afterwards,
when he can accommodate himself with the right sort, takes out, and
puts the right letter in its room. It is also a word used jocosely in
the chapel, when any of the workmen complain of want of money, or any
thing else, it shall by another workman be answered, _Turn for it_;
viz. Make shift for it.--_M_.
TWENTY-FOURMO.
A sheet of paper folded into twenty-four leaves, forty-eight pages,
is termed twenty-fourmo.
TWENTYMO.
A sheet of paper folded into twenty leaves, forty pages, is termed
twentymo.
TWO LINE DOUBLE PICA.
The name of a type equal to four Small Picas, or to two Double Picas;
the next size larger than Two Line Great Primer, and smaller than
Trafalgar. It is not enumerated by Moxon in his list. _See_ TYPES.
TWO LINE ENGLISH.
The name of a type, the next size larger than Two Line Pica, and
smaller than Two Line Great Primer. It is equal to two English
bodies. _See_ TYPES.
TWO LINE GREAT PRIMER.
The name of a type, the next size larger than Two Line English, and
smaller than Two Line Double Pica. It is not enumerated in Moxon’s
list of the sizes of types. _See_ TYPES.
TWO LINE LETTERS.
Capitals that are equal to two bodies of any specific sized type.
There are Two Line Pearl, Two Line Nonpareil, &c., increasing
regularly to a Two Line Great Primer. They are used for lines in
titles and jobs, being so cast that the face covers the whole of the
square of the shank: they do not take so much room in depth as the
regular capitals of the same sized face, and are more convenient
where the matter is crowded; the face of the letter having also a
stronger stem, gives an additional variety in the effect. _See_
FULL-FACED LETTER.
TWO LINE PICA.
The name of a type, equal to two Picas; the next size larger than
Double Pica, and smaller than Two Line English. Moxon does not
enumerate this size in his list. _See_ TYPES.
TYMPAN.
A frame covered with parchment, on which the sheet of paper to be
printed is placed. This is the outer tympan; the inner tympan fits
into it, and between the parchments of the two the blankets are
placed, all which being run in receive the pressure of the platen,
which produces the impression on the paper.
Mr. T. C. Hansard took out a patent, for “Improvements on, and
Additions to, Printing Presses, and various Processes relative to
Printing;” in his description of them he says,--“My first Improvement
is the Dividing-Tympans, which are capable of being added to any
Printing Press, for the purpose of printing double-sized sheets of
paper, and then dividing or cutting such double-sized paper to the
ordinary size of single sheets of paper. These Tympans consist of,
first, the outer Tympan, of dimensions according to the size of the
Press or Work required: the additions to which are, a plate of Iron,
Steel, Brass, or other sufficient substance, about seven eighths of
an inch in width; the back side of which is level, but the front side
is raised in the middle, the centre part being about one fourth of
an inch in thickness, and the two sides about one eighth of an inch
only; along the middle or thicker part are cuts or openings, for
the purpose of admitting the knife hereinafter described, leaving
small parts of the plate uncut. On each side of the same, along the
centre of the thinner part, is a row of small holes, at about half
inch distances. This plate is fixed across the middle of the outer
Tympan, to each side, being countersunk into the same.--2ndly. The
inner Tympans are formed of two parts, having each part three sides,
and moving on pivots attached to the outer Tympan; these inner
Tympans, when shut down, are fastened in the common manner by hooks
and eyes or buttons, each part when opened to adjust the blankets
will incline back on the pivots. These Tympans I cover with black
Linen of the most fine and even texture, rolled and hot calendered:
taking a sufficient length in one piece to cover the one half of both
Tympans, then folding it in the middle, and laying each fold along
the side-rebate of the Plate over the holes, I then firmly attach it
thereto by strong sewing through the holes; I then turn one part of
the fold of the linen over the outer, and the other part over the
inner Tympans, and sew, or otherwise fasten, the same around the iron
work, or sides and ends of the Tympans, in the closest and neatest
manner, letting the hooks, eyes, or buttons, and pivots, through
the linen, and keeping clear the openings for the point screws by
carrying the linen on the inside, in the same manner as in putting
on common parchment; the same operation then takes place for the
other half of the Tympans. I then take pieces of Velvet, Velveteen,
or other uniform soft substance, which I attach, with the pile or
softest side outwards, to the linen already described as being
fastened to the Tympans, by sewing or pasting it to the outside of
the outer Tympan, to receive the Tympan-sheet, and by this means to
give a beautiful and regular impression of the Type: which mode of
covering Tympans I also apply to common Presses.