Transcriber’s Note: Italic text is denoted by _underscores_ and
bold text by =equal signs=.
This certifies that four hundred and fifty copies only, all on
hand-made Holland paper and printed from types, of this edition of
Moxon’s “Mechanick Exercises,” in two volumes, were completed in
August, 1896, and that the types have been distributed.
_Joseph J. Little._
_S. P. Avery._
_Walter Gilliss._
_Douglas Taylor._
_Theo. L. DeVinne._
_David Williams._
_W. W. Pasko._
_Committee of the Typothetæ._
MOXON’S
MECHANICK EXERCISES
[Illustration: _The true Effigies of_ Laurenz Ians Kofter _Delineated
from his Monumentall Stone Statue, Erected at_ Harlem.]
[Illustration: _The true Effigies of_ Iohn Guttemberg _Delineated from
the Original Painting at_ Mentz _in Germanie_.]
MOXON’S
MECHANICK EXERCISES
OR THE DOCTRINE OF HANDY-WORKS
APPLIED TO THE ART OF
PRINTING
A LITERAL REPRINT IN TWO VOLUMES OF
THE FIRST EDITION PUBLISHED IN THE YEAR 1683
WITH PREFACE AND NOTES BY
THEO. L. DE VINNE
VOLUME I
[Illustration]
NEW-YORK
THE TYPOTHETÆ OF THE CITY OF NEW-YORK
MDCCCLXXXXVI
[Illustration]
PREFACE
JOSEPH MOXON was born at Wakefield in Yorkshire, England, August 8,
1627. There is no published record of his parentage or his early
education. His first business was that of a maker and vender of
mathematical instruments, in which industry he earned a memorable
reputation between the years 1659 and 1683. He was not content with
this work, for he had leanings to other branches of the mechanic arts,
and especially toward the designing of letters and the making of
printing-types.
In 1669 he published a sheet in folio under the heading of “Prooves
of the Several Sorts of Letters Cast by Joseph Moxon.” The imprint is
“Westminster, Printed by Joseph Moxon, in Russell street, at the Sign
of the Atlas, 1669.” This specimen of types seems to have been printed,
not to show his dexterity as a type-founder, but to advertise himself
as a dealer in mathematical and scientific instruments. The reading
matter of the sheet describes “Globes Celestial and Terrestrial, Large
Maps of the World, A Tutor to Astronomie and to Geographie”—all of
his own production. Reed flouts the typography of this sheet: “It is
a sorry performance. Only one fount, the Pica, has any pretensions
to elegance or regularity. The others are so clumsily cut or badly
cast, and so wretchedly printed, as here and there to be almost
undecipherable.”[1] The rude workmanship of these early types proves,
as he afterward admitted, that he had never been properly taught the
art of type-founding; that he had learned it, as he said others had,
“of his own genuine inclination.”
It was then a difficult task to learn any valuable trade. The Star
Chamber decree of 1637 ordained that there should be but four
type-founders for the kingdom of Great Britain, and the number of their
apprentices was restricted. When the Long Parliament met in 1640, the
decrees of the Star Chamber were practically dead letters, and for a
few years there was free trade in typography. In 1644 the Star Chamber
regulations were reimposed; in 1662 they were made more rigorous than
ever. The importation of types from abroad without the consent of the
Stationers’ Company was prohibited. British printers were compelled
to buy the inferior types of English founders, who, secure in their
monopoly, did but little for the improvement of printing.[2]
It is probable that the attention of Moxon was first drawn to
type-founding by the founders themselves, who had to employ mechanics
of skill for the making of their molds and other implements of
type-casting. In this manner he could have obtained an insight into
the mysteries of the art that had been carefully concealed. He did not
learn type-making or printing in the usual routine. The records of
the Company of Stationers do not show that he was ever made a freeman
of that guild, yet he openly carried on the two distinct businesses
of type-founding and printing after 1669. It is probable that he had
a special permit from a higher authority, for in 1665 he had been
appointed hydrographer to the king, and a good salary was given with
the office. He was then devoted to the practical side of scientific
pursuits, and was deferred to as a man of ability.
He published several mathematical treatises between the years 1658 and
1687; one, called “Compendium Euclidis Curiosi,” was translated by him
from Dutch into English, and printed in London in 1677. Mores supposes
that he had acquired a knowledge of Dutch by residence in Holland, but
intimates that he was not proficient in its grammar.[3]
In 1676 he published a book on the shapes of letters, with this
formidable title: “Regulæ Trium Ordinum Literarum Typographicarum;
or the Rules of the Three Orders of Print Letters, viz: the Roman,
Italick, English—Capitals and Small; showing how they are Compounded
of Geometrick Figures, and mostly made by Rule and Compass. Useful
for Writing Masters, Painters, Carvers, Masons and others that are
Lovers of Curiosity. By Joseph Moxon, Hydrographer to the King’s Most
Excellent Majesty. Printed for Joseph Moxon on Ludgate Hill, at the
Sign of Atlas, 1676.” He then dedicated the book to Sir Christopher
Wren, “as a lover of rule and proportion,” or to one who might be
pleased with this attempt to make alphabetical letters conform to
geometric rules.
There is no intimation that the book was intended for punch-cutters.
It contains specific directions about the shapes of letters, covering
fifty-two pages, as proper introduction to the thirty-eight pages
of model letters that follow, rudely drawn and printed from copper
plates. Moxon says that these model letters are his copies of the
letters of Christopher Van Dijk, the famous punch-cutter of Holland. He
advises that each letter should be plotted upon a framework of small
squares—forty-two squares in height and of a proportionate width, as
is distinctly shown in the plates of letters in this book.[4] Upon
these squares the draftsman should draw circles, angles, and straight
lines, as are fully set forth in the instructions.
These diagrams, with their accompanying instruction, have afforded
much amusement to type-founders. All of them unite in saying that the
forming of letters by geometrical rule is absurd and impracticable.
This proposition must be conceded without debate, but the general
disparagement of all the letters, in which even Reed joins, may
be safely controverted. It is admitted that the characters are
rudely drawn, and many have faults of disproportion; but it must
not be forgotten that they were designed to meet the most important
requirement of a reader—to be read, and read easily. Here are the
broad hair-line, the stubby serif on the lower-case and the bracketed
serif on the capitals, the thick stem, the strong and low crown on
letters like m and n, with other peculiarities now commended in
old-style faces and often erroneously regarded as the original devices
of the first Caslon. The black-letter has more merit than the roman
or italic. Some of the capitals are really uncouth; but with all their
faults the general effect of a composition in these letters will be
found more satisfactory to the bibliophile as a text-type than any
form of pointed black that has been devised in this century as an
improvement.
Moxon confesses no obligation to any one for his geometrical system,
but earlier writers had propounded a similar theory. Books on the true
proportions of letters had been written by Fra Luca Paccioli, Venice,
1509; Albert Dürer, Nuremberg, 1525; Geofroy Tory, Paris, 1529; and
Yciar, Saragossa, 1548. Nor did the attempt to make letters conform to
geometrical rules end with Moxon. In 1694, M. Jaugeon, chief of the
commission appointed by the Academy of Sciences of Paris, formulated
a system that required a plot of 2304 little squares for the accurate
construction of every full-bodied capital letter. The manuscript and
diagrams of the author were never put in print, but are still preserved
in the papers of the Academy.
This essay on the forms of letters seems to have been sent out as the
forerunner of a larger work on the theory and practice of mechanical
arts. Under the general title of “Mechanick Exercises,” in 1677, he
began the publication, in fourteen monthly numbers, of treatises on the
trades of the smith, the joiner, the carpenter, and the turner. These
constitute the first volume of the “Mechanick Exercises.” The book
did not find as many buyers as had been expected. Moxon attributed its
slow sale to political excitement, for the Oates plot put the buying
and study of trade books away from the minds of readers. He had to wait
until 1683 before he began the publication of the second volume, which
consists of twenty-four numbers, and treats of the art of printing
only. It is this second volume that is here reprinted, for the first
volume is of slight interest to the printer or man of letters.
Moxon’s book has the distinction of being not only the first, but
the most complete of the few early manuals of typography. Fournier’s
“Manuel Typographique” of 1764 is the only book that can be compared
with it in minuteness of detail concerning type-making, but he treats
of type-making only. Reed says: “Any one acquainted with the modern
practice of punch-cutting cannot but be struck, on reading the
directions laid down in the ‘Mechanick Exercises,’ with the slightness
of the changes which the manual processes of that art have undergone
during the last two centuries. Indeed, allowing for improvements in
tools, and the greater variety of gauges, we might almost assert
that the punch-cutter of Moxon’s day knew scarcely less than the
punch-cutter of our day, with the accumulated experience of two hundred
years, could teach him.... For almost a century it remained the only
authority on the subject; subsequently it formed the basis of numerous
other treatises both at home and abroad; and to this day it is quoted
and referred to, not only by the antiquary, who desires to learn what
the art once was, but by the practical printer, who may still on many
subjects gather from it much advice and information as to what it
should still be.”[5]
During his business life, Moxon stood at the head of the trade in
England. He was selected to cut a font of type for an edition of the
New Testament in the Irish language, which font was afterward used for
many other books. He cut also the characters designed by Bishop John
Wilkins for his “Essay towards a Real Character and a Philosophical
Language,” and many mathematical and astronomical symbols. Rowe Mores,
who describes him as an excellent artist and an admirable mechanic,
says that he was elected a Fellow of the Royal Society in 1678.[6]
There is no known record of the date of his death. Mores gives the year
1683 as the date of his relinquishment of the business of type-making,
but he was active as a writer and a publisher for some years after.
The first volume of the “Mechanick Exercises,” concerning carpentry,
etc., went to its third edition in 1703, but the second volume, about
printing, has been neglected for two centuries. During this long
interval many copies of the first small edition of five hundred copies
have been destroyed. A perfect copy is rare, and commands a high price,
for no early book on technical printing is in greater request.[7]
The instruction directly given is of value, but bits of information
indirectly furnished are of greater interest. From no other book can
one glean so many evidences of the poverty of the old printing-house.
Its scant supply of types, its shackly hand-presses, its mean
printing-inks, its paper-windows and awkward methods, when not
specifically confessed, are plainly indicated. The high standard of
proof-reading here exacted may be profitably contrasted with its
sorry performance upon the following pages. The garments worn by the
workmen are shown in the illustrations. Some of the quainter usages
of the trade are told in the “Customs of the Chappel,” and those of
the masters, in the ceremonies of the Stationers’ Company, and in
the festivals in which masters and workmen joined. To the student
of printing a reading of the book is really necessary for a clear
understanding of the mechanical side of the art as practised in the
seventeenth century.
NOTE BY THE PRINTER
This edition of the “Mechanick Exercises” is a line-for-line and
page-for-page reprint of the original text. The only suppression is
that of the repetition of the words “Volume II” in the running title
and the sub-titles, which would unnecessarily mislead the reader,
and of the old signature marks that would confuse the bookbinder.
Typographic peculiarities have been followed, even to the copying of
gross faults, like doublets, that will be readily corrected by the
reader. The object of the reprint is not merely to present the thought
of the author, but to illustrate the typographic style of his time
with its usual defects. A few deviations from copy that seemed to be
needed for a clearer understanding of the meaning of the author have
been specified at the end of the second volume. The irregular spelling
and punctuation of the copy, its capricious use of capitals and
italic, its headings of different sizes of type, have been repeated.
At this point imitation has stopped. Turned and broken letters, wrong
font characters, broken space-lines, and bent rules have not been
servilely reproduced. These blemishes, as well as the frequent “monks”
and “friars” in the presswork, were serious enough to prevent an
attempt at a photographic facsimile of the pages.
The two copies of Moxon that have served as “copy” for this reprint
show occasional differences in spelling and punctuation. Changes,
possibly made in the correction of batters, or after the tardy
discovery of faults, must have been done while the form was on press
and partly printed. The position of the plates differs seriously in
the two copies; they do not follow each other in the numerical order
specified. In this reprint the plates that describe types and tools
have been placed near their verbal descriptions.
The type selected for this work was cast from matrices struck with
the punches (made about 1740) of the first Caslon. It is of the same
large English body as that of the original, but a trifle smaller as to
face, and not as compressed as the type used by Moxon; but it repeats
many of his peculiarities, and fairly reproduces the more important
mannerisms of the printing of the seventeenth century.
The portraits have been reproduced by the artotype process of
Bierstadt; the descriptive illustrations are from the etched plates of
the Hagopian Photo-Engraving Company.
[Illustration: Joseph Moxon.
_Born at_ =Wakefeild= _August. 8_.
_Anno 1627._]
_MECHANICK EXERCISES:_
Or, the Doctrine of
Handy-works.
Applied to the Art of
Printing.
By _Joseph Moxon_, Member of the Royal
Society, and _Hydrographer_ to the King’s
Most Excellent Majesty.
_LONDON._
Printed for _Joseph Moxon_ on the Westside
of _Fleet-ditch_, at the Sign of
_Atlas_. 1 6 8 3.
To the Right Reverend Father in GOD, _JOHN_ Lord Bishop of _Oxford_,
and Dean of _Christ-Church_; And to the Right Honourable Sir _LEOLINE
JENKINS_ Knight, and Principal Secretary of State; And to the Right
Honourable Sir _JOSEPH WILLIAMSON_ Knight; and one of His Majesties
most Honourable Privy-Council.
Right Honourable.
Y_Our ardent affections to promote_ Typographie _has eminently appeared
in the great Charge you have been at to make it famous here in_
England; _whereby this Royal Island stands particularly obliged to your
Generous and Publick Spirits, and the whole Common-Wealth of Book-men
throughout the World, to your Candid Zeal for the promulgation of good
Learning_.
_Wherefore I humbly Dedicate this Piece of_ Typographie _to your
Honours; and as it is (I think) the first of this nature, so I hope
you will favourably excuse small Faults in this Undertaking; for
great ones I hope there are none, unless it be in this presumptuous_
Dedication; _for which I humbly beg your Honours pardon: Subscribing my
self, My Lord and Gentlemen_,
_Your Honours most Humble
and Obedient Servant_.
Joseph Moxon.
=Footnotes.=
[1] “A History of the Old English Letter Foundries, with Notes
Historical and Biographical on the Rise and Progress of English
Typography.” By Talbot Baines Reed, London, 1887, p. 181.
[2] The four founders appointed by the Star Chamber did not thrive. One
of them, Arthur Nicholls, said of himself: “Of so small benifitt hath
his Art bine that for 4 yeares worke and practice he hath not taken
above 48£, and had it not bine for other imploymente he might have
perrisht.” Reed, p. 168.
[3] “A Dissertation upon English Typographical Founders and
Founderies.” By Edward Rowe Mores, A. M. & A. S. S. [London], 1778.
8vo, p. 43.
[4] See plates Nos. 11 to 17.
[5] Reed, “Old English Letter Foundries,” pp. 185, 186.
[6] Mores, “English Founders,” p. 42.
[7] Hansard says (“Typographia,” p. vii): “I have never been able to
meet with more than two copies of this work—one in the Library of the
British Museum—the other in the Library of the Society of Arts.” The
writer knows of but three copies in America: one in the Library Company
of Philadelphia; one in the Library of the Typothetæ of New-York; one
in his own collection.
_MECHANICK EXERCISES:_
Or, the Doctrine of
=Handy-works.=
Applied to the Art of
=Printing.=
_PREFACE._
B_Efore I begin with_ Typographie, _I shall say somewhat of its
Original Invention; I mean here in_ Europe, _not of theirs in_ China
_and other Eastern Countries, who (by general assent) have had it for
many hundreds of years, though their Invention is very different from
ours; they Cutting their Letters upon Blocks in whole Pages or Forms,
as among us our Wooden Pictures are Cut; But_ Printing _with single
Letters Cast in Mettal, as with us here in_ Europe, _is an Invention
scarce above Two hundred and fifteen years old; and yet an undecidable
Controversie about the original Contriver or Contrivers remains on
foot, between the_ Harlemers _of_ Holland, _and those of_ Mentz _in_
Germany: _But because the difference cannot be determin’d for want of
undeniable Authority, I shall only deliver both their Pleas to this_
Scientifick Invention.
_The_ Harlemers _plead that_ Lawrensz Jansz Koster of Harlem _was the
first Inventer of_ Printing, _in the year of our Lord_ 1430. _but that
in the Infancy of this Invention he used only Wooden Blocks_ (_as in_
China, _&c. aforesaid_) _but after some time he left off Wood, and Cut
single Letters in Steel, which he sunck into Copper_ Matrices, _and
fitting them to Iron Molds, Cast single Letters of Mettal in those_
Matrices. _They say also, that his Companion_, John Gutenberg, _stole
his Tools away while he was at Church, and with them went to_ Mentz
_in_ Germany, _and there set his Tools to work, and promoted His claim
to the first Invention of this Art, before_ Koster _did His_.
_To prove this, they say that_ Rabbi Joseph (_a Jew_) _in his
Chronicle, mentions a Printed Book that he saw in_ Venice, _in the
year_ 5188. _according to the Jewish Account, and by ours the year_
1428. _as may be read in_ Pet. Scriverius.
_They say much of a Book intituled_ De Spiegel, _Printed at_ Harlem
_in_ Dutch _and_ Latin; _which Book is yet there to be seen: and they
alledge that Book the first that ever was Printed: But yet say not when
this Book was Printed_.
_Notwithstanding this Plea, I do not find_ (_perhaps because of their
imperfect Proofs_) _but that_ Gutenberg _of_ Mentz _is more generally
accepted for the first Inventer of_ Printing, _than_ Koster _of_ Harlem.
_The Learned Dr._ Wallis _of_ Oxford, _hath made an Inquiry into the
original of this Invention, and hath in brief sum’d up the matter in
these words_.
About the year of our Lord 1460. The Art of _Printing_ began to be
invented and practised in _Germany_, whether first at _Mentz_ or first
at _Harlem_ it is not agreed: But it seems that those who had it in
consideration before it was brought to perfection, disagreeing among
themselves, did part Company; and some of them at _Harlem_, others at
_Mentz_ persued the design at the same time.
_The Book which is commonly reputed to have been first Printed is_,
Tullies Offices, _of which there be Copies extant (as a Rarity) in many
Libraries; which in the close of it is said to be Printed at_ Mentz,
_in the year of our Lord_ 1465. (_so says that Copy in the_ Bodleyan
_Library_) _or_ 1466. (_so that in the Library of_ Corpus Christi.)
_The words in the close of that in_ Corpus Christi _Colledge_ Oxon _are
these_,
Præsens _Marcij Tullij_ Clarissimum opus, _Johanes Hust, Moguntinus_
Civis, non Atrimento, plumali canna, neq; ærea, sed Arte quadam
perpulchra, _Petri_ manu _Petri_ de _Geurshem_ pueri mei, feliciter
effeci, finitum Anno M CCCC LX VI quarto die Mensis _Februarij_.
_The like in the_ Bodleyan _Library; save there the Date is only thus_,
Finitum Anno M CCCC LX V. _In the same Book there are these written
Notes subjoyned_: Hic eft ille _Johannes Faustus_, coadjutor _Johannes
Gutenbergij_ primi _Typographiæ_ inventaris, Alter coadjuto erat
_Petrus Schœfer_, i. Opilio. Quovix.
Cælando promptior alter erat, inquit _Johan. Arnoldus_ in Libello
de Chalcographiæ inventione, _Scheffer_ primas finxit quas vocant
_Matrices_. Hi tres exercuerunt artem primo in communi. mox rupto
fœdere seorsim sibi quisq; privatim.
_And again_ (_in a later hand_) Inventionem artis _Typographicæ_
ad Annum 1453. aut exerciter referunt Sabillicus _En._ 10.lib.6. &
_Monsterus_. Alij ad Annum 1460. Vide _Polid. Virg._lib. 2. de Invent.
Rerum, _Theod. Bibland. de Ratione communis linguarum._ cap. de
_Chalcographia._
_At_ Harlem _and some other places in_ Holland, _they pretend to have
Books Printed somewhat ancienter than this; but they are most of
them_ (_if not all_) _done by way of Carving whole Pages in Wood, not
by single Letters Cast in Mettal, to be Composed and Distributed as
occasion serves, as is now the manner._
_The chief Inventer at_ Harlem _is said to be_ Laurens Jansz Koster.
_After these two places_ (Mentz _and_ Harlem) _it seems next of all to
have been practised at_ Oxford: _For by the care, and at the charge
of King_ Henry _the_ 6_th, and of_ Thomas Bourchier _then Arch-Bishop
of_ Canterbury (_and Chancellour of the University of_ Oxford) Robert
Turner _Master of the Robe, and_ William Caxton _a Merchant of_ London
_were for that purpose sent to_ Harlem, _at the charges partly of the
King, partly of the Arch-Bishop, who then_ (_because these of_ Harlem
_were very chary of this secret_) _prevailed privately with one_
Frederick Corseles _an under-Workman, for a sum of Money, to come over
hither; who thereupon did at_ Oxford _set up the Art of_ Printing,
_before it was exercised any where else in_ England, _or in_ France,
Italy, Venice, Germany, _or any other place, except only_ Mentz _and_
Harlem (_aforementioned_): _And there be several Copies yet extant
(as one in the Archives of the University of_ Oxford, _another in the
Library of Dr._ Tho. Barlow, _now Bishop of_ Lincoln) _of a Treatise
of St._ Jerome (_as it is there called_ (_because found among St._
Jerom’s _Works_) _or rather _ Ruffinus _upon the Creed, in a broad_
Octavo) _Printed at_ Oxford _in the year_ 1468. _as appears by the
words in the close of it_.
Explicit expositio Sancti _Jeronimi_ in sembolo Apostolorum ad papam
Laurentium Impressi _Oxonie_ & finita Anno Domini M CCCC LX VIII. xvij
die _Decembris_.
_Which is but three years later than that of_ Tullies Offices _at_
Mentz, _in_ 1465. _and was perhaps one of the first Books Printed on
Paper_; (_that of_ Tully _being on Vellom_.) _And there the excercise
of_ Printing _hath continued successively to this day._
_Soon after_ William Caxton (_the same I suppose who first brought
it to_ Oxford) _promoted it to_ London _also, which_ Baker _in his
Chronicle_ (_and some others_) _say to have been about the year_ 1471.
_but we have scarce any Copies of Books there Printed remaining_ (_that
I have seen_) _earlier than the year_ 1480. _And by that time, or soon
after, it began to be received in_ Venice, Italy, Germany, _and other
places, as appears by Books yet extant, Printed at divers places in
those Times. Thus far Dr._ Wallis.
_But whoever were the Inventers of this Art, or_ (_as some Authors will
have it_) _Science; nay, Science of Sciences_ (_say they_) _certain
it is, that in all its Branches it can be deemed little less than a
Science: And I hope I say not to much of_ Typographie: _For Dr._ Dee,
_in his Mathematical Preface to_ Euclids Elements of Geometrie, _hath
worthily taken pains to make_ Architecture _a Mathematical Science;
and as a vertual Proof of his own Learned Plea, quotes two Authentique
Authors,_ viz. Vitruvius _and_ Leo Baptista, _who both give their
descriptions and applause of_ Architecture: _His Arguments are somewhat
copious, and the Original easily procurable in the English Tongue;
therefore instead of transcribing it, I shall refer my Reader to the
Text it self._
_Upon the consideration of what he has said in behalf of_ Architecture,
_I find that a_ Typographer _ought to be equally qualified with all the
Sciences that becomes an_ Architect, _and then I think no doubt remains
that_ Typographie _is not also a Mathematical Science_.
_For my own part, I weighed it well in my thoughts, and find all the
accomplishments, and some more of an_ Architect _necessary in a_
Typographer: _and though my business be not Argumentation, yet my
Reader, by perusing the following discourse, may perhaps satisfie
himself, that a_ Typographer _ought to be a man of Sciences_.
_By a_ Typographer, _I do not mean a_ Printer, _as he is Vulgarly
accounted, any more than Dr._ Dee _means a_ Carpenter _or_ Mason _to be
an_ Architect: _But by a_ Typographer, _I mean such a one, who by his
own Judgement, from solid reasoning with himself, can either perform,
or direct others to perform from the beginning to the end, all the
Handy-works and Physical Operations relating to_ Typographie.
_Such a_ Scientifick _man was doubtless he who was the first Inventer
of_ Typographie; _but I think few have succeeded him in Science, though
the number of_ Founders _and_ Printers _be grown very many: Insomuch
that for the more easie managing of_ Typographie, _the Operators have
found it necessary to devide it into several Trades, each of which
(in the strictest sence) stand no nearer related to_ Typographie,
_than_ Carpentry _or_ Masonry, _&c. are to_ Architecture. _The several
devisions that are made, are_,
First _The_ Master-Printer, _who is as the Soul of_ Printing; _and all
the Work-men as members of the Body governed by that Soul subserveient
to him; for the_ Letter-Cutter _would Cut no Letters, the_ Founder
_not sinck the_ Matrices, _or Cast and Dress the Letters, the_ Smith
_and_ Joyner _not make the_ Press _and other Utensils for_ Printing,
_the_ Compositer _not Compose the Letters, the_ Correcter _not read
Proves, the_ Press-man _not work the Forms off at the_ Press, _or the_
Inck-maker _make_ Inck _to work them with, but by Orders from the_
Master-Printer.
_Secondly, The_ Letter-Cutter, }
_Thirdly, The_ Letter-Caster, } Founders.
_Fourthly, The_ Letter-Dresser. }
_But very few_ Founders _exercise, or indeed can perform all these
several Trades; though each of these are indifferently called_
Letter-Founders.
_Fifthly, The_ Compositer, }
_Sixthly, The_ Correcter, } Printers.
_Seventhly, The_ Press-man, }
_Eighthly, The_ Inck-maker. }
_Besides several other Trades they take in to their Assistance; as
the_ Smith, _the_ Joyner, _&c._
ADVERTISEMENT.
The continuation of my setting forth _Mechanick Exercises_ having been
obstructed by the breaking out of the Plot, which took off the minds of
my few Customers from buying them, as formerly; And being of late much
importun’d by many worthy Persons to continue them; I have promised to
go on again, upon Condition, That a competent number of them may be
taken off my hand by Subscribers, soon after the publication of them in
the _Gazet_, or posting up Titles, or by the _Mercurius Librarius_, &c.
Therefore such Gentlemen or others as are willing to promote the coming
forth of these _Exercises_, are desired to Subscribe their Names and
place of abode: That so such Persons as live about this City may
have them sent so soon as they come forth: Quick Sale being the best
encouragement.
Some Gentlemen (to whom they are very acceptable) tell me they will
take them when all _Trades_ are finish’t, which cannot reasonably be
expected from me (my Years considered) in my life-time; which implies
they will be Customers when I’me dead, or perhaps by that time some of
themselves.
The price of these Books will be 2_d._ for each Printed Sheet. And
2_d._ for every Print taken off of Copper Cuts.
There are three reasons why this price cannot be thought dear.
1. The Writing is all new matter, not Collected, or Translated from any
other Authors: and the drafts of the Cuts all drawn from the Tools and
Machines used in each respective Trade.
2. I Print but 500 on each Sheet, And those upon good Paper: which
makes the charge of Printing dear, proportionable to great numbers.
3. Some Trades are particularly affected by some Customers, (who
desire not the rest,) and consequently sooner sold off, which renders
the remainder of the un-sold _Exercises_ unperfect, and therefore
not acceptable to such as desire all: so that they will remain as
waste-Paper on my hands.
_JOSEPH MOXON._
_MECHANICK EXERCISES:_
Or, the Doctrine of
=Handy-works.=
Applied to the Art of
=Printing.=
§. 2. _Of the Office of a Master_-Printer.
I Shall begin with the Office of a _Master-Printer_, because (as
aforesaid) he is the Directer of all the Work-men, he is the Base (as
the _Dutchmen_ properly call him) on which the Workmen stand, both
for providing Materials to Work withal, and successive variety of
Directions how and in what manner and order to perform that Work.
His Office is therefore to provide a House, or Room or Rooms in which
he is to set his _Printing-House_. This expression may seem strange,
but it is _Printers_ Language: For a _Printing-House_ may admit of a
twofold meaning; one the Vulgar acceptance, and is relative to the
House or Place wherein _Printing_ is used; the other a more peculiar
Phrase _Printers_ use among themselves, _viz._ only the _Printing_
Tools, which they frequently call a _Printing-House_: Thus they say,
Such a One has set up a _Printing-House_, when as thereby they mean he
has furnish’d a House with _Printing_ Tools. Or such a one has remov’d
his _Printing-House_, when thereby they only mean he has remov’d the
Tools us’d in his former House. These expressions have been used Time
out of mind, and are continued by them to this day.
But to proceed, Having consider’d what number of _Presses_ and _Cases_
he shall use, he makes it his business to furnish himself with a Room
or Rooms well-lighted, and of convenient capacity for his number of
_Presses_ and _Cases_, allowing for each _Press_ about Seven Foot
square upon the Floor, and for every _Frame_ of _Cases_ which holds Two
pair of _Cases_, _viz._ one pair _Romain_ and one pair _Itallica_, Five
Foot and an half in length (for so much they contain) and Four Foot and
an half in breadth, though they contain but Two Foot and Nine Inches:
But then room will be left to pass freely between two _Frames_.
We will suppose he resolves to have his _Presses_ and _Cases_ stand in
the same Room (though in _England_ it is not very customary). He places
the _Cases_ on that side the Room where they will most conveniently
stand, so, as when the _Compositer_ is at work the Light may come in on
his Left-hand; for else his Right-hand plying between the Window-light
and his Eye might shadow the _Letter_ he would pick up: And the
_Presses_ he places so, as the Light may fall from a Window right
before the _Form_ and _Tinpan_: And if scituation will allow it, on the
North-side the Room, that the _Press-men_, when at their hard labour in
_Summer_ time, may be the less uncommoded with the heat of the _Sun_:
And also that they may the better see by the constancy of that Light,
to keep the whole _Heap_ of an equal Colour.
He is also to take care that his _Presses_ have a solid and firm
Foundation, and an even Horizontal Floor to stand on, That when the
_Presses_ are set up their Feet shall need no Underlays, which both
damage a _Press_, are often apt to work out, and consequently subject
it to an unstable and loose position, as shall further be shewn when we
come to the Setting up of the _Press_.
And as the Foundation ought to be very firm, so ought also the Roof and
Sides of the _Press Room_ to be, that the _Press_ may be fastned with
Braces overhead and on its Sides, as well and steddy as under foot.
He is also to take care that the Room have a clear, free and pretty
lofty Light, not impeded with the shadow of other Houses, or with
Trees; nor so low that the Sky-light will not reach into every part
of the Room: But yet not too high, lest the violence of _Winter_
(_Printers_ using generally but Paper-windows) gain too great advantage
of Freesing the Paper and Letter, and so both Work and Workman stand
still. Therefore he ought to Philosophize with himself, for the making
the height of his Lights to bear a rational proportion to the capacity
of the Room.
Here being but two sides of the Room yet used, he places the
_Correcting-stone_ against a good Light, and as near as he can towards
the middle of the Room, that the _Compositers_ belonging to each end
of the Room may enjoy an equal access to it. But sometimes there are
several _Correcting-stones_ plac’d in several parts of the Room.
The _Lye-Trough_ and _Rincing-Trough_ he places towards some corner
of the Room, yet so as they may have a good Light; and under these he
causes a _Sink_ to be made to convey the Water out of the Room: But
if he have other conveniencies for the placing these Troughs, he will
rather set them out of the Room to avoid the slabbering they cause in.
About the middle of the Room he places the _Destributing-Frame_ (_viz._
the _Frame_ on which the _Forms_ are set that are to be _Destributed_)
which may stand light enough, though it stand at some considerable
distance from the Window.
In some other empty place of the Room (least frequented) he causes
so many _Nest-Frames_ to be made as he thinks convenient to hold the
_Cases_ that may lye out of present use; and the _Letter-boards_ with
_Forms_ set by on them, that both the _Cases_ and the _Forms_ may be
the better secured from running to _Pye_.
Having thus contrived the several Offices of the Room, He furnishes it
with _Letters_, _Presses_, _Cases_, _Chases_, _Furniture_, &c. Of each
of which in Order.
¶. 2. _Of_ Letter.
He provides a _Fount_ (properly a _Fund_) of _Letter_ of all Bodies;
for most _Printing-Houses_ have all except the two first, _viz._
_Pearl_, _Nomparel_, _Brevier_, _Long-Primmer_, _Pica_, _English_,
_Great-Primmer_, _Double-Pica_, _Two-Lin’d-English_, _Great-Cannon_.
These are the _Bodies_ most of use in _England_; But the _Dutch_ have
several other _Bodies_: which because there is little and almost no
perceivable difference from some of these mentioned, I think they
are not worth naming. Yet we have one _Body_ more which is sometimes
used in _England_; that is a _Small Pica_, but I account it no great
discretion in a _Master-Printer_ to provide it; because it differs so
little from the _Pica_, that unless the Workmen be carefuller than they
sometimes are, it may be mingled with the _Pica_, and so the Beauty of
both _Founts_ may be spoil’d.
These aforesaid _Bodies_ are commonly _Cast_ with a _Romain_,
_Italica_, and sometimes an _English Face_. He also provides some
_Bodies_ with the _Musick_, the _Greek_, the _Hebrew_, and the _Syriack
Face_: But these, or some of these, as he reckons his oppertunities may
be to use them.
And that the Reader may the better understand the sizes of these
several _Bodies_, I shall give him this Table following; wherein is set
down the number of each _Body_ that is contained in one Foot.
_Pearl_, 184 }
_Nomparel_, 150 }
_Brevier_, 112 }
_Long-Primmer_, 92 }
_Pica_, 75 } contained in one Foot.
_English_, 66 }
_Great-Primmer_, 50 }
_Double-Pica_, 38 }
_Two-Lin’d English_, 33 }
_Great-Cannon_. 17½ }
His care in the choice of these _Letters_ are,
_First_, That the _Letter_ have a true shape: Which he may know, as by
the §. of _Letter-Cutting_.
I confess this piece of Judgement, _viz._ knowing of true Shape,
may admit of some controversy, because neither the Ancients whom
we received the knowledge of these _Letters_ from, nor any other
authentick Authority have delivered us Rules, either to make or know
true shape by: And therefore it may be objected that every one that
makes _Letters_ but tolerably like _Romain_, _Italick_, _&c._ may
pretend his to be true shap’d.
To this I answer, that though we can plead no Ancient Authority for
the shape of _Letters_, yet doubtless (if we judge rationally) we
must conclude that the _Romain Letters_ were Originally invented and
contrived to be made and consist of Circles, Arches of Circles, and
straight Lines; and therefore those _Letters_ that have these Figures,
either entire, or else properly mixt, so as the Course and Progress of
the Pen may best admit, may deserve the name of true Shape, rather
than those that have not.
Besides, Since the late made _Dutch-Letters_ are so generally, and
indeed most deservedly accounted the best, as for their Shape,
consisting so exactly of Mathematical Regular Figures as aforesaid,
And for the commodious Fatness they have beyond other _Letters_, which
easing the Eyes in Reading, renders them more Legible; As also the
true placing their Fats and their Leans, with the sweet driving them
into one another, and indeed all the accomplishments that can render
_Letter_ regular and beautiful, do more visibly appear in them than in
any _Letters_ Cut by any other People: And therefore I think we may
account the Rules they were made by, to be the Rules of true shap’d
_Letters_.
For my own part, I liked their _Letters_ so well, especially those that
were Cut by _Christophel Van Dijck_ of _Amsterdam_, that I set my self
to examine the Proportions of all and every the parts and Members of
every _Letter_, and was so well pleased with the Harmony and Decorum
of their Symetrie, and found so much Regularity in every part, and so
good reason for his Order and Method, that I examined the biggest of
his _Letters_ with Glasses, which so magnified the whole _Letter_,
that I could easily distinguish, and with small Deviders measure off
the size, scituation and form of every part, and the proportion every
part bore to the whole; and for my own future satisfaction collected my
Observations into a Book, which I have inserted in my _Exercises_ on
_Letter-Cutting_. For therein I have exhibited to the World the true
Shape of _Christophel Van Dijcks_ aforesaid _Letters_, largely Engraven
in Copper Plates.
Whence I conclude, That since common consent of Book-men assign the
Garland to the _Dutch-Letters_ as of late _Cut_, and that now those
_Letters_ are reduced unto a Rule, I think the Objection is Answered;
And our _Master-Printers_ care in the choice of good and true shap’d
_Letters_ is no difficult Task: For if it be a large Bodied _Letter_,
as _English_, _Great-Primmer_ and upwards, it will shew it self; and
if it be small, as _Pearl_, _Nomparel_, &c. though it may be difficult
to judge the exact Symetry with the naked Eye, yet by the help of a
_Magnifying-Glass_ or two if occasion be, even those small _Letters_
will appear as large as the biggest Bodied _Letters_ shall to the naked
Eye: And then it will be no difficult Task to judge of the Order and
Decorum even of the smallest Bodied _Letters_. For indeed, to my wonder
and astonishment, I have observ’d _V. Dijcks Pearl Dutch Letters_ in
Glasses that have Magnified them to great _Letters_, and found the
whole Shape bear such true proportion to his great _Letters_, both for
the _Thickness_, _Shape_, _Fats_ and _Leans_, as if with Compasses he
could have measur’d and set off in that small compass every particular
Member, and the true breadth of every _Fat_ and _Lean Stroak_ in each
_Letter_, not to exceed or want (when magnified) of _Letter Cut_ to the
_Body_ it was Magnified to.
His second care in the choice of _Letters_ is, That they be deep _Cut_;
for then they will _Print_ clear the longer, and be less subject to
entertain _Picks_.
His third care, That they be deep sunck in the _Matrices_ least the
bottom line of a _Page_ Beard. Yet though they be deep sunk, His care
ought to be to see the Beard also well cut off by the _Founder_.
And a Fourth Care in the choice of _Letter_ is, That his _Letter_ be
Cast upon good Mettal, that it may last the longer.
Of each Body he provides a _Fount_ suitable to such sorts of Work as he
designs to do; But he provides not an equal weight of every _Fount_;
Because all these Bodies are not in equal use: For the _Long-Primmer_,
_Pica_ and _English_ are the Bodies that are generally most used; And
therefore he provides very large _Founts_ of these, _viz._ of the
_Long-Primmer_ in a small _Printing-House_, Five hundred Pounds weight
_Romain_ and _Italica_, whereof One hundred and fifty Pounds may be
_Italica_. Of the _Pica_ and _English_, _Roman_ and _Italica_, Eight,
Nine hundred, or a Thousand Pounds weight: when as of other _Founts_
Three or Four hundred Pounds weight is accounted a good _Fount_: And of
the _Cannon_ and _Great-Cannon_, One hundred Pounds or somewhat less
may serve his turn; Because the common use of them is to set Titles
with.
Besides _Letters_ he Provides Characters of Astronomical Signs,
_Planets_, _Aspects_, _Algebraical_ Characters, Physical and Chimical
Characters, _&c._ And these of several of the most used Bodies.
He Provides also _Flowers_ to set over the Head of a _Page_ at the
beginning of a Book: But they are now accounted old-fashion, and
therefore much out of use. Yet _Wooden-Borders_, if well Drawn,
and neatly Cut, may be _Printed_ in a Creditable Book, As also,
_Wooden-Letters_ well Drawn and neatly Cut may be used at the beginning
of a _Dedication_, _Preface_, _Section_, _&c._ Yet instead of _Wooden
Letters_, _Capitals_ Cast in Mettal generally now serves; because but
few or good _Cutters_ in _Wood_ appear.
He also provides _Brass-Rules_ of about Sixteen Inches long, that the
_Compositer_ may cut them into such Lengths as his Work requires.
In the choice of his _Brass-Rules_, he examines that they be exactly
_Letter high_; for if they be much too high, they may cut through
_Paper_, _Tinpan_ and _Blankets_ too; And if they be but a little too
high, not only the Sholder, or Beard, on either side them will _Print_
black; but they will bear the _Plattin_ off the _Letters_ that stand
near them, so that those _Letters_ will not _Print_ at all: And if they
be too low, then the _Rules_ themselves will not _Print_.
It sometimes happens through the unskilfulness of the _Joyner_, (for
they commonly, but unproperly, imploy _Joyners_ to make them) that a
Length shall be hollow in the middle both on the Face and Foot, and
shall run driving higher and higher towards both ends: Hence it comes
to pass, that when the _Compositer_ cuts a piece of _Rule_ to his
intended Length, the _Rule_ shall _Print_ hard at one end, and the
other shall not _Print_ at all; So that he shall be forced to knock up
the foot of the low end, as shall be shewn in its proper place.
But the careful _Master-Printer_ having found that his _Brass-Rules_
is _Letter_ high all the whole Length, will also examine whether it be
straight all the whole Length, which he does by applying both the
Face and Foot to the surface of the _Correcting-stone_; And if the
Face and Foot comply so closely with the _Correcting-stone_, that light
cannot be seen between them, he concludes the _Brass-Rule_ is straight.
[Illustration: _Plate 1._]
Then he examines the Face or Edge of the _Rule_, whether it have an
Edge of an equal breadth all the whole Length, and that the Edge be
neither too thick nor too fine for his porpose.
He should also take care that the _Brass_, before it be cut out, be
well and skilfully Planish’t, nor would that charge be ill bestowd;
for it would be saved out of the thickness of the _Brass_ that is
commonly used: For the _Joyners_ being unskilful in Planishing, buy
Neal’d thick _Brass_ that the _Rule_ may be strong enough, and so cut
it into slips without Hammering, which makes the _Rule_ easily bow any
way and stand so, and will never come to so good and smooth an Edge
as Planish’t _Brass_ will. Besides, _Brass_ well Planish’t will be
stiffer and stronger at half the thickness than unplanish’t _Brass_
will at the whole: As I shall further shew when I come to Exercise upon
_Mathematical Instrument-making_.
§. 3. _Of_ Cases.
Next he provides _Cases_. A Pair of _Cases_ is an _Upper-Case_ and a
_Lower-Case_.
The _Upper-Case_ and the _Lower-Case_ are of an equal length, breadth
and depth, _viz._ Two Foot nine Inches long, One Foot four Inches and
an half broad, and about an Inch and a quarter deep, besides the bottom
Board; But for small Bodied _Letters_ they are made somewhat shallower,
and for great Bodies deeper.
_Long-Primmer_ and downwards are accounted small Bodies; _English_ and
upwards are accounted great Bodies.
The conveniencies of a shallow _Case_ is, that the _Letters_ in each
Box lye more visible to the last, as being less shadowed by the sides
of the _Boxes_.
The conveniencies of a deep _Case_ is, that it will hold a great many
_Letters_, so that a _Compositer_ needs not so often _Destribute_.
2dly. It is not so soon _Low_, (as _Compositers_ say when the
_Case_ grows towards empty) and a _Low Case_ is unconvenient for a
_Compositer_ to work at, partly because the _Case_ standing shelving
downwards towards them, the _Letters_ that are in the _Case_ tend
towards the hither-side of the _Case_, and are shadowed by the hither
side of that _Box_ they lye in, so that they are not so easily seen by
the Eye, or so ready to come at with the Fingers, as if they lay in the
middle of the _Box_.
These _Cases_ are encompassed about with a _Frame_ about Three quarters
of an Inch broad, that the ends of the several partitions may be let
into the substance of the _Frame_: But the hithermost side of the
_Frame_ is about half an Inch higher than the other sides, that when
either the _Galley_ or another pair of _Cases_ are set upon them, the
bottom edge of the _Galley_, or of those _Cases_ may stop against that
higher _Frame_, and not slide off.
Both the _Upper_ and the _Lower-Case_ have a thick Partition about
three quarters of an Inch broad, Duff-tail’d into the middle of the
upper and under Rail of the _Frame_. This Partition is made thus broad,
that Grooves may be made on either side of it to receive the ends of
those Partitions that devide the breadth of the _Case_, and also to
strengthen the whole _Frame_; for the bottom Board is as well nailed to
this thick Partition as to the outer _Frame_ of the _Case_.
But the devisions for the several _Boxes_ of the _Upper_ and _Lower-
Cases_ are not alike: for each half of the whole length of the
_Upper-Case_ is devided into seven equal parts, as you may see in Plate
1. at A, and its breadth into seven equal parts, so that the whole
_Upper-Case_ is divided into Ninety eight square _Boxes_, whose sides
are all equal to one another.
But the Two halfs of the length of the _Lower-Case_ are not thus
devided; for each half of the length of the _Lower-Case_ is devided
into Eight equal parts, and its breadth into Seven; but it is not
throughout thus devided neither; for then the _Boxes_ would be all of
equal size: But the _Lower-Case_ is devided into four several sizes of
_Boxes_, as you may see in Plate 1. B.