_In a strict sence, a good_ Compositer _need be no more than an English Scholler, or indeed scarce so much; for if he knows but his Letters and Characters he shall meet with in his_ Printed _or_ Written Copy, _and have otherwise a good natural capacity, he may be a better_ Compositer _than another Man whose Education has adorn’d him with_ Latin, Greek, Hebrew, _and other Languages, and shall want a good natural Genius: For by the Laws of_ Printing, _a_ Compositer _is strictly to follow his_ Copy, _viz. to observe and do just so much and no more than his_ Copy _will bear him out for; so that his_ Copy _is to be his Rule and Authority: But the carelesness of some good Authors, and the ignorance of other Authors, has forc’d_ Printers _to introduce a Custom, which among them is look’d upon as a task and duty incumbent on the_ Compositer, _viz. to discern and amend the bad_ Spelling _and_ Pointing _of his_ Copy, _if it be English; But if it be in any Forrain Language, the Author is wholy left to his own Skill and Judgement in_ Spelling _and_ Pointing, _&c. his_ Copy, _and_ Correcting _the_ Prooves, _unless they be_ Latine, Greek _or_ Hebrew, _for to those Languages there is generally a_ Corrector _belongs to the_ Printing-House: _And how well other Forrain Languages are_ Corrected _by the Author, we may perceive by the English that is_ Printed _in Forrain Countries_.

_Therefore upon consideration of these accidental circumstances that attend_ Copy, _it is necessary that a_ Compositer _be a good English Schollar at least; and that he know the present traditional_ Spelling _of all English Words, and that he have so much Sence and Reason, as to_ Point _his Sentences properly: when to begin a Word with a_ Capital Letter, _when (to render the Sence of the Author more intelligent to the Reader) to_ Set _some Words or Sentences in_ Italick _or_ English Letters, _&c. But of this more at large in_ ¶. 6.

_Thus much of his qualifications: Now to his Taask._

_The_ Master-Printer _gives him his_ Copy, _and directs him to his standing Place or_ Case, _and orders him_ Letter _to Work withal_.

_If his_ Case _want_ Papering, _as all_ New Cases _do, and many times old, He must_ Paper _his_ Case.

§. 22. ¶. 1. _Of_ Papering _and_ Laying _the_ CASE.

The _Composster_ sends the Boy to the _Master-Printer_, or to him that attends the Warehouse, for _Half a Quire_, or a _Quire_, or so much as he guesses he shall want, of good strong _Wast-Paper_, and cuts it into so many several Scantlins as the number of each Scantlin of his _Boxes_ in his _Case_ are; but he cuts his _Papers_ so large, as each _Paper_ may ly double in its _Box_, and have enough besides to fold almost half way towards the middle of each _Paper_, and also enough to turn up again against the sides of each _Box_, about the thickness of a _Pica_, or an _English_, above the bottom of the _Box_; and its _Paper_ on all its sides, except the upper side of the _Box_, which, as near as he can, he leaves no turning up of _Paper_ to, because the tendency the whole _Case_ has downwards by its a-slope position, the _Letter_ in each _Box_ tends also downwards, and therefore is not so apt to get between the _Paper_ and that side of the _Box_, as between the _Paper_ and the other sides of each _Box_: But yet that upper side, and all the other sides of the _Box_, he _Papers_ so smooth and tight, that he leaves no wrinckles in the turnings up against the sides of the _Box_; but if there be any, drives them carefully into the corners of the _Box_, lest his _Letter_, especially if it be Small, should get into the openings of those Wrinckles, and in time work their way under the _Paper_.

Having _Paper’d_ his _Case_, he considers how the rest of the _Cases_ in that _House_ ly, _viz._ into what _Boxes_ the several _Letters_ are to be disposed; for they are not in every _Printing-House_ disposed alike, and accordingly he applies himself to fill his _Case_ with _Letter_.

If a _Fount_ of _New Letter_ be brought home from the _Founders_, the _Compositer_ has no more to do, but to fill each _Box_ in his _Case_ with so many of each sort as each _Box_ will hold, and fall to _Composing_ till he has emptied his _Case_; which the same way he fills again, and _Composes_ on again till the whole _Fount_ be _Set up_: But when he has no longer any _New Letter_ to work upon, he must _Destribute_ some former _Set Forms_ to fill his _Case_ withal.

And before I shew you the Rules and Method of _Destributing_ and _Composing_, it will be necessary I say somewhat of the _Case_, and _Laying_ it.

By the _Case_ is meant, in _Printers_ common diolect, a _Pair of Cases_, viz. the _Upper_ and the _Lower-Case_: They are described with the most common way of _Laying_ them, in Plate 2. A the _Upper Case_, B the _Lower Case_. The _Upper Case_ is devided into Ninety eight _Boxes_ all of equal size; but the _Lower Case_ is devided into but Fifty six _Boxes_, and those of four different sizes (as you may see in the Figure) by the Frame and Black streight Lines representing the several Partitions. The manner how the several sorts of _Letters_ are disposed in the several _Boxes_, is called, _Laying of the Case_, where in the _Upper Case_ you see _Capital_ A Ly in the uppermost _Box_ on the Left-hand, B C D E F G succeeding it in that Row to the Right hand, as far as the broad Partition in the middle of the _Case_; under _Capital_ A lies _Capital_ H, I K L M N O orderly succeeding it to the right hand, as far as the great Partition in the middle of the _Case_: But the Figure being plain, I refer you to it.

The _Lower Case_ is not devided according to an orderly succession of the _Alphabet_, in Ranks; for those _Letters_ that are most used are laid in the biggest _Boxes_, about the middle of the _Case_, That the _Compositers_ hand may have the quicker access to them. See the Figure.

¶. 2. _Of_ Rincing a Form of Letter, _in order to_ Destributing _it_.

After the _Press-man_ has _Wash’d a Form_, he brings it to the _Rincing-Trough_, and rears it a little a-slope on one of the ends of the _Chase_, either against a convenient place of the _Frame_ of the _Rincing-Trough_, or towards the Wall; for so plac’d, the _Face of the Letter_ runs less hazzard of receiving dammage, and the _Form_ stands in a proper position for the _Compositer_ to rear a _Letter-board_ against the backside of it.

The _Compositer_ therefore brings a _Letter-board_, and puts the Face of it against the back-side of the _Form_, and draws _Form_ and _Letter-board_ toward him, leaning them against his Knee till he can conveniently grasp about the middle of the sides of the _Chase_ and _Letter-board_ between his Fingers under the _Board_, and his Thumb upon the _Chase_ and _Furniture_: And if the _Form_ be not too heavy, in this position he lifts it up to the _Rincing Trough_; but if it be too heavy, as most commonly it is, He lifts it up in this position till he brings the upper edge of one of the long sides of the _Letter-board_ to rest between his Belly and Stomach, and then sets _Letter board Form_ and all in the _Rincing-Trough_, letting the hither side of the _Board_ rest upon the hither Ledge of the _Rincing-Trough_; that the _Form_ may tilt downwards.

When it is on the _Rincing Trough_, he gets the _Mallet_ and _Shooting-stick_, and holding the _Mallet_ in his Right hand, and the _Shooting-stick_ in his Left, he places the Foot of the _Shooting-stick_ (that is the thin end of it) against the narrow ends of each _Quoin_, and knocking with the _Mallet_ upon the _Head_ of the _Shooting-stick_ as gently as he can to drive them back, he loosens every _Quoin_; and this is call’d _Opening of the Quoins, Unlocking of the Quoins, Opening of the Form, and Unlocking of the Form_.

But in the _Unlocking of the Form_, he observes these three Circumstances:

_First_, He begins at the _Foot-Quoins_ of a _Quarter_, and loosens them; then with his Fingers and Thumb he puts them up again pretty stiff; yet not so stiff, but that he can again with his Fingers and Thumb loosen them.

The Reason why he opens the _Foot-Quoins_ first, is, because the _Letter_ is less subject to _Squabble_ between _Line_ and _Line_ (that is _Head_ and _Foot_, the length of the _Page_) than it is between side and side (the breadth of the _Page_): For all the _Letters_ of a _Line_ being of the same _Body_, are all of the same size in their parallel bounds; and the two sides of the _Letter_ being generally considerably broader than the Thickness of the _Letter_, are held by their breadth and flatness faster and closer together in a motion towards the _Head_ or _Foot_ of the _Page_, than they are a-thwart the _Lines_, there being generally many thin _Letters_ and _Spaces_ in a _Line_, whose thickness is very little considerable to their _Body_ or parallel bounds: So that if the _Form_ be loose, those Thin _Letters_ and _Spaces_ not having a Thickness proportionable to their _Body_ to keep them in their proper Square, their Thin Edges twist them about, and one _Letter_ very seldom twists alone, but forces many others (perhaps in some _Lines_ above and below it, and on each side of it) out of its square position.

But the _Foot-Quoin_ being thrust up again with the Fingers, that the _Lines_ may joyn again after they were knock’d open with the _Mallet_ and _Shooting-stick_, make the Thin _Letters_ in the _Lines_ less subject to _Squabble_ (as not having the room to twist about) because _Opening_ the _Foot-Quoins_ afterwards with the Fingers, offers less violence than the smart knock of a _Mallet_.

_Secondly_, He holds the _Shooting-stick_ much aslant to the _Letter-board_, so as the Foot of it touch not the Face of the _Letter-board_, lest with knocking upon the _Shooting-stick_ (it being hard Wood, and the grain running downwards) the Foot should batter and spoil the Face of the _Letter-board_.

_Thirdly_, He _Unlocks_ the outermost, _viz._ the broadest _Quoins_ first, and then with his Fingers thrusts them pretty close up again, unless the _Form_ he _Unlock_ be a great _Letter_, for then he observes not this Circumstance so nicely; then the other _Quoin_, or (according to the bigness of the _Form_) _Quoins_.

Having _Unlock’d_ the _Foot Quoins_, he _Unlocks_ the _Side Quoins_ in the same manner and order; and being provided with a Pail, or a great Pan full of fair Water, and a _Wooden Dish_; he takes a Dish full of fair Water, or more, if the _Form_ require it, and throws it upon the _Form_, till he have so well wetted it, that the Water may sink between the _Letters_ in the _Form_, to hold and keep every _Letter_ contiguous to its next.

Then he _Opens_ the _Quoins_ pretty loose, the _Foot Quoins_ first, and in _Opening_ them he considers the _Body_ of the _Letter_, whether it be Great or Small, and accordingly he _Opens_ them; for at the _Foot_ he _Opens_ them about the thickness of the _Body_ of the _Letter_: But on the _Sides_ not above half the _Body_.

By _Opening_, you must now understand removing the _Quoins_, till they stand loose, or distant from the _Furniture_, the _Body_, or half the _Body_ of the _Letter_.

He _Opens_ but one _Quarter_ at a time, _viz._ one of the hithermost _Quarters_, till he have well _Rinc’d_ that, which when he has done, with his Fingers he thrusts the _Quoins_ of that _Quarter_ stiff up again, aswell that it may be the less subject to _Squabble_ or _Break_, as that the Water may the better be squeezed out from between the _Letter_; when he comes to _Destribute_ it.

Having thus _Opened_ the _Quoins_, He also _Opens_ the _Furniture_, viz. the _Head sticks_, and the _Inner Side-sticks_ and _Gutter-sticks_, if the _Form_ have any, to make himself the more room to _Open_ the _Letter_: The Balls of the three first Fingers of each Hand he places near the ends of the _Head-stick_, and _Opens_ it by taking as good hold as he can of so much of it as stands above the _Cross_ of the _Chase_, drawing the _Head-stick_ towards him about half the _Body_ of the _Letter_. And in the like manner he _Opens_ the inner _Side-sticks_, but draws them towards him about a quarter of the _Body_ of the _Letter_. Yet sometimes this Office is not perform’d with the three Fore-fingers of each Hand, but with the two Thumbs; and this is when the _Quarter_ of _Letter_ stands between the _Head_ or _Side-sticks_, and then he places his two Thumbs near the ends of the _Sticks_, as before he did his Fingers, and thrusts the _Sticks_, _Letter_ and all, from him.

And having _Opened_ the _Quoins_ and _Furniture_ of one _Quarter_, he also _Opens_ the _Letter_, that it may receive the Water more plentifully: He _Opens_ the _Letter_, by fixing the Balls of his Fingers of both his Hands upon the _Face_, and so thrusting and joggling it from him, and drawing it towards him from _Head_ to _Foot_, and from _Side_ to _Side_, and then throws a good Dish full or two of Water upon it, and with the Balls of his Fingers still rubs upon the _Face_ of the _Letter_, that by shaking and joggling the _Letter_, the Water (e’re it sink through the _Letter_) may the better _Rince_ away that _Ly_ that by the _Press-mans_ washing soak’d into it: And this joggling the _Letter_, and throwing on fresh Water he continues till the Water that spurts out from between the _Letters_ by this joggling, be as clear as it was when it was thrown on, and then, and not till then, he knows his _Quarter_ is well _Rinc’d_: Then with his two Thumbs, one placed on the side of the _Foot-stick_ and the other on the side of the _Side-stick_, as near as he can, he thrusts both at once towards their opposite _Cross_, and so thrusts the _Letter_ and _Furniture_ close up again: And that the _Letter_ may not be in danger of _Squabbling_ or _Breaking_, he thrusts the _Quoins_ loosly up again also.

As he _Open’d_ and _Rinc’d_ this first _Quarter_, he _Opens_ and _Rinces_ the others.

The reason why he _Opens_ and _Rinces_ the hithermost _Quarter_ first, is, because the Water that descends from the hithermost _Quarters_ does in a degree help to Rince the nethermost also.

