University of California Berkeley THE PRINTERS' UNIVERSAL BOOK OF REFERENCE AND tierg^our Dffice Companion. AN ADDENDUM TO "THE PRINTERS', ETC., BUSINESS GUIDE." EDITED BY WILLIAM FINCH CRISP. The information includes many essentials not generally known, connected with the Composing and Machine Rooms, Warehouse, Bookbinding, Engraving, and Ruling Departments ; Thousands of Reference Notes, and much Practical and Theoretical Advice. J. H ADDON & CO., 3, BOUVERIE STREET, FLEET STREET, E.G. GREAT YARMOUTH W. F. CRISP, 30, CROWN ROAB. LONDON : HADDON AND CO., PRINTERS BOUVERIE STREET, FLEET STREET. PREFACE. *T*HE Publishers, in presenting this compilation to the trade as a companion to the "PRINTERS', STATIONERS', LITHOGRAPHERS', ENGRAVERS', and BOOKBINDERS' BUSINESS GUIDE," which popular work, from its first issue in 1864 to the fifth edition 0/14.0 pages, has won golden opinions from 'the press and printers generally in various parts of the world would observe, that there is no profession or calling that requires such a large scope of intelligence as printing ; and for an operator in this art to possess TOO MUCH KNOWLEDGE of his business and its requirements to properly carry on a lucrative commercial trade is next to impossible, as the necessities of every -day life are incalculable. "A little learning is a dangerous thing," says an old axiom / but to know as much as the mind is capable of retaining of the trade in which one is engaged, or to possess the aids and adjuncts to its acquisition in the shape of a Reference Book, must prove of invaluable service. Bearing in mind, as we do, that "Knowledge is Power," and " Time' is Gold" we have set down in as concise a form as practicable in the annexed pages what we prognosticate will prove of the greatest use to both employer and employe ; and we feel sure that but for some one like ourselves to venture in the ticklish specu- lation of ' ' book making " for the trade which we have the honour of representing, many "good things of the past" would sink into oblivion ; and we doubt not the reader will gratefully accept the productions of our humble efforts in the information here presented him, culled from (he most authentic and reliable sources, including A 2 IV PREFACE. WOODS' TYPOGRAPHIC ADVERTISER (an excellent trade magazine long since discontinued], TEMPERLEY'S PRINTERS' MANUAL, PRESS NEWS, PAPER AND PRINTING TRADES JOURNAL, and a number of other authorities, equally authenticated ; and our best thanks are not only due to their representatives, but to the editors of ALL the English Trade Journals, as well as to private auspices, for their kindness and courtesy in eulogizing our former publications, especially the "Printers'* Business Guide," the literary notices of which we deem it expedient to here publish a few condensed extracts. THE BOOKSELLER of June, 1873, says " The fourth edition of the 1 Printers' 1 Guide ' is a very useful little publication, capable from the very nature of the information conveyed of being continually improved." THE STATIONER of July, 1873, speaking of the same edition, remarked " As a Book of Reference, it should be at the fingers' ends of all persons engaged in the trade" In November, 1868, the same excellent monthly journal said, " The ' Gtiide"* contains much useful information, and the general price lists are elaborate and have evidently been carefully prepared;" and the next edition of 1869, they eulogized as being "well adapted to the requirements of the practical man" " We feel justified," says the PRINTERS' JOURNAL of November 2nd, 1868, "in commending it to all those of our readers who may be in business for themselves or in positions of trust for others." And the NEWSPAPER PRESS the same month remarked, that the book "contains so much information that it ought to find a place in every printing office" THE PAPER AND PRINTING TRADES JOURNAL, June, 1873, gave nearly a column as a literary notice, in which was said ' ' This Is a work which we can conscientiously recommend to all engaged in any of the trades we represent. Few can read it without gaining some little ' wrinkle ' or useful information. We recommend our readers to carefully read and digest the very sensible and ably-written intro- PREFACE. V duction of the author" The following abbreviated extract was also published in the issue of September, 1874 : " We have before recommended this book to the trade, and we do so now, with the greatest confidence that all who procure and peruse it will be glad that they have done so. Whatever subject Mr. CRISP writes on he always, seems anxious that his readers should have as great a grasp of it as himself. . . . What in his remarks may seem, and is, superfluous to one, is very necessary to another." [This latter observation is equally applicable to the contents of this Reference Book.] "That the work is appreciated is proved by the fact of its having reached a fifth edition, and we have little doubt but that we shall shortly be called upon to notice the sixth" THE PRINTERS' REGISTER of November, 1868, says "It is useful to refer to, and as a check upon the proper prices to charge for special work ;" and again, on September 6th, 1869, the REGISTER pronounced the third edition as "a decided improvement on previous ventures, and we advise our friends to possess themselves of a copy" THE PRESS NEWS of November, 1868, remarked " It is a most useful handbook for printers, and we should imagine it will find a place for itself in almost every printing office in the kingdom ; " the same ' ' little favourite " also commented in complimentary terms on the third, fourth, and fifth editions. THE SCOTTISH TYPOGRAPHICAL CIRCULAR, in November, 1868, says ''The author of this compact little work has braced himself to his task as one who loves his work, and he must look for a remunerative list of subscribers" "As this unpretentious little work has run into a fourth edition, that fact alone speaks well for it, and we (THE SHIPPERS' MONTHLY CIRCULAR AND PRICES CURRENT, May, 1873) can honestly recom- mend those in the trade who have not yet obtained a copy to purchase, and they will not regret the small outlay" IRON, THE GREENWICH AND DEPTFORD CHRONICLE, LUTON VI PREFACE. ADVERTISER, three Yarmouth Journals, &c., also published flattering comments. The issuing of this Reference Book is like the commencement of a new era in our lives, and we respectfully ask the renewed co-operation of our friends at home and abroad to tirge this venture to as successful an issue as the last, and nothing shall be wanting on our part to make the work doubly useful and instructive in our next edition. While wavering between two opinions as to whether this work would be appreciated or not, we had one very gratifying hope held out to us by a paragraph in a well-known serial, which read as follows : "The table of contents of the "PRINTERS' UNIVERSAL BOOK OF REFERENCE" is exceedingly full and comprehensive, and if the book is carefully carried through the press, which we are assured will be the case, we have little doubt of its meeting with PERMANENT success. There is certainly room for a work of the kind, and Mr. CRISP has already proved his capability in catering for the trade. We wish the energetic author every success with his new venture" MARCH, 1875. CONTENTS. THE COMPOSING ROOM Advice to Printers 9 A Fount of Letter 32 Bookwork Signatures 35 Companionships 24 Composing n and 15 Compositors' Wages Table. . 30 Depth of Type 31 Names of Sizes of Books ... 34 Proficiency in Job Printing 16 Proof Reading 22 Schemes of Imposition 34 Terms relating to Books ... 33 Uses of Italic Characters... 32 Wear and Tear of Type ... 19 THE PAPER ROOM Calculating Paper Table ... 37 Collating for Binding 43 Cost of Paper 39 Dimensions of Paper 40 Weights of Paper 38 Folding Paper 41 Warehouseman's Business ... 36 Wetting Paper 41 I-AGE PRESS AND MACHINE ROOMS Bringing Up Wood-cuts at Press 56 Care of Machinery 64 Embossing at Letterpress ... 62 Hints to "Artists" at Machine 68 Making Ready a Forme ... 49 Portrait Printing 70 Printing Bookwork 54 Putting Up Presses 47 Rollers, Composition 72 Rolling and Pulling Formes 51 Type Printing Machinery ... 44 RECIPES, &c. Bronzing and Varnishing ... 89 Casting Leads 84 Colouring Edges of Books 93 Gumming & Cutting Labels 91 Printing in Gold 86 Separating Hard Type 83 Softening Hard Ink 83 Wash for Formes 81 Wood Letter, To Clean ... 82 Vlll CONTENTS. ENGRAVING Copperplate Engraving ... 97 Engraving, Instantaneous... 98 Graphotype, The 104 Wood Engraving 95 Zincography .. 109 MACHINE RULING Blind Lines and Breakages, 114 Blue Ink on Sized Paper ... 115 Double Stop Work 112 Machine, Preparing the ... no Pens and Ink Used, &c. ... in Rule for Mixing Inks 113 PAGES OF REFERENCE Abbreviations, c 126 Accents and Signs, &c 1 20 Chronological Table 143 Double Consonants 123 Hebrew and Greek Alpha- bets 116 Oriental and other Types ... 117 Prefixes 125 Rules in Orthography 1 22 Trade Journals 147 ADVERTISEMENTS. iritxte' 00k THE rise and progress of Printing and its accessories, from the days of Caxton down to the present time, is a subject which infinite thought and unwearied research could alone elucidate, and then but imperfectly. To attempt to give a full detail of every office-requirement would be almost as absurd as trying to do what ^Esop is fabled to have done " tie the winds up in a portable bag," and " empty the sea with a ladle." Our desire, in a few short introductory remarks, is to proffer advice to the man searching for knowledge under difficulties, and to conduce to his becoming, by habits of industry, perseverance, and affability, the " architect of his own fortune." A sacred regard to the principles of equity and justice forms the basis of every transaction, and regulates the upright man of business. He is strict in keeping his promises and engagements; does nothing carelessly, and keeps every- thing in its proper place; leaves nothing undone that can and ought to be accomplished; keeps his designs and business from the view of others ; is prompt and decisive with his customers, and does not over-trade his capital ; thinks seriously of the advice of Poor Richard " A penny saved, is a penny earned ;" prefers short credits to long ones, and cash to credit at all times, either in buying or selling, and small profits in credit cases with little risk, to the chance of better gains with more hazard; he is clear and explicit in all his bargains, leaving nothing of consequence to memory which he can and ought to commit to writing ; keeps copies of all his important letters B io PRINTERS' UNIVERSAL REFERENCE BOOK : which he dispatches, and has every bill, letter, invoice, &c., belonging to his business, titled, classed, and put away; never suffers his desk to be confused by many papers lying upon it ; is always at the head of his business when he has not a confidential deputy, well knowing that if he leaves it, it will probably leave him ; holds it as a maxim that he whose credit is suspected is not one to be trusted ; is constantly examining his books, and sees through all his affairs as far as care and attention will enable him; balances regularly at stated times, and then makes out and transmits all his accounts current to his customers ; avoids as much as possible all sorts of accommodation in money matters and lawsuits where there is the least hazard ; keeps a pocket-book in which he notes every particular relative to appointments, addresses, and petty matters ; is cautious how to become security for any person ; and is generous when urged by motives of humanity. Let a man act strictly to these habits, as when once begun they will be easy to continue in ever remembering that he hath no profits by his pains whom Providence doth not prosper and success will attend his efforts, and the pleasures taken in business will become a recreation. To a man just com- mencing business it is essentially requisite for him to possess a general knowledge of the price and quality of materials, in order that he may not be imposed upon. Some beginners prefer to purchase at sales; but if they are not well-versed in this kind of competitive specula- tion, we advise them to take a person with them who is acquainted with the price and quality of materials. But if, on the contrary, a novice wishes to buy everything new, let him first obtain specimen books from the principal type-founders for his choice of type, and by paying ready- money he will obtain a fair discount, which is a desider- atum. Be particular in agreeing that the whole be sent by a fixed date; giving strict instructions that they do not EVERY-HOUR OFFICE COMPANION. II transmit more than you have ordered, as only an additional 5 Ibs. or 10 Ibs. to each fount will perhaps lead to embarrass- ment; and should it be found, as is sometimes the case when type is "laid," that some of the sorts fall short in proportion to the others supplied, additional types can be had by a fresh order. If you ask credit, always have the term of credit specified in writing, as wholesale houses are somewhat dubious of new beginners, and if they think you are not doing well after a short trial, are liable to pounce upon you immediately in order to secure them- selves, though a long term of "accommodation" may have been verbally agreed for. With respect to purchasing new machines, presses, &c., always have an agreement in writing, that if not approved of at the expiration of a term say six months they shall be taken back on condi- tions as agreed ; and the same with respect to all joiners 7 materials, as they are occasionally made of green wood, and after a few months are not worth house-room. Be not too eager in obtaining an extensive business at once, as it is so difficult to obtain payment, even of those who are in a good position in life. If you agree to do work at a contract price, be particular in having a fixed date for settlement, and that interest of 5 or 10 per cent, be paid on all over-due accounts. Having said thus much, we will now proceed to give our cento of practical and theoretical information, which we feel sure will be found serviceable, and if so, one, not the least, of our sublunary hopes will be realised. We will begin with THE COMPOSING EOOM. COMPOSING Is a term which includes several exercises of the mind as well as of the body ; for when a man is said to compose he is at the same time engaged in reading and spelling what he is composing ; and it is, therefore, essentially necessary B 2 12 PRINTERS' UNIVERSAL REFERENCE BOOK: that he should not only possess a competent knowledge of orthography and punctuation, but of reading the various hand-writings that may be given him from time to time to " set-up " from as copy. It is almost needless to say that there is no general lay of cases ; but that the arrangement of sorts not included in the lower-case alphabet partially differ in most offices, which is much to be regretted. As clean distribution produces clean composition, which not only saves time at the stone, but acquires the compositors a respectable name, workmen cannot be too attentive to that part of their business ; and a material point before distri- buting is the well laying-up of the type. When the copy of a work is put into the hands of a compositor, he should receive directions respecting the width and length of the page; whether it is to be leaded, and whether any par- ticular method is to be followed in the punctuation and in the adoption of capitals. These instructions being given, the compositor will make his measure to the number of pica ems directed, he then fits a setting rule to the measure, and his case being supplied with letter, he is prepared for composing. If the copy he has been furnished with be a reprint, he will observe whether there be any difference between the type he is about to use and his copy, that the spacing may not be affected, against which he must take the necessary precautions at the time by widening or lessening the measure, if solid matter, or driving out or getting in each paragraph, if leaded. He should select a close-spaced line from the copy, which will at once prove if there be any variation. It is necessary to observe that all measures are made to pica ems, though the work may be printed in a different size type; and that all leads, &c., are cast to those ems, which standard being abided by, leads can always be had for any size page, without the expense of casting, or the trouble of cutting. Many com- positors use an article called a jigger, which by the simple EVERY-HOUR OFFICE COMPANION. 1 3 contrivance of a slip of lead, a cord, and a counterbalancing weight, serves for the purpose of marking the exact part of the copy, and is removed every few lines. The display- ing of titles with neatness is one of the greatest efforts oi the compositor ; they require not only fancy and ingenuity, but great taste; no fixed rules, however, can.be laid down for this purpose; all must depend upon observation and practice. Smith's opinions upon title-pages being so appo- site, we submit them to the reader. He says : "For as to the title, it is a summary relation of the mean subject on which the work is founded ; and though it consists but of one single page, yet to display its several members in such a manner that the whole may appear of an agreeable proportion and symmetry, is counted a masterly perform- ance. And though setting of titles is generally governed by fancy, yet does it not follow that the excursions of every fancy should be tolerated, else too many titles would be taken to belong to chapmen's books. It is therefore proper that titles should have the revisal of one that is allowed to have a good judgment in gracing one. But to change and alter a title to the mere fancy of pretenders, is the ready way to spoil it. When, therefore, we go about a title, we consider as well the quantity as quality of our matter, that we may set out accordingly, and either branch our matter out to the best advantage, or else crowd it together by way of summaries ; but which can not produce a handsome title. But where the matter for a title is so contrived that it may be divided, now into emphatical lines, and then into short summary articles, it is a compositor's fault if his title makes no proper appearance." The title, preface, &c., of a volume are sometimes left till the body of the work is finished, as many circumstances may alter the author's original preface, date, &c., or the work may con- clude in such a manner as to admit of their being brought in at the end, in a complete sheet or half-sheet, which 14 PRINTERS UNIVERSAL REFERENCE BOOK : saves both paper and press-work. For this reason it is then customary to begin the first sheet of a work with the sig- nature B, leaving A for the title sheet. Signatures are gene- rally set in small capitals ; and where they run through the alphabet, the best method is to begin the second alphabet with 2 A, 2 B, and so on. The signature should be placed on the right hand corner of the page, and the number of the volume on the left. To a sheet of octavo, two signa- tures are all that are necessary, which are placed to the first and third pages ; to a sheet of twelves, three signa- tures, which are placed to the first, third, and ninth pages, in the following manner : B, B 2, 63. When running titles are used, they are generally put in the small capitals of the same body as the work. A full line, as a running title, has a clumsy appearance, and should be avoided, if pos- sible. The last line of a paragraph should not, on any account, begin a page. To obviate which, the compositor may make his page either a line short or long, as most convenient, taking care that the page which backs it corre- sponds, so that it may not have the appearance of differing from its proper length. The pressman cannot make the lines register if the compositor is not careful in making up his matter. When the volume is completed, the considera- tion is what number of pages is left for the last sheet or half- sheet of the work; then what number of pages the title, preface, contents, &c., will make, and whether they can be imposed so as to save paper and press-work. The preface may be driven out or got in ; or if matter is wanted, a bastard or half-title may be set. The title, dedication, preface, introduction, &c., form what is called the title sheet, viz., signature A, which makes the booksellers' alpha- bet (consisting of twenty-three letters) complete, provided that the body of the work begins with B. The method of tying up a page is done with a piece of fine cord, turned four or five times round it, and fastened at the right hand EVERY-HOUR OFFICE COMPANION. 