Having thus _Rinced_ the whole _Form_, and with his Fingers shut it up again, he lets it stand a little while to drain; then grasping the two ends of the _Letter-board_ a little beyond the middle, with his Fingers underneath, and the Thumb-balls of his two Hands upon it, he sets one side of the _Letter-board_ against the bottom of his Stomach, and carries _Letter-board_, _Form_, and all to the _Destributing Frame_.

Then he falls to _Stripping_ of one _Quarter_ first: Taking the _Quoins_ quite out, and laying them upon the _Face_ of the _Letter_, either on the same or another _Quarter_ (if he _Strips_ but one _Quarter_ at once) with their ends standing the same way they stood in the _Chase_, and in the same order of succession; then he removes the _Side_ and _Foot-sticks_ to their respective sides, close to the inside of the _Chase_, and again removes the _Quoins_, laying them in the same order he laid them upon the _Face_ of the _Letter_, upon the upper sides of the _Side_ and _Foot-sticks_, and _Chase_; then, as I told you before, how he _Opened_ the Inner _Side-sticks_, just so again he not only opens them, but by the _Side_ and _Head-sticks_ he draws or slides the _Letter_ from the _Crosses_, that he easily takes them out if he pleases; or if he have room enough to come at the _Letter_ without, he lets them stay in.

Thus the first _Quarter_ is _Stript_, and so the other _Quarters_ successively, in order to be _Destributed_.

¶ 3. _Of_ Destributing.

The _Compositer_ seeks among the _Furniture_ for a _Riglet_, a little longer (about a _Pica_ or _English_) than the _Line_ of the _Page_ he is to _Destribute_; or else he cuts a _Riglet_ to that length (this _Riglet_ is called a _Destributing-stick_) and coming to his _Stript Form_, or _Quarter_ of the _Form_ he is to _Destribute_, he places one flat side of the _Riglet_ against the Head of the _Page_, and claps the Balls of his two Fore-fingers behind it, and the inner Joints (next his Fore-fingers) of his middle Fingers he claps against the ends of so many _Lines_ as he intends to _Take up_, supposing it _Pica_, about Seven; and presses them pretty close to the sides of the _Lines_: Then with the ends of the Balls of his two Thumbs he parts that number of _Lines_ from the rest of the _Page_, by pressing gently towards his _Riglet_ or _Destributing-stick_ upon the _Face_ of the _Letter_ of the farthest _Line_, which, if the Joints of his middle Fingers press pretty hard towards each other at first, easily part, and he may open that number of _Lines_ so far from the rest of the _Page_, that he may get the Balls of his Thumbs far enough upon the shank of the _Letter_: So that the pressing the _Lines_ yet a little harder between the Joints of his middle Fingers, and pinching with his Thumbs the _Letter_ hard against the _Riglet_, with a quick jerk he rears that _Taking-up_ upon his _Destributing-stick_. See _Plate 23. at_ A.

Having it upon his _Destributing-stick_ between both his Hands, with the _Face_ of the _Letter_ from him, he disingages his middle Fingers, and with his fore Fingers and Thumbs holding the _Riglet_, and now the Top of his _Taking-up_ pretty loosly between them, he turns (as on two moving Axises) the ends of the _Lines_ that were towards his Right Hand, and guides them to the Thumb-ball of his Left Hand: Thus the _Face_ of the _Letter_ is turn’d towards him; then bowing the inner Joynt of the middle Finger of his Left Hand (which before prest the left side of the _Line_) under the middle of the _Riglet_ he takes the weight of the _Taking-up_ upon it, which yet he eases as he lifts, by mounting the now Right Hand end of the _Lines_ a little above an Horizontal level, and depressing the Left Hand ends a little below; so that now he he has his _Taking up_ in his Hand, with the _Face_ of his _Letter_ towards him, and the _Notches_ upwards, he goes with it to his _Case_, and places himself against the middle of it. See _Plate 23. at_ B.

Then clapping the Ball (or if he will take off more than the length of the Ball) of his middle Finger of his Right Hand, of the second Joint of that Finger, against the bottom of the uppermost _Line_ of his _Taking up_ towards his Right Hand, and his fore Finger about the middle of the shank of the _Letter_, he slides or draws towards him about an Inch or an Inch and an half of that _Line_ upon the Ball of his Thumb, which is placed at the _Face_ of the _Letter_ to receive it: And as it comes off the _Taking up_, he with his aforesaid two Fingers and Thumb disposes it so among his Fingers that he gathers the Ball of his fourth Finger under the bottom of the _Letter_, and then he brings what he has taken off towards his Sight to read; then with a sleight thrusting the Ball of his Thumb outwards, and drawing inwards the Balls of his fore and middle Fingers, he spreads and _Squabbles_ the shanks of the _Letters_ between his Fingers askew; and remembring what _Letters_ he read, he nimbly addresses his Hand with a continued motion to every respective _Box_, which his Fingers, as they pass by, lets a _Letter_ drop into, till his _Taking off_ be quite _Destributed_.

Having _Destributed_ that _Taking off_ he makes another _Taking off_ as before, and so continues his _Takings off_ till his whole _Taking up_ be Distributed: And thus he _Takes up_ and _Destributes_ till his _Case_ is full.

If the _Form_ were not well _Rinc’d_, the shanks of of the _Letters_ will be more or less slippery, and with long _Destributing_ will make the Balls of the Fingers and Thumb supple, by the wetness of the _Letter_ and sharpness of the _Ly_; and consequently the grain of the skin will be made clumsie, and those Joints feeble; so that they will not so well fasten upon the sides of the Shank to command the _Letter_, and draw it askew, or be so nimble at disposing them into their several _Boxes_.

This happens most if they work upon small _Letter_, and that old, and the _Ly_ old too, for then the _Ly_ will have much _Inck_ mingled in it: And the _Compositer_ will have much ado to _Rince_ his _Form_ so clean but that the _Letter_ will be slippery, and consequently not spread, as aforesaid. But against it they may use a remedy, which is, to have a piece of Allom about the bigness of a Hasel-nut, lye in one of the _Boxes_ of the _Case_; for by feeling that now and then, the dilated pores of their Fingers are again contracted, and fit to do their office: For by the greasiness of the _Letter_, the grain of the Skin of the Fingers were so dilated, that the _Compositer_ could not so actively draw the Shanks of the _Letters_ askew, as aforesaid.

The _Compositer_, if conveniences suit, chuses to _Destribute_ his _Letter_ over Night, that he may have a _dry Case_ (as he calls it) to work at in the Morning, because Wet _Letters_ are not so ready and pleasant to pick up as Dry; and besides are apt to make the Fingers sore, especially if the _Ly_ be not so well _Rinc’d_ from the _Letter_ as it should be. In the Winter, when he _Destributes_ in the Day time, he commonly brings the _Lower Case_, when full of _Letter_, to the Fire to dry, rearing the farther side of the _Case_ a little upwards: And when it is well dryed, he sets it again upon the _Frame_.

¶ 4. _Of_ Composing.

The _Compositer_ now addresses himself to _Composing_: And looking a little over his _Copy_, to see how it pleases him, for he runs different fortunes, either of good or bad _Copy_, viz. well or ill writ, if it be a _Written Copy_, or much _Italick_, _Latin_ or _Greek_, or _Marginal Notes_, or few _Breaks_, _&c._ for this he likes not in his _Copy_: But a _Printed Copy_, or a fair Written Hand, and full of _Breaks_ pleases him well, and is by _Compositers_ call’d _Good Copy_, _Light_, _Easie Work_; when the former they call _Bad_, _Heavy_, _Hard Work_: And if a Price be already made for a whole Book, the Good and Bad is done at the same Price.

If the _Measure_ be already made, that is, if he was already upon that _Work_ before, and his _Composing-stick_ be set to the _Measure_ of that _Work_, he needs not, or must not alter his _Composing-stick_: But if his _Measure_ be not made, he must unskrew the _Skrew_ of his _Composing-stick_, and slide the _Cheeks_ nearer to, or farther off the _Head_ of his _Composing-stick_, till he have exactly fitted his given _Measure_.

If it be a _Printed Copy_ he is to Work on, and his Work must run _Line for Line_ with his _Copy_, he then without more ado, _Sets_ or _Composes_ the fullest _Line_ he finds in his _Copy_, and slides up the _Cheeks_ of his _Composing-stick_, and pinches that _Line_ between the _Cheeks_ and the _Head_, till it stands as stiff or hard in the _Stick_ as he intends to _Justifie_ all the rest of his _Lines_: Then screws up the _Composing-stick_.

_Justifying_ (in _Compositers_ Language) is the stiff or loose filling of his _Stick_, for if it be fill’d very stiff with _Letters_ or _Spaces_, they say it is _hard Justified_, if loosly, they say it is _loose Justified_.

Having the _Measure_ fitted, he places the _Galley_ on his _Upper Case_ on the Right Hand, for those _Boxes_ are seldomest used, because in them are placed only the _Latin sorts_, or sometimes the _Small Capitals_, _Astronomical Signs_, &c.

He places his _Galley_ so, that the Left Hand corner of the bottom of its Frame stands lower upon the _Case_ than any of the other Corners, for in that position the _Letters_ at the end of every _Line_ stand safest from falling, as leaning towards the rest of the _Page_.

Some _Compositers_ use _Visorums_, as is described in _Plate 2._ at i. Therefore pricking the point of the _Visorum_ most commonly upon the Border or Frame of the _Case_ on the Left Hand about the &-_Box_, they fold the _Leaf_ of _Copy_ they _Compose_ by, so as the bottom of it may rest upon the Square-Shoulder near the bottom of the _Visorum_; then with two pieces of _Scaboard_ tyed together at one end, they clasp both the _Copy_ and _Visorum_ between these two _Scaboards_, which two _Scaboards_ pinch the _Copy_ and _Visorum_ fast enough to keep the _Copy_ in its place, and at the same time also serves for an _Index_ to direct the Eye to every _Line_, as the _Compositer_ moves it downward.

After this preparation, the _Compositer_ falls to _Composing_. But first reads so much of his _Copy_ as he thinks he can retain in his memory till he have _Composed_ it, as commonly is five or six words, or sometimes a longer Sentence. And having read, he falls a Spelling in his mind; yet so, that his Thoughts run no faster than his Fingers: For as he spells A, he takes up A out of the A _Box_, as he names n in his thoughts, he takes up n out of the n _Box_, as he names d in his thoughts he takes up d out of the d _Box_; which three _Letters_ set together make a Word, viz. And; so that after the d he sets a _Space_: Then he goes on to the next _Word_, and so _Composes_ on, _Setting_ a _Space_ after every _Word_ till the _Words_ come to the end of the _Line_, for then he sets no _Space_.

When he _Composes_ the _Letters_ he holds the _Composing-stick_ in his Left Hand, placing the Second Joynt of his Thumb over the moving _Cheek_ of the _Stick_, and the end of the Ball of his Thumb reaches down to the bottom of the _Cheek_ and _Stick_; so that with the end of the Ball of his Thumb he gently presses the _Letter_ close to the _Cheek_, and keeps the _Letters_ tight and square together, as he places them in the _Stick_ successively. _See Plate 24. at_ A.

And as his Eyes are very quick in reading his _Copy_, and in shifting its Visual Ray to the several _Boxes_ he is to have a _Letter_ out of, so is his choice what _Letter_ to take up very sudden; for though the _Box_ be full of _Letters_, yet in an instant he resolves and pitches his Fingers upon that one, which for its posture and position his Fancy reckons lyes most commodious for his immediate seizing. For position, he generally chuses that which lies uppermost, because it is readiest at Hand to snatch up: And for posture, that which lies with its _Face_ towards his Right Hand, because catching at the _Letter_ near the _Face_-end of the _Shank_, he by an accustomed sleight, in his Fingers while it is coming to the _Stick_, disposes it so, that as the bottom of the Shank goes directly forwards, towards the bottom of the _Stick_, so the _Notch_ of the _Letter_ shall also be placed upwards.

Most _Compositers_ use a _Composing-Rule_, which is only a piece of a _Brass-Rule_ cut to the length of the _Measure_, with a small Ear left at either end, to take it out by when the _Line_ is full, and to lay it upon the _Compos’d Line_, to _Set_ successively a succession of _Lines_ upon, till the _Stick_ be full.

This _Rule_ is very commodious to Work with, because the _Letter_ slides easier and smoother down to the _Back_ of the _Stick_, than it will upon a _Line_ of _Letters_: Besides, the _Letters Compos’d_ on it stand streighter and truer in _Line_, and are less subject to _Hang_, than those _Compos’d_ on a _Line of Matter_; unless with a _Riglet_ (as that they many times do) they rub pretty strongly along the _Line_ they have _Compos’d_, which is a labour more than needs, and the loss of some time to make the Work more unpleasant.

Having _Composed_ one _Line_, if it ends with a _Word_ or a _Syllable_ and a _Division_, and just fill the _Measure_, it needs no more _Justifying_; but if the _Line_ conclude not as aforesaid, then he puts a _Space_ more between every Word, or so many Words as will fill up the _Measure_ pretty stiff, viz. _Justifie_ the _Line_. But if the _Line_ be not yet _Justified_, he puts another _Space_ between every Word, or between several Words, till the _Line_ be _Justified_: So that here is now three _Spaces_, and strictly, good Workmanship will not allow more, unless the _Measure_ be so short, that by reason of few _Words_ in a _Line_, necessity compells him to put more _Spaces_ between the _Words_. This often happens in _Marginal Notes_, where the _White_ between _Words_ is often as great or greater than between _Line_ and _Line_.

These wide _Whites_ are by _Compositers_ (in way of Scandal) call’d _Pidgeon-holes_, and are by none accounted good Workmanship, unless in such cases of necessity, as aforesaid.

And as _Lines_ may be too much _Spaced-out_, so may they be too close _Set_: It maybe accounted too close _Set_ when only a _Thin-space_ is set between Words, especially if no _Capital Letter_ follows the _Thin-space_ or _Point_ go before it. _Thin-spaces_ being intended and _Cast_ only that the _Compositer_ may _Justifie_ his _Lines_ the Truer, and not to serve for convenient distinction between Words; yet do some _Compositers_ too often commit this error, rather than put themselves to the trouble of _Spacing_ out a _Line_, where many _Spaces_ must be used to _Space_ it out.

A good _Compositer_ takes care not to _Set_ too Close, or too Wide; for if he _Set_ too Close, and should happen to leave out a Word or two, it will give him a great deal of trouble to get those Words in; Nay perhaps when he comes to a _Break_ he drives out a _Line_, for which _Line_ perchance he may be forc’d to _Over-run_ all the _Pages_ that are _Set_ forwards upon that _Matter_. And if he _Sets_ too Wide, and he chance to _Set_ a Word or two twice over, he may be forc’d to make _Pidgeon-holes_ e’re he come to a _Break_, and then perhaps his _Break_ is got in too, and his _Page_ a _Line_ too short, and he forc’d to _Over-run_ several _Pages_ e’re he can drive that _Line_ out. As I shall farther shew you when I come to the ¶ of _Correcting_.

In _Justifying_ his _Line_ he takes great care that it do not _Hang_: It is an unproper Term, yet grown into Use, for when the _Letter_ stands askew, and not directly Square, they say it _Hangs_. New _Letter_ is most subject to _Hang_, especially if not very smoothly _Drest_; Because the least Bur, or sharpness of its Angles, may catch in the Burs or Angles of the _Letters_ that stand next them, and so make them stand aslope, and one _Letter_ standing aslope is very subject to make all the other _Letters_ in that _Line_ stand aslope too. Therefore if he find his _Letter Hang_, while his _Line_ is yet _loose_, viz. Unjustified, he gently with the Ball of the Thumb of his Left Hand, thrusts the top of the shank of the _Line_ where it _Hangs_, moving the _Letter_ somewhat from him, towards the farther end of the _Stick_, and with the Balls of the two Fore-fingers of his Right Hand pats upon the _Face_ of the _Letter_, till he have got them into an upright position. He moves or drives the top of the Shank of the _Letter_ from him, because generally the placing the Ball of his Thumb on the top of the shank of the _Letter_ when he _Composes_ (as was shewn before) is subject to draw the _Letter_ askew towards him, but that his care commonly prevents it: Yet if by chance the _Line_ should _Hang_ from him, then he with the Ball of his Thumb as aforesaid, draws the _Letter_ towards him, to set it upright.

Here is now one _Line Compos’d_: And as he _Compos’d_ that _Line_, so he _Composes Line_ upon _Line_ till his _Stick_ be full: When his _Stick_ is full, he _Empties_ thus; He lays his _Stick_ down upon his _Lower Case_, with the bottom of his _Stick_ against the hither _Ledge_ of the _Case_, and the _Face_ of the _Letter_ upwards; being provided of a _Riglet_ just the Length of his _Line_, he lays his _Riglet_ against his last _Line_, and places the Balls of his two Fore-fingers behind the _Riglet_, near the middle of it, if the _Line_ be not too long, and then only as near the middle as he can to command it with his Fore-fingers; and he places the Balls of his Thumbs against the first _Line_ in his _Stick_ as far below the _Face_ of the _Letter_ as he can, and he places first the Joints of his middle-fingers against the Sides of the _Letter_ at the two ends of the _Line_, so as I shewed you he did when he was _Taking up_ his _Letter_ to Destribute it; and in this posture pinching the _Letter_ between his Thumbs and his Fore-fingers, and and squeezing his two middle fingers towards each other, he leans the _Letter_ in the _Stick_ almost flat upon the _Riglet_: But if his _Lines_ were _Hard Justified_, he cannot perhaps with the first leaning the _Letter_ back get them clear out of the _Stick_, therefore he again wriggles the _Stick_ of _Letter_ forwards and backwards, till he gets them quite out. _See Plate 24. at_ B.

Having gotten them out, and in this posture fast between his Thumbs and Fingers, and the _Letter_ leaning almost flat upon his _Riglet_, he directs both his hands together to his _Galley_, and nimbly claps that _Stick_ of _Letter_ down into the _Galley_, placing the first _Line_ close and upright against the lower ledge of the _Galley_, and the begining of his _Lines_ close and upright against the left hand _Ledge_ of the _Galley_, and then disingages his Fingers and Thumbs, and leaves his _Riglet_ standing in its place till he have occasion to use it in like manner for the next _Stick_ of _Letter_.

As he _Set_ this _Stick_ of _Letter_, so he _Sets_ on till his _Page_ is _Out_, Remembring after the last _Line_ of every _Page_ to set a _Direction_: That is, he _Sets_ a _Line_ of _Quadrats_ and at the end of it the first word of the next _Page_, or if the Word be very long and the _Line_ very short, two _Syllables_, or sometimes but one of that _Word_. And if it be the _First Page_, viz. the first _Page_ of that _Sheet_, he _Sets_ a _Signature_ about the middle of the _Line_, or rather a small matter nearer the end than the middle is, (because when the _Sheets_ are wrought off and gather’d, they _Collation_ something quicker: The _Collationer_ not being forced to prick up with his _Bodkin_ the corners of the _Sheet_ so high to see the _Signature_: which in a long train of work saves time.

If it be the _First Page_ of the first _Sheet_ of a _Book_ the _Signature_ is A, if the first of the second _Sheet_ B, if the first of the third C, and so successively till he come to W, which is always skipt, because the _Latin Alphabet_ has not that _Letter_ in it; but next V follows X Y Z, so that if the _Book_ contain above three and twenty _Sheets_, the _Signature_ of the four and twentieth _Sheet_ must be A a, if five and twenty B b; till in like manner he run through the _Second Alphabet_, and comes to the third, fourth, _&c._ still as he begins a new _Alphabet_ adding an a.

To the second _Page_, or any other _Even Page_, he _Sets_ no _Signature_, but to the Third which is an _Odd Page_ he does, viz. A 2. The _Figure_ of 2 is no part of the _Signature_, but is only an adjunct to shew the _Book-binder_ the Second _Leaf_ of that _Sheet_, that he may the surer _Fold_ the _Sheet_ right.

If it be a _Folio Sheet_ he cannot set A 3 in a single _Sheet_, because it has but two _Odd Pages_ in it; but if they be _Quir’d Sheets_, that is, two, three, or four _Sheets Quir’d_ together, he must set A 3 in a _Folio_, though not in the First, but Third _Sheet_ of that _Quire_. But no wise _Compositer_, except he work on _Printed Copy_ that runs _Sheet_ for _Sheet_, will be willing to _Compose_ more _Sheets_ to a _Quire_ than he shall have a _Fount_ of _Letter_ large enough to set out, unless he will take upon him the trouble of _Counting off_ his _Copy_: because he cannot _Impose_ till he has _Set_ to the last _Page_ of that _Quire_; all the other _Sheets_ being _Quired_ within the first _Sheet_, and the last _Page_ of the _Quire_ comes in the first _Sheet_. But when he _Composes Quir’d Work_, the _Signature_ of the first _Page_ is A, the _Signature_ of the _Sheet Quir’d_ next within the first _Sheet_ is A 2, the first _Page_ of the next _Quir’d-Sheet_ A 3: So that the _Signatures_ of all the _Sheets_ in the first _Quire_ is A, A 2, A 3, _&c._ according to the number of _Sheets Quired_ together. The second _Quire_ begins B, B 2, B 3, _&c._ The Third _Sheet_ C, _&c._ according to the number of _Quires_. This is called _Printing_ in _Quires_. Now to return.

If the _Form_ be _Quarto_, he _Sets_ under the Fifth _Page Signature_ 3. If _Octavo_, he sets also under the Fifth _Page Signature_ 3. and under the Seventh _Page Signature_ 4. If _Twelves_, he sets also under the Fifth _Page Signature_ 3, and under the Seventh _Page Signature 4_, and under the Ninth _Page Signature_ 5, and under the Eleventh _Page Signature_ 6. The Rule is, that all _Odd Pages_ should have a _Signature_, if they stand on the _Out-side_ of the _Sheet_; and the reason for the Rule is, that the _Gatherer_, _Collater_ and _Bookbinder_ may the readier lay _Sheets_ right, if they be turned wrong. This Rule is not among _Compositers_ so well observed as it ought to be: For in _Quarto’s_ they not only leave the _Signature_ 4 out, but rarely put in _Signature_ 3.

¶ 5. _Some Circumstances a good_ Compositer _considers and observes in_ Composing.

A good _Compositer_ is ambitious as well to make the meaning of his _Author_ intelligent to the _Reader_, as to make his Work shew graceful to the Eye, and pleasant in Reading: Therefore if his _Copy_ be Written in a Language he understands, he reads his _Copy_ with consideration; that so he may get himself into the meaning of the _Author_, and consequently considers how to order his Work the better both in the _Title Page_, and in the matter of the _Book_: As how to make his _Indenting_, _Pointing_, _Breaking_, _Italicking_, _&c._ the better sympathize with the _Authors_ Genius, and also with the capacity of the Reader.

Nor does a _Compositer_ the least shew his skill in the well ordering and humouring of a _Title Page_, which, because it is the first _Page_ of a _Book_, we shall begin the _Compositers_ Considerations at.

He, as aforesaid, judiciously reads his _Title Page_, and considers what _Word_ or _Words_ have the greatest Emphasis in it. If many _Words_ precede the Emphasis, he considers whether it be best to make one or two _Lines_, or more of them, by electing a _Body_ bigger or less to _Set_ the precedent _Matter_ in, and whether any of these _Lines_ ought to be _Indented_, either at one end or both, viz. _Set_ in the middle of the _Line_. And what Words of Emphasis come in that precedent _Matter_; that he may _Set_ them either in _Capitals_, _Roman_, _Italick_, or _English_; and at last bring the great Emphasis, which is generally the _Title_ or _Name_ of the _Book_ in a _Line_ by it self, and just fill it if he can; which he has some helps to do, by the great _Bodied Letters_ of the _Lower Case_, or else by _Capitals_, _Roman_, _Italick_ or _English_, of a proper _Body_, which best pleases his fancy, or is in present mode.

If this _Word_ of great Emphasis be _Set_ in the _Lower Case_, yet he _Sets_ the first _Letter_ a _Capital_, and he _Sets_ no _Space_ between _Letter_ and _Letter_, but between _Word_ and _Word_ he does, if there happens more than one _Word_ in that _Line_: But if that _Word_ be _Set_ in _Capitals_, he chuses to _Set_ a _Space_ between every _Letter_, and sometimes he _Sets_ two _Spaces_, yet that is rather to drive out the _Line_.

If he _Sets_ but one _Space_ between the _Letters_ in a _Word_, he _Sets_ three _Spaces_ between _Word_ and _Word_: And if he _Set_ two _Spaces_ between _Letter_ and _Letter_, he _Sets_ four _Spaces_ betwen _Word_ and _Word_, as well to give a graceful appearance to the Eye, as to make a Visible and proportionable distinction between _Word_ and _Word_.

He also considers what _Whites_ to _Set_ between his _Lines_; as either a _Line_ of _Quadrats_, and of what _Body_; or (if his _Title Page_ be large) but a _Scaboard_: and at last _Justifies_ his _Page_ in _Length_, either by adding more _Whites_ (where they may be proper) if his _Page_ be too short, or by taking out or diminishing _Whites_ if the _Page_ be too long: And this he does by altering the _Body_ of _Whites_, for if a _White-line_ be _English_, he may take it out, and in its room put in _Pica_, _Long-primmer_ or _Brevier_, according as he finds he has _Run out_; yet this he does with Consideration, where more or less _White_ is properest.

But the mode of ordering _Titles_ varies; as may be seen by comparing the _Title Pages_ of every twenty years: Therefore a Lasting Rule cannot be given for the ordering them: only what has been said in general concerning Emphasis, and in particular to humour the Eye, the _Compositer_ has a constant regard to.

When he is to Work upon a continued Series of _Matter_, he _Sets_ the _Title_ of the _Chapter_ or _Section_ in a bigger _Body_ and different Character than his _Matter_ is _Set_ in; as if the _Matter_ be _Set_ in _English Roman_, he _Sets_ the _Title_ in _Great Primer_ or _Double Pica Italick_, but the _Words_ of _Emphasis_ he will _Set_ in _Roman_, and varies the Character for them as well in the _Title_, as he does in the _Matter_.

If his _Title_ be short, he _Sets_ it in the middle of the _Line_, by _Setting Quadrats_ on both sides: If his _Title_ be long, he _Sets_ the middle _Line_ in the middle: If it make three or more _Lines_, he _Indents_ the first with an m _Quadrat_, and the other with two m _Quadrats_. Before his _Title_ he sets a _White-line_, viz. a _Line_ of _Quadrats_, and so he does after it; but with regard to what the bigness of the _Body_ of the _Letter_ the _Title_ is _Set_ in, _Runs out_; for these _Whites_ must be set of such _Bodies_ (bigger or less) as will make the difference of the _Body_ the _Title_ is _Set_ in, a just number of _Lines_ with those of the _Body_ the _Matter_ is _Set_ in, because the length of the _Page_, as aforesaid, must be _Justified_. And he always forecasts to put rather more than less _White_ before the _Title_ than after it; because the _Title_ has relation to the _Matter_ of the _Chapter_ or _Section_ it is _Set_ to, and therefore ought not to be so distinct, as from the precedent _Chapter_ or _Section_.

After his _Title_, he begins his _Chapter_ or _Section_ with a _Two-lin’d Letter_, or _Three_ or _Four-lin’d Letter_, but _Indents_ it not. He begins his _Chapter_ or _Section_ with the first _Line_ in the _Stick_, unless his _Stick_ be very Deep, or his _Two_ or _Three-lin’d Letter_ small, because it may else reach above the top of the _Stick_, and so hinder him from filling up _Lines_ to the _Body_ of the _Two_ or _Three-lin’d Letter_.

After the _Two_ or _Three-lin’d Letter_, he _Sets_ a _Capital Letter_ of the _Body_ his _Matter_ is of, and _Indents_ all, those _Lines_ that are to fill up the _Great Letter_ with an n _Quadrat_.

He cannot use his _Composing-Rule_ (mentioned in the foregoing part of this ¶) till he have filled up _Lines_ to the _Body_ of the said _Great Letter_; because his _Composing-Rule_ is too long to go between the _Great Letter_ and the _Head_ of the _Stick_: but then he uses the end of a _Riglet_ to rub along the _Lines_ he has _Composed_ to smoothen them, and so _Set_ on till he has filled up the whole _Body_ of the _Great Letter_, and most times somewhat above it; which _Letter_ he afterwards _Justifies_ with _Small Bodied Quadrats_, or with _Scaboards_ or _Cards_, or with any or all of them till the _Great-letter_ stands even with the number of _Lines_ that it _Indents_, and afterwards uses his _Composing Rule_, and _Sets_ the succeeding _Lines_ to their full Length.

If it be a great _Wooden Letter_, he begins his _Chapter_ or _Section_ with, it is most times too _Deep_ for the height of the _Cheeks_ of his _Stick_; therefore he _Justifies_ his _Stick-full_ just to the breadth of the _Wooden Letter_ with _Quadrats_ or _Quotations_, and _Sets_ on between those _Quadrats_ or _Quotations_ and the _Head_ of his _Stick_, as I shewed before, till his _Stick_ be full of _Lines_; which _Lines_ he _Empties_, leaving the _Quadrats_ or _Quotations_ in his _Stick_, to serve, as before, for the succeeding _Stick_ or _Sticks_, till he have _Composed Lines_ enough for the _Depth_ of the _Wooden Letter_.

As he _Sets_ on, he considers how to _Point_ his Work, viz. when to _Set_ , where ; where : and where . where to make ( ) where [ ] ? ! and when a _Break_. But the Rules for these having been taught in many School-books, I need say nothing to them here, but refer you to them.

And as he considers how to _Point_, so he considers what proper Names, either of Persons or Places, he meets with in his _Copy_, as also what Words of great Emphasis, and what Words of smaller Emphasis, what Obsolete Words, and what Foreign, _&c._

When he meets with proper Names of Persons or Places he _Sets_ them in _Italick_, if the Series of his _Matter_ be _Set_ in _Roman_; or in _Roman_ if the Series of his _Matter_ be Set in _Italick_, and _Sets_ the first Letter with a _Capital_, or as the Person or Place he finds the purpose of the Author to dignifie, all _Capitals_; but then, if conveniently he can, he will _Set_ a _Space_ between every _Letter_, and two or three before and after that Name, to make it shew more Graceful and Stately. For _Capitals_ express Dignity where-ever they are _Set_, and Space and Distance also implies stateliness.

_Words_ of great Emphasis are also _Set_ in _Italick_, and sometimes begin with a _Capital Letter_: If the Emphasis bear hard upon the Word to be exprest as well as the Thing to be exprest, it ought to begin with a _Capital_. I shall bring for instance an Observation I made above forty years ago on the Word _that_, viz. that that Word may be reitterated five times, and make good Sense: If it be set thus it will seem nonsense, that that that that that; but if it be _Set_ thus, that that That that that Man would have stand at the beginning of the _Line_ should stand at the end; it will, by toning and laying Emphasis on the middlemost That become good Sense. Now all the thats ought to be _Set_ in _Italick_, and the middlemost That ought to begin with a _Capital_, because it is both the Thing and Word.

Words of a smaller Emphasis may be _Set_ in the running Character, viz. _Roman_, if it be the Series of the _Matter_; or _Italick_, if _Italick_, but begun with a _Capital_: Instance in the last Sentence, That which expresses both the Thing and Word, _&c._ Here Thing and Word both bear Emphasis, though not very great, and therefore ought to be dignified more than those Words that precede or follow those Words. Yet I know some Authors are now so nice to mark both the Word Thing and the Word Word in _Italick_.

After a . though not at the end of a _Break_ he begins with a _Capital_.

When in _Composing_ he comes near a _Break_, he for some _Lines_ before he comes to it considers whether that _Break_ will end with some reasonable _White_; If he finds it will, he is pleas’d, but if he finds he shall have but a little single _Word_ in his _Break_, he either _Sets_ wide to drive a Word or two more into the _Break-line_, or else he _Sets_ close to get in that little Word, because a _Line_ with only a little Word in it, shews almost like a _White-line_, which unless it be properly plac’d, is not pleasing to a curious Eye.

Nor do good _Compositers_ account it good Workmanship to begin a _Page_ with a _Break-line_, unless it be a very short _Break_, and cannot be gotten in in the foregoing _Page_; but if it be a long _Break_, he will let it be the _Direction-line_ of the fore-going _Page_, and _Set_ his _Direction_ at the end of it.

_Indenting_ after a _Break_ (unless it be the end of a _Chapter_ or _Section_) is an m _Quadrat_, (more or less is not proper) _Set_ at the beginning of the _Line_: But when Verses are _Indented_, two, three or four m _Quadrats_ are used, according to the number of the Feet of the Verses, but most times according to the fancy of the Author.

_English_ obsolete Words he _Sets_ in the _English_ Character, the first _Letter_, if the dignity of the Word require it, as aforesaid, with a _Capital_.

Foreign Languages he meets with in his _Copy_, if the _Master Printer_ have them in his House, he _Sets_ them in the proper Character; if not, the Author must write them in the common Character, and the _Compositer Sets_ them as they are written.

That I may be the less unintelligent to the Reader, I will inform him that in _Printers_ Dialect (as in this last Paragraph it is used) _Language_ is understood _Letter_: For the _Compositer_ does say, I shall use a Word or two of _Greek Letter_, or _Hebrew Letter_, or _Saxon Letter_, _&c._ but I shall use a word or two of _Greek_, a Word or two of _Hebrew_, _Saxon_, _&c._ so that the Word _Letter_, is in _Compositers_ Dialect, understood by naming the Language.

If _Indentures_ instead of _Marginal Notes_ come in a number of _Lines_, he _Indents_ his _Stick_, as I shewed you he did for a _Wooden Letter_, leaving a convenient _White_ between his _Matter_ and _Indenture_, and then again _Indents_ his _Stick_ to _Set_ the _Matter_ that comes in those _Indentures_, allowing a reasonable _White_ between the Top and the Bottom of his _Indenture_, and then _Justifies_ it up to an exact number of _Lines_, as he did the _Wooden Letter_.

If _Marginal Notes_ come down the side (or sides, If the _Page_ have two Columns) he chuses to _Set_ them in on the _Stone_, rather than in his _Galley_; because both his _Page_ and _Notes_ stand safer, being cloathed with the _Furniture_, than they do when they stand Naked in the _Galley_. Therefore I shall say nothing of _Marginal Notes_ till I come to _Imposing_.

Some other Circumstances (according as variety of Work does happen) a _Compositer_ may meet with; but by what has been said upon this and several other Trades, the Ingenious (as they occur) may easily consider how they are to be performed.

Nor (as afore was hinted) is a _Compositer_ bound to all these Circumstances and Punctilio’s, because, in a strict sense, the Author is to discharge him of them in his _Copy_: Yet it is necessary the _Compositers_ Judgment should know where the Author has been deficient, that so his care may not suffer such Work to go out of his Hands as may bring Scandal upon himself, and Scandal and prejudice upon the _Master Printer_.

¶ 6. _Of Tying up a_ Page.

We may remember the _Compositer_ has yet a _Page_ in his _Galley_: This _Page_ must be _Tyed up_ with a _Packthred Cord_, courser or finer according to the bigness of his _Letter_ and _Page_: For _Small Letter_, which rarely is used to great _Pages_, he chuses a fine _Packthred_, strong and limber; but for _great Letter_ and _great Pages_ a stronger that will better endure hard pulling at: Wherefore he seeks a _Cord_ for his purpose, or else takes so much off the whole _Quoil_ as will serve his turn, and taking the end on’t in his Right Hand, lays that end about an Inch within the _Direction-line_, and a little lower than the middle of the _Shank_ of the _Letter_, and holds that end there close with the two Fore-fingers of his Left Hand, then he slides his Right Hand along the _Cord_, straining it as stiff as he can along the right side of the _Page_, and turns it about the _Head_ of the _Page_ as close down to the _Ledge_ of the _Galley_ as he can, and so slides his Hand over the _Cord_ till he draws it about all the sides of the _Page_: and when he comes to the first end of the _Cord_, he doubles up that end so as it stand above the _Face_ of the _Letter_, and whips the _Cord_ over that end, that the end may not slip; then he twists part of the remaining _Cord_ about his Right Hand, and grasping his Left Hand Fingers about the _Direction_ Corner of the _Page_, as well to hold the end of the _Cord_ from slipping, as to keep the _Page_ tight in its position, with his Right Hand he pulls the _Cord_ as hard down the side of the _Page_ as he can; and keeping the _Cord_ straining, whips it again about the _Head_ and other sides of the _Page_, and so again about all the sides of the _Page_, keeping it still straining; and always as he comes to the Right Hand side of the _Page_, pulling hard, and taking care that it slip not: Having whipt the _Cord_ twice about the _Page_, he holding two of his Left Hand Fingers against the _Direction_-corner upon the _Cord_, that it slip not, with the Ball of his Thumb of his Right Hand, and the Balls of his Fingers to assist, thrusts against the opposite diagonal corner of the _Page_, and removes it a little from the _Ledges_ of the _Galley_, that he may with the Nail of the Thumb of his Right Hand have room to thrust the _Cord_ whipt about the _Page_, lower down upon the _Shank_ of the _Letter_, (to make room for succeeding whippings of the Cord, and then thrusts or draws the _Page_ close to the _Ledges_ of the _Galley_ again; then whips the _Cord_ again about the _Page_ (as before) till he has whipt it four or five times about the _Page_, taking care that the several whippings lye parallel to each other, not lapping over any of the former whippings.

Having whipt the _Cord_ four or five times about the _Page_, he with his _Bodkin_ or the corner of a _Brass Rule_ (which lies best at hand) fastens the _Cord_, by thrusting a noose of it between the several whippings and the Right Hand side of the _Page_, close up to the _Direction-line_, then draws the lower part of that Noose close up to the very corner of the _Direction-line_, that it may be the better fastned between the _Page_ and the Whippings: Then, if his _Cord_ be not of a just length, he cuts it off from the rest of the Quoil, leaving so much length to it as that the end of it may stand upright an Inch or two above the _Face_ of the _Letter_; the reason will shew it self when we come to _Imposing_. Then he removes the _Page_ pretty far from the _Ledges_ of the _Galley_, to see if the Whippings lye about the middle of the _Shank_ of the _Letter_; if they lye too high, as most commonly they do, he thrusts them lower with the Nail or Nails of his Thumbs. Then (if the _Page_ be not too broad) he places his Fore or Middle Finger, or both, of his Right Hand on the Right Hand Side of the _Page_, and his Thumb on the Left; and bowing his other Finger or Fingers under the _Head_ of the _Page_, he rears up the _Handle-end_ of his _Galley_ with his Left Hand almost upright, and so discharges the _Galley_ of the _Page_, by delivering it upright into his Right Hand. Having his _Page_ upright in his Right Hand, at the _Head_, he claps the Fingers of his _Left Hand_ about the _Foot_ of the _Page_, upon the ends of the _Lines_ on the Right Hand Side of the _Page_, and his Thumb on the Left Hand side of the _Page_, with the Palm of his Hands towards the _Face_ of the _Letter_, and such Fingers as he can spare bowed under the Foot of the _Page_, turning the _Page_ with the _Face_ of the _Letter_ from him, and letting it rest upon the inside of his Fingers, under the Right Hand Side of the _Page_, and so goes with it to the _Correcting-stone_.

But if the _Correcting-stone_ be full of _Forms_ or other _Letter_, as many times it is, then before he begins to _Tye_ up his _Page_ he provides a _Sheet_ of _Waste Paper_, supposing it a _Quarto Page_, and doubles that Sheet in four, and while he has the _Page_ upright in that Hand (as aforesaid) he takes that doubled Sheet into the Palm of his _Left Hand_, and claps it against the bottom of the _Page_, and turning his Left Hand outward, receives the _Page_ flat upon the Paper on the Palm of his Hand: Then with his Right Hand grasps the Sides of the _Page_ and the Sides of the Paper, which turn up again above the bottom of the _Page_, and sets it on a _Letter Board_, or some other board in a convenient place under his _Case_. He places that _Page_ on the Left Hand the Board with the Foot of the _Page_ towards him, that the other _Pages_ that are in like manner set on the Board afterwards, may stand by it in an orderly succession against he comes to _Impose_ them.

If it be a large _Folio Page_, or a _Broad-side_ he has _Tyed up_, he cannot take that into his Hands, because it is too broad for his Grasp; therefore he carries his _Galley_, _Page_ and all to the _Correcting-stone_, and turns the Handle of the _Galley_ towards him, and taking hold of the Handle with his Right Hand, he places his Thumb and Ball of his Thumb on his Left Hand, against the inside the _Head-ledge_ of the _Galley_, to hold it and keep it steady, and by the _Handle_ draws the _Slice_ with the _Page_ upon it, out of the _Galley_, letting the _Slice_ rest upon the _Correcting-stone_: Then he thrusts the _Head-end_ of the _Slice_ so far upon the _Correcting-stone_, that the _Foot_ of the _Page_ may stand an Inch or two within the outer edge of the _Correcting-stone_; and placing his Left Hand against the _Foot_ of the _Page_, in the same posture he last plac’d it against the _Head-ledge_ of the _Galley_, he draws the _Slice_ from under the bottom of the _Page_, and leaves it upon the _Correcting-stone_. _See Plate 25. at_ A.

¶ 7. _Of_ Imposing.

_Imposing_ is the placing of the _Pages_ that belong to a _Sheet_, with the _Chase_ and _Furniture_ about them, in such an order as when the _Sheet_ is wrought off at the _Press_, all the _Pages_ may be Folded into an orderly succession.

There are four _Volumns_ in use that are differently _Imposed_, viz. _Folio_, _Quarto_, _Octavo_ and _Twelves_.

The manner of _Imposing_ these _Sheets_ will be plainer represented in a Table than by many words; therefore in _Plates 26_, _27_, _28_. I have given you Drafts of each _Volumn_, both _First_ and _Second Form_, viz. _White Paper_ and _Reteration_; as you may see noted over each _Form_ in the Plates. For Example, the two _Forms_ in the _Folio Sheet_: In the _First Form_ you may see 1 on the Left Hand and 4 on the Right, which shews that the _First Page_ must stand on the _Correcting-stone_ on that Hand, and the _Fourth_ on the Right Hand, with the _Foots_ of the _Pages_ towards you; and so for all the other _Forms_. The number of the _Page_ belonging to each _Sheet_ is marked in what place it is to stand on the _Stone_ in the _Chase_, and the Figures of those Numbers are placed with their _Head_ and _Foot_ upwards and downwards, as the _Heads_ and _Foots_ of the _Pages_ must stand in the _Chase_.

The places of these _Pages_ for all _Volumns_ the _Compositer_ has always in his memory, yet has he a help if he remember the places of but the first half of the number of _Pages_ of each _Volumn_: For if he knows the place of the first _Page_, the _Page_ that stands next it must be that number which makes one more than the number of all the _Pages_ in the _Sheet_. For Example, in the _Folio_; next the _First Page_ stands the _Fourth Page_, 1 and 4 added makes 5, viz. one more than the number of _Pages_ in the whole _Sheet_. _See Plate 26._ Again, In the _Twelves Volumn_ next the _First Page_ stands the _Twenty Fourth_, 1 and 24 added makes 25: Next 2 stands 23, which added makes 25, _viz._ one more than the number of _Pages_ in the whole _Sheet_. This is a help, and a certain Rule for placing the _Pages_ of any Volumn, if he knows but by memory the places of the first half number. _See Plate 27._ Thus you will find an _Even_ and an _Odd Page_ stand together.

The other _Volumns_, viz. _Sixteens_, _Twenty-fours_, _Thirty-two’s_, are but the _Octavo’s_ and _Twelves_ doubled, or twice doubled and _Imposed_ in _Half-Sheets_. For Example, The _Sixteens_ is two _Octavo’s Imposed_ on each side the _Short Cross_; the _Twenty-fours_ is two _Twelves Imposed_ on each side the _Long Cross_, and a _Thirty-two’s_ is four _Octavo’s Imposed_ in each _Quarter_ of the _Chase_. And thus they double a Volumn as oft as they think fit. But as was said before, they are _Imposed_ on each side the _Cross_, or in each _Quarter_ of the _Chase_, as the Volumn that is doubled or re-doubled is _Imposed_ in the whole _Chase_.

In _Half-sheets_, all the _Pages_ belonging to the _White Paper_ and _Reteration_ are _Imposed_ in one _Chase_, and are plac’d, as you see by the Drafts (in _Plate 28_.) of _Half-sheet Forms_. So that when a _Sheet_ of _Paper_ is Printed on both sides with the same _Form_, that _Sheet_ cut in two in the _Short Cross_, if _Quarto_ or _Octavo_, and in the _Short_ and _Long Cross_, if _Twelves_, and folded as _Octavo_ or _Twelves_; the _Pages_ (I say) of each _Half-sheet_ shall follow in an orderly succession.

Having premised thus much, he takes up the _Pages_ he set by on Papers in an orderly succession when he _Tyed_ them up, grasping the edges of the Papers that stick up on both sides the _Page_ tight, that so the bottom of the Paper may stand the stronger against the bottom of the _Letter_, to keep it from falling out; and bringing it thus to the _Correcting-stone_, he gets the two last Fingers of his Right Hand under the _Head_ of the _Page_, but not under the Paper sticking up about the _Head_ of the _Page_, keeping his other two Fingers and Thumb on the sides of the _Page_, and slips or slides his Left Hand, so as the Palm of it may turn towards the bottom of the _Page_; and rearing the _Page_ up on end on his Right Hand, he discharges his Left to take away the Paper behind the _Page_; then he grasps his Left Hand about the _Foot-end_ of the _Page_ in the same posture that his Right Hand grasps the _Head-end_. And having the _Page_ thus between his Hands with the bottom of the _Letter_ towards him, he directs both his Hands to the place on the _Stone_ where the _Page_ must stand, and claps it down on the _Stone_ so nimbly, that the whole bottom of the _Page_ comes all at once to the Face of the _Stone_, lest otherwise he endanger the _Breaking_, _Squabbling_, or _Hanging_, _&c._ of the _Page_. And thus he sets down all the _Pages_ of the _Form_: which having plac’d in order and rank, as before I have shew’d in the Drafts of each respective Volumn, he lays the _Chase_ about them; and (if he have not a _Form_ already _Drest_) seeks out _Inner Side_ and _Head-sticks_ of such a thickness, as with the _Cross_ may make a _Margin_ between the adjoyning _Pages_ convenient to the Volumn and size of the Paper.

If his _Side_ or _Head-sticks_ be a little too thin, and and he cannot find any to his intended thickness, he puts a _Scaboard_ or two between the _Head_ or _Side-stick_ and the _Cross_, as well to have more _Margin_ as to commode the _Press-man_ (if occasion be) when he makes _Register_, as I shall further shew when I come to the Section of the _Press-man_.

Then he seeks outer _Side_ and _Foot-sticks_, his _Side-sticks_ of the exact length of the _Page_, or a _Scaboard_ shorter, or he cuts them to that length, that the _Foot-stick_ Bear not against the end of the _Side-stick_, because then the _Letter_ will not _Rise_; for the _Foot-stick_ must be a little longer than the breadth of the _Page_, that it may shoot beyond the end of the _Side-stick_.

Then he fits the _Chase_ and _Furniture_ at _Side_ and _Foot_, with _Fore_ and _Hind Quoins_, and takes off the _Cords_ from the _Pages_, as shall be shew’d by and by.

But if _Marginal Notes_ come down the Side or or Sides of the _Pages_ (for if there be two _Columns_ in a _Page_, the _Marginal Notes_ may come down both sides) then, before he fits his _Foot-sticks_ he sets a _Scaboard_ the length of the _Page_, against the side of the _Page_ the _Notes_ come on, and a row of _Quotations_ almost down the length of the _Page_, or sometimes but one or two in a place at convenient distances, to keep the _Letter_ of the Side of the _Page_ upright, according as he finds his particular _Notes_ stand near or far asunder, and afterwards fits his _Foot-stick_. Then he _Sets_ his _Notes_, commonly between the _Cheeks_ of his _Stick_, which for that purpose are fitted to the _Measure_ of the _Quotation_: And having _Set_ them, he places them in the proper places where they must come in, and with _Quotation Quadrats_ of proper _Bodies_, _Justifies_ them up, feeling (at last) carefully and cautiously at the _Foot_, that they be neither too soft nor too hard _Justified_ to the length of the _Page_.

Now if he have a _Chase_, or _Form_, or _Furniture_ already _Drest_ (these several phrases are used, though they all signifie the same thing.) If he have (I say) a _Form Drest_, that is, if he or other Workmen have been Working on the same _Work_, i. e. _Book_, before he uses one of the _Wrought-off Forms_, and having it on a _Letter-board_, _Rinc’d_, as was shew’d in ¶ 2. of this Section, he places it on a Bench or Joint-stool, on that Hand that stands most commodious with that end of the _Stone_ he _Imposes_ on, and so as there may be a corresponding position, with the _Form Wrought off_ and that _Imposing_, viz. that the _First Page_ (and consequently all the rest) of the _Wrought off Form_ stands on the same Hand with the _First Page_ of that _Form_ that is _Imposing_.

Then taking out and laying the _Quoins_ in their proper places, as I shew’d when he _Stript_ the _Form_, at the latter end of ¶ 2. he a little wriggles the _Chase_ from one Side to the other, and forward and backwards to Loosen it, and the _Cross_ or _Crosses_ from the close pinching of the _Letter_ and _Furniture_: then takes it off the _Chase_, and lays it about those _Pages_ he is _Imposing_: Then with his two fore-fingers and Thumbs he takes away the _Inner Side-stick_ and the _Head-stick_ at once, and at once removes them to the responding _Quarter_ of the _Form Imposing_, into the responding places from whence he took them in the _Wrought off Form_. And as he does by the _Inner Side-sticks_, so he does by the outer _Side-sticks_, and by the _Quoins_; placing them in their respective proper places between the _Furniture_ and _Chase_, or so many of the foremost _Quoins_, as will go in before the _Cords_ are unwhipt from the _Pages_. Thus the _Wrought off Form_ is _Stript_ and _Naked_; and stands by to _Destribute_.

Having thus translated the whole _Furniture_ of the _Wrought off Form_ to the _Form Imposing_, he finds the end of the _Cord_ that he left sticking up above the _Face_ of the _Letter_ (which perhaps by this time is got between the _Furniture_ and the _Page_) and laying the Ball of his left Thumb, on the _Face_ of the _Letter_ at the _Direction_ corner of the _Page_, to keep it from _Rising_, he takes the aforesaid end of the _Cord_, between the Fore-finger and Thumb of his Right Hand, and pulls gently to loosen the Noose that fastned the _Cord_ when he _Tyed_ up the _Page_, till he draws the Noose out, and after it successively all the several Whippings; which done, he places the Balls of his Thumbs, one against the middle of the _Side-stick_, and the other against the middle of the _Foot-stick_, and at once thrusts the _Page_ close against the _Inner-Side_ and _Head-stick_, and so makes room to get in all the _Quoins_. But if there be more than one _Page_ in a _Quarter_, as in _Octavo’s_ and _Twelves_, then he unties all the _Pages_ of that _Quarter_, beginning with the _Inner Pages_ first, before he can put in the _Quoins_. Then again, thrusting hard with his Thumbs, against the outer Sides of the Side and _Foot-sticks_ of the several _Quarters_, to thrust the _Letter_ up tight and Square, he looks over the _Form_ as nicely as he can, to see what _Letter_ or _Letters_ may _Rise_ in the _Form_, (that is, stand higher than the rest) and with the Balls of his Fingers of both his Hands, (the _Quoins_ being close and hard thrust up) pats upon the _Face_ of the _Letter_ to beat them down: But this is not enough to smoothen the _Form_, but only to smoothen it so as the edges of the _Dressing-block_ (when it comes to smoothen it quite) may not job against them. Then he takes the _Dressing-block_, described Section 9. ¶ 3. in his left Hand, and lays the smooth side of it upon the _Face_ of the _Letter_, at the bottom of the _Quarter_ next him; or he takes the _Shooting stick_, or sometimes the lower part of the clutched Fist of his right Hand, and knocks either with the Head of the _Shooting-stick_ (or his Fist, as aforesaid) gently upon the upper Side of the _Dressing-block_, with quick knocks, removing the _Dressing-block_ in a lineal rank upwards, and knocking still quick upon it, as it goes along and comes down again with the _Dressing-block_, in another lineal rank parallel to the first: Then in the same order goes up again and down again, till he have run over the whole _Form_, still knocking with quick knocks upon the _Dressing-block_, that so he may be sure to press down every _Rising Letter_ in the whole _Form_, if he see any _Spaces_ or _Quadrats_ stick up, he thrusts them down with his _Bodkin_.

Then to _Lock_ up the _Form_, he takes the _Shooting-stick_ in his Left Hand and the _Mallet_ in his Right, and placing the _Foot_ of the _Shooting-stick_ against the small _Quoin_ between the _Side stick_ and the _Chase_, drives that a little gently up, and then removes the _Shooting-stick_ to the next _Quoin_, and so to the third _Quoin_ (if there be so many) between the _Side-stick_ and the _Chase_; Then removes his knocking to the thick end of the _Foot-stick_, and afterwards knocks the _Foot Quoins_ gently up: Then knocks pretty strongly with the _Shooting-stick_ against the thick end of the _Side stick_, and _Drives_ the _Quoins_ yet harder up: Then to the thick end of the _Foot stick_, and and _Drives_ those _Quoins_ also harder up. Then at last knocking again, against the thick ends of the _Side_ and _Foot-sticks_, he knocks up the _Quoins_ so hard, as that he thinks the _Form_ may _Rise_: To try if it will, he draws the hither Side of the long Side of the _Chase_, about an Inch or two over the edge of the _Stone_; and putting his two hands under the _Chase_, Dances the _Form_ three or four times so as it may just _Rise_ off the _Face_ of the _Stone_: but not so high as that any loose _Letters_ or _Spaces_ may drop out, if there be any in; but only so high as he may see if there be any in or no. If he finds there are many in that do not _Rise_ with the _Form_, he says the _Form Dances_, wherefore he looks carefully upon his _Pages_ of _Letter_, to find out the Cause: For generally, either the _Letter Hangs_ or the _Lines_, are ill _Justified_: or else it is not _Hard_ enough _Lockt up_.

If he finds by his Eye the _Letter Hangs_: he must _Un-lock_ and _Loosen_ the _Form_, or that _Quarter_ that _Hangs_ pretty _Loose_, that the _Letter_ may be set to Right; which he does with patting upon the _Face_ of the _Letter_ where it _Hangs_, with the _Balls_ of the _Fingers_ of both his _Hands_, to twist or turn them into a Square Position.

If it be only a _Single Letter_ or two that drops, he thrusts the end of his _Bodkin_ between every _Letter_ of that Word, till he comes to a _Space_: and then perhaps by forcing those _Letters_ closer, he may have room to put in another _Space_ or a _Thin Space_; which if he cannot do, and he finds the _Space_ stand _Loose_ in the _Form_; he with the _Point_ of his _Bodkin_ picks the _Space_ up and bows it a little; which bowing makes the _Letters_ on each side the _Space_ keep their parallel distance; For by its Spring it thrusts the _Letters_ that were closed with the end of the _Bodkin_ to their adjunct _Letters_, that needed no closing. Or sometimes he chews a small bit of _Paper_, and with the _Point_ of his _Bodkin_ forces that in on one side of the _Space_: and so fills up the Vacancy between the _Space_ and the _Letter_. But both these ways are meer present Helps, and (in plain terms) accounted Botches, as being an Argument that his _Lines_ were not well _Justified_ in his _Stick_.

If he finds the _Form_ or any part of it, was not hard enough _Lockt_ up, he _Locks_ all, or part harder up, as was shew’d before.

But now his _Form Rises_; Wherefore he draws the Long _Side_ of the _Chase_ (as before) a little over the edge of the _Correcting-Stone_, and putting two or three of his Fingers into the Vacancy between the _Quoins_, or else into the Vacancy at the ends of the _Chase_; he rears the _Form_ upon the farther _Side_ of the _Chase_, and removing his right Hand to the Short end of the _Chase_, grasps it near the upper corner, and then discharges his left Hand also; and removes it to the diagonal corner of the _Chase_; and so slides the long _Side_ of the _Chase_ off the hither Edge of the _Correcting-Stone_: Then slipping his Hands to the bottom of the _Chase_, about two or three Inches within the corners, with the insides of his Hands towards the _Face_ of the _Letter_, and leaning the upper _Side_ of the _Chase_ against the upper part of his Breast, and clutching the Brawn of the inside of the upper Joynt of his Arm over the upper corners of the _Chase_, he carries the _Form_ so before him to the _Press_, and lays it upon the _Stone_, for the _Press-man_ to make a _Proof_ of. The _Proof_ being made, the _Press-man_ brings the _Proof_, and layes it on the _Compositers Case_: and he brings the _Form_ again and layes it on the _Correcting-Stone_, and rubs it over with the _Ly-Brush_, as shall be shew’d in proper place. And the _Compositer_ gives the _Correcter_ the _Proof_ and his _Copy_ to _Correct_ it by: which being _Corrected_, the _Correcter_ gives it again to the _Compositer_ to _Correct_ the _Form_ by.

¶ 8. _Of_ Correcting.

If there be but few _Faults_, and those easie ones, the _Compositer Gathers_ the _Corrections_ in his _Stick_, beginning at the bottom of every _Page_, and so ascending upwards: Because when he is _Correcting_, the _Corrections_ of the top of the _Page_ stand then first in the _Stick_, and therefore are readiest to his Hand. But if there be many _Faults_ he brings the _Lower-Case_ to the _Correcting Stone_, and takes his _Corrections_ as he uses them.

Then with the _Mallet_ and _Shooting-stick_ he _Unlocks_ the _Form_, as was shew’d in ¶ 3 of this Section. But keeps the _Quoins_ pretty tight up, to secure the _Letter_ from _Squabbling_ or _Hanging_.

Then he Folds his _Proof_ so oft double, till all the _Pages_, except that he intends to _Correct_ first are Folded out of Sight, and he also Folds down the Left Hand _Margin_ of that _Page_ under the _Proof_, and then lays that Folded Side of the _Page_ along, and close to the same _Page_ in the _Mettle_: So that the _Head-line_ in the _Proof_ lye in the same range with the _Head-line_ on the _Mettle_, and the _Foot-line_ even with the _Foot-line_ on the _Mettal_, and consequently all the _Lines_ of that _Page_ both on the _Proof_ and _Mettal_ agree, and stand in a mutual range.

Now therefore he looks in the _Proof_, to see where the _Correcter_ has markt a _Fault_, and having found it in the _Proof_, he runs along that _Line_ with his Eye to the same _Line_ on the _Mettle_, which he easily does, because the _Line_ of _Mettle_ stands in the same range with that in the _Proof_, and finding the _Fault_ in the _Mettle_ also, he having now his _Bodkin_ in his right Hand, with the _Blade_ of it between his Fore-finger and Thumb, within half an Inch or three quarters of the _Point_, and the middle of the _Bodkin_ within his clutched Hand to guide and command it, he sticks the _Point_ of his _Bodkin_ into the _Neck_ of the _Letter_, viz. between the _Beard_ and the _Face_, and lifts it with the _Point_ of the _Bodkin_ so high up above the _Face_ of the other _Letters_, that he can lay hold of it with the Fore-finger and Thumb of his left Hand to take it quite out.

I must a little digress, to paraphrase on the posture he holds the _Bodkin_ in: For in the sticking his _Bodkin_ into the _Letter_, he holds the _Blade_ of it, so that it may make as small an angle with the _Face_ of the _Letter_ in the _Form_ as he can, viz. as flat towards the _Face_ of the _Letter_ as he can, without touching the _Face_ of any of the adjacent _Letters_ with the _Blade_ of the _Bodkin_; For if he touches the _Face_ though lightly, yet it may more or less _Batter_ and spoil the _Face_ of those _Letters_ it touches, and so he creates himself a fresh trouble to mend them.

The reason why he holds the _Blade_ of the _Bodkin_ as flat to the _Form_ as he can, is, Because a small Horizontalish entrance of the _Point_ of the _Bodkin_ into the _Neck_ of the _Letter_, will raise the _Letter_ up above the _Face_ of the _Form_, the _Blade_ of the _Bodkin_ being fastned in the little Hole it makes in the _Neck_ of the _Letter_: But if he should stick the Point of the _Bodkin_ straight or straightish down upon any part of the _Letter_, it would indeed make an Hole, but not fasten in the _Mettle_, to draw it up; for the weight of the _Letter_ would make it slip off the round and smooth _Point_ of the _Bodkin_. Besides the pressing the _Point_ of the _Bodkin_ with his right Hand against the side of the next _Letter_ on his left Hand, keeps the _Point_ of the _Bodkin_ fast in the little Hole it makes in the _Neck_ of the _Letter_, and therefore though the _Bodkin_ have but a little entrance, yet it has hold enough to draw it up by. Now to return.

Having taken the Fault out, he puts the _Letter_ that the _Correcter_ markt in the _Margin_ of the _Proof_ in the room of it. Suppose an o were markt and n dasht out, therefore when he has taken the n out he puts an o in the room: These two _Letters_ being of equal thickness, gives him no trouble to _Justifie_ the _Line_ again after the Fault is _Corrected_; but if they had been of unequal thicknesses, as suppose an m to come out, and an n to be put in; in this case he puts in a _Space_ between two words (where he finds most convenient) to _Justifie_ the _Line_ again: Or suppose an n to come out, and an m to be put in; now he must take out a _Space_ where he finds most convenient to make room for the m, as being thicker by a _Space_ than an n. Thus as he _Corrects_ he still has a care to keep his _Lines_ true _Justified_; which he tries by pressing the Balls of his two middle Fingers pretty hard against the ends of three _Lines_, to make them rise a little above the _Face_ of the _Form_, whereof the _Line_ he examines is the middlemost; for if that _Line_ is not hard enough _Justified_, he will between the Balls of his Fingers find it hollow, or it will not _Rise_ with the other two: And if it be too hard _Justified_, he will find the Balls of his Fingers _Bear_ only or hardest against that _Line_, and the _Line_ on each side it will not _Rise_.

If there be a long _word_ or more left out, he cannot expert to _Get_ that in into that _Line_, wherefore he must now _Over-run_; that is, he must put so much of the fore-part of the _Line_ into the _Line_ above it, or so much of the hinder part of the _Line_ into the next _Line_ under it, as will make room for what is _Left out_: Therefore he considers how _Wide_ he has _Set_, that so by _Over-runing_ the fewer _Lines_ backwards or forwards, or both, (as he finds his help) he may take out so many _Spaces_, or other _Whites_ as will amount to the _Thickness_ of what he has _Left out_: Thus if he have _Set wide_, he may perhaps _Get_ a small _Word_ or a _Syllable_ into the foregoing _Line_; and perhaps another small _Word_ or _Syllable_ in the following _Line_, which if his _Leaving out_ is not much, may _Get_ it in: But if he _Left out_ much, he must _Over-run_ many _Lines_, either backwards or forwards, or both, till he come to a _Break_: And if when he comes at a _Break_ it be not _Gotten in_; he _Drives_ out a _Line_. In this case if he cannot _Get in a Line_, by _Getting in_ the _Words_ of that _Break_ (as I just now shew’d you how he _Gets-in_ what was left out in the _Proof_) or by making less _White_ to the _Title_ of a _Section_ or _Chapter_ (if any happen in that _Page_) he must _Over-run_ the next _Page_ backwards or forwards, till that _Line Comes in_: Thus sometimes he _Over-runs_ all the succeeding _Pages_ of the _Sheet_, and at last perhaps _Drives_ out a _Line_ to _Come in_ in the next _Sheet_.

If he have _Set_ a word or small sentence twice, he must take that out, and _Drive-out_ his _Matter_. If he be near a _Break_, and the _White_ of that _Break_ not very long, he may perhaps _Drive it Out_ at the _Break_ by putting in part of the next _Line_ to fill up almost so much as he took out; but not quite so much, unless his _Matter_ was at first so _Wide Set_ that he can _Space_ out no more, or unless the _Break-line_ he comes to have so much _White_ in it that he fears _Getting-in_ that _Line_: If either of these inconveniences happen, he _Drives-out_ as much as he can backwards in the _Matter_; that is, he takes out so much as he thinks he cannot _Drive-out_ when he is at the _Break_: He takes it out at the beginning of the _Line_, and puts it in at the latter end of the _Line_ before it: But first he takes out almost so much of the beginning of his Second upper _Line_, to make room for it: I say almost so much, because he intends to _Space-out_ the rest if it were not too _Wide Set_ at first. And thus he runs on from _Line_ to _Line_, still taking out less and less at the beginning of every former _Line_, and putting it into the _Line_ above that, that he may _Space-out_ his _Matter_ as he _Over-runs_, till his _Double-Setting_ is _Driven-out_.

But if he have _Set_ a _Line_ or _Lines_ twice, and cannot _Drive_ it or them _Out_ at a _Break_ or _Breaks_; or that he cannot _Set_ more _Whites_ at the beginning of a _Section_ or _Chapter_, he must _Over-run_ the next _Page_ or more, or the whole _Sheet_ till it be _Driven-out_: And if in _Over-runing_ the whole _Sheet_ it be not _Driven-out_, he must _Set_ so many _Lines_, of the following _Matter_ as will make up the last _Page_.

Many times either for _Getting-in_ or _Driving-out_, the _Compositer_ will chuse to _Over-run_ in his _Stick_, and then he _Wets_ the _Page_ he is to _Over-run_, with the _Spunge_ (that the _Letter_ may the better stick together) and he separates so much of the former part of the _Page_ as he intends to _Over-run_, from the rest of the _Page_, and places himself before the _Notches_ of the _Letter_, and takes up about an Inch and an half or two Inches of the first Separated _Line_, and brings it to the _Stick_; and as it it is coming along he turns the _Notches_ upwards, and places that _Taking up_ in the _Stick_. When he _Takes-up_, he places the Inside of the first Joynt of his middle Finger of his right Hand against the beginning of that _Line_, and the Ball of his Thumb against the other end of that _Taking-up_, and the Ball of his Fore-finger behind the _Taking-up_, about the middle of it, and so pinching it lightly brings it to his _Stick_, as aforesaid. And having thus by several _Takings-up_, gotten a _Line_ into his _Stick_, he looks it over to see what _Spaces_ or other _White_ he can take out or put in, according as he has either _Left-out_ or _Set-twice_, and then he _Justifies_ the _Line_ again, as was shew’d in ¶ 5. of this Section. And thus he _Over-runs Line_ after _Line_, till he has _Gotten-in_ or _Drove-out_ his _Leaving-out_, or his Twice _Set Matter_.

If the _Compositer_ is not firmly resolv’d to keep himself strictly to the Rules of good Workmanship, he is now tempted to make _Botches_; viz. _Pidgeon-holes_, _Thin-Spaces_, no _Space_ before a _Capital_, _Short_ &s, _Abbreviations_ or _Titled Letters_, _Abbreviate Words_, &c. And if Botching is in any Case excusable, it is in this; for with too great _Spacing-out_ or too _Close Setting_, he many times may save himself a great deal of Labour, besides the vexation of mind, and other accidental mischiefs that attend _Over-running_.

It sometimes chances that a _Compositer_, by having two or more _Pages_ in his _Sheet_ with the same _Direction-line_, or by mistaking the right place of his _Page_ when he set it by on a Paper under his _Case_, as was shew’d ¶ 7. of this Section, or by some other accident that may happen; I say it sometimes happens (but seldom through too much care) that he _Transposes_ two _Pages_, or more, in his _Sheet_: In this case he _Unlocks_ that _Quarter_, or those _Quarters_ the _Pages_ are in, and loosning the _Cross_ or _Crosses_ from those _Pages_ and their _Furniture_, takes the rest off the _Correcting-stone_ with their _Furniture_ about them: And if it be a _Folio_ or _Quarto_ he does not wet the _Pages_, because those _Forms_ have _Furniture_ about every side of the _Page_, which will keep up the _Letter_ from falling down; But he only places the Balls of his two Thumbs against the outside of the _Furniture_, about the middle of the _Head_ and _Foot_ of the _Page_, and the insides of his two middle Fingers, assisted by his Fourth and Little Fingers, in a parallel position to his middle Fingers, (to strengthen them against the _Furniture_) about the middle of the _Sides_ of the _Page_, letting the length of his Fingers reach as far from each corner of the _Page_ towards the middle of it as he can, and so by a steady pressing the Balls of his Thumbs and the Balls of his Fingers on each Hand towards each other, he draws, or as he sees most convenience, thrusts the whole _Page_ out of its wrong place, and sets it by on the _Stone_, till in the same manner he removes the other _Transpos’d Page_ into the place of the first remov’d _Page_: And thus if there be more than two _Transpos’d Pages_ in the _Sheet_, he removes them all, and _Sets_ the right _Pages_ in their right places.

But if it be an _Octavo_ or _Twelves_, or any other _Form_ that has _Gutter-sticks_ between two _Pages_, he must Wet those _Pages_ he leaves on the _Stone_, because when he removes one _Page_, by the help of the _Gutter-stick_, one side of the other _Page_ will stand _Naked_; and consequently with the Shaking, Joggling, or Trembling of the _Stone_ or Floor, the _Letters_ on that side will be in great hazard of falling down, especially if the _Face_ of the _Stone_ happens not to be truly Horizontal: I say, happens not to be truly Horizontal, because the _Stone_ is seldom laid with any caution, but only by guess.

Having placed the _Pages_ in their right places, he again lays the _Chase_ about them, and _Locks_ them up again, as was shew’d in ¶ 7. of this Section: Then he carries the _Form_ to the _Press_, and lays it on the _Stone_ for a _Second Proof_, and sometimes for a _Third Proof_; which having _Corrected_, he at last brings the _Form_ to the _Press_, and again lays it on the _Stone_ Right, viz. in _Folio’s_ and _Octavo’s_ with the _Foot_ of the _First_ or _Third Page_ (which he easily knows by their _Signatures_) towards him, and the side of it next the _Plattin_: And in _Quarto’s_ and _Twelves_, with the _Foot_ of the _First_ or _Third Page_ next the _Tympan_.

After all this _Correcting_ a _Revise_ is made, and if any _Faults_ are found in any _Quarter_ of it, or in all the _Quarters_, he calls to the _Press-man_ to _Unlock_ that _Quarter_, or the whole _Form_, that he may _Correct_ those _Faults_: For when the _Form_ is on the _Press_ it is not the _Compositers_ task to _Un-lock_ the _Form_: Neither would a good _Press-man_ be content he should make a knocking on his _Press_, especially if the _Press-man_ have _Made-ready_ his _Form_, as shall be shewed in the next Section.

¶ 9. _Of_ Counting _or_ Casting off Copy.

_Counting_ or _Casting off Copy_ (for both Phrases are indifferently us’d) is to examine and find how much either of _Printed Copy_ will _Come-in_ into any intended number of _Sheets_ of a different _Body_ or _Measure_ from the _Copy_; or how much _Written Copy_ will make an intended number of _Sheets_ of any assigned _Body_ and _Measure_.

The Rule and Method of _Counting off_ either _Printed_ or _Written Copy_ is the same, only _Written Copy_ is more difficult, because subject to be irregularly Writ: Therefore if I shew you how the _Compositer Casts off Written Copy_, I do at the same time inform you how to _Count off Printed Copy_.

The _Compositer_ therefore first considers what _Bodied Letter_ his Work is to be wrought on: then he carefully peruses the _Copy_, considering with himself whether it be evenly Written or unevenly Written, _viz._ whether it be throughout of an equal siz’d Hand, or whether part be close Written and part wide Written; if it be an equal siz’d Hand, that is, equally close Written in general, as well between _Letter_ and _Letter_, _Word_ and _Word_, as between _Line_ and _Line_, he has scarce more trouble to _Count it off_ than _Printed Copy_.

Wherefore, the _Measure_ being given, he _Composes_ one _Line_ in his _Measure_: The _Matter_ he _Composes_ he chuses out of that part of his _Copy_ that in his Judgement he admits is most indifferently Written, between Wide and Close, as being such as his whole _Copy_, one part with another, will likeliest _Come-in_ alike with. This _Line_ being _Compos’d_, he considers how much of his _Copy_ it takes up, _viz._ whether it runs _Line_ for _Line_, or whether two _Lines_ of his _Copy_ make one _Line_ in his _Stick_; or whether a _Line_ and an half, or a quarter, or half quarter of his _Copy_, _&c._ make one _Line_ in his Stick; or whether a _Line_ of his _Copy_ make two _Lines_ in his _Stick_, or a _Line_ and a half, or a quarter, or half a quarter, _&c._ and accordingly calculates what just number of _Lines_ will make another just number of _Lines_ in his _Stick_. For Example.

If his _Copy_ and _Measure_ run _Line_ for _Line_, then consequently 10, 20, 30 _Lines_ of the _Copy_ will make 10, 20, 30 _Lines_ in the _Measure_; and accordingly he counts what number of _Lines_ in his _Copy_ will make a _Page_; and by that, what number of _Lines_ will make two _Pages_, four _Pages_, eight _Pages_, and consequently so many _Pages_ and _Sheets_ as he is to _Count off_.

If two _Lines_ of _Copy_ make one _Line_ in the _Stick_, then consequently ten _Lines_ in the _Copy_ will make five _Lines_ in the _Stick_; twenty _Lines_ in the _Copy_ ten _Lines_ in the Stick, _&c._

If a Line and a half of the _Copy_ make one _Line_ in the _Stick_, then fifteen _Lines_ of _Copy_ makes ten _Lines_ in the _Stick_, thirty makes twenty, _&c._

But a pair of _Compasses_ makes the best expedition in _Counting off of Copy_, and (by my experience) I have found the surest way. I _Compose_ one _Line_ as aforesaid; if the _Line_ I _Compos’d Gets-in_ part of the next _Line_, viz. the second _Line_ of the _Copy_, I place one Foot of a pair of _Compasses_ at the beginning of the _First Line_, and open the other Foot to what was _Got-in_ of the _Second Line_, and turn the _Compasses_ about upon the Foot in the Second _Line_, till the other Foot reach the _Third Line_ of the _Copy_; then turn about the Foot in the _Third Line_ of the _Copy_ till the other Foot falls in the _Fourth Line_ of the _Copy_; and so from the _Fourth_, to the _Fifth_, _Sixth_, _&c._ till the _Compasses_ end with a _Line_ in the _Copy_, or near the end of a _Line_, remembring as I go along, how oft I turn’d the _Compasses_ about. Suppose, for Example, seven times: Then I number the _Lines_ of _Copy_, beginning with the first _Line_ and ending with the last _Line_, that the Points of the _Compasses_ were turn’d over, and find them Eight, Nine, Ten, _&c._ and say Eight, Nine, Ten, _&c._ _Lines_ of the _Copy_, makes Seven _Lines_ of the _Measure_.

As now I have shew’d you how I _Count off Copy_ if it come in more than _Line_ for _Line_, so I shall shew you how I proceed if a Line in the _Copy Drive out_ in the _Measure_.

It is but placing one Foot of a pair of _Compasses_ at the farther end of the first _Line_, and opening the other Foot to the place where the _Compos’d Line_ ended, and by turning about the _Compasses_, as before, to the Second, Third, Fourth _Lines_, _&c._ till they end in the beginning of a _Line_ in the _Copy_; for then (as before) counting the number of _Lines_, beginning with the first, and ending with the last; Suppose Eight, Nine, Ten, _&c._ I say Eight, Nine, Ten, _&c._ _Lines_ of the _Copy_ makes so many _Lines_ as is the number of times the Feet of the _Compasses_ were turned about, between the first _Line_ and the last _Line_.

_Another way Arithmetically perform’d._

Suppose it be requir’d to know how many _Sheets_ 127 _Pages_ of _Written Copy_ will make? I count the number of _Letters_ contained in an ordinary _Written Line_ of _Copy_, such a _Line_ as I guess is likely to _Run_ _Line_ for _Line_ with the generality of the rest of the _Copy_: And (for Example) I find 43 _Letters_ in that _Line_: Then I count the number of _Lines_ in an whole _Page_, and find 35 _Lines_, I Multiply 43 by 35, the Product is 1505 for the number of _Letters_ in an whole _Page_: Then I multiply 1505 by 127, the number of _Pages_ in the whole _Written Copy_; the Product is 191135, the number of _Letters_ in the whole _Written Copy_.

If it be now required to know how many _Sheets_ in _Quarto_, of the _English Body_ this _Written Copy_ will make, agreeable to any _Measure_ already _Printed_? As for Example, the length of a _Page_ given is 33 _Lines_, and in one _Line_ is contained 47 _Letters_: I multiply 47, the number of _Letters_ in one _Line_, by 33, the number of _Lines_ in a _Page_, the Product is 1551. With this Product I divide 191135, the number of _Letters_ in the whole _Written Copy_, and the Product gives 123, that is, 123 _Pages_ in _Quarto_, which divided by 8, the number of _Pages_ in one _Sheet_, gives 15 _Sheets_ and 3 _Pages_.

If it be required to know how many _Sheets_ it will make of _Pica_ in an _Octavo_, or of _Long Primer_ or _Brevier_ in _Twelves_, _&c._ the manner of Working is the same: For Multiplying the number of _Letters_ in one _Line_ by the number of _Lines_ in one _Page_, and Deviding the number of _Letters_ in the whole Work (suppose, as in the foregoing Operation by 191135) by the number of _Letters_ in one _Page_, the Product gives the number of _Pages_ in the Quotient: And then at last Deviding the number of _Pages_ by 16 if an _Octavo_, or 24 if _Twelves_, _&c._ you have in the Quotient the number of _Sheets_, and in the Remain (if any be) the number of _Pages_.

These two last ways are the surest Rules for _Counting off Copy_: But yet the _Compositer_ has several Considerations upon his _Copy_ before he dares conclude he has truly and exactly _Counted off_.

For first, a strict regard must be had to the _Breaks_ that come in the _Copy_: For long _Breaks_ in the _Copy_ are generally likely to be _Got-in_, and consequently a _Line_ is _Got-in_: But short _Breaks_ often _Drive-out_ a _Line_. Therefore though the _Compositer_ has already in general _Cast off_ his _Copy_, yet he more particularly considers his _Breaks_; and indeed they serve as so many Regulators to him, to keep him within the bounds of his _Counted off Copy_: For every _Break_ he examines by the number of _Lines_ from the last _Break_, by the length of the _Break_, and by the close or wide Writing of his _Copy_, whether it will be _Got-in_ or _Drove-out_, and accordingly marks it in his _Copy_, before he reckons he has done _Counting off_.

A _Break_ to be _Got-in_ he marks thus [, and adjoyns in Numerical Figures, the number of _Lines_ the _Matter_ between the last _Break_ and it will make. A _Break_ to be _Drove-out_ he marks thus - - -, and (as aforesaid) adjoyns Numerical Figures to remember him what number of _Lines_ he accounted that _Matter_ to make from the last _Break_.

If _Chapters_, _Sections_ or _Paragraphs_ happens in the _Copy_, the _Compositer_ takes room enough to set them and their Titles gracefully in; and marks in Numerical Figures what number of _Lines_ he assigns for it.

If as he _Counts off_ his _Copy_ he finds _Abreviated Words_, he tells the _Abreviated Words_ to the full number of _Letters_ that spells the Word at length, because in _Composing_ he _Sets_ those Words at length: And should he not consider it in his _Counting off_, he would in _Composing_ find his _Matter Run out_ from his _Copy_.

Scarce any _Copy_ is so regularly Written (as hath several times before been hinted) but that some places are Wider, and other places Closer Written, than the generality of the _Copy_, wherefore he considers both these accidents in his _Copy_, and accordingly allows for them.

If it happens that much _Italick_ comes in the _Copy_, as sometimes two or three _Lines_, or more, or half a _Page_, an whole _Page_, or several _Pages_; the _Compositer_ considers _Italick_ is thinner than _Roman_, and consequently _Gets-in_ more than _Roman_ does, and therefore in his _Counting off_ will allow accordingly for it.

The proportion that I allow for it is as 9 to 10, or which is all one, as 45 _Roman Letters_ is to 50 _Italick Letters_: So that if a _Measure_ holds 45 _Roman Letters_, the same _Measure_ will hold 50 _Italick Letters_.

As _Italick_ is thinner than _Roman_, so the _English Face_ is thicker than the _Roman_; wherefore if he meets with the _English Face_, he considers that accordingly.

I find the proportion to be as 40 to 43, _viz._ 40 _English Faced Letters_ fill the same _Measure_ that 43 _Roman_ does; and consequently for every 40 _Lines_ to be _Set_ in _English_ he must _Count off_ 43 _Lines_; and so proportionaply for more or less.

But yet I shall not deliver these my Observations on the _Italick_ and _English_ to hold thus in all _Italicks_ and _Englishes_, nor all _Romans_ of the same _Body_ to be of an equal Thickness, because some are _Cut_ Thicker or Thinner on the _Face_: And besides, sometimes _Letter Cast_, though in the same _Matrices_, are by the _Founder Cast_ Thicker or Thinner, and consequently in either Circumstance _Drive-out_ or _Get-in_: Wherefore a _Compositer_ will consider what _Fount_ of _Letter_ it is he Works on, and accordingly _Count off_ his _Copy_.

¶ 10. _Of_ Papering up _of_ Pages.

_Papering up_ of _Pages_, or _Papering_ up of _Letter_, are two phrases indifferently used for the same meaning. Though this Operation seems so sleight and trivial that it may be thought not worth mentioning, yet it being a task incumbent on the _Compositer_, it becomes mine too to shew how it is performed.

It is thus: When a _Book_ is finisht, and the _Compositer_ is to _Work_ on other _Letter_ afterwards; the _Wrought off Letter_ is to be _Papered up_. The _Press-man_ therefore having _Washt_ the _Wrought-off Forms_, the _Compositer Rinces_ them, as was shewed in Section 22. ¶ 3. He _Rinces_ the _Letter_ as well as if it were _Rinced_ for present use, or rather better: for else the _Inck_ that is desolved among the _Ly_ would, with long standing by, harden between the _Letter_, and make the _Letter_ stick so fast together that when it comes afterwards to be _Destributed_, the _Compositer_ shall not without great difficulty and trouble get them asunder. This sticking together of the _Letter_ is call’d _Baking_ of the _Letter_. And _Compositers_ in this Case say, _The Letter is Bak’d_.

The _Compositer_ having _Stript_ the _Form_, whips _Cords_ as tight as he can about every _Page_, not to _Tye_ them up for good and all, but aswell to keep up the _Letter_ on the sides of the _Pages_ that it fall not down, while it stands by for some dayes on the _Letter-board_ to _Dry_, as to keep the _Letter_ tight together that he may the better with his Hands take an whole _Page_ at once off the _Letter-board_.

When it is _Dry_, if the _Pages_ are not too broad for his Grasp, he places his Body against a side of the _Pages_, and the Balls of his two Thumbs against the side of a _Page_, one indifferently between the middle and _Head_ of the _Page_, and the other between the middle and _Foot_ of the _Page_, and with the three Fore-fingers of each Hand placed on the other side of the _Page_, grasps the _Page_ between them and his Thumbs; and to keep his Hands the steddier, stretches the insides of his Little-fingers one against the _Head_ the other against the _Foot_ of the _Page_: And having the _Page_ thus Steddy between his Hands close prest on all the sides of the _Page_, he with a quick motion nimbly rears one side of the _Page_ upright, and receives the weight of it either on the Balls of his Thumbs or on the Balls of his Fingers, as best likes him; and so carries it to his _Galley_ and _Tyes_ it firmly up; as was shewed ¶ 6. of this Section.

As he took and _Tyed_ up this one _Page_, so he takes and Tyes up all the _Pages_. But if a _Page_ be too big for his Grasp, he underlays the _Slice_ of a _Galley_ till it lye within a Scaboard so high as the edge of the _Letter-board_, and getting some one to hold the _Slice_ steddy against the edge of the _Letter-board_ he slides the _Page_, with the _Head_ or _Foot_ forwards upon the _Slice_, and so carries the _Page_ to the _Galley_ and _Tyes_ it up, as aforesaid.

He sends the Boy to the Warehouse-keeper for so much Paper as he finds he shall want; and if the _Pages_ are small, he layes a single Sheet down on the _Correcting-Stone_ or on a _Letter-board_, and sets a _Page_ down on that Sheet of Paper, so as the farther Side of the _Page_ may stand towards one end of the Sheet; and so far on the Sheet, as that the end of it may lap over the _Face_ of the _Letter_, and about half way down the _Shank_ of the _Letter_, on the hither side the _Page_: And smoothing the Paper tight over the _Face_ of the _Letter_, and half way down the _Shank_ on the hither Side, and quite down the _Shank_ at the _Head_ and _Foot_ of the _Page_, he folds the loose Paper that hangs over the ends of the _Page_, from each corner of the _Page_, to end in an Angle in the middle of the loose Paper, and then folds the other end of the Sheet of Paper tight over the Paper that covers the _Face_ of the _Letter_; and also folds the loose Paper at the ends of the _Page_ down into Angles, as he did the former loose ends: Then rearing his _Page_ over the further side, lays the _Face_ downwards, still smoothing the Paper tight, and folding in the un-folded corners, to meet in the same Angles with the former folded Angles in the middle of the loose Paper: And thus so long as he has Paper to spare he turns his _Page_, wrapping it at least twice, or if he can thrice about in Paper, folding and doubling down the Loose Paper into Angles as before: And at last turns up those Angles or Lappets either over the _Face_ or Bottom of the _Letter_, and turns the _Page_ upon those folded Lappets, that its weight may press and keep them close under the _Page_.

If the Pages are large, so as one _Sheet_ will not compass them twice or thrice about, to be strong enough to bear the _Letter_, which generally sinks downwards into the middle of a _Page_, he lays two, or sometimes three Sheets under the _Page_: And as he wrapt up the first Lay of Sheets, adds more to lengthen them out, that they may wrap at least three or four times about the great _Page_.

Having thus _Paper’d up_ the _Pages_, and folded the Lappets under them, he writes upon the upper side what _Letter_ it is, _viz._ _Long-Primer Roman_, _Long-Primer Italick_, _Pica Roman_, _Pica Italick_, _Pica English_, _English Roman_, _Italick_, _&c._ and sets them by for the _Master-Printer_ to dispose of.

§. 23. _Of the_ Correcter, _and his Office_.

A _Correcter_ should (besides the _English_ Tongue) be well skilled in Languages, especially in those that are used to be Printed with us, _viz._ the _Latin_, _Greek_, _Hebrew_, _Syriack_, _Caldæ_, _French_, _Spanish_, _Italian_, _High Dutch_, _Saxon_, _Low Dutch_, _Welch_, _&c._ neither ought my innumerating only these be a stint to his skill in the number of them, for many times several other Languages may happen to be Printed, of which the Author has perhaps no more skill than the bare knowledge of the Words and their Pronunciations, so that the Orthography (if the _Correcter_ have no knowledge of the Language) may not only be false to its Native Pronunciation, but the Words altered into other Words by a little wrong Spelling, and consequently the Sense made ridiculous, the purpose of it controvertible, and the meaning of the Author irretrievably lost to all that shall read it in After times.

He ought to be very knowing in Derivations and Etymologies of Words, very sagacious in _Pointing_, skilful in the _Compositers_ whole Task and Obligation, and endowed with a quick Eye to espy the smallest _Fault_.

But I shall say no more of his Qualifications; but suppose him endowed with all necessary accomplishments for that Office.

The _Compositer_ either carries him a _Proof_, or sends the Boy with it to his Appartment, which is commonly some little Closet adjoyning to the _Composing-room_; And the _Master-Printer_ appoints him some one that is well skill’d in true and quick Reading, to Read the _Copy_ to him, whom I shall call the _Reader_.

This _Reader_, as I said, Reads the _Copy_ to him, and the _Correcter_ gives attention; and at the same time carefully and vigilantly examines the _Proof_, and considers the _Pointing_, _Italicking_, _Capitalling_, or any error that may through mistake, or want of Judgement be committed by the _Compositer_.

If he finds one _Letter Set_ instead of another, as in this Word tho for the, he dashes out the wrong _Letter_ thus thø, and Writes the _Letter_ e/ it should be on the Right Hand _Margin_ of the _Page_, right against the same _Line_, and makes a Dash behind it, as you may see in the _Margin_.

If two or three, or more Words in the same _Line_ have _Faults_ in them, as in these Words, [Illustration]; where first a/ c/ r/ o/ an o is _Set_ instead of a, e instead of c, t instead of r, and c instead of o: These he marks in an orderly succession towards the Right Hand, against the same _Line_, as you may see in the _Margin_.

But if one word be _Set_ instead of another, as Scoff instead of Smile, here he marks Scoff out thus [Illustration], and writes Smile / Smile, as in the _Margin_.

If a _Word_ or _Words_, or _Letter_, or _Point_ be _Left out_ he makes this mark ʌ where it is _Left out_ for a mark of Insertion, and Writes in the _Margin_ what must come in.

If a _Space_ be _Left out_ he makes the former mark of Insertion where it should come in, and makes this mark [Illustration] in the Margin. [Illustration]/

If a whole Sentence be _Left out_, too long to be Writ in the _Margin_, he makes the mark of _Insertion_ where it is _Left out_, and only Writes (Out) in the _Margin_. If (Out) the Sentence _Left out_ be not very long, he Writes it under the _Page_, or on the Left Hand _Margin_ of the _Page_: But if it be too large to be Writ in the _Margin_, or under the _Page_, he Writes in the _Margin_, See the Copy. (See the Copy)

If a Word or Sentence be _Set_ twice, as Him Him, he marks out one Him thus [Illustration], and makes this mark [Illustration] in the _Margin_, [Illustration] / for _Deleo_,to take out.

If a _Letter_ be turned thus [Illustration], he [Illustration] / dashes it out as you see, and makes this mark in the _Margin_.

If Words are _Transposed_, that is, if one Word stand in another Words place, as, no I love Swearing, and it should be, I love no Swearing; he marks this _Fault_ thus, [Illustration], and makes this mark [Illustration] in the _Margin_. [Illustration] / The like mark he makes in _Matter_ and _Margin_ if two _Letters_ are _Transpos’d_.

If a _Space_ or an m or n _Quadrat_, _&c._ stick up, and _Print Black_, as between these[Illustration]words, he marks in the _Margin_ thus. |

If a _Word_ be _Set_ in _Roman Letter_ instead of _Italick_ or _English Letter_, he dashes the Word underneath ~thus~, and Writes _Ital._ or _Eng._ in the _Margin_. Ital/ Eng/

In like manner, if a single _Let-_ or more _Letters_ be Set in _Roman Letter_, and it should be _Italick_ or _English Letter_; or if in _English_ or _Italick_, and it should be _Roman Letter_, he dashes the _Letter_ or _Letters_ ~thus~ underneath, and writes _Ital._ Ital/ Rom/ Eng/ _Rom._ or _Eng._ in the _Margin_: Or if _Lower-Case Letters_ be _Set_ instead of _Capitals_, he dashes them underneath, and Writes _Capt._ in the _Margin_. Capt./

Having Read the _Matter_ of the _Proof_ he examines again if the _Form_ be right _Impos’d_, for though he before turn’d the _Pages_ in the _Proof_ as he read them according to their orderly places, yet he will scarce trust to that alone, but again examines them on purpose, and distinctly, which he does not only by the _Direction Word_, but by examining the whole Sentence the _Direction_ comes in, both at the end of the _Page_, and the beginning of the next _Page_.

He examines that all the _Signatures_ are right, and all the _Titles_ and _Folio’s_.

If the Work be large _Forms_ and small _Letter_, he has a second, and sometimes a third _Proof_, which he Reads as the first.

After the Second or Third _Proof_ he has a _Revise_, which is also a _Proof-sheet_: He examines in this _Revise_, _Fault_ by _Fault_, if all the _Faults_ he markt in the last _Proof_ were carefully mended by the _Compositer_; if not, he marks them in the _Revise_.

Thus you see it behoves him to be very careful as well as skilful; and indeed it is his own interest to be both: For if by his neglect an _Heap_ be spoiled, he is obliged to make Reparation.

Advertisement to AUTHORS.

_Although I have in the precedent_ Exercises _shew’d the Accomplishments of a good_ Compositer, _yet will not a curious Author trust either to his Care or Abilities in_ Pointing, Italicking, Capitalling, Breaking, &c. _Therefore it behoves an Author to examine his_ Copy _very well e’re he deliver it to the_ Printer, _and to Point it, and mark it so as the_ Compositer _may know what Words to_ Set _in_ Italick, English, Capitals, &c.

_For his_ Italick _Words he draws a line under them ~thus~: For_ English _Words he draws two lines under them ~thus~; and for_ Capitals _a line of Pricks ~thus~, or else draws a line with Red Inck_.

_If his_ Copy, _or any part of it, be Written in any Foreign Language, he is strictly to spell that Foreign Language right: Because the_ Compositer, _as I said in the Preface to this_ [Illustration], _takes no notice of any thing therein but the very_ Letters, Points _and_ Characters _he finds in his_ Copy.

_If an Author have not (through haste in Writing) made_ Breaks _in proper places; when he comes to peruse his_ Copy _he may find cause to make several_ Breaks _where he made none: In such a case he makes a_ Crotchet [ _thus, at the Word he would have begin his new Paragraph_.

_Thus in all particulars he takes care to deliver his_ Copy _perfect: For then he may expect to have his Book perfectly Printed. For by no means he ought to hope to mend it in the_ Proof, _the_ Compositer _not being obliged to it: And it cannot reasonably be expected he should be so good Natured to take so much pains to mend such Alterations as the second Dictates of an Author may make, unless he be very well paid for it over and above what he agreed for with the_ Master-Printer.

* * * * *

The next _Exercises_ (God willing) shall be the _Press-mans_ Trade, The Office of the _Ware-house-keeper_, The _Customs_ of the _Chapel_, And a _Dictionary_ to explain the hard Words and Phrases used in the whole Practice of _Typography_: Which will be the Conclusion of this Second Volume.

_ADVERTISEMENT._

There is now coming forth a small Book, intituled _Enneades Arithmeticæ_; the Numbring Nines, or _Pythagoras_ his Table, extended to all Whole Numbers under 10000. And the Numbring Rods of the Right Honourable _John_ Lord _Nepeer_, enlarged with 9999 Fixt Columns or Rods, of Single, Double, Triple and Quadruple Figures, and with a new sort of Double and Movable Rods, for the much more sure, plain and easie performance of Multiplication, Division, and Extraction of Roots. The whole being very useful for most Persons, of whatsoever Calling and Employment, in all Arts and Sciences: All having frequent Occasions of Accompts, Numbring, Measuring, Surveying, Gauging, Weighing, Demonstrating, _&c._ The Divine Wisdom having from the Beginning _Disposed all things in Measure, Number and Weight_, Sap. 11. 21.

Printed for _Joseph Moxon_, at the Sign of _Atlas_ in _Ludgate-street_. Where also these Numbring Rods, (commonly call’d _Napier’s_ Bones) are made and sold.

The Press-mans Trade.