15 corner, by thrusting a noose of it between the several turn- ings and the matter with the setting rule, and drawing it perfectly tight, taking care during the whole time to keep the fore-finger of the left hand firm on the corner, to pre- vent the page from being drawn aside when the cord is strained. Care should be taken to see if the turns of cord lie about the middle of the shank of the letter; if they lie too high, as is generally the case, he thrusts them lower. COMPOSING CLEANLY AND QUICKLY. Ax this time, when so many improvements are taking place, it is painful to observe that some compositors of the modern school are anything but good workmen, and not a few, even when fully employed on " piece-work," are unable to earn as much as comps. used to do thirty or forty years ago. Some men attain habits which are great drawbacks to their own financial interest, and which once acquired are not easily broken off, such as "playing a tune " on the setting rule, or flinging themselves about in divers attitudes; but all such false movements cause con- siderable fatigue, and if taken in time may be obviated by standing upright not with one foot on the frame, as some of our juveniles are wont to do, holding the composing- stick easy in the left hand, with the thumb on the rule, and following the right, which should always pick up the letter that presents itself to the eye with the face next the finger and the nicks upward, dropping it into the stick at once in the most easy manner, at the same time catching it with the left thumb. While the compositor is spacing out each line he should always run his eye along it, and correct the errors (if any) he may observe, as this may be done in a quarter of the time it takes to correct the matter when on galleys, or dropped on the imposing-surface. A line of 1 6 PRINTERS' UNIVERSAL REFERENCE BOOK: the copy, or several words at least, should be observed at one view, as much time may be saved by referring to the copy as seldom as needful, or as the memory will allow. PROFICIENCY IN JOB PRINTING. THE following excellent practical article on Proficiency in Job Printing is from the American Newspaper Reporter \ " To become a thorough good Jobbing Compositor, the first requisite is a more than ordinary love of the profession. It is not enough to become a rapid type-setter and dis- tributor. So far as this goes, it is well enough to be able to distribute a case of letter cleanly and rapidly, and fill a galley at the rate of twelve hundred an hour ; but as this is only a branch of the business, general jobbing, rule and figure work, music, and the ornamental branches, must not be overlooked. How few there are who are not perfectly satisfied with being considered ' whips' at the case ! Our purpose, therefore, is to wake up all such to a sense of their mistake, and to a practical knowledge of their whole business, so that they may be able to take that high position which is their privilege; but like any other subject which calls for brains, it will be difficult to lay down a set of rules by tfhe observance of which the youthful Printer can become an expert. Our plan must therefore be suggestive ; and we have strong hopes that some of our hints will be understood and acted upon, and that some little good will be the result of our effort. " The ' crack' Job Printer is, in the truest sense, an artist; and not every lad, no matter what his instruction, is capable of becoming such though all of them can become measurably useful in the job office. Every good job compositor makes it a special point to keep before his mind's eye the entire variety of the job letter at his EVERY-HOUR OFFICE COMPANION. IJ disposal. When the copy of a job is handed him, he carefully studies it in connection with his assortment of job letter, and mentally sets it up before he actually sets a line. This is a most important habit to contract. By-and-by it becomes a second nature, and the expert workman seldom deviates a line from the plan mentally settled on, to the manifest saving of valuable time, and the perfection of neatness in the 'get up' of the job. "Jobs are multifarious, and the same principles of display will not apply in all cases. The practically educated mind must take in the different or modified principles as they come up, and it is just here that the artist Job Printer displays his genius and shows the master-mind. Such a man can take the same job and set it up in half a dozen styles, each distinct from the other, yet all of them beautiful; but the most beautiful, in the writer's opinion, are those styles which display the greatest simplicity, which opinion he desires to im- press particularly on the minds of the young reader. "Again, what is practical good taste and sound judg- ment in a double-demy poster, will not answer at all in a small fine job, though both are liberally supplied with display lines; yet, in one particular the heading the same principle does apply. The heading must, in both cases, be prominent in proportion to the size of job and style of display throughout ; but, while in the poster the minor display should all be full lines and without much variety in weight or style, the small fine job will admit of great variety both in styles of type, length of lines, and sizes of material. " Cards afford an endless variety for the display of taste and difference of style from light to heavy, and from one style of type to every style. Of late years, what is termed by type-founders ' rim shades,' have been got up in 1 8 PRINTERS' UNIVERSAL REFERENCE BOOK: numerous forms, and of almost every size. With these rim shades, quite a pretty card is produced after the copper-plate style, which appears to give great satisfaction to customers ; but we confess to a preference for tasteful tints and simple lines. Frequently the customer interferes, to the destruction of good taste going in for the heavy ; but even here the want of judgment of the man * wot pays ' may in great part be remedied. The leading line in any job must be a ' shoulder' line, and looks better preceded by a shorter one. What painters call ' light and shade' applies to all jobs ; that is, in cards particu- larly, care must be taken to introduce small catch-lines, and that the display shall contrast strongly in size of type and length of lines. The expert workman is ' master of the situation' almost intuitively, rushing up his card almost without an effort. The boy looks on and wonders ; but he must not be discouraged because he miscalculates his line, and is necessitated to try it over several times before being suited. Patient study and patient effort is as necessary with him as with the youthful painter in the studio of the master; and an odd question, respectfully addressed to the acknowledged best job-hand of the office, will frequently procure him a serviceable hint in the right time and place, if the man has a kindly disposition. "The circular, also, simple though it is, is eminently capable of calling forth the cultivated taste of the jobber even if entirely plain in its composition. The difference between that got up by the artist and the tyro is really astonishing. The beautiful scripts of the present day afford the jobber great advantages, being so constructed as to enable him to introduce the brass rule close by the body of the letter to emphasise particular words, as by the stroke of a pen. This style of display in a script circular we much prefer to the introduction of a back-slope or other styles, and it looks much neater. EVERY-HOUR OFFICE COMPANION. 1 9 a of he nd ey or of of id is to in iW ill it of of te nt nt iy e, to this, should always be well laid up and washed after being unlocked, either on the letter board or on the galley. Of 1 8 PRINTERS' UNIVERSAL REFERENCE BOOK: mir im :opj o c ints :o t )Ut )ays n r c )rec md arly md md :he dim 3Ut lis 1 Defo is n itud; iddi mil ;ime e^ isto iffbi as t bod; stroke 01 a pen. THIS style ot display in a script circular we much prefer to the introduction of a back-slope or other styles, and it looks much neater. EVERY-HOUR OFFICE COMPANION. 19 "Billheads and general commercial printing, and to a certain extent the cards of large houses, are fast merging into the ornamental in colours. The combination of typography with wood-engraving, under the eye of the artist-printer, can be accomplished in perfect harmtmy, and with great effect. And why should they not? Are they not twin sisters ?" THE WEAR AND TEAR OF TYPE. IT is of very little importance whether type is cast in hard or soft metal if it is not properly used. The destruction of type by incompetent and careless workmen is a matter of serious importance to all purchasers of this necessary and expensive material. It is the general rule, before a fount is half fairly worn out, for all the finer parts of the letters to be utterly destroyed by rough and careless usage. To begin with the laying, where the type receives its first injurious blow : it is a common practice with compositors, when laying new type, to empty a large paperful into their aprons, and then to toss it up and down like Jews sweating sovereigns, till all the fine corners are pretty well rounded off; and then it is pitched head foremost not slid gently feet foremost into the cases, to be violently shaken about to rout it out of the corners whenever a case gets low. In the daily use of type by compositors there are many things which contribute to its rapid destruction, and the principal thing is the want of strict cleanliness towards the type after it is worked off, before distribution. Sometimes, through insufficient cleansing in the machine-room or press-room, the type may come to the compositor's hand far from clean ; in this instance, before it is put into case, it should be thoroughly washed with lye, or any other liquid used for that purpose, and afterwards well rinsed in clean water, and in addition to this, should always be well laid up and washed after being unlocked, either on the letter board or on the galley. Of 20 PRINTERS' UNIVERSAL REFERENCE BOOK : planing down a small volume might be written, but it may be safely asserted that more type is destroyed by the sledge- hammer process, than by any other means used in a printing office. More than this, the face of the planer is never kept clean ; and by allowing it to be laid down anywhere, face downwards, dirt and small substances adhere to it, which is all rammed into the face of the type by the malleting process. The face of a planer, like all other faces, cannot be kept too clean, and the implement itself should be discarded as soon as its smooth surface begins to rough up. The harder the wood of which these things are made the better ; lignum vitae, or box, is much preferable to the soft pine or birch now used by many makers ; and in using the planer care should be taken to hold it firmly with the hand, and strike it steadily with the mallet handle not the head in the centre. A slight tap with the mallet handle, before the forme is locked up, is all that is required to cause the types to settle down into their places ; and all the Herculean efforts of mallet banging, after the forme is tightly locked up, are but dooming it to its destruction. Imposing stones and surfaces should always be kept perfectly clean, and before the careful com- positor thinks of laying down his matter on it for imposition he will thoroughly remove all dirt and grit by wiping it well down with a soft rag. Small particles of dirt, when once they get firmly fixed under the feet of the type, are very difficult to remove, and by causing the type to stand higher than its neighbour are also the cause of the work looking bad when at press, unless the letters are removed and thrown away. In some offices the plan of chalking the face of type, for certain reasons, is adopted ; this is also a very pernicious process, especially to small type, as the face of the type gets filled up by the chalk, and hardens into a substance when the ink adheres to it, which all the washing and scrubbing will never remove, and this causes permanent picks to appear. Therefore, by all means forbid chalk to be used on EVERY-HOUR OFFICE COMPANION. 21 the face of your small type. Allowing type to be worked when off its feet is another most destructive process, because after it has been once so worked, it is never likely to be able to stand fairly upright again, and will also prevent its other more perfect neighbours from doing the same. This all arises from its being improperly locked up, which makes it almost imperative that no one but thoroughly competent persons ought to be allowed to do the stone-work, as type once injured in this way can never be repaired, but is only fit for the metal-pot, whatever its age may be. Office sweepings should never be allowed to be put into case until they are well washed ; and it would pay in a large office to allow a superannuated workman a trifle a week to look after all the dfbris, and clear it away properly. All news-galleys ought to have bearers attached to them at each corner, which would thus obviate the necessity of placing a bearer on the galley when the matter to be pulled is only a short piece. The same with pulling news-pages at a press on a galley ; bearers should be made of the same height as the type as it stands on the galley, and these bearers, about two feet long by three inches wide, should always be used when matter is to be "prooved".on galleys; for as the platen is hung for pulling matter in chase, the extra thickness of the galley makes a wonderful difference in the leverage, if not altered, and makes the strain upon the type all the more severe where no bearers are used. Very few compositors think anything about centralising matter, either on the table or under the platen, but are satisfied with putting the galley on to the press, and then pulling away at the bar, like a lighterman at his long oar, till they can get it no nearer towards them. Juveniles, especially, want a sharp eye over them in these matters, for if they h^ve never been brought up to be careful of their own property, they cannot be expected to display any vast amount of regard for that of any other people when they come to be connected with it. 22 PRINTERS' UNIVERSAL REFERENCE BOOK : PROOF READING. IF it were possible for authors in general to acquire a practical knowledge of the art of printing, many imper- fections in a proof-sheet would be observed by them, of which it can hardly be expected they should, without such knowledge, be sufficiently aware. We will, therefore, in the first place, enumerate a few of the principal errata, commonly overlooked by authors, by way of calling their attention to the observance of them in future. They are, generally imperfect, wrong-founted, and inverted letters, awkward and irregular spacing, uneven pages or columns, a false dispo- sition of the reference marks, crookedness in words and lines, erroneous indention, &c. These minutiae, which are rather imperfections of workmanship than literal errors, are apt to be overlooked and neglected by those who have no idea of the great liability there is, even with the most careful compositor, to fall into them nay, the absolute impos- sibility of wholly avoiding them. It is therefore necessary for authors to read their proofs with the greatest possible care and attention, examining every single word, and every single letter, as if they were critically scrutinizing the labours of the letter-founder rather than those of the printer. But we will describe the regular process through which every proof-sheet must go, before it can be in a fit state to be put to press. When an author has received from his printer a proof-sheet, together with the copy belonging to it, he should proceed to read it through with great attention, having the copy lying upon his desk or table, ready to cast his eye upon, in case of doubt or misunderstanding. This process, which is a kind of slight comparison of the copy and the proof, having been carefully and deliberately gone through, if the proof be not exceedingly foul (in which case it is best to have it corrected by the compositor, before he proceeds any further), he should then get some one to read EVERY-HOUR OFFICE COMPANION. 23 the copy aloud to him, while he looks on the proof before him. After having thus read through the proof, he should examine the signatures, catch-words, head-lines, titles and folios of every page, and mark with accuracy the primer,* or connection of the ensuing sheet. In marking the primer, care ought always to be taken, that not only the incipient word of the next sheet be marked, but also the number of the volume, or part (where a work consists of more volumes or parts than one), and the succeeding folio and signature. When a proof has been thus compared and read by copy, it should be forwarded to the compositor to be corrected. The revise, together with the first proof, should be put into the hands of the author or reader, whose next business is to collate the corrected sheet with the one he had before read, to see that all the errata are properly corrected. In revising a proof-sheet, particular care must be taken that none of the fresh errors escape, which compositors often make in the course of correcting the original ones. To avoid this the reader, or author, ought not only to pay attention to the particular word which has been corrected, but always to read over with care the whole of the line in which that word is to be found. This is particularly necessary in cases where it has been requisite for the compositor to alter irregular or slovenly spacing ; in raising the metal for that purpose there is very great danger lest some word or letter should have fallen out, or some space have been put into a wrong place. In all cases where the proof-sheet has been found to be very foul, it is necessary to read the whole sheet a second time by copy, as it is scarcely possible that such a proof should be cleared of all its errors, or that every omitted word should be noticed on the first reading. A first-class proof-reader, in addition to a general and practical acquaintance with typography, should understand * Probably from the French premier. 24 PRINTERS' UNIVERSAL REFERENCE BOOK : clearly the grammar and idiomatic structure of his mother- tongue, and have, as it were, an encyclopedic knowledge of the names, times, and productions of its writers, as well as a thorough familiarity with the Bible especially, and with Shakespeare. He should be, in fact, a living orthographical, biographical, bibliographical, geographical, historical, and scientific dictionary, with some smattering of Hebrew, Greek, Latin, French, Spanish, Italian, and German. Yet all these accomplishments are valueless unless he possess a keen and quick eye, that, like a hound can detect an error almost by scent. There are eyes of this sort, that with a cursory glance will catch a solitary error in a page. The world is little aware how greatly many authors are indebted to a competent proof-reader for not only reforming their spelling and punctuation, but for valuable suggestions in regard to style, language, and grammar thus rectifying faults which would have rendered their works fair game for the petulant critic. COMPANIONSHIPS. FOR many years past a system has been adopted in the composing departments of large book printing offices particularly in London of giving out the work to com- panionships. The great advantage attending this plan is, that while all the pages 'are made up in an uniform style by the clicker which was seldom the case when each man made up his own matter works of considerable extent are printed with greater dispatch, and at the same time it is the cause of a saving in the cost of production. This benefit is equally shared by journeymen and employers ; for while the former are enabled to earn more wages, the latter, by the great facility in the execution of the work, can undertake larger orders, and thus obtain greater profits. When the overseer has an intimation that the copy of a certain volume, or volumes, will be sent in by the author EVERY-HOUR OFFICE COMPANION. at a given time, he first ascertains what the extent of the work will be, the type in which it is to be set, and the length of time which will be allowed him to get it out. He then calculates how many average men will be suf- ficient to produce the amount of work, and makes his arrangements accordingly. The copy having arrived, he sends for the clicker,* to whom he hands it over, with all the necessary instructions relative thereto. The clicker, in turn, calls the members of his companionship together for a few moments, and informs them what cases to put up, and what letter to distribute ; at the same time, he gives them any general directions which he may deem expedient for their guidance in composing. While his companions are "putting in their letter," the clicker proceeds to get together what leads and other sorts he may require for the making up. He then draws out a table in a simple form, thus : Title of Work." PROGRESS OF CIVILIZATION IN INDIA." NAME. FOL. No. OF LINES. TIME WORK. REMARKS. In the first column he sets down the name of each com- positor as he takes copy ; and in the second the folio of * The clicker is the head man of the companionship, who receives all copy and instructions from the overseer ; he ought, therefore, to be a compositor who thoroughly understands his business, and is in every respect qualified to undertake the management of the work, and to do everything that would accorporate with the regular business of distribut- ing, composing, and correcting. 26 PRINTERS' UNIVERSAL REFERENCE BOOK: the copy, so that he may be able to ascertain instantly in whose hands it lies. In the third column he notes down the number of lines each man has composed, opposite to his name, as fast as the galleys are brought to him. In the fifth he sets down such remarks, respect- ing the copy, &c., as may be necessary, and also any circumstance that may occur in the companionship. When the companionship are ready for their first taking of copy, the clicker invariably doles it out in small quantities, giving the first two or three compositors rather less than those that follow. This plan is adopted to prevent any delay in the making up. During the time the first taking of copy is in hand, the clicker sets the first-page heading, the folios and white lines, signatures, notes, poetry, and any other extraneous matter. As soon as he discovers that the first two or three takings are completed which he is soon informed of by a second application for copy he proceeds to the making up of the first sheet. As he takes each man's galley, he counts the lines and enters the number in the before- mentioned table, which serves as a check against the man's bill when he presents it at the end of the week. Having made up the first sheet, he lays the pages on the stone, and im- mediately informs the " Quoin-drawer "* of it, who provides chases and furniture. When this is done, the clicker proceeds to take the cords off the pages and locks up the forme ready for the proof-puller. Having made a start, all it requires now is a plentiful supply of letter, leads, &c., and the work will proceed rapidly. If the clicker finds that from any cause such as abundance of notes, poetry, or other peculiarities in the work that he cannot make up and impose the matter as fast as it is composed, he generally calls to his aid one of the companions who, * An appellation given to the man who makes up and looks after the furniture, &c. The duties of this office are performed by the store- keeper, or such other person who may be appointed. EVERY-HOUR OFFICE COMPANION. 27 in his opinion, is best capable of assisting him. Should he not have finished his taking, either the person next to him takes it and sets up to himself; or, if there is a great deal to set, the man who took copy last finishes it for him. When this is the case, the clicker sets down the number of lines he has composed, and takes notice of the number of hours he is engaged "on time," which he enters in the fourth column of the tabular form before referred to. As soon as the proofs are read, they are for- warded to the clicker, who immediately requests the person whose name appears at the beginning to lay up the sheet and correct his matter. The proof is then passed on regularly from one to the other until all have corrected, the last one locking up the forme, and carrying it to the proof-press. This is the only instance in each sheet where the companions are called from their frames, and proves at once that a great saving of time to the compositor is effected thereby. When the last taking of copy is given out, it is the duty of the clicker to apply to the overseer for other work, so that the companions shall not be kept standing. Frequently, however, one companionship will have three or four works going on at the same time, so that, if there is a scanty supply of copy or letter of one work, the clicker uses his judgment by employing his companions on the others. But should it so happen that the work is nearly finished, and there is no more copy to give out, then, as soon as one of the companionship is out of copy, the lines of the whole are counted oif and set down in the table, and every one does what he can for the general benefit. At the end of the week the clicker makes out the bill in the following manner : He first ascertains what amount of work has been done during the week ; he then counts how many lines each com- panion has set, and divides them into hours. Having done this, he refers to his table to see how many hours of C 2 28 PRINTERS' UNIVERSAL REFERENCE BOOK : time-work has been charged ; including his own time, which is generally between fifty-four and sixty per week, without overtime. He then adds the number of hours of com- position, time-work, and his own together, which gives him the total number of hours to be paid for out of the bill. By reducing the sum total of the bill into pence and dividing it by the number of hours, he gets at the price per hour at which the bill pays : so that it is to his interest to work well, in order to make the bill pay as much as possible. The "fat," such as the title, blanks, short pages, folios, whites, and head-lines, are all made up by the clicker, and thrown into the general bill, so that each man gets his fair proportion of it when the bill is made out. The clicker collects all titles, head-lines, notes, poetry, &c., on to a galley, and uses them up for other works as occasion requires ; while the companions distribute the letter, and pass the leads and furniture to the clicker, who hands them over to the " Quoin-drawer," to be stored. Therefore, he who picks up the largest number of stamps, in the cleanest manner, comes in for the largest share of the "fat." This is as it should be. Most companionships work upon the same principle, although they have a different mode of paying the clicker. Another companionship will equally not proportionately divide all the fat; while others will allow the clicker to charge the same number of hours as the man who has com- posed the largest number of lines. This plan we denounce as bad in principle, and affording great scope for dis- honesty ; for it is very easy for a covetous clicker to give the best and fattest copy to the compositor who can pick up the greatest number of stamps. The fairest and most equitable method of working a companionship, is to let the companions choose their own clicker, and pay him out of the general bill. If he does not work to their satisfac- tion, they will soon replace him by another more com- petent man ; thus trie employer will have the satisfaction of EVERY-HOUR OFFICE COMPANION. 29 knowing that his work is progressing with all dispatch, and that he is only paying the actual worth of the labour. A companionship of good compositors, who are attentive to their duties, and work amicably together for the convenience of each other with an honest, industrious, and thoroughly practical clicker at their head is the most profitable, ex- peditious, and satisfactory method of working that could be wished for, both for the benefit of the employer and the men. There is one great evil to guard against, and that is, a mysterious line at the bottom of the bill " ON ACCOUNT." This line is unavoidable in most companion- ships, as the clicker, in making out the bill, usually only charges for perfect sheets which are in chase ; so that all the "over matter" on galleys is charged on account, to be deducted off next week's bill when it is charged in sheets. A wise clicker will always be very cautious not to charge more than is actually "up"; on the other hand, he will endeavour to reserve a pound or so in case of a slack week, or a week when the work is more inferior than generally. But once this account line is overcharged, it is ten chances to one but what it is increased week after week, rather than decreased, unless the overseer looks well into the matter. The companions, if they study their own interests, will also demand a sight of the bill, and cast off the over-matter for themselves, as a check against the clicker ; for sometimes a clicker, in order to make it appear to his companions that the bill is paying well, is all the time overcharging the account line, until some fine day it is discovered and cut oft by the overseer ; the result being that, after working all the week, the companions find, to their dismay, that the bill does not pay more than 3d. or 4d. per hour. The matter of companionships is a good subject for discussion; for there are, doubtless, many errors in its management which might be corrected, if the fundamental principles of its working were more fully studied by compositors generally. PRINTERS' UNIVERSAL REFERENCE BOOK : "g ts I t ^ - W J <*J H l!l*3j5 ^ ^ JSf o H t O o u gn (J rg 1 w '~ ltt M V5 CO I .H ^* co vo i tn o 2 O W a K. H ~ r* ^ .. . 's t> vl ^^^ v$ 00 t>. t vT " v! 00 t ,. co Q 00 l T ^2 00 OO vi ^ ^'^ vS O> OO OO ^xO VO vO VO 1 -O i-O ef > td < cup . CO O to rf ro N M O EVERY-HOUR OFFICE COMPANION. 31 DEPTH OF TYPE. THE following Table may be of some service in calculating estimates from MSS. copy or making choice of what size type any book should be set in, the first column showing the printers' standard rule of pica -ems. As an illustration 15 lines of Great Primer are equal to 40 of Nonpareil, or 20 Pica ems, and so on. Printers' /. T%. Rule. Gt " *T' English. Pica. Sm. P. Lg. Pr. Bourg. Brer. Min. Nonp. 1 1 1 1 1 1 1 2 1 2 1 2 2 2 2 2 3 3 3 A 3 4 3 4 3 4 5 3 9 A 4 rt 5 5 6 3 4 4 T: 5 5 5 6 6 6 7' 7 8 4 5 5 a 6 6 7 - 7 8 7 8 9 8 9 9 10 11 ___ 5 6 o 7 8 8 9 9 10 10 11 10 11 12 12 13 14 6 7 8 8 9 10 8 9 10 11 9 10 11 12 13 10 11 12 13 14 11 12 13 14 15 16 12 13 14 15 16 17 13 14 15 16 17 18 19 15 16 17 18 19 20 21 22 9 11 12 14 15 17 18 19 20 91 23 24 10 11 12 13 14 15 12 13 14 15 16 17 18 19 13 14 15 16 17 18 19 20 21 15 16 17 18 19 20 21 22 23 24 fi 16 17 18 19 20 ' 21 22 23 24 25 26 18 19 20 21 22 23 24 25 26 27 28 29 30 20 21 22 23 24 25 26 27 28 29 30 31 32 33 L 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41* 42 16 17 18 19 '20 21 22 23 24 22 23 24 25 26 27 25 26 27 28 29 30 31 27 28 29 30 31 32 33 31 32 33 34 35 36 37 38 34 35 36 37 38 39 40 41 42 37 38 39 40 41 42 43 44 45 46 43 44 45 46 47 48 49 60 51 52 5$ fvt 32 PRINTERS' UNIVERSAL REFERENCE BOOK: A FOUNT OF LETTER Consists of the following sorts -.Capitals : A to Z, M CE, &c, and the same in Italic ; Small Capitals : the same as above in some founts, chiefly the Scotch ; Lower Case : from a to z, and se ce, &c., the same in Italic ; Figures, &c. : i to o, #**;* H f iff /? Points, &c. ,;:.?!-'[] ( ) * t j || IT r- -*- -, ^- - ...; Spaces, &c. : thick, middle, thin, and hair; n, m, two, three, and four m quadrats; Accents : a e i 6 u, a e i 6 u, a e i 6 ii, a e i 6 u, g. /These are the ordinary sorts cast to a fount of letter, and which the founders class into short, long, ascending, descending, and kerned letters. Ascending letters are all the Roman and Italic capitals ; and b d f h i k 1 t. Descending letters are g j p q y in Roman and Italic. Kerned letters are such as have part of their face hanging over either one or both sides of their square metal or shank. In the Roman, f and j are the only kerned letters ; but in the Italic, d g j I y, are kerned on one side, and f on both sides of its face. Their beaks being liable to accident, especially the Roman f, when at the end of a line, they should be cast in a larger proportion than might otherwise be necessary; and more particularly the Italic/. Some Italic capitals are kerned on one side of their face ; but none ought to be more attended to than A T V W, that their angles may not fall upon an ascending letter that may stand next to them. These are the classes into which letter-founders divide the sorts of a fount, without including accented letters. The double letters are fi ff fl ffi and ffl, which are formed for the convenience of one kerned letter joining with another, as their beaks would inevitably receive damage by bearing against each other. USES OF ITALIC CHARACTERS. CHARACTERS called Italics, and printed in this form, are used chiefly to point out emphatical expressions, or to EVERY-HOUR OFFICE COMPANION. 33 distinguish foreign words and phrases. In the common version of the Scriptures, however, words are so printed to show that they have nothing corresponding to them in the original Hebrew or Greek, but were inserted by the trans- lators to complete or explain the sense. It is quite impracticable to lay down definite and un- varying rules in respect to all the circumstances under which it is proper to use Italic letters. Their employment was at one time exceedingly common; all proper names, and almost all words of more than ordinary significance, having been written or printed in this manner. A sparing use of Italics is, however, strongly recommended to authors and typographers; for it is obvious, that, as there are in composition innumerable shades and degrees of emphasis, a prodigal introduction of words of a sloping character would tend rather to confound the sense and perplex the reader, than to elucidate the meaning, or to assist in dis- criminating the relative importance which should be attached to different sentiments. In all works, however, which treat of matters relating to science, art, or language, where it is necessary to adduce words and phrases in illustration of certain principles, or to employ them in technical senses, the use of Italic characters is indispensable. TERMS RELATING TO BOOKS. CAPTIONS and SUBHEADS are words or expressions that stand above chapters, sections, and paragraphs, for the purpose of indicating their contents. SIDEHEADS are of a similar nature, but put in the first line of the paragraph or paragraphs to which they refer. RUNNING TITLES or, as they are sometimes called, head-lines are such words or phrases as are placed at the top of the page. All these are printed usually in capital or small-capital letters ; but some- times, especially in magazines, in Italics. 34 PRINTERS UNIVERSAL REFERENCE BOOK: SIGNATURES are the letters of the alphabet, used by English printers in the foot-margin of certain pages, as a guide to direct the bookbinder in arranging and folding the sheets. Figures, or numeral characters (i, i*; 2, 2*, &c.), being more convenient than letters, are used for the same purpose by American printers. NAMES OF VARIOUS SIZES OF BOOKS. Folio denotes a sheet of paper folded into two leaves, making four pages ; quarto, or, as abbreviated, 4to or 4, is a sheet divided into four leaves, or eight pages ; octavo, 8vo or 8, a sheet into eight leaves, or sixteen pages ; duodecimo, i2mo or 12, a sheet into twelve leaves or twenty-four pages. So, also, sixteens, i6mo or 16; eighteens, i8mo or 18; twenty-fours, 241110 or 24; thirty-twos, 321110 or 32; forty- eights, 48mo or 48; sixty-fours, 641110 or 64, are the several designations of sheets when folded into sixteen, eighteen, twenty-four, thirty-two, forty-eight, and sixty-four leaves; making each twice the number of pages. SCHEMES OF IMPOSITION. THE pages on the stone, fold a sheet of "its own," and measure from left side of p. i to left of p. 8 (in a half-sheet 8vo.) for the backs, allowing a little for cutting off by the binder; for gutters, open the sheet one fold, and measure from left side of p. 7 to left side of p. i, exactly "out and out " ; and for heads, measure from folio of p. 7 to bottom of p. 5, allowing a pica over. We would recommend the reader desirous of learning fully how to lay down book- work pages and dress the furniture, to purchase the Printers' Business Guide, or " Crisp's Imposition Sheet" a demy broadside. EVERY-HOUR OFFICE COMPANION. 35 BOOKWORK SIGNATURES. SlG. FOLIO. QUARTO. OCTAVO. TWELVES. ElGHTEENS. Sheets. k-shts. Note. Works in eighteens are commonly done in sheets with ISt. 2nd. ISt. 2nd. ISt. 2nd. ISt. ISt. A 89 177 353 O three signatures. The first sig- B I 93 I 185 I 369 I I nature and folio C 5 97 9 193 17 385 25 13 here follow, viz.: D E 9 13 IOI 105 1 7 25 2O I 209 33 49 401 417- 49 73 2 5 37 B I F 17 109 33 217 65 433 97 49 E 37 G 21 "3 4i 225 81 449 121 61 H 73 H 25 117 49 233 97 465 H5 73 L 109 I 29 121 57 241 "3 481 I6 9 85 O H5 K 33 I2 5 65 249 129 497 193 97 R 181 L 37 129 73 257 H5 513 217 109 U 217 M 4i 133 81 265 161 529 241 121 Z 253 N 45 137 89 273 177 545 265 J 33 2 C 289 49 HI 97 28l 193 561 289 H5 2 F 325 P 53 H5 105 289 209 577 313 '57 2 I 36i Q 57 149 H3 297 225 593 337 169 2 M 397 R 61 153 121 3^5 241 609 36i 181 2 P 433 S 65 157 129 3'3 257 625 385 J 93 2 S 469 T 69 161 137 321 273 641 409 205 2 X 505 U 73 165 H5 3 2 9 289 657 433 217 3 A 54i X 77 169 153 337 305 673 457 229 3D 577 Y 81 173 161 345 32i 689 481 241 3G 613 Z 85 177 169 353 337 705 505 253 3K 649 MEMS. If a work in Octavo is to be printed in half-sheets, use the signatures and folios of Quarto. If the same in i6mo is to be worked in half-sheets, then the signatures and folios of Octavo must be used. Since the introduction of cheap shilling novels, &c., i6mo has superseded I2mo to a great extent, as the saving of working and paper is con- siderable ; it is invariably made up in half-sheets to facilitate the folding and sewing, as the thickness of a sheet of i6mo. is almost too great for neat binding, the margin not being sufficiently wide to admit of a deep stitch in the back of the book. In making up, the signatures in Folio, Quarto, Octavo, and i6mo should be placed on the first and third pages, the signature on the first page being B, and on the third B 2, and so on. In I2mo three signatures are required: on the first page B ; on the third page B 2 ; and on the ninth page, which com- mences the off-cut, B 3. i8mo is invariably imposed as three half- sheets of I2mo. (See pages 14 and 34.) 36 PRINTERS' UNIVERSAL REFERENCE BOOK : PAPEE EOOM. THE WAREHOUSEMAN'S BUSINESS. THE warehouse business of a printer is a highly important part of his concern, the bad management of which not only injures his own credit, but also materially affects the interest of his employers; it is, therefore, indispensably necessary to appoint such a man for the management of it who has been regularly brought up to the business, and on whom the utmost reliance may be placed for honesty, sobriety, and integrity. Some printers, with a view to save a few shillings per week, take into their service lads or men perfectly unacquainted with the business of the warehouse, who, through ignorance and carelessness, fall into many serious mistakes, such as mixing paper of the same size belonging to different persons, and thereby destroying the uniformity of the work ; giving or setting out the paper incorrectly, which must afterwards be made good by re- printing those sheets which are found to be deficient ; or if the deficiency is not very great, the sheet wanting is left out of a book here and there, and in this imperfect state the work is delivered to the bookseller, who perhaps, if a large number has been printed, will be several years before he discovers the loss, and then cannot, after so long a time, with any degree of propriety, demand his books to be made perfect. Many other circumstances might be stated to show the impropriety and disadvantage of employing persons in the warehouse not acquainted with its business ; we must however observe, that the master or overseer should fre- quently look to the concerns of the warehouse, that the people employed there may get forward the different works with neat- ness and accuracy. When the porter or carman brings paper, the warehouseman should demand the bill of delivery, order the paper to be brought in, and see if it is right according to the bill, and enter it immediately in the warehouse book. EVERY-HOUR OFFICE COMPANION. PRINTERS UNIVERSAL REFERENCE BOOK . J ^ N COVOM COVOt^ON 1 ^ COVOM COvo t>OO O M ^- O u ^MMHH M MMM g o ^ N CO i,-OO -i rJ-t^-O fOvO ON N lOOO ^- 1^. O COVO ON W vo J^M cs w W cocococo^-^rhvovo VDVO vo vo vo i>- 1^ P g V^oO O\n M cOvoO HI cOrfvot-^OO ON O N co rj- O ^ M hH M l-l MMMHH OJ ^ ^ VO t>00 ONO -< CO^vOQ HI c^ CO^" vovO ^>OO O H I R ^ CO H< ^J- 1^ O COvO ON N vO ON N vooO ** Tt" t^ O covO f ^ Tj" M 00 vo N vo CJ ONvO CO O CO O ^ M >H HH t-t hH HH Pk o e^ COvO OO O 'O vo t^ ON N ^J"vO ON w COvO OO O W voi> <* P jtiHM M HH M W W M COCOCOCO-^-Tt^-rfvovovovO PH w *J v: 000 t-vo vo^-CON H, vo^CO~ ONOOt^vO vo rt o3x ^CONt^N MVO QvoO rf COOO CO W t-^ M HI vO HI H s ^> w M ^ 2^ f?^ cT co"cO CO 5^ ? vo'vo vovO vO VO* t^.^ ^OO o w ^ >'oovo VOCON HI tor^-N M OCX) t^vorhcOHi o TJ-CO o g M PH x a I* in KCi HH i i ^ CS d CO CO CO CO ^t" TT ^ vo vo vo vovO vO vo 1** ^ t i .WOHtcorf-ONCO vovO OOOnicorfOWCOvo t^OO D s-*j 3 S H.MMM o x gOOOOOO ON ON ON ON O\NONONO ^ M ** w N N N cocococOTj-Tj-rh^vovovo vovo vO J^IOCON O ^ N O ONt>.vocOHi o -^N Ooor^voco BP ^J M M M M H M |x ^Mrt-t^OWvo^ VOOO M |J M rj-vo ON N ^ ^5 s * t^ CO vo t*^ ON >H COvO OO O N TJ~ t** ON HI CO vo t^ O N Tt" , r>. 4998HaSa8!M$9*8 EVERY-HOUR OFFICE COMPANION. 39 COST OF PAPER PER 100 AND 1000, At the following prices per ream of 20 quires (480 sheets), allowing 4 waste to each. For paper more than us. per ream, double the figures, thus: twice 6s. are I2s., and 100 sheets at I2s. a ream, would be 2s. 7d. per 100, and so on : SIZES. 6s. per ream. JS. per ream. Be. per ream. 9* per ream. IOJ. per ream. uj. per ream. ioo Sheets ,, Half Sheets. Thirds . 4.tOS. s. d. i 31 o 8 o 5* O 4. s. d. i 6 I o 6 O 4.4 s. d. I 9 10^ o 7 Ci j. < I III Il| o 8 o 6 *. ? n4 ,, 6tos 2 2 2 64 211 ^ 7 3 7 1 40 ,, 8vos I 7! i 10! 2 2 * d i 2 ^T 2 84 2 II? , , Qmos ,, I2mos. i Si I I i 8* i ^ I II I *i 2 2 I 7i 2 5 I Q? * **4 2 8 2 o , , i6mos O Q o .11.4 j j I 2f I 4.^ I 6 ,, iSinos o 81- O IO o i iA j j I 2i i /i ,, 24mos o 64 74 o 8| o ol Oil 1 4 I O ,, 32mos O 5 o c4 o 6i o 7i o 8 O O Cost per "perfect" ream of 21 J quires, or 516 sheets. SIZES. 6s. per ream 3* per ream. 8s. per ream. gs. per ream. ICtf. per ream. 11.S. per ream. looo Sheets ,, Half Sheets. , , Thirds ,, 4tos. s. d. 12 | 6 4 o 3 O j. ^. 14 o 7 o 4 8 3 6 *. rf. 16 o 8 o 5 4 4. O s. < 18 o 9 o 6 o 4. 6 *. d. 20 10 6 8 e o j. ^. 22 O II 7 4 c 6 ,, 6tos. . 2 O 2 4> 1 8 30 .) u 3,1 .) V -3 8 ,, 8vos. .. i 6 I Q 2 O 2 "? 2 6 6 2 Q ,, Qmos I 4. I 61 i 94 2 O 2 2 * y 2 C? ,, I2mos. I O I 2 I A i 6 i 8 I IO ,, i6mos. O Q o io4 I O i i4 i ^ I ylA ,, i8mos i w y o 8 o o4 o lof I O 11 i 4$ I "2. ,, 24mos ,, 32mos o 6 O 4.4 o 7 o si o 8 o 6 o 9 o 61 O IO o 74 II o 8| 40 PRINTERS' UNIVERSAL REFERENCE BOOK : 1 O &^ fl lco t-ico nicn MOO HN >nia> N !> N !>. N H-I t^-OQ M OO w t^. *->. i-OOO -OOO ^ -O OO I-H ON t^-O G\ ^o t-^vO t-n xxxxxxxxxxxxxxxxxxx T-IN -ic? -IN -IN - w -)N -H< w - W WITT r>lt ww t-|x -IT*- HOO -i^ JJIOB Hoo rooO fOOO ro>-iOO O\i-< ON*- 1 t^t^i-O^LOON^vo xxxxxxxxxxxxxxxxxxx - T O "* O ONO O *> C^vO t^ mvC lovo ^ LO CO ^n rf xxxxxxxxxxxxxxxxxxx oo ooo ooo Tt-o o -^-o Tf MNMNC^HH^h-ii-ihHi-i xxxxxxxxxxxxxxxxxxx t-^ t^ t-^ !>. t*>. CO t^-OO COOO co ON G^\> OO vO OO iO\O 'olco HN o!HN cn ^100 oolt O i-OO O^O Ot^O'Ot^ i-nvO vrjvO 10 ^n to 10 rj- xxxxxxxxxxxxxxxxxxx Ho HN HN O O O O O *-oO O^-nO^oO Oi^Ot^Ovot^ < -oloo HOD Woo unicxj Hoc WH- Wlx ^! xxxxxxxxxxxxxxxxxxx -W 1 HI H^* !* -W oiw Kl-^ I-IOD oieo HCO O|OB roiac MIX co|^ t-icc |rf- Hoc -*o!co wi ttiioo HiN f^t^i-i h-ct^H-ioo "> t^oo i-ot^tot^vovnTt'vn', MH- ^ >> 5 1 g ,ff g .S g 20 ins. b 20 ins. 1 Jt J h? H HCT 'i g w H a t I I CO Large Pos S u p ! Super Roy Doubk Cro i WETTING PAPER FOR PRINTING. OPEN the wrapper and lay it flat on a wetting-board ; next open and lay one dry quire, backbone undermost, breaking the back of the paper in the usual manner; then take another quire, with the fold between the thumb and fingers of the right hand, the edges being held by the left hand ; pass the folded quire under the water in the wetting-trough from right to left, lay it on the dry quire with precision, and D 42 PRINTERS UNIVERSAL REFERENCE BOOK : open it out according to the dampness you prefer the paper, or as the quality of the paper may require you can guess at a third or half of a quire ; fold back as much as desirable, and dip again, repeating the operation as before. At every few quires that are wetted, break the backs of the paper and smooth out with the hands ; lay the last quire dry on the top, then another wrapper, and on the top of all another wetting-board. When the pile has stood thus for a few hours, place some heavy weights upon it, or moderately squeeze it in a standing press. Next day, turn the paper ; that is, lay the top wetting-board flat, upon which place the top wrapper ; then take a quire or so at guess and turn over, on the top of which lay about another quire without turning it over ; the third must be turned over, and so on alternately, till all the pile is turned over and the bottom wetting-board becomes the top. With regard to paper that has a gloss, instead of being turned over, it may be turned alternately from end to end ; dip once, twice, or thrice a quire, according to circumstances. For proofs, lay a sheet of the paper on which the job is to be worked between any heap of thoroughly damped paper, leaving the corner pro- truding so that it can be instantly found. Another method of wetting is to have a flexible tube fixed to the cistern, with a stop-cock and watering-pot rose attached, by which to sprinkle the paper instead of dipping it, or by means of a long-haired brush dipped in a pail of water. This latter plan, being the most simple for a small number of large sheets of paper (varying in size from double crown to quadruple demy), is adopted in many printing offices in the provinces, especially where a newspaper is weekly printed and the proprietor has not the facility of either a force- pump or water-works supply, and therefore we recommend it. The papers not generally wetted are surface, enamel, cream laid, or any highly sized laid or wove paper ; but the nature of your work will be your best guide in this matter. EVERY-HOUR OFFICE COMPANION, 43 COLLATING WORK FOR THE BINDERS. WHEN the boys have gathered the sheets of a work together, they must be examined by the warehouseman, who must take a heap of the gathering, and place the first or signature page uppermost, towards his right hand, and with the point of a sharp bodkin, or a penknife, pick up the corner of each sheet in order to see that each signature is right ; he must pass his thumb under them as they rise, to keep, what he examines separate from the heap, and thus proceed till he has examined one gathering; he must then slip this gathering a little on the heap, and thus proceed with another, till he has gone through eight or ten, which he will turn over to his left hand upon the table, where they are ready to fold; he should proceed thus until he has collated a sufficient number for his delivery, or the whole number of the work, as the case may require. In the course of this progress he will, no doubt, find some sheets laid the wrong way> and must put them right ; in some cases the boys will have taken two sheets of the same signature up, one of which he neces- sarily takes out ; in the other case, there may be duplicate signatures, and the right one in order wanting ; in this case he must request the gathering boy to give him the right sheet, and draw out the duplicate as before ; and sometimes a signature may be wanting, which he must also call for. The sheets thus taken out of the gathering are called Drawn Sheets^ and should be laid down on their respective heaps to be regathered. Although not customary, it has been known for a warehouseman to use neither a penknife nor a bodkin, but slip up the corners of the sheets with the end of his fore- finger, in order to examine the signatures ; any one who adopts this practice should be particularly careful to have clean fingers, or he will soil the corners of many sheets, and disfigure his work. In fact, clean hands are always necessary to a warehouseman and his boys. D 2 44 PRINTERS UNIVERSAL REFERENCE BOOK : PRESS AND MACHI1TE EOOMS. TYPE PRINTING MACHINERY HAS of late years comprehended structures of many different external forms. Within such forms are mechanical arrange- ments of very various details. These are, however, based upon, or associated with, certain mechanical principles, upon which depend the effective power of the construction, It is somewhat remarkable that in France the best bookwork is done on cylinder machines; whereas, in England it is only entrusted to platten presses. The number of machines now in use are almost bewildering, and to give an alphabetical list of their names, together with their history and construction, would fill a large volume. Among the presses made, dating from the year 1477 to tne present time, may be mentioned Cope's "Albion," Blaew's, "Britannia," "Caxton," Church's, Clymer's " Columbian," Hansard's, Hoe's, Hope's, Kitchen's, Roworth's, Russell's, Ruthven's, Stafford's, "Stanhope," &c.; and among the ^tf^zVz^ Applegath's, "Arab," "Atlas," " Ausburg," Bayley's, "Belle Sauvage," "Bremner," Brown's, "Bullock," Congreve's, Cowper's, "Cropper" or "Minerva," Dawson's, Donkin's, '"Diamond," " Dryden," "Eclipse," " Excelsior," Hill's, Hoe's, Hopkinson and Cope's, " Hori- zontal," Ingle's, Kcenig's, "Liberty," "Little Tumbler," "Main," " Marinoni," Napier's, Nicholson's, "Northum- brian," " Otley," " Prestonian," " Reliance," "Scandinavian," "S. Cropper," Smith's, " Southwark," "Star," "St. George," Ullmer's, "Universal," "Ulverstonian," "Victory," "Walter," " Wharfedale," " Whitefriars," and a number of others, the principle, or one of the principles, being that of " Hoe's Improved/' of which the annexed is a short description : The Improved Hoe is compactness itself, as it occupies no more space than a full sized perfecting cylinder of the old EVERY-HOUR OFFICE COMPANION. 45 school, twenty feet by six feet being its foundation require- ments, while its height is but seven feet. It requires but one skilled attendant and two labourers to keep it in constant motion and remove the sheets as they are printed. Now, when we find a machine like this in which the amount of labour is reduced to a minimum, turning out nearly double the work of a six-feeder Hoe, with its six layers-on, and three or four assistants to remove the printed sheets from the self-flyers, we think we are justified in saying that Messrs. Hoe and Co. have achieved a wonderful and deserved success over their past efforts. The paper used with this machine is wound on to reels, like immense reels of cotton, as it is made, each reel containing about seven reams of paper. This will give 7,000 copies (two on a sheet) at 1,000 per ream ; and as each sheet, when cut up, measures four feet ten inches, it will be found by an arith- metical calculation that each reel contains rather more than three miles of paper. To describe the form of the machine, it may be as well to state that its principle seems to be just the reverse of the original six, eight, and ten-feeder Hoe's, for while in their case the circular stereo plates are fixed on the large cylinder which revolves on its axis in the centre of the machine, while the impression cylinders, charged with paper, are placed around it, in the Improved Hoe the type cylinders, each much smaller than the central one, are placed on the top, and the large cylinder in the centre acts the part of an impression cylinder in the second working, having three blankets around it, which reduces the setting-off to nil. The inking rollers and ink fountains are at the extreme end of the large cylinder. The paper is suspended on a large reel just over the top of the machine, in imme- diate proximity to the first printing cylinder; and after it has received the impression on one side it is carried round by a drum to the large cylinder below, where it immediately receives its outer-forme impression from the second printing 46 PRINTERS' UNIVERSAL REFERENCE BOOK : cylinder. The paper is then conveyed to the cutting cylinder, which cuts the sheets from the reel, and tapes conduct them to their delivery at the extreme end of the machine, where they are separated lengthways ; for as two copies of some newspapers are being printed side by side at the same time, from the same reel, the first cutting operation separates the printed sheets from the reel, and the second cuts the two papers apart. This operation having been successfully performed, the sheets thus divided are laid hold of by the self-flyer and laid down ready for removal. There are various technical improvements in connection with this new machine which can only be explained and understood at its side. The maximum rate of speed which this machine may be expected to average, when fairly started, is stated to be 12,000 to 15,000 perfected single sheets per hour, or 10,000 to 12,000 perfected double sheets (each sheet con- taining two copies). In fact this machine has already been run at the rate of 11,500 double sheets per hour, which is equal to 23,000 single copies. The improved plan for wetting paper is this : The dry reel of paper, as made, is run off on to a second reel, and on its way passes round a cylinder, well moistened, which gives it the required dampness suitable for printing, time and pressure being thus afforded to allow of a proper absorption of the moisture by the entire surface of the paper. When it is necessary to apply a fresh supply of paper to the machine, the empty reel is easily removed by hand, while a fresh reel, fully charged, is close at hand suspended near the machine on a moveable crane, which drops it into its place with a very brief delay. The machine is also supplied with a counter, which tells at a glance the number of sheets which have been printed in any given time. We do not deem it expe- dient to go further into the descriptive, as our object here is rather to offer practical advice in these departments, that being of more importance. EVERY-HOUR OFFICE COMPANION. 47 PUTTING UP PRESSES. CLYMER'S COLUMBIAN. Plant the feet on the staple, in their respective places, as marked, and raise it upon them ; then put the bar-handle in, with the bolt belonging to it, as marked ; next put the principal lever into its place, and put in the bolt which connects it to the staple ; then adjust the angular or crooked part, which has three round and one square holes, through it into the mortice, which is the pro- jecting part of the long side of the staple, and put in the bolt that attaches it to the staple. In the extremity of the edges of the heads of those two before-mentioned bolts you will observe marks, and corresponding marks over the holes through which they pass ; put the bolts in so as the said marks meet together and correspond, and so on until you have all the remaining parts in their respective places. The four screws for the platen, which have heads on one side, are intended to attach the platen to the piston, which being put up in their respective places, are secured by the four small keys of iron which accompany them. It is neces- sary always to keep the proper side of the connecting rod up, when you have occasion to take the bolt out of the elbow of the bar, either to increase or diminish the power. Increasing the power is effected by turning the rod so as to shorten it, and the decreasing it is by turning it the contrary way. By the nut on the iron screw, which connects the main and top counterpoise levers, you are to regulate the ascent and descent of the platen, so as to clear the head- bands of the tympans, which is done by screwing the nut up as far as is necessary. In adjusting the platen so as to approach the forme exactly parallel, you must, after hanging on the platen, and having a forme on the table, square it to your tympans ; then make a pull, and hold the bar-handle home until some other person screws the four platen screws alike tight. The small holes which communicate with the 48 PRINTERS' UNIVERSAL REFERENCE BOOK : respective bolts require a small portion of anti-corrosive oil occasionally. The impression may be increased or decreased by cutting thin pieces of paper, tin, or sheet iron, to the size of the plate of iron which lies between the platen and piston, secured by the four screws on the top of the platen, and placing them under the piston. You may easily judge whether everything is put in its proper place by the perfect ease with which the bar-handle works. Pressmen should take all the bolts out of their places when cleaning and oiling them. THE IMPROVED ALBION. Stand the feet on the staple, as marked, and raise the staple on them ; then connect the forked piece, called the piston, with the head of the press, by dropping in from the top the loop iron which passes through the spiral spring, and passing the large round bolt through the front of the piston, the loop iron, and head of the press, securing it at the back with washer and small pin then put the spring box on the top, and drop it over the loop iron and spiral spring, and place the washer and nut on the top ; now add the pull handle, and secure it at the back with the caps and screws as marked ; then put on, with the four screws, the slides or guide pieces to the piston ; then drop into the cavity in the piston the lower steel, taking care to place it in the right way, and put the crooked piece, with the connecting rod, into the opening in the piston below the head of the press, at the same time fixing the wedge-shaped piece in its proper place, taking care to place the polished side in front ; the other end of the connecting rod must be made fast to the pull-handle by the small bolt. The wedge in front of the piston, with brass guard and screw, are intended for regulating the pressure. The other parts of this press may be fixed in the same manner as the Columbian. A new press should always be well employed for the first few months with heavy formes, and the pressmen ought to be particular in doing their duty, by taking care that they always keep on a sufficient power, and see that the bar be EVERY-HOUR OFFICE COMPANION. 49 well pulled down. This is the only sure means of making it work free and well ever after : many a press has been spoiled by this neglect, and also that of working jobs at them before they are properly brought to their bearings. MAKING READY A FORME. A CAREFUL pressman will not omit, before he lays a forme on the press, to wipe the table or carriage perfectly clean ; for if any (though small) hard particle be on it, the letter which stands on that substance will, with pulling, quickly rise, and not only make a stronger impression than the rest of the forme, but bear off the adjacent letters. He also carefully examines whether the back side of the forme be clean, before he lays it on, which should be as nearly as possible under the centre of the platen. He then lays the empty tympan down upon the forme, and places the blankets (which he rubs, to soften and equalize the nap) and paper in it ; then putting in the inner tympan, he fastens it with the hooks for that purpose, which prevents it from springing up. He next folds a sheet of the paper he is about to work in quarto, and lays the long crease of it upon the middle of the long cross, and the short crease over the centre of the grooves of the short cross, if it lie in the middle of the forme ; for in twelves it does not, and then he folds the paper accordingly. Now, wetting his tympan, which is done only for very solid works, he turns it down upon the paper, and pulls the sheet, which, with the wet tympan and the force of the pull, causes it to stick; Turning up the tympan again, he examines if the sheet be even : if it has not been laid even on the forme, it is better to relay it, when pins are not used ; for it is of con- siderable importance that it should be put on perfectly even. This sheet is called the tympan sheet, and is placed there as a guide to lay all the other sheets even upon while he works the white paper. Having fastened his tympan sheet, the 50 PRINTERS' UNIVERSAL REFERENCE BOOK : pressman next proceeds to adjust his frisket, which must be covered with stiff paper, to perform which he fits the match- joints of the frisket into those of the tympan, turns down the frisket and tympan, and pulls an impression. He then takes off the frisket, places it flat on the bank, and with the point of a sharp knife cuts through the frisket about all the sides of each page, allowing to each he thus cuts out about a nonpareil margin on all the sides of the cut pages, and afterwards replaces the frisket again on the tympan. A revise is now pulled and sent to the reader. Before going on with the work, the pressman proceeds to level his impression, which is effected in the following manner : having pulled a dry sheet of paper and placed it on the back of his tympans or bank, he is then enabled to see the imperfections of impression arising from unevenness of blankets, &c. ; these he carefully removes, by cutting out the hard parts with his scissors, and covering the low parts with corresponding thicknesses of paper. When he has satisfied himself that the cut-in sheet is perfect, he removes the inner tympan, places the sheet upon the blanket, and feeling with his fingers that the impression corresponds with the position of the forme underneath, he pastes the sheets at the four corners, replaces the inner tympan, and in this manner affixes the overlays to the inner side of the drawer or inner tympan. Should one cut-in sheet be found not sufficient (which is frequently the case with stereotype work, and with presses having imperfect tables and platens), it will be necessary to repeat this opera- tion a second or third time. In addition to the above instructions it must be observed, that under the phrase of " making ready a forme " are comprehended many other operations, i. The frisket must be covered with stiff paper by means of paste. 2. He sees that the forme is properly locked up. 3. That no letters or spaces lie in the white lines of the forme ; which may happen if the compositor have made any corrections since the forme was laid on the press. EVERY-HOUR OFFICE COMPANION. 51 4. If any wood-cuts be in the forme, that they be letter high ; if not, for it seldom happens that they are, he must make them so. If they are too low, he underlays them ; if too high, they must be planed lower at the bottom, or he may introduce a few sheets of paper in the tympans, and cut away the part that bears upon the cut until he gets it even. 5. If a white page or pages occur in a forme, and he uses a new-made frisket, he does not cut out that page ; but if he works with an old frisket, and that page is already cut out, he pastes on a piece of paper to cover the white page that it may not black. 6. Those pages adjacent to a blank one will come off harder than any other in the forme ; to prevent which, he fits a bearer on the frisket. Bearers are now made of wrapper paper, rolled up, forming a cushion, and pasted on a frisket, which, from its elasticity, is superior to the reglet, formerly used. Cork bearers are also frequently used to advantage in preventing shakes at unprotected parts of the forme. 7. He examines whether the frisket bites that is, whether it keeps off any part of the impression ; if it does, he cuts away the part, and about a nonpareil more, where this occurs. ROLLING AND PULLING. THE operations of the printing press, when conducted by an expert pressman, are performed with surprising rapidity ; but the labour is very great. Two men are required to make a "full press" (when only one is at work, it is called "half press "), who take it by turns in long numbers to pull i.e. work the press and roll the types. Whilst one man is employed in pulling the sheet, his comrade is distributing the ink on his roller, by applying it to the ink slab, and the ink should be well spread out by the muller ; the roller should be kept in motion in varying directions, upon the plane surface of the table, whereby he obtains a perfectly 52 PRINTERS' UNIVERSAL REFERENCE BOOK: equal coat of ink upon the face of the composition. By this time the other man having made the pull, run out the press, and opened the tympan, the other instantly begins the inking, whilst the puller gets the sheet changed ; great care and attention is necessary on the part of the man who inks the types, for on him depends that regularity of colour which is so essential to the beautiful in typography. The advan- tages of the modern presses in working are very considerable, both in saving labour and time. The first arises from the beautiful contrivance of the levers, the power of the press being almost incalculable at the moment of producing the impression ; and this is not attended with a corresponding loss of time, as is the case in all other mechanical powers, because the power is only exerted at the moment of pressure, being before that adapted to bring down the platen as quickly as possible. The forme having been rolled in the usual manner, the pressman receives the near end of the sheet with his left hand fingers and thumb, catches it with his right hand about two inches within the further edge of the sheet, near the upper corner, and about the length of. his thumb below the near edge of the sheet, and brings it swiftly to the tympan, and at the same time twists his body again before the tympan, only moving his right foot a little from its first station forwards under the table ; and as the sheet is coming to the tympan (suppose it to be white paper) he nimbly disposes the fingers of his right hand under the further edge of the sheet near the upper corner ; and having the sheet thus in both his hands, lays the further side and two extreme corners of the sheet down even upon the further side and extreme further corners of the tympan sheet ; but he is careful that the upper corner of the sheet be first laid even upon the upper corner of the tympan sheet, that he may the sooner disengage his right hand. If, however, by a quick glance of his eye, he perceives the sides of the sheet lie uneven on the tympan sheet, with his left hand at the bottom EVERY-HOUR OFFICE COMPANION. 53 corner of the sheet, he either draws it backwards, or pulls it forwards, as the sheet may lie higher or lower on the near corners of the tympan sheet, while his right hand, being dis- engaged, is removed to the back of the ear of the frisket, and with it gives it a light touch to bring it down upon the tympan, laying at the same moment the tympan on the forme. He then, with his left hand, grasps the rounce- handle, and with a moderate strength quickly brings the table to the mark for the pull on the further rail of the tympan ; and as it is running in, slips his hand to the end of the bar. gently leaning his body backwards he pulls the bar towards him, and thus effects the impression. Having made the pull, and the rounce still in his left hand, he expeditiously returns the bar to its place, and, at the same moment, gives a quick and strong pressure on the rounce, to run the table out again. As soon as he has given this pressure, he dis- engages his left hand from the rounce, and brings it towards the bottom of the tympan, to assist his right hand in lifting it up, and also to be ready to catch the bottom of the sheet when the frisket rises. While the frisket is going up which should be conveyed quickly and gently to the catch up he slips the thumb of his left hand under the near lower corner of the sheet, which, with the assistance of his two forefingers, he raises, and by so doing allows the right hand also to grasp it at the top, in the same manner, which lifts the sheets carefully and expeditiously off the points, and turning himself quickly towards the paper bank, carries the sheet over the heap of white paper to the bank, and lays it down upon a waste sheet or wrapper put there for that purpose : but while it is coming over the white paper heap, though he has the sheet between both his forefingers and thumbs, yet he holds it so loosely that it may move between them as on two centres, as he twists himself from the side of the tympan towards the side of the paper bank. Thus both the pressman's hands, at the 54 PRINTERS' UNIVERSAL REFERENCE BOOK: same time, are alternately engaged in different operations; for while his right hand is employed in one action, his left is busy in another and these exercises are so suddenly varied, that they seem to slide into one another's position, beginning when the former is but half performed. Having thus pulled a sheet, and laid it down, he turns himself towards the tympan again ; and, as he is turning, gives the next sheet on the white paper heap a touch again with the back of the right thumb nail, to draw it a little over the edge of the heap, and lays it on the tympan as before, and so on till the whole heap of white paper be worked off. PRINTING BOOKWORK AT PRESS. A PAIR of points is an anomaly, as they invariably consist of two odd lengths, the shortest being fastened by the point- screws to the near side of the tympan, and the longest to the off-side, to save unnecessary reaching of the arms in pointing the sheet. To commence working a sheet in register, fasten your forme to the table of the press ; next make the forme ready in the usual way, lifting a tympan sheet of the work's own paper, taking care that the folds of it correspond to the crosses of the chase as nearly as may be ; next fasten on your points, taking especial care that the points work into the slots of the chase ; this may be easily ascertained by lowering the tympan, feeling at the back with the hand, and peeping under the tympan when slightly raised ; if right, screw up the point screws tight. If, when you pull the bar-handle over, the points do not work into the slots of the chase they will be battered. You must then place your pins to lay your sheet by, pull one, fold it, and see that the points have perforated in the break of the sheet ; if so, work your paper through. If your pages be imposed to work half-sheets (which is usually done in small country offices), turn your heap over, and work through on EVERY-HOUR OFFICE COMPANION. 55 the other side, carefully pointing, and dispense with the pins of course, taking care that you have register. If a little out, gently knock the points, or one of them, a trifle up or down till you do get register. If you are working from two formes (i.e., a sheet), make ready your second forme in the same manner as your first, but do not remove the points if it can be avoided. The springs on the points are to prevent tearing the sheet, as the springs throw the sheet off the points the moment the bar-handle is released. About every three sheets a small quantity of ink should be taken, and during the intervals the roller is not employed in brayering out or taking ink, he should be overlooking the heap in order to detect any want of uniformity in the colour ; to observe if any letters, quadrats, or furniture rise ; that no letters are drawn out or battered ; that the register be good, and the work free from picks : during this examination, the roller must be distributed as much as possible. When, through carelessness, too rriuch ink has been taken, it should be removed by laying a piece of dry waste paper on the ink table, and distributing the ink upon it until it is reduced to the proper quantity. If letters, quadrats, or furniture rise up and black the paper, they should be put down with the bodkin, and the quarter locked up tighter. If any letters are battered, the quarter they are in must be unlocked, and perfect ones put in by the compositor. If picks which are produced by bits of paper, skin, or film of ink and grease or filth get into the forme, they are removed with the point of a pin or needle ; but if the forme is much clogged with them, it should be well rubbed over with clean lye, or taken off and washed. The puller should habituate himself to glance his eye over every sheet, as he takes it off the tympan. Torn or stained sheets are thrown out and placed under the bank. Doubling happens when the face of the platen and the inner tympan are both dirty, which occasions them to stick : they should always be kept perfectly clean. Slack or 56 PRINTERS' UNIVERSAL REFERENCE BOOK : rickety tympans will also cause doubling ; and leaning the body against the carriage in reaching the bar. The paper being rather too dry will also sometimes cause the impression to mackle. Slurring and mackling will frequently happen when the tympans are carelessly and suddenly put on the forme : they should always be laid down easy, and the slur screw made proper use of. BRINGING-UP WOODCUTS AT PRESS. As the method of printing engravings on wood, here de- scribed, applies to what is termed fine printing, it may be as well in the outset to define what is meant by this expression, in its application to this subject. Fine printing is the art of obtaining impressions from an engraving on wood of the surface and the surface only so as to produce the effect which the artist intended, in the highest state of perfection. There is a material difference in the manner of obtaining impressions. Those from an engraving on wood are pro- duced by coating the surface of the lines with ink by passing a composition roller over it, and then, with the paper upon it, submitting it to pressure between two parallel plane surfaces, or by a cylinder rolling over it. In other words, by the agency of a bed-and-platten or a cylinder printing press. We speak now of careful hand-press work, and the printing of an engraving unaccompanied by letterpress. After putting a block on the press, the workman ought to be very gentle in the pull for the first impression, to prevent an accident which has many times occurred from thought- lessness in this particular, by making the pull too hard, and crushing some of the lines. By avoiding this indiscretion he will be safe, and can proportion his pull to the subject. He should also examine, previous to pulling, that there be nothing on the block no pins that he may have for his tympan sheet, or any needle with which he may have been EVE&Y-HOUR OFFICE COMPANION. 57 taking out a pick. Such accidents have caused great trouble to the engraver, -as well as loss of time and disappointment, besides entailing a character for carelessness on the printer. In imposing a single block, where the press is much larger than the forme, it would be well to lock it up in a chase just large enough, and then, in turn, lock up the chase in the centre of the one which covers the whole bed. This will prevent the entire suction of the rollers charged as they may be with very superior ink disturbing the block, as it will then be as firm and solid as if a part of the press. Neither pressure nor the impression in an engraving on wood should be uniformly equal. If they be, the effect that Is intended to be produced by the artist will fail ; and, instead of light, middle-tint, foreground, and shade, an impression will be produced that possesses none of them in perfection. Some parts will be too hard and black, and other parts have neither impression nor colour enough, with obscurity and roughness, and without any of the mildness of the middle-tint, which ought to pervade great part of an engraving, and on which the eye reposes after viewing the strong lights and the deep shades. To produce the desired effect, great nicety and patience is required in the pressman. A single thickness of thin India paper which is the paper we would always recommend to be used as overlays for engravings is frequently required over very small parts, with the edges of it scraped down ; for it is advisable that the overlays should never be cut at the edges, but, even where great delicacy of shade is not required, that it should be torn into the form wanted, which reduces the thickness of the edges, and causes the additional pressure to blend with the surrounding parts. Particular parts of the impres- sion will frequently come up much too strong, and other parts too weak ; it will then be necessary to take out from between the tympans a thickness of paper, and add an additional tympan sheet, cutting away those parts that come E 58 PRINTERS' UNIVERSAL REFERENCE BOOK: off too hard, and scraping down the edges. Scraping away half the thickness of a tympan sheet in small parts that require to be a little lightened, will improve the impression. The light parts require little pressure, but the depth should be brought up so as to produce a full and firm impression. If a block be hollow on the surface, underlaying the hollow part will bring it up better than overlaying it, for the purpose of raising it to the proper height, in preference to making use of overlays ; for they act in some measure as blankets, being pressed into the interstices, and rendering the lines t^bker than in the engraving. Blankets should never be used for fine work ; paper packing is the only thing that will enable the pressman to produce fine effects. It will also be necessary sometimes, when the surface of the block is very uneven, to tear away parts of the paper in the tympan, to equalize the impression where it is too hard. The press- man will find it convenient to pull a few impressions, while he is making ready, on soiled or damaged India paper ; for out of these he can cut overlays to the precise shape and style that is wanted, as he will constantly find it necessary to do so in instances where great accuracy is required in overlaying particular portions; and in these instances he cannot well do without a sharp penknife and a pair of good small scissors. A fine sharp bodkin and a needle or two, to take out picks, are also needful ; but he should be par- ticularly careful in so using them as that he do no injury. The best way to avoid this is to draw the bodkin or needle point cautiously in the direction of the lines. Engravings that are in the vignette form require great attention to keep the edges light and clear ; and, in general, it is necessary to scrape away one or two thicknesses of paper in order to lighten the impression and keep it clean; for the edges being irregular, and parts, such as small branches of trees, leaves, &c., straggling, for the purpose of giving freedom to the design, they are subject to come off too hard, and are EVERY-HOUR OFFICE COMPANION. 59 liable to picks, which give great trouble and are difficult to be kept clear of. Pieces of cork, pasted on the frisket in the usual way, bearing on the furniture, will be found of great service. Acting as bearers, they equalize the pressure on the surface of the engraving, and protect the edges from the severity of the pull, which is always injurious to the delicacy of the external lines. They also render the subject more manageable, by enabling the pressman to add to, or diminish the pressure on particular parts, so as to produce the desired effect. When delicacy of impression is de manded in a vignette, it will be found beneficial in fact, essential to have the rollers in the best possible condition, carrying as little ink as possible, and making up with extra distribution and extra rolling the necessary lack of ink. This will prevent picks, and give to the edges lightness and softness, particularly where distances are represented. If the extremities are engraved much lighter than the central parts, paste underlays on the middle of the block, which will give a firmer impression to those central parts of the subject; it would save trouble too to have the block slightly convex in such cases, previous to being worked on by the engraver, as it would give facility in obtaining a good impression. When highly finished engravings on wood are worked sepa- rately, woollen cloths, however fine, must never be used for blankets, as it causes too much impression. A few thick- nesses of stoutish, hard, smooth paper, in lieu of them, be- tween the tympans, is much better; indeed, sometimes a piece of glazed pasteboard is used to great advantage. The parch- ment covers must be in good condition, tightly stretched, and of uniform thickness, so as to enable the pressman to obtain an impression as nearly as possible from the surface only of the engraved lines. Muslin covers may answer very well for ordinary jobs, but the fine printer that once uses parch- ment will be very loath to fall back on muslin. A large woodcut left on the press all night is very apt to warp. E 2 60 PRINTERS' UNIVERSAL REFERENCE BOOK : When this happens, a good method to restore it to its origi- nal flatness is to lay it on its face upon the imposing stone, with a few thicknesses of damp paper underneath it, and to place the flat side of a planer upon it, and four or five octavo pages of tied up letter : in the course of a few hours the block will be restored to its original flatness. However, in the present advanced condition of the art of electrotyping, by which process an exact fae simile can be taken, it is no longer necessary to use the original engraving, and electro- types are not liable to warp. Whenever it may be necessary to make up, impose, and send to press a series of wood engravings with a type forme, after being worked, the forme should be laid up and the cuts taken out before washing. If you want to preserve the original perfection of fine wood engravings you must keep lye and water away from them. When only a few proofs are wanted from an engraving, good impressions may be obtained with but little trouble on dry India paper, with about six thicknesses of the same sort of paper laid over it, and pulled without a tympan. This v ;bservation applies to small cuts, and those of a moderate size. If proofs are wanted from larger ones, it will be found advantageous to put the India paper for a few minutes into a heap of damp paper. You may ask, very reasonably, " What shall we wash wood-cuts with, if lye is repudiated ?" The best method we have found in practice, is to wipe the ink off with a piece of woollen cloth, damped with camphene or spirits of turpentine ; and if it should get foul in working, to clean it with either of these fluids with a softish brush. It will be found in practice that either of these fluids will take off the ink quicker, and affect the wood less, than any other article used ; and the facility with which the block is again brought into a working state more than compensates for the trifling additional expense incurred, as nothing more is required than to wipe the surface dry, and to pull two or three impressions on dry waste paper. The engravers EVERY-HOUR OFFICE COMPANION. 6 1 always show an impression when the block is taken home to their employer ; and this impression is taken in a manner where the subject is not of a large size such as to produce a superior effect to what a printer can with a press, when he has a number to do, which are generally worked in a forme with types, arid his price so low for printing as not to enable him to do justice to the subjects. The engraver's proof is obtained by means of a burnisher, with one thickness of paper in addition to that printed on, so that he can examine each part to bring it up where it is required, and leave the others as delicate as he pleases. He thus obtains an im- pression from the surface only, perfect in all its parts, with the best ink that can be procured : this is a very tedious operation, hours sometimes being consumed to produce one impression, while the pressman is expected to produce like effects at the rate of two hundred and fifty, or even five hun- dred copies an hour. Papillon, in his work on Engraving on Wood, published in 1766, complains of a plan nearly similar being adopted by the French engravers, with which he finds great fault. The following is a translation of the passage: "Some engravers on wood have the knack of fabricating the proofs of their engravings far more delicately, and in a more flattering manner than they really ought to be; and this is the means they make use of They first take off two or three, in order to adjust one of them to their fancy, and which they think will favour their imposition ; having selected it, they only beat anew the parts of the block charged with shades and the deeper strokes, and in such a manner that the lighter ones, distances, &c., being only lightly covered with ink, in as far as not being touched in the new beating, they retain no more than what was left by the preceding impression; the result is that the new proof comes off extremely delicate in those places, and appears pleasing to the eye ; but when this block is printed in conjunction with letterpress, the impressions then appear 62 PRINTERS' UNIVERSAL REFERENCE BOOK: in their natural state, and totally different from that which they presented on delivery of the work. The strokes are of one equal tint, hard, and devoid of softness, and the dis- tances are often less delicate than the foregrounds. I shall risk little by saying that all the three Le Sueurs have made use of this trick." The pressman will find this an advan- tage, if it be necessary, to do full justice to an engraving, to have a good impression from the engraver, and place it before him as a pattern, and then arrange the overlays, &c., till he produces the same effect; but the most valuable lesson will be when he can obtain the artist at the press side, to direct him in making ready the cut ; and we would advise him by no means to be impatient at the tediousness of the operation, as he will obtain more information how to produce a fine impression by this than by any other means. It will also instruct him how to meet the wishes of the draughtsman and the engraver with regard to effect, in a way superior to any other; and will, with care and atten- tion, ultimately lead him to excellence in printing engravings on wood. So far, notwithstanding the vast improvements in printing machines, we must admit that the finest woodcut printing is still done upon the hand press ; but when you come to our mammoth pictorials, issued by the hundred thousand weekly, machines are absolutely indispensable, both on account of the size of the forme and number of impressions. Fine woodcut printing, however (such as is produced in the Christmas annuals), will continue to be done by hand, until still greater improvements are made in our steam printing machines. EMBOSSING AT THE LETTER PRESS. BY the new plan, a whole sheet of Royal may be embossed at a super-royal press as easily as possible. The process may be thus explained : get an iron plate, the thickness of EVERY-HOUR OFFICE COMPANION. 63 an ordinary wood block used for mounting stereotype plates. It must be pierced with screwholes to allow the points to be fastened on in their places (the points for embossing are screwed on to the iron plate and made so as to be moveable to any place in a moment) ; fasten this plate to the bed of the press in the usual manner; then take the die, or dies, and level them by underlays in the usual manner of stereo- type plates ; paste a piece of rough brown paper to the bottom and cut it to the shape of the die ; paste the bottom again and place it in the centre of the iron plate ; run the press in to the centre and pull over, keeping the bar-handle over a few minutes; this done, let them alone till dry (about a quarter of an hour). Get some sheet gutta percha, about the thickness of four or five cards, and put it in some hot water ; when soft, place it upon the die, putting a piece of brown paper over that to keep it from sticking to the tympan ; run in and keep the pull over till the gutta percha is cold. The gutta percha thus prepared is called a "force." Wipe the die perfectly dry, trim up the force with a sharp penknife (it ought to be cut out as nearly as possible to the outside shape of the work the same as children would cut out a picture), and, when this is done, paste the back of the force and again pull over, when the force will rise with the tympan. If the force is not perfect, hold a piece of lighted paper to the defective part till it becomes slightly warm ; then, having with a camel's hair brush well greased the die with dry French chalk to keep the force from adhering to it, pull again, and repeat till the force is perfect. Now comes the part that has been kept so secret : If there is a large die, no power that any press ever had would bring off a sharp impression ; but the desired result can be secured by simply pasting a strip of milled-board, say about one inch wide, underneath the platen, exactly in the centre and crosswise to the ribs. Then place the paper between the die and the force, carefully run the table of the press in 64 PRINTERS' UNIVERSAL REFERENCE BOOK : until the piece of milled-board is exactly over the first inch of the die, pull, run in another inch, then pull again, and so on till the whole of the die has been pulled upon : the sheet is then embossed. CARE OF MACHINERY. ANYONE who possesses a nice, well-made machine of any kind, is naturally supposed to take pride in keeping it in good order, so that it will continue to perform its work as well and satisfactorily as when first set up. In a well- ordered printing office, whether a large one or a small one, a pressman is never allowed to begin a day's work until his press is thoroughly cleaned and well oiled in every portion where any friction occurs. The wheels carrying the bed of the cylinder press are so cared for that they will turn> and not allow the bed to slide, as in a hand press, until they are worn flat upon one side. Every speck of dirt which can cut journals or bearings is removed before the fresh oil is applied; and, as a consequence, the press runs smoothly and easily, with the least possible waste of power and wear of material. It is a settled maxim with printers and ma- chinists that a well-made press which has been run for a few months, and properly cared for, is absolutely better and worth more than a new and untried one of the same pattern. Yet some printers will so run a press as to make it worth- less at the end of six months, causing loss of money and time to themselves, and of reputation (which cost time and money) to the manufacturer. The latter, if he can avoid it, will never sell a press to parties so careless of their own property, for the loss in reputation more than counter- balances the profit on a single sale. The same remarks will apply to paper and card cutters, standing presses and all other machinery used in or about a printing office, and to heed them will pay the printer well "Want of care does more damage than want of knowledge," an axiom we EVERY-HOUR OFFICE COMPANION. 65 commend to the particular consideration of our readers. The first few machine managers were men from the shops of engineers ; but upon skilled pressmen being taught the nature and construction of the machines, their services were soon found to be much more valuable ; as by their know- ledge of presswork, much better and finer work was turned out than any engineers could produce, and consequently those pressmen who possessed sufficient energy and per- severance, set themselves quickly to work to master the mysteries of the new printing machines, and in a few years 7 time a race of skilful machine printers were added to the ranks of press labourers. Perfecting single-feeders, two- feeders, and four-feeders formed the class of machines re- sorted to by newspaper proprietors to get their work done for many years, till the rapidity of the Applegath, the Hoe ? and certain other machines began to astonish the trade. In those days the services of a skilful and intelligent ma- chine manager was a most valuable acquisition to the labour branch of every newspaper office ; and when a workman could be obtained who possessed the united requirements necessary for the successful fulfilment of all these duties, he was looked upon as a treasure. For a thoroughly practical opinion of the merits of any machine for the purpose of printing, no one is so competent to judge as the men who have to work them ; and it is to these men that every pur- chaser should resort when about to lay out his cash on any- thing of this sort, and their opinion once given may generally be relied upon as to what a machine can do and how it does it. As nearly the whole of the general work which is now turned out by the large offices in town and country is produced by the machine, the possession of a competent and diligent person in this department of the office must necessarily be a great desideratum in every printing business. It is from the machine-room that the reputation of a house for good or bad work emanates; and fortunate is 66 PRINTERS' UNIVERSAL REFERENCE BOOK : that employer who possesses a man capable of turning out work famous for its general excellence and beauty of finish. The many jobbing machines that are now in the trade render it possible to do almost everything in the way of ordinary printing in the machine-room, although it takes so much longer to make a forme ready at machine ; but even this does not always apply where the workman is sharp, and has the necessary machinery around him to work with. Much time is often lost where a man swaddles his cylinder up in blanket, and so makes a bursting, puffy impression, that requires a lot of cutting out, and then looks anyhow, when a few sheets of paper, either pasted on the cylinder both the gripper and leaving edges or, better still, folded in half, and put on a rod just as a blanket would be, and pinned at the leaving end, would be all that is necessary. This gives a solid impression, allows the type to look as well as it can look, does not dip, and only requires, in most instances, a piece of thin paper here and there, with just the heaviest places cut away, to do the work quickly, and make it look nice when it is done. Some men use calico over the sheets, but the threads deface the type where the impression is heavy. When paper is used, it stands to reason that it gets indented by the impression just as the sheets inside a tympan would do, or as blankets do, therefore a little turning about is beneficial after each working, and the fresher and flatter the sheets are, the better it is for the job. When the forme is put into its right place, and the cylinder sheet is pulled, the edges, catch-lines, and rules cut away going down two or three sheets deep if necessary always graduating, and never cutting two sheets exactly in the same place, you may compare your work with a similar job done with a blanket, and if yours does not surpass it, it must be your own fault. This does not apply so well to large formes, although some houses prefer working many full-size formes with sheets, they being capable of doing any kind of letterpress well. As there EVERY-HOUR OFFICE COMPANION. 67 is nothing but the sheets between the overlay and the block, the said overlay must be neither too thin nor too thick, nor cut out too suddenly, as whatever is done to it will show, there being no good-natured blanket to hide the effect of the machine-minder's rough-and-ready style. A great evil sometimes creeps in where the machine-minder is given to a too free use of the impression-pin. Let him see 'that his bearers are just a shade higher than a new shilling stood on edge, which is a very good gauge (and one that every printer should always carry), then utterly ignore such aids as wrappers laid along the bearers, or plastered on the cylinder, such tricks being only pardonable when the cylinder does not bite, when the bearers are low, or in an emergency, but never as a regular custom. This done, put as many sheets on the cylinder as are required to get an impression, and after having set the cylinder to the requisite pressure on the bearers, try and leave the screws alone as by constantly tampering with them you either get them down so hard that you turtle the coffin up in the centre, or else the cylinder is elevated much above its proper place (fertile source of slurs); and if one end is higher than the other, or should they happen to be equal, as well as bewildering yourself with diffi- culties, you are very likely preparing a job for the engineer, and you can easily obviate all this by taking a sheet away or adding one, just as you may want to vary the impression and do not trouble the impression screws too much. There are also other than impression screws which should be care- fully shunned the screws at the back of the ink-duct. These screws have cost many a man his situation. They are put there for the purpose of regulating the supply of ink to the forme, and should not be twisted about ad lib.) but the colour, once set, should be left alone as much as pos- sible. If a roller does not furnish the type properly, it is of little use opening the duct ; better change the roller for one that will work, and if you have a light place, such as a blank 68 PRINTERS' UNIVERSAL REFERENCE BOOK : page in a forme, never screw the knife up until it Clean's the duct roller in that part, as you are spoiling it, and probably letting out enough at the other erid to fill a broadside. At all times the colour must be regulated kindly, and not by violent wrenches. When it is necessary to cut two or three pieces out of the vibrator so as to lessen the take of colour at any particular spot, be careful not to cut them out all in a row on one side, but take the pieces out all round, equally if you can, as otherwise, the heaviest part of the vibrator being where it still remains intact, will mostly be lowest at the duct, and of necessity the gaps in the upper surface refuse the ink too often, and so your work pales too suddenly. If you happen to be short of vibrators, and yet find that you must cut the composition away in places, manage to cut it out in solid, shapable pieces, such as you will be able to stick on again, after warming the under side at a gas jet, then tie round with page-cord. We have thought how useful would be a lot of little rollers, like pieces of gas-pipe, an inch or so wide, so that we could stick them on a spindle exactly where they were wanted, whiting out the intervals with gas-pipe washers, just as quadrats go between leaders in an index. These pigmy rollers, covered with a durable composition would be very useful for two-colour broadside work. HINTS TO "ARTISTS" AT MACHINE. BRINGING-UP FINE WOODCUTS. As will be seen on perusal, the directions apply to the modern cylinder machines now in use in this country and in America. Your cylinder packed and ready for the forme, take out your cuts, and supply yourself with three careful proofs of each on a hand or job press. Let these proofs be taken on fine woodcut paper of a kindly surface not highly sized or calendered. Replace your cuts in the forme, and bring them up exactly type-high by judicious underlaying, observing that the heaviest of EVERY-HOUR OFFICE COMPANION. 69 your underlays are exactly under the solid effects of the various engravings. Let this be done carefully and with precision. Run an impression on your clean taut sheet of thin white paper or hard-packed cylinder, on which to attach your overlays when ready. Cut out carefully with sharp scraper one of each of these proofs, leaving Ifttle but the heavy lines and solid effects of the subject, taking care to cut slantingly. This done, take the second proof of each, and cut in like manner all the light effects, and here and there such of the heavier as judgment shows to be ex- pedient, shaving the overlay in all such places gradually from the heavy to the lighter parts. This done, take the third proof of each, and cut out the light effects only, using discretion in shaving partially off such parts as appear desirable or proper. This done, paste slightly, very slightly, the second cutting, and place it line for line exactly over the third cutting ; then, in like manner, the first cutting over the second. This done with all your engravings, scrutinize them critically, and scrape or shave off such portions as are likely to create an abrupt impression, or prevent the lights and shades gradually working into each other, and your overlays are ready. Next, carefully, but very slightly, paste them only enough to stick ; note particularly two points of the engraving, near the extremities, and run a pin through each, taking care to find the same points* on impression on cylinder with the pins, and then fasten them. The im- portance of extreme care in pasting the overlays line for line over each other, and the wholej when ready, on its proper place on cylinder, needs no comment. The lines out of place will completely spoil the effect of the engravings. The overlays thus placed in position, take a sheet of tissue, the size of forme*, paste two of the edges above and below the make-ready, and so cover the whole for its pro- tection. Next, run a few spoiled sheets through, and take a clean proof of the forme, from which proof you will yo PRINTERS' UNIVERSAL REFERENCE BOOK: probably find that the necessities of your engravings have partially taken off the impression from the adjoining text. This you remedy with tissue overlays in the proper places ; and, perhaps, you may discover some portions of the cuts could also be improved with an additional overlay of tissue, or your scraper can be applied to advantage. These final matters attended to, re-adjust your tissue over all, start your forme, see to your colour, run off a hundred or so, and then, finally, examine the whole with a critical eye. If satis- factory, drive ahead with the work ; if, however, the scraper or scrap of tissue will still be of service, by all means give your forme the benefit of it. You will gain in the end by the satisfaction of having left nothing undone to secure perfection. In perusing the above it will be at once seen that the process laid down is a matter requiring some considerable time, without which excellence in woodcut printing is not attainable. " Packing the cylinder " is thus explained. The cylinder is covered by a piece of calico or canvas on which are secured damp sheets of paper; one sheet is sometimes sufficient, and sometimes a dozen are not too many. Then, should you have a very hard place in your impression, you have something to cut at, so as to reduce the pressure on that part. When a cut forme has to be worked, packing the cylinder is a very necessary pre- liminary. " Packing the cylinder " is also understood in another sense. When a machine fails in the impression, and always in one place, the weak part is patched with one or more thicknesses of paper, so as to make the impression equal. PORTRAIT PRINTING BY MACHINERY. PORTRAIT printing is the finest of all 6ur woodcut work, and the method of going about it depends entirely upon the condition of the engraving, whether an electro or the wood itself; also the subject of the picture being dark or light (in EVERY-HOUR OFFICE COMPANION. 71 respect to dress and background), and the surrounding letterpress; for in some instances where there is a dark portrait requiring more pressure than the rest of the forme it bears the impression off the type near to it, in the direc- tion of the length of the cylinder, but this is only the case with what we call shaky machines. Having got our portrait the dark subject one on a level with the type, so as to allow the rest of the forme to be evenly rolled, the requisite thickness of overlay is got on; it is to be two or three thicknesses of paper the proper size, but no cutting out. Put on one piece of stoutish cartridge paper, if it will admit of it, and with a sharp pen-knife shave away such portions of the subject as require to be light, but do not touch the face for the present. If working from an electro, unscrew it from the mount, and paste underneath or at the back of the plate, opposite the darkest portions of the subject, a few pieces of thin paper cut the proper shape; care must be taken not to overdo this, for it must be remembered that the engraving in the first instance waslevel with the rest of the type in the forme, and by this underlaying with paper, the plate when screwed on is slightly bent, or risen up. It is important that this should always be borne in mind, no matter what class of work, for where one part of a forme is higher than the rest it cannot be evenly rolled. It is the practice of many workmen to underlay to excess, even with the type itself, never thinking at all of what we call " the line of impression," that is. an imaginary line to which all the types, &c., in a forme are worked up, and to which the impression-blanket is worked down. No matter what the forme is, underlaying should not go beyond the thickness of a sheet of stout paper above the line of impression, but it is too often done, which requires the rollers to be weighted, and what can be more injurious than that to fine cut-work ? Having slightly raised the darkest parts of the picture, and shaved away the lightest parts from the overlay, place a blanket on the 72 PRINTERS UNIVERSAL REFERENCE BOOK : cylinder; if it is new or level all the better, but in all probability it will not be so ; consequently where without the blanket we had a decent impression, now we have any- thing but a decent one. Suppose the blanket is in fair condition, and the impression moderate, do not, as in the usual method, cut away overlays from the parts which are too heavy, it is only waste labour, for it is simply making slight indentions in the hitherto nearly perfect overlay for the thicker parts of the blanket to lay in. Instead of doing this, take a piece of smooth hard wood, as a quoin, and with the mallet strike it flat on such portions of the blanket as are not level not too hard, as it will soon make a perceptible difference. The face we have not as yet touched, and of course we suppose it falls on an even portion of the blanket. The expression can be altered or worked up, by slightly pressing the blanket over such parts as require to be light with any hard instrument, such as the round part of a small key, or a bit of wood cut into the particular shape required, sometimes round, sometimes flat, as the case may be. It is surprising what effect there can be produced in this manner, which is easy, simple, and lasting. HINTS ON COMPOSITION ROLLERS: Their Manufacture, Use and Abuse, with all the known *' dodges " adopted to make them work well. MANY attempts were made for a long time to devise some better means of inking the types in the forme than by beating with hand balls. Earl Stanhope, the inventor of the Stan- hope Press, conceived the idea that the inking could best be done by means of a cylinder or roller to pass over the forme, and he spent much time and money in trying to carry out the idea in practice. But the great obstacle in the way was the want of a suitable substance for the roller. He tried rollers covered with the skins of various animals, dressed EVERY-HOUR OFFICE COMPANION. 73 in all sorts of ways, but found none to answer the purpose. He tried coverings of cloth, silk, &c., but with no better success. The seam that fastened the edges of the covering together, running the whole length of the roller, would always produce a blotch ; and the covering would not be evenly soft and pliable, so as to receive an even coat of ink, and communicate even quantities to the types. At last, it was discovered that a simple composition of glue and molasses produced exactly the material required, and in- augurated a new era in the art of printing ; for without such rollers or something to answer a similar purpose, machine printing, or rapid printing, never could have succeeded. The hint for using this mixture for rollers was first derived from the Staffordshire potteries, where it was used for an article called "dabbers." Mr. Forster was the first who applied the article to letterpress printing. Improvements in the manufacture of composition rollers were rapidly made, and they soon came into use in all machine printing offices. William Nicholson, of London, obtained a patent for com- position rollers in the year 1790, so that it appears they have been in use some eighty-four years. About the year 1829 a pressman, in the office of one of the leading printers in London, claimed to have a valuable recipe for making what he called a " composition " for printers' rollers and ball facings. The subject was but vaguely understood, but he was set to work to make some rollers, which, after re- peated trials, proved a failure. In, dissolving the glue to make his composition, he added pearlash, in order, as he expressed it, " to cut up the fiber." But it was found, after awhile, that the pearlash played the mischief with the rollers. They would work tolerably well in dry weather; but in damp weather, or on the occurrence of a shower, the roller would suddenly feel the change in the atmosphere, the pearlash having a strong affinity for moisture would absorb it from the atmosphere, the surface of the roller would F 74 PRINTERS' UNIVERSAL REFERENCE BOOK : become soft, and dissolve more or less, mixing with the ink, and of course making horrible work with the printing. It was some time before the cause of the trouble was clearly traced to the pearlash, and that portion of the composition was discarded. Experiments continued to be made to per- fect the roller by others, who at length succeeded in pro- ducing an excellent article that answered. It was found that the finest description of glue, and the best quality of molasses or sirup are the only ingredients required, and that the plan of incorporating a certain quantity of Paris white, as well as the idea of " cutting the fiber " with pearl- ash, were alike detrimental. For a generation back the best printers used but the two ingredients, and all that is needed is a due proportion of each, carefully blended, using as little water as possible in soaking the glue, to make the best of rollers. No general rule can be given for making rollers for all cases, as the proportions of the ingredients must be varied to suit the temperature of the weather, &c. In cold weather the composition requires more sirup and less glue, and in warm weather more glue and less sirup. Experience and judgment will be required to vary the "compo." to suit temperature and other circumstances. We will state what may be considered the best recipe for composition rollers for ordinary 'summer weather, in this latitude, say at a temperature of 60 to 70 degrees. It should be remembered, as we have before stated, that much depends on using the best possible materials in, making the composition. Let the proportions for the temperature we have named be one pound of glue to one quart of sirup. Steep the glue till it softens enough to bend easy without cracking, which may take from ten to twenty-five minutes. Drain the water off, and let the glue stand awhile till it gets thoroughly softened through. The glue-pot containing the glue must then be suspended in a vessel of water, which should be kept near the boiling point, without boiling, till the glue becomes liquid, which EVERY-HOUR OFFICE COMPANION. 75 may take half an hour, more or less, according to circum- stances. Then put in the sirup, and keep stirring with a stick till the composition is "cooked," as the technical phrase has it the water being at the boiling point. This generally requires from one to two hours. If the first soften- ing of the glue required not more than ten minutes, the cooking may be done in an hour, but if it took twenty or twenty-five minutes to soften the glue, the cooking may require two hours. This recipe is for the manufacture of large quantities of compo. Of course, when but one roller is required to be cast, less time will be consumed in the melting process, as also in thoroughly combining the sirup and glue. And, in either case, experience and care are necessary to mix the two ingredients, and to be on the look- out that the sirup may not be too much cooked. There is always danger of it becoming "candied." This composition is manufactured in quantities, and kept for sale, by several large London firms, who supply orders to any part of the metropolis or the country. It is sent in " nuggets," or lumps, all ready to be melted and cast in the mould. Those who order compo. should state the circumstances as to tempera- ture, kind of printing, &c., for which it is wanted. The price of compo. is from is. to i6d. per pound. As it may be a convenience to some of our readers, we will state the number of pounds of composition usually required for different kinds of rollers. For cylinder machines : demy folio rollers, 8 Ibs. ; medium and super-royal, 10 Ibs. ; double medium, 12 Ibs. For platen machines: 36-inch roller, 10 Ibs.; 4o-inch, 12 Ibs. For hand presses : demy roller, 9 Ibs. ; super-royal, 10 Ibs.* It not unfrequently happens, after every precaution has been taken to have good rollers, that they fall sick; then, what a deliverance it is if we can only bring an old, wrinkled, discarded roller into, * Vide " Printer's Business Guide" for further information. F 2 76 PRINTERS' UNIVERSAL REFERENCE BOOK : use, to work off a pressing job creditably ! Rollers, when out of use, if kept in galvanized roller boxes, are said to be unaffected by the weather, are ready for use at any moment, and scarcely ever require re-casting. Coloured or other inks will not dry on the face of rollers, neither will coloured inks skin on the top ; and, if out of order, they can be made fit for use by placing them in the box for a few hours. These boxes are indispensable for warm or cold climates. Now, what substances are so subject to "aridity or moisture as sugar and glue? Then why not apply those preservative remedies which experience proves desirable with articles of a somewhat similar perishable nature ? The tem- perature of a vacuum is the same under a tropical sun as under the ice-bound regions of the north. When we are cold, do we not seek a more genial temperature ? If we are unpleasantly warm, do we not tax human ingenuity to pro- vide for our wants in this respect also ? By analogy, are not rollers peculiarly susceptible of heat and cold? But what antidote plo we provide for those ills which roller composition is heir to ? If we expose man or beast to the merciless effects of heat or cold, do we not risk their con- dition, or lessen their working powers ? So it is with roller composition. Then, knowing this, why not place your rollers, when out of use, in a vacuous receptacle, when the experience of years (limited it is true) proves the advantage to the appearance of work, and the monetary saving effected thereby; to say nothing of "vexation of spirit." Let us, then, make use of those appliances which science has given to us, backed by practical experience, and as commpn sense dictates to us. A brief sojourn in a vacuum restores .the frost-bitten roller, or the all but melting composition, if not to its original freshness, still to its proper working consist- ency. The roller box is a preservative of health to the roller, as well as physician to its ailments ; but surgical powers it has none. EVERY-HOUR OFFICE COMPANION. 77 How TO MAKE BAD ROLLERS WORK. When a roller becomes arched the outside edges bearing off the centre of the roller cut a strip of the composition off each end, with a sharp knife. Arching is generally caused by the roller becoming hard or dried. Cracked or cut rollers are almost impossible to mend ; but if cut by working brass rule formes, they may be carefully flared with a piece of lighted paper, and hung for a day or two, to recover themselves \ if split, or cracked, by accident, let the flame of a lighted candle into the fissures, and close carefully with the fingers, then let them be hung up to recover themselves. The fingers must be wet, to avoid the composition sticking to them. Caution is necessary not to use a cut roller for colour work, as the black ink will be sure to ooze out from some of the aper- tures. While upon this subject, it will be as well to mention that you should always cleanse well those parts of the roller handles which rest upon the ink table, before commencing colour work, or the black ink which adheres to it will dete- riorate the colour. Damp or greasy rollers print a dull, dirty grey, instead of a black ; if new, they may be washed in turpentine; if old, in lye. A far better plan is to smother them in common ink, scrape and sheet them : this is always effectual with greasy rollers. If a damp roller does not recover with this treatment, you should hang it up in a warm room until it does. Bad work is sometimes better than no work ; and if printers' thin varnish be added to the ink in small quantities, it frequently allows the roller to work, although with a pale, greyish appearance. We are now supposing that you have good ink, and an unruly roller; but it should only be resorted to on emergencies, although it is a favourite dodge with some pressmen. If you have a very hard roller, and wish to work a light job, such as a circular, spit four or five times on the ink table, and dis- tribute a small job roller, holding it as you would a mallet, and well hammer the table with it, distributing at the same 78 PRINTERS' UNIVERSAL REFERENCE BOOK : time ; z'.., 2,520 leaves; and EVERY-HOUR OFFICE COMPANION. 89 it is calculated that a grain of the best metal will cover nearly sixty square inches. After the gold leaf has N been applied to an impression, it should be laid between a sheet of paper, and gently rubbed over on the outside with the hand. This sheet, with the impression contained within it, must now be laid on the top of the next one, and then both should be brought under the rubber, so that the gold may be fixed by means of pressure. If common metal is used, it is a good precautionary measure to have the impressions twice under the press. If there is time, copies should be allowed to dry for a few days ; if not, they may be rolled immediately, care being taken to give only a very gentle pressure. In proportion to the coarse- ness of the gold used, the drawing to which it is applied should contain more massive and further separated lines ; for this kind of gold does not affix itself easily to fine lines, and if the space between two lines be too narrow, the flannel is likely to remove the gold from the finer parts altogether. But if any description of fine gold is used, it may be applied with confidence to the finest drawings. A description of the manufacture of gold leaf, and the mode of using it, appeared in The Lithographer, Feb. 1873, p. 124. BRONZING AND VARNISHING CARDS. NEVER dust on black printing ink, if you wish it to look well and not rub off when the ink is dry. Printing ink is intended to dry with a face ; and as the bronze is, ot necessity, only laid on thinly, the opaqueness is sure to show through, and thus cause the bronze to look dirty. Use in the same manner as ordinary printing ink, Wood's patent bronzing composition, sold in cans, which is transparent, and for which a patent was obtained in 1851 ; it is chemi-* cally prepared to keep the bronze from tarnishing. If you print gold, mix a small quantity of dry chrome yellow with it, to give it body and throw up the gold ; if you use silver G 90 PRINTERS UNIVERSAL REFERENCE BOOK : bronze, substitute flake white for the chrome. A few penny- worths of either, good enough for this purpose, may be purchased at any oil and colour shop. For small numbers and light work, fine bright gold bronze will go three or four times as far as ordinary bronze, does not require rolling after printing, and equals gold leaf in brilliancy. Varnishing printed paper and cards is out of the question, as varnish soaks through and renders the paper greasy. To size, order a few pounds' weight of clean parchment cuttings, stew as much as required into a jelly, warm the jelly so that it liquefies (but it must not be hot) ; then with a flat badger's-hair brush, or piece of Turkey sponge, draw carefully and evenly from left to right over the printing. Never reverse the motion, nor go twice over the ground, or you will have a rough jelly appearance instead of a glaze. A remedy in bronze printing on ivory cards, for preventing the bronze from adhering to the card : Use better bronze, or add a few drops of the best flask olive oil to the bronze, well mixing it with a palette knife. You must not use much oil, or you will make the bronze into a paste only just enough to keep the bronze from staining the cards, which is technically called " hanging." Gold bronze work usually requires roll- ing to burnish the gold. Gold size is indispensable for metal leaf and colour printing. The usual plan is to send to an Italian warehouse for gold size ; but the article thus procured is, unless of the best quality, utterly worthless for the purpose needed, and has been the cause of innumerable failures. To render it fit for use, let the gold size stand in a flat dish, exposed to the atmosphere, for two or three days, well stirring it every half day ; then put it into an air-tight jar until required. By this process the size becomes as thick as glue ; and until it is of this consistency, it is not in a condition for use. Varnish is also prepared expressly for mixing with the gold size and gold composition, as explained before. Gold composition, for metal-leaf printing, is made EVERY-HOUR OFFICE COMPANION. 91 exclusively by some manufacturers, who have succeeded in so chemically preparing it, that it effectually keeps the metal leaf from tarnishing a result secured by no other compo- sition that is offered. The article is supplied in its thickest form ; and in order to reduce it to its proper consistency, so that it may hold the leaf firmly to the paper, it is neces- sary to take about one-sixth part of the composition, one- fourth part of the thick varnish, and one whole part of the thick gold size, which must be well mixed with a muller upon a clean marble slab. By this plan a sufficient quan- tity is made for immediate use, and the printer has the advantage of using it fresh, instead of using composition that has become dried and deteriorated by keeping. Immense quantities are now imported of imitation gold and silver leaf; but the only metal that is fit for printing purposes is the best Planier; this, in rubbing off "breaks," as it is termed, the best. It is generally printed on enamelled paper. Let the paper be dry, then roll the forme with the composition (the metal must, in every instance, be the first printing) ; directly you have pulled the impression, lay the leaves on regularly and smoothly, taking care to cover every part of the print; then place a sheet of paper over it, well smoothing it with the hands, and pressing the metal into the printing. Rub off the superfluous gold with a piece of oft wool. If properly put on, the gold, even if scratched with the nails, will not come off, after being printed a few hours. The metal-leaf process is almost as quick and cheap as bronze printing, and requires no rolling to brighten the gold. A quick hand will lay on a large number of leaves per hour. GUMMING AND CUTTING LABELS. THE principal thing to be observed, is to prevent the sheets from curling while drying ; to do this, the gum must in- variably be dissolved in cold water. To make gum for G 2 92 PRINTERS UNIVERSAL REFERENCE BOOK : thick drapers' labels : i Ib. of the best gum arable, dissolved in one quart of cold water, and strained through flannel. To make gum for chemists' labels : i Ib. of gum arabic should be dissolved in three pints of cold water, one table-spoonful of glycerine, and 2 ozs. of honey. Strain through flannel, and apply with a piece of good Turkey sponge, which will last in constant use three or four months, common sponge going to pieces almost directly ; lay the sheet to be gummed on a flat board, and gum over evenly; then lay the sheet, gum side up, on another thin flat board, and place it in the board rack to dry, and the sheet will not curl. The board-racks used in London generally hold seventy boards each ; they are simply made, and not expensive, being similar in construction to a printer's case rack ; but the fillets to hold the boards (which are very thin) are only one quarter the thickness, and, of course, as close together as is consistent with the boards working freely in and out. CUTTING our CHEMISTS' LABELS. There are several plans and contrivances for this purpose ; but we shall confine ourselves to the label cutting machine in general use, although we consider a far better and (as regards the cutters) much cheaper method might be adopted. By a machine on the same principle, as regards its general construction, as that above alluded to, and which we are about to describe, the labels are self-delivered and cut at a very rapid rate. The shape of the largest casting is somewhat similar to a Bath Post Stamping Press, only much larger, having one massive cheek only ; and instead of the force being given by a screw it is given by a lever, fronting you like the horn of an unicorn. There is a con- trivance resembling a small platen, which presses the cutter through the labels (100 at a time); the cutter is then removed, and the labels delivered. The printed sheets are worked with straight lines on the waste part of the sheet, EVERY-HOUR OFFICE COMPANION. 93 and cut with scissors, and then laid to a straight edge. The cutters are about an inch and a half deep, made of steel to the required shape, especially when a large number of shapes and sizes are in requisition, and are very costly. They are made sloping towards the edge to give delivery from the back ; the cutters are not fastened to the press in any way, and have to be directed to their position on the sheets by the eye, so that various shaped or sized labels may be printed on the same sheet, and cut with perfect ease with their respective cutters. The platen of a guillotine paper- cutting machine, or an envelope cutting press may be used, or the cutters can be made with handles, to be used with a mallet or heavy hammer. It is necessary to add, that in all cases, except in the improvement first alluded to, the cutters should be struck into soft lead ; the leads should never be cast of tea-chest lead, but of old pipe, or sheet lead. Type metal is very injurious to the cutters, often breaking the edges of them. COLOURING THE EDGES OF BOOKS. IF a book, colour the edge when in the boards; if note paper or pamphlets stitched in paper wrappers, knock up as many as you can conveniently hold to the front edge, lay them on a piece of millboard a little larger all ways than the papers to be coloured, bringing the front edge even with the edge of the millboard, or nearly so ; then evenly, with both fingers and thumbs, press the front edge slightly towards the backs, so as to bring the edge of the bulk in a slight angle ; then lay another piece of millboard, the size of the last, on the top, with the edge of the millboard to the top edge of the paper to be coloured ; then with a small piece of best Turkey sponge, about the size of a walnut, proceed to wash the edges with the colouring matter; reverse the paper, spreading the edges from the other front edge again, and then repeat the washing with the sponge and colour. 94 PRINTERS' UNIVERSAL REFERENCE BOOK : Proceed exactly in the same way with the top and bottom edges, the colour being applied six times to the three edges, the edges being presented for colouring to the sponge in six different positions. The reason for spreading the edges slightly is, that a very minute bordering may be coloured on the paper as well as the edge. This bordering, made as described, is so slight that it would be unobserved in open- ing a book, but still, this little bordering of colour greatly assists the appearance of the edge of the book when closed. Having succeeded so far, the edges being quite dry, knock up with care the front edges of the paper, place again in the millboards, but do not spread this time; place the whole between backing-boards in the usual way, and very tightly squeeze the whole in the finishing-press or the ordinary cutting-press will answer the purpose as well. The front edge being upwards and exposed to view, rub a piece of bee's-wax on a few inches square, at the far end of the finishing-press, so as to spread the wax about the thickness of paper ; then rub the finger on the wax so prepared ; and next, evenly rub the coloured edge of the paper with your waxy finger ; then, with a blood-stone, proceed to burnish the front edge of the paper, which will soon assume a bright polished appearance, and will brighten and darken the colour. Proceed in exactly the same way with the top and bottom edges of the paper or book, and the process will be completed. To MAKE THE COLOURS. If crimson be required, get a little carmine powder and glare, and with the sponge mix them to the consistency of cream, well absorbing and squeezing the sponge, so as to thoroughly incorporate the colour with the glare ; it is then ready for use. If a red edge be required, use vermilion powder in place of the carmine. Prayer Books, and most red-edged books, are done by blending carmine and vermilion together; almost any shade of red generally used in the trade may be made to match in EVERY-HOUR OFFICE COMPANION. 95 this way. For blue edges, use patent blue stain. For dark green, such as the edges of diaries are frequently coloured with, use indigo and a small piece of chrome yellow, mixed to the required shade with glare. Almost any colour, or shade ot colour, may be obtained by a little inexpensive experiment. If glue be used instead of glare, the edges bear a much higher polish, but they are liable to stick, and therefore it is seldom used. Some few good London firms mix the colour with paste, while others use gum. Very soft papers are found to be much more troublesome in the application of the colour than those of a harder nature. ENGKAVING, ETC. WOOD ENGRAVING. ENGRAVING may be divided into two classes, the raised and the sunk. The first is used for wood engraving, and in it all the black lines are left raised and the white cut away; the sunk is used for copper and steel-plate engraving, and in it the black lines are cut in and the white left raised. In printing from these surfaces the ink is left upon the top of the raised lines of the wood engraving, and is wiped off the surface of the copper plate, leaving the ink in the sunken lines. Engraving on wood seems to have originated with the card-makers of Swabia and other parts of Germany, who employed " formschneiders," or " shape-cutters," to cut the heads of saints for printing on their cards. Caxton's " Game of Chesse," was the earliest English illustrated book, and the probability is that the engravings were done by some of the Flemish workmen Caxton brought over with him. The wood used for block- engraving is from the box tree, pear-tree wood being some- times used for the coarser engravings. Of the box tree 96 PRINTERS' UNIVERSAL REFERENCE BOOK: there are two species, a small kind used as a border for gardens, and a coarser kind. The boxwood of England does not find favour with engravers, though years ago some hundreds of trees were cut on Box-hill. The preparation of this wood is in itself a wonderful art; for all the large blocks consist of many pieces screwed together, but so beautifully finished that, though they can be taken to pieces with the greatest ease, it is impossible to discover the lines of junction. This system of making blocks of pieces bolted and screwed together enables the proprietors of the illus- trated papers, after a drawing is put upon the wood, to give it out to half a dozen or more engravers, and so produce scenes of events the week after their occurrence, and sometimes even a few days. Paintings have form and colour, but the engraver has to show form, colour, and textures by lines alone, and therefore the artist must have a very profound knowledge of light and snade, or he will miss the object of his art. A good outline will tell its tale without shading ; but. shading has its laws, and is not a lot of black rubbed over the dark parts. Thus a hori- zontal surface is represented by horizontal lines ; a per- pendicular surface by perpendicular lines, and a curved surface by curved lines. Shadows are darker than shades, and a few curved lines convert a circle into a sphere. A good deal has been said about " cross-hatching," and many clever artists maintain that it should be reserved for copper only ; but the beauty of some of the cross- hatching in wood seems to justify its use in that material. With regard to the graver, if the tool is not properly tempered it will not work well. Under such circum- stances the tool has to be heated until red-hot, and then dipped into oil or into a bar of soap. Then it is again heated till of a straw colour, the end broken off, and the remainder used. A large number of copies of an engraving are seldom printed from a wood-block, but an impression EVERY-HOUR OFFICE COMPANION. 97 is taken in wax, which is afterwards covered with black- lead, and a thin shell of copper electrotyped on it. This is filled up with soft metal and fixed on a board, which leaves it ready for use. COPPER-PLATE ENGRAVING. IT was not until 1440 that copper- plate engraving became a serious rival to wood. To the silversmiths of the Middle Ages engraving had long been known. For some time before the date above mentioned, there was a kind of engraving used by the silversmiths for paxes and shrines, which was termed nidlo work, and was so called because, after the engraving had been executed, the depressions were filled with hard " black " shellac or sealing wax, in a style similar to the door-plates of the present period. In en- graving silver-ware say a dozen spoons of one pattern, a man would not design each spoon singly; but, having designed one, he would fill the depressions with black grease and take reverse copies on paper, which he would rub on to other spoons for engraving the rest. Tomaso Finiguerra, whose work was celebrated through all Italy, had it suggested to him that through this mode pictures might be obtained, and he brought the suggestion into practice ; which, taking hold of the artistic spirit of the age, soon produced an army of engravers, and made pictures popular, especially as many painters engraved their own works. In etching, the plates were first of all burnished, then heated, and rubbed over with a composition containing Brunswick black, afterwards smoked, a piece of red transfer- paper put on the plate, and then the original drawing. The drawing was gone over, line by line, with a hard pencil, or " style," which left a black surface on the plate, with red lines. These red lines were traced with a needle fixed in a handle down to the copper; after which the plate was 98 PRINTERS' UNIVERSAL REFERENCE BOOK: placed in acid, and the etching was ready for printing. About 1650 another style of engraving came up. It was said to have been invented by Prince Rupert, but was really discovered by a Prussian officer. This was called "mezzotint." To produce it, a tool like a small cheese- cutter was worked all over the plate in sixty or seventy directions, and left it so thoroughly indented with close small dots that, if printed from, it would look entirely black. At this point, however, the engraver began to scrape out the dots where the whites were to appear, and to burnish them, so that, where a per- fect white was wanted, all the dots were scraped out, and, where a half shade was wanted, half the dots, and so on, according to shade. " Stipple " engraving was done dot by dot, with a tool a little bent. Bartolozzi and his school were great stipple engravers. The work was sometimes deepened by acid. In " aquatint" the plate was bordered with wax, and was from time to time placed in acid, accord- ing to the depth of the tone wanted, each part, as finished, being protected from the acid. In printing from copper plates the ink was wiped off the surface, and the ink in the lines appeared in the impression ; but quite recently a new method had been discovered of " fetching-up " the ink by means of a muslin cloth, which greatly enhanced the value of an engraving or etching. INSTANTANEOUS ENGRAVING ON METAL. THE first process which, says Monsieur E. Vial, of Paris, I shall describe depends, ist, upon metallic precipita- tions ; 2nd, upon the relative affinity of acids for different metals. It consists, first, of making a drawing upon paper with a metallic ink, composed, for example, of a solution of sulphate of copper ; and I may add, en passant, that a solution of the salt of any other metal, such as lead, bis- muth, mercury, silver, &c., would produce the same effect, ^VERY-HOUR OFFICE COMPANION. 99 according to the metal desired to be engraved. When the drawing has been thus made it is placed, face downwards, upon a plate of zinc or steel, and next covered at the back with a piece of cloth slightly damped, and the whole is then submitted to a uniform pressure. About two minutes after- wards the design will be found transferred entirely, and with the greatest faithfulness, on to the metal plate, without any alteration or deterioration whatever of the original drawing. If instead of making the drawing upon paper, it is made more simply still upon the metal itself (whether zinc or steel), with this metallic ink, the same phenomena are produced. In this state, in either the one case or the other, the design appears on the surface of the plate in slight relief formed by the deposit of copper, a solid and resisting body. I now come to my second process, or reproduction of old engravings. I employ two methods ; the first, which I will call Process A, depends, ist, upon the antipathy of water for fatty bodies ; 2nd, as the preceding, upon the metallic precipitations, and the affinities of acids. In fact, ordinary printing ink is greasy ; and water instead of having any attraction for it, is on the contrary repelled. If, then, we place an engraving so as to float evenly with its back or wrong side upon a metallic solution, the aqueous liquid penetrates the paper slowly by imbibition, only around or between the lines formed of the greasy ink. After removing the proof from the bath, it is wiped lightly and placed with its face upon a plate of zinc, and a uniform pressure applied. The metallic salt of the solution is imme- diately decomposed, reduced, and precipitated on to the plate, which it covers all over with its metal (excepting where the lines of greasy ink occur) in such a manner as to give a negative image in relief, representing with the greatest exactitude the design or engraving which has served to produce it. A few moments are sufficient to produce this result; even photography does not operate with more 100 PRINTERS UNIVERSAL REFERENCE BOOK : promptitude and fidelity. Negative proofs may at once be taken from the plate by the ordinary printing process, which proofs, by repeating the process, will produce positive plates of zinc. Or the positive plates may be made by at once attacking the zinc, covered with the negative image, by means of a voltaic battery, or in a bath containing 10 per cent, of nitric acid. This first method possesses the great advantage that it does not injure the original proof, which may thus be used an almost indefinite number of times ; all that is necessary to remove the metal which is reduced on its surface being to plunge it first into acidulated water, which dissolves the metai, and then into ordinary water, which removes all traces of the acid. My second method of reproducing old engravings, and which I will designate as Process B, has for its objects, ist, the transfer of the engraving ; and 2nd, the engraving of the transfer. The transferring of old engravings presents many difficulties ; in fact, when a proof has been kept several years, the fatty body of the ink is completely resinified, and forms with the carbon an almost impenetrable mass, presenting a very great obstacle to the revival of the ink. If the ink employed is too liquid, the paper absorbs, little by little, all the greasy matter thereof, and thus another difficulty is encountered. On the other hand, the nature of the paper, its texture, porosity, and thickness, and the sizing which it has or has not undergone, are so many obstacles which have to be overcome. After numerous experiments, I have at length been enabled to surmount these difficulties almost completely by applying to the surface of the proof a preparation of petroleum or turpentine ; the ink soon becomes impregnated therewith, and when the proof (slightly dried between two sheets of bibulous paper) is passed under the press in contact with a steel plate, this preparation, having a greater attraction for the plate than for the paper, it soon becomes detached from the latter, carrying with it a small portion of EVERY-HOUR OFFICE COMPANION. IOI the black of the ink. I am perfectly convinced of the success of these transfers ; but in order not to compromise the safety of bank-notes, drafts, &c., which can be faithfully transferred by this process, I shall not enter into the details of this manipulation, but pass on to the method of engraving such transfers. All that is necessary to effect this is to plunge the plate into a bath composed of a saturated solu- tion of sulphate of copper containing a small quantity of nitric acid, when the copper is immediately precipitated upon the plate in all its metallic brilliancy, leaving, however, the lines intact ; so that the copper then serves as a varnish to resist the acid, whilst the steel having a greater affinity than the copper for the acid, is corroded or "bitten in" thereby, under or through the lines, by the phenomena of electro-chemistry. The problem may be summed up in two words, viz., coating zx\& biting at the same time. The effect produced may be described as follows : When the steel plate (with the drawing or transfer in greasy ink on its surface) is plunged into the acid solution of sulphate of copper, those parts of the surface which have not received any portion of the ink are immediately coated with metallic copper. The solution penetrates at the same time by imbibition through the greasy matter of the ink and reaches the metal beneath, when a voltaic pair (copper and steel) is immediately constituted, the copper already deposited forming the negative pole, and the steel, not yet attacked, being the positive pole. An electro-chemical decomposition of the sulphate of copper then takes place, and at the same time the steel is attacked by the sulphuric and nitric acids. The operation proceeds tranquilly, without any effervescence or disengagement of gas ; no other kind of " biting in" takes place so calmly. About ten minutes afterwards, the steel plate is withdrawn from the bath, perfectly engraved, and nothing further is required but to remove the copper from the surface by means of ammonia, to render it fit for printing from by the 102 PRINTERS' UNIVERSAL REFERENCE BOOK : ordinary plate printing process. One of the most remarkable effects of this process is, that all the gradations of an engraving, from the highest lights to the deepest shades, are produced at one simple operation, without any artificial " stopping out " whatever : the length of time each part is under the action of the acid being always exactly propor- tioned to the thickness of the layer of ink at that particular part. For example, when the plate is first placed in the bath, the copper instantly covers and protects from the acid the exposed surface, i.e., the white parts of the " engraving ; the acid next attacks the finest lines, or those parts where the thinnest coating of ink exists, and by the time these lines have been engraved to a sufficient depth, the copper spreading laterally from the edges will have entirely covered and " stopped out " these portions, whilst the broader and deeper lines will resist the deposit of copper (and hence remain exposed to the action of the acid) for a longer time ; ' and so on to the deepest shades, which will remain still longer exposed to the action of the acid, whilst all the lighter parts of the engraving are effectually protected by the copper deposited ; so that, in fact, each line will be infallibly engraved to a greater or less depth in exact proportion to the thickness of its layer of ink, which is precisely the effect desired. The same phenomenon also prevents the possibility of lateral corrosion, and, on the contrary, causes each line to narrow as it deepens, and to assume, as nearly as possible, the V-shaped form produced by the cut of the angular point of the graver. The method before described, of acting upon steel plates by sulphate of copper, naturally led me still further; and thus I arrived at my third process, which is merely an extension of the preceding method. It consists in making an autographic, lithographic, or other transfer on to the steel plate, not by a preparation of turpentine, but by a greasy ink only, or in making a heliographic or photo- EVERY-HOUR OFFICE COMPANION. 103 graphic drawing or transfer on the same by means of bitu- men of Judaea or alkaline bichromates, or in drawing on the steel direct with Indian ink, chalk, or blacklead pencil ; or painting thereon in oil or pastel, or drawing in perchloride of iron or acid ; in a word, making a transfer or direct drawing upon the steel plate, with any body or medium capable of resisting the deposit of copper, without opposing the attack of the acid, or with any body capable of depolish- ing the steel in parts which will be engraved when the plate is submitted to the action of an acid bath of sulphate of copper. I may thus generalise my method and extend my particular process of biting on steel to an entirely new kind of engraving, destined, I believe, to take an important rank in this art as a rival to the aquafortis and lithographic pro- cesses. The process is remarkable from the circumstances under which it takes place, and surprising from the results which it yields ; for to attack the greasy body, which until now has been a protection to the steel, and to leave the polished surface intact, is exactly the counterpart of any process hitherto known. To preserve to each artist his own peculiar touch and feeling ; in a word, to perpetuate his individuality; this is to arrive at the object so earnestly sought, viz., translation without the aid of an interpreter, or, in other words, engraving without the assistance of the engraver. This process has the two attractions of novelty and simplicity; it does not require practice; and I may add, that it surpasses all other processes in the rapidity and fidelity of its execution. Its importance for engraving geo- graphical maps and topographical plans is very great, if we consider that an engraving upon stone (which rivals copper- plate in fineness) can be transferred readily on to steel by these means ; we then have an economy equal to one-third in time and one-third in expense. The plates are almost inexhaustible, the printing always the same, and much superior to lithographic transfers, which always deteriorate 104 PRINTERS UNIVERSAL REFERENCE BOOK I by printing ; and, at the same time, a heavy, cumbrous, and fragile material is also done away with. It may be applied to engraving arms for warlike or sporting purposes, and cutlery, for the reproduction of copper or steel plates, to lithographic engravings, of the transfer of lithographic en- gravings on to steel, and to the engraving of photographic proofs or transfers, whether obtained by means of bitu- men of Judaea or alkaline bichromates, and to a variety of other useful purposes, where rapid, faithful, and economical engraving is required. THE GRAPHOTYPE. THE subject of art-processes for the reproduction of draw- ings, both from surface-printing and otherwise, has occupied much attention during the last twenty-five years, and been the occasion of many interesting discussions, but none of the processes professing to make blocks for surface- printing have gone so direct to the point of making the drawing engrave itself as the one we are about to describe, or have at all approached it in economy, both of time and cost Most of the previous processes, such as glyphography, gypsography, silvertype, &c., have aimed at making the drawing from the mould from which the block was to be cast, entailing very great uncertainty in the execution of the drawing, and requiring the artist at the same time to be a skilful engraver to produce any satisfactory results, a great portion of the block being produced by the ordinary methods of engraving. In the directions to artists working in " Palmer's Glyphography " really the most successful of all surface processes hitherto there appears the following passage : "As the light and free touches that are sometimes dis- persed over the shades are very troublesome to leave, and, when accomplished, are often stiff and formal, they should be altogether removed from the drawing, and put in with EVERY-HOUR OFFICE COMPANION. 105 the graver upon the copper block. Nearly every kind of broad, flat shade (technically known as " tinting'' among wood engravers), can very readily be done in this stage of the process, which, indeed, will be the best for almost all work needed upon the darkest tones." Again, further on, the artist is invited to leave " skies and background solid black, lay an etching ground on the block, etch and bite it in with acid, as a copper-plate engraver would do, but with this difference, that while he bites for darks, you must bite for lights, " thus rendering the work doubly difficult to any one but an engraver. Others have sought to place the drawing in relief by biting away the ground with acid. It is obvious, however, that to get the relief necessary for printing at press, the acid would have a lateral action, and the fine lines, at all events, be rotten for want of support. In fact, either the want of depth, or the V form of the interstices between the lines the form necessarily made by the graver has been the stumbling-block of all the processes hitherto, though most of them have been capable of producing some good results, as specimens, with the aid of subsequent graver work; and probably, had the inventors been practically acquainted with engraving, the processes might have been made of some commercial value. The Graphotype process, to which we have to call attention, is absolutely free from most of the objections which have been urged against previous methods. Gravers would have to be cut on pur- pose to make an engraving equally deep. Undercutting, or any other than the V form, would be a mechanical impossi- bility. The marvellous economy of time the drawing being placed in relief, or engraved, if the term may be allowed, in less minutes than it would take hours to engrave the same subject on wood (in that respect resembling the intaglio process of Mr. George Wallis) as well as the trifling cost of execution, must lead eventually to its very general adoption, whatever present objection may be urged io6 PRINTERS' UNIVERSAL REFERENCE BOOK: against it from its novelty. The discovery of the prin- ciple on which the Graphotype process is based was not the result of design or calculation, but entirely accidental and unpremeditated. It is due to Mr. De Witt Clinton Hitchcock, one of the foremost draughtsmen as well as engravers in the city of New York. In the summer of 1860, whilst engaged in the pursuit of his art, the discovery was made in the following manner : In the course of making a drawing on boxwood, he found it necessary to alter a portion of his design by erasing it and re-whitening the exposed surface of the wood. The material used for this purpose was the enamelled surface of an ordinary visiting card, softened by water and a brush a method known to most draughtsmen on wood. This card happened to be one printed from a copper plate ; and after the removal of all the enamelling, as described, the artist dis- covered that the printed letters were undisturbed, and standing up in bold relief. The first trial was upon a piece of chalk one inch in thickness, sawed from the ordinary lump, and smoothly surfaced by scraping. The ink used was silicate of potash, commonly termed liquid glass, coloured with indigo ; with this and a quill pen, a drawing four by six inches was made. The inventor well knew that the application of water to his chalk block would undermine the lines, and consequently destroy the drawing ; he there- fore departed from the method used with the visiting card, and, with the aid of a toothbrush, pulverized or disin- tegrated the surface of the chalk not immediately drawn upon. The lines of the drawing being literally composed of stone, withstood the assault of the toothbrush, but the intervening particles of exposed chalk succumbed, and vanished in a cloud of snowy dust, -leaving the impregnable lines standing in relief, inviting a proof of their strength by printing on paper. This could not be done until the whole mass of chalk was turned into stone, by saturating it with EVERY-HOUR OFFICE COMPANION. 1 07 the liquid glass ; and in half-an-hour the chalk engraving or block was inked and printed in the ordinary way on paper by burnishing. Sawing and surfacing the chalk block, pre- paring the ink, making the drawing (quite an elaborate one), brushing it into relief, petrifying the block, and printing thereon, occupied only four hours a happy four hours for the inventor. The new process now needed a name. It was a living fact, but the dead languages must be exhumed for its appellation. It was christened Graphotype, literally signifying a type made immediately from a drawing. Prior to a second experiment, it was thought necessary to use a substance of a finer and more uniform quality of grain than common lump chalk ; so a cake of French white powder, used by ladies for improving their complexions, was obtained, and the result was highly satisfactory. The fact that these cakes of white beautifying powder were compactly formed by hydraulic pressure suggested a valuable improvement to the process. No time was lost in manufacturing the neces- sary steel dies or boxes, and procuring the use of a powerful hydraulic press, with which blocks twelve inches square by one inch thick were formed of pulverized and finely-sifted chalk. These blocks were then subjected to a heat of 700 degrees, which, by expelling all moisture, gave them much greater strength. The drawings on these blocks were made with steel and quill pens, and the brushing process for relieving the lines was carried to the depth of one-eighth of an inch. These blocks were printed at the ordinary hand printing press, but the material, though very strong, was too fragile and uncertain for constant use. The next neces- sary improvement was to duplicate the original by means of stereotyping or electrotyping. The latter proved perfectly practicable; but alterations or corrections of the design which we need hardly say must necessarily often occur in any process all of which could readily be done on the stereotype, could not be satisfactorily made through the H 2 io8 PRINTERS' UNIVERSAL REFERENCE BOOK : copper surface of the electrotype. We will now give a general description of the whole process, as specified in the letters patent : The best quality of French chalk is finely ground and precipitated in water. This precipitate is again pulver- ized and sifted. Thick sheets of zinc or other metal are cut to the required sizes, upon which the prepared chalk is re-sifted through wire cloth having 10,000 holes to the square inch. This is subjected to hydraulic pressure of 120 tons, the chalk receiving a gloss from the surface of a highly-polished steel plate. In this condition the thickness of the zinc plate and compressed chalk is about that of an ordinary stereotype plate. The surface of the chalk is then made nearly non-absorbent, by receiving a strong " sizing," which prevents the ink from penetrating, and, consequently, from spreading. The ink is, after all, nothing more than a very careful composition of glue and lamp-black ; and, par- taking as it does of the nature of varnish, it remains upon the surface, acting merely as a guard or protection to the chalk beneath the lines while undergoing the operation of brushing. In a like manner to drawing upon wood, the artist makes a red chalk tracing on the plate, and with sable hair pencils of various sizes draws his design, line for line, exactly as he desires it to appear when printed, the subject being of course reversed, as upon wood. The ink, which is black, dries instantly on being applied to the plate, so that one series of lines of any thickness, may be immediately crossed by others. The drawing is now ready to be brought into relief, or engraved, which is effected by the same means of disintegration as were first adopted by the inventor, not with the same toothbrush, but with brushes composed of fitch-hair. Fine silk velvet is also used in connection with , the brush. The chalk is then petrified with the liquid silex, and is ready for the stereotyper, who may, without injury to the original, make from it any number of moulds. The process is so delicate that the impression of the thumb EVER Y-H OUR OFFICE COMPANION. IOQ wetted with the Graphotype ink, skeleton leaves, feathers, and other objects to which nature printing has been applied, can be made to give beautiful impressions from the type press, whilst the finest hair-line that the artist can make will stand equally well with the bolder work. The graphotype process is also applicable to making the blocks or dies usually cut on brass with which the bookbinder embosses the covers of his books j and this conclusively proves, if anything were needed to do so, the depth obtained by the process, as at least three times the depth is required for this purpose as for printing at press. ZINCOGRAPHY. THE principle is similar to lithography, the stone being replaced by a zinc plate ; and the same results may be attained by it as by stone, but it requires a skilful operator to produce a successful impression. Large prints, such as plans and maps, are brought off well from the zinc plate ; which is not so costly as stone, is more portable, and less liable to breakage. As in copper-plate and lithographic printing, the plate should be rather larger than the subject, perfectly even and planished, and all scratches effaced by polishing with pumice stone and clean water. The plates must be grained for all descriptions of work, whether chalk, ink, or transfer, the process being similar for preparing stones for chalk work. A piece of zinc may be used in lieu of the stone, but care must be taken that the edges do not scratch the stone ; to prevent this, bend up the edges. The process of conveying the subject to the plate is similar to transferring on stone. When the subject is fairly on the plate, great precautions having been taken in this matter, a solu- tion of gum must be passed over it ; after which a solution of nutgalls must be allowed to remain on for about seven minutes, when it must be washed off with clear water. The work is next washed out with turpentine, rolled up with the 110 PRINTERS UNIVERSAL REFERENCE BOOK: printing roller, and is then ready for work. Another plan, which saves the trouble of washing out the work, is to apply the solution of nutgalls after the rolling up of the printing roller. Acids must be avoided, nutgalls being used as a sub- stitute. Pumice stone will remove any soils, should they present themselves. One point to be strictly observed, whether the work is complete, or only temporarily laid aside, is not to allow the zinc plate to remain in a wet or damp state for a longer time than is absolutely necessary, as it will become corroded. To obviate this, dry it thoroughly before a fire or gas stove. When the work is finished, and you want to use the plate for another subject, you can erase the former by means of turpentine, passing over it a weak solution of sulphuric acid. This must be thoroughly washed off by repeated ablutions of clean water, and well dried before commencing any fresh work. The best plan, however, is to erase the subject with pumice stone, and regraining the plate } but it takes a long time to do it properly. . MACHINE RULING. PREPARING THE MACHINE. AFTER you have purchased a new Ruling Machine and all its necessary adjuncts, the first thing to be done is to cover the canvas with blotting-paper, lightly pasted all over, which is washed off, and a fresh supply of blotting-paper put on as required. The rollers are grooved to receive the cords (page cord is the best for this purpose) ; six cords are suffi- cient for general purposes, which hold the sheet on to the canvas to prevent it slipping when the pens come on it. The cords may be tied, or (which is far better) wax-ended on, thus obviating the knot of the tie. The machine is now in working order; therefore set up the pattern, which is marked in pencil on the copy, by placing the brass ruling- EVERY-HOUR OFFICE COMPANION. Ill pens in the slide to the pattern and distances required ; the pens (if new) having previously been prepared, by putting a nib on to them. This operation is performed in the follow- ing manner, viz. : A sheet of fine sand or glass paper is placed on the canvas, and the pens are drawn over it several times in the same direction, as if you were -ruling work ; then pour out some red, blue, or any other coloured ink required, into a common basin, adding a tablespoonful of ox gall to a pint. If the paper has a greasy or rough surface it sometimes requires a great deal more gall, in order to make the lines adhere. Procure a piece of stout ironing blanket about three and a half inches wide and the length of the pen slide; soak the flannel in the basin of prepared ink, and squeeze it slightly, to take the dropping wet out of it ; the wet flannel is then tacked on to the pen slide, to overlap the pens about half-way. It is necessary to use brass pins, or dyers' points, to tack the flannel on, which must be driven in only a short distance, just sufficient to hold the flannel on ; this is to enable you easily to remove the flannel at any time. Having procured a small sash tool, dip it into the prepared ink, and well saturate the flannel which is fastened to the pen-slide, particularly that part which lies on the pens. The above directions having been attended to, get a sheet of its own paper or any waste sheet would do and pass it under the pens several times, in order to get the lines regular, and the pens into working order. Should any of the lines appear thick, the pens must be ;closed, somewhat, with a pair of pen pliers, till the desired fineness of line is obtained. When the lines appear too fine, the pens must be opened by carefully guid- ing a piece of brass or tin down the groove. You must provide yourself with a small pair of pliers, a pair of scissors, a small hammer, and a pair of compasses. We will now suppose that everything is in working order, and ready to go on with the job care being observed that the guide is perfectly straight If, however, the paper should incline to 112 PRINTERS UNIVERSAL REFERENCE BOOK : run over the guide, it can be obviated by tapping the end of the guide in either direction. The pens are generally cut up into fives or sixes on a piece, as they are more handy to shift for jobs. After passing the sheets through the machine, they must be distributed about to dry, otherwise there will be a set off. Some papers cause the ink to dry much quicker than others. The canvas ought to be tightly stretched, but not so tight as to stick ; in fact, it is all the better if it shifts of itself, in working, from side to side, gradually, about three times from the off to the near side, or vice versa in the course of ruling a ream of work. DOUBLE STOP WORK. FOR double stop work, a double stop pen slide is required. The pens that are placed in the under stop are somewhat shorter than those in the top stop. Pens that have been used before are generally selected to do this duty, having become shorter by the frequent wear on the sand paper. The reservoir of ink necessary to supply the under stop must be a small piece of flannel on the lower stop pen, previous to the flannel being placed on the upper pens, as before explained. The weather will have an effect upon the canvas ; for instance, in very wet weather it will become perfectly tight so much so, that it is with difficulty the machine can be turned ; in dry weather, the opposite will take place. To obviate this, there is a screw attached to the bottom canvas roller which must be slackened or tightened, as the case may be, care being taken at all times to work the canvas just sufficiently slack enough to allow of its being pulled from side to side as required. In ruling stop work that is, where any given number of per- pendicular lines stop at, or start from, a horizontal line let the sheet be drawn into the machine \ and when the line that you wish to start from is immediately under the pens, lower them gently, and take your hand off the thumb piece attached to the carriage (which is that part carrying the slide EVERY-HOUR OFFICE COMPANION. 113 wherein your pattern is set); by retaining the thumb piece in your hand, you are likely to take the pens off their bearing that is, you will have some pens mark, others indifferently, and some not at all. Previous to tacking your flannel upon the pens, it will be at all times most essential that you see all your pens have an equal bearing, that they all press evenly and at the same time upon the paper. This can be readily done by drawing into the machine any smooth waste sheet, and letting the pens gently down upon it ; if there are any that have not a sufficient bearing, press them down gently with the finger ; if they all have too much bearing, or want of bearing, or pressure, make use of the screw, which is fixed for that purpose on the carriage at the further or off side of the machine. To ensure regularity and evenness of lines, great care must be taken in feeding or supplying the flannel with ink ; too large a quantity will flow down too rapidly, and cause thick or gouty lines, blots, &c. ; too little will cause missing, or lines marking here and there. For go-through work that is to say, faint only, or any pattern passing through the machine rapidly, which can be done at the rate of 3,000 per hour it will be necessary to feed (that is, draw the brush from right to left along the flannel) every three or four sheets ; in fact, the brush must never be out of your right hand while you are turning rapidly with your left For a simple stop work pattern, feeding lightly every twelve or fifteen sheets will suffice. When the brush is not in use, it should be laid across the basin ; when the flannels are taken off they must be squeezed between the hands ; they must also be washed in warm water twice a week, together with the brush. RULE FOR MIXING INKS. TAKE of red, blue, or black ink, one quart ; in another basin put one tablespoonful of ox gall (sheep's gall will do, if the former cannot readily be obtained), adding a gill of cold 114 PRINTERS UNIVERSAL REFERENCE BOOK: water ; then beat them well together for a minute or two, adding it to the ink, which will then be fit for use. If you find your blue ink has a greenish cast after standing for a day or more, you have simply to take two basins, and pouring it from one to the other for five or six times, and your colour is restored. The red ink, if Mordan's alkali is used, requires nothing but to be well covered up ; but if kept long out of use, a small quantity of fresh gall, mixed as before, is requisite. As much of your future success will depend upon the manner in which your inks are prepared, the foregoing remarks cannot be too rigidly adhered to. After each pattern is finished, let a piece of blotting-paper (doubled three or four times) be drawn into the machine, and the pens lowered gently upon it, there to remain for a couple of minutes in order to soak the ink out of the pens ; by this means you always keep your pens clean and in working order ; by not following this rule, the waste ink will corrode upon them, causing an infinity of trouble and waste of time. PRESERVATIVE FOR "BLIND" LINES AND BREAKAGES. WITH regard to putting on your canvas, great care is required : the edges must not be overlapped, but drawn close together, and then sewn with fine thread (waxed) ; after which cover them with a thin coating of paint, very lightly put on. There are other causes for blind lines and breaks or, as the trade term them, "hoppy lines." For instance, putting your pens too far in the slide will cause them ; also working your pens too much on their backs, as /. Work your pens more upright, as /, which may be done by lowering your pen-board that is, the board upon which your pens bear while in the act of ruling ; or, raise the ears of the machine that is, the part into which the carriage is placed, wherein the slide is inserted. If your pens have too EVERY-HOUR OFFICE COMPANION. 115 much or too little bearing, it will subject you to this annoyance. We will suppose that you have to set up a single ledger pattern as above. Draw it off on a sheet of paper, and see that none of your pens project over the double line ; at the same time, observe that all of them come up to it. TO MAKE BLUE INK "STRIKE" ON SIZED PAPER. IN the case of some of these papers, the lines present numberless bead-like dots, instead of being solid and un- broken. All papers, whether hand-made or manufactured by machinery, and some of the rough-surfaced hand-made papers in particular, require a certain quantity of gall (ox gall, if possible if not, sheep's gall will do, though a larger quantity will be required, as it is not of the same strength as the ox gall) mixed with the ink. Supposing you have pre- pared your ink to the proper colour or tint required, well mix to every quart one tablespoonful of gall ; this will be sufficient for all ordinary sized papers. Increase the quantity of gall as you find the paper hard or greasy ; at the same time, bear in mind that your flannel must be kept beautifully clean, by washing it every other day in a little soap and warm water. If the acid in the blue ink has not been properly destroyed, all the gall you may use will not prevent the bead-like or dotted lines complained of. You must also be particular in seeing that all your pens have the same bearing ; if not, the one that presses too heavily will give a thick line, whereas the one that scarcely touches the paper will show a dotted unbroken line. Supposing your ink has been standing, say all night, it will then be necessary to turn it backwards and forwards in two basins ; it will then be as bright as if it were just made. u6 PRINTERS' UNIVERSAL REFERENCE BOOK : PAGES OF EEFEEENCE. HEBREW ALPHABET. Aleph a b v 'consonant ds ch t j consonant 1 m s P tz sch sch t GREEK A a ..- A Letters that have a likeness Beth Capl Gimel Nun 2 3 Daleth Caph He Chlth n n Vau Zaijn Jod Teth Merr ID D Mem Sam D C Aijn Tzac 2 2? Final Letters. Caph Mem Nun Pe LPHABET. Xi w ... .. to others. \ Resch Thau n Nun i ech de Tzadde x o short P r s jt ps o Ion Beth Gimel Daleth He Vau n Zaijn t Cheth ] Teth .. . . Jod TQ Caph Lamed J Mem ' Nun Samech . . Aijn Pe ^ Tzadde . . . B Coph . s Resch P Schin . . . 1 Thau TD Alpha . . . n .. A . Beta Gamma . . . Delta ... B . ... r . ... A . . ft 7 S ... b -5 Omicron O o . Pi n ... TT .. Rho p ... p ... Epsilon . E f ... e short Sigma - i;j T ... T ... Zeta .. Z . f ... z Tau Eta Theta ... H . . . -n e ... e long ... th Upsilon Y ... v . . Iota I . i ... i Phi Kappa Lambda ... Mu Nu ... K .. ... A .. ... M .. ... N .. . K . A. . V ... k ... 1 ... m ... n Chi Psi Omega X ... x'.. n ... w ... EVERY-HOUR OFFICE COMPANION. 117 SPECIMENS OF ORIENTAL AND OTHER TYPES. i Chinese 9 Armenian, Modern 17 Arabic 25 Amharic 2 Japanese 10 Russian i 8 Saxon 26 Tamil 27 Cree 3 Mongolian ii Guzerathi 19 Irish 28 Persian 4 Sanskrit 5 Greek 12 Singalese 13 Turkish 20 Tibetan 21 Bengali 29 Malayalim 30 Syro-Chaldaic 6 Hebrew 14 Telugu 22 Samaritai i 31 Orissa 7 German 15 Syriac, Modern 23 Coptic 32 Assyrian, or Nineveh 8 Burmese & Pali 1 6 Syriac, Estrange la I 24 Bulgariar 33 Syllabic I 2 3 jfc *f s# 4 *y J 1 3^f ^* & ^ ^3r r s 1 ^ >u f t ^ t * ^ h l *n : i$ ^ >r < y x ,o tfb M y 7 4 4 crfi 5 Kal 7TW9 e/cacrTos ev rfj ISta 7 SBie ^oren tt)ir benn ein jegftcftet feine Spra^e, barinnen tt)ir gcborcn ftnb. 01CO1SQO J II T Jbn jnpnt-tl* ^rltlruui biTp 3K6 Mbl CJLIfflHMl HXl co6cTBennHMT> Kaa^oai H3t nact n8 PRINTERS' UNIVERSAL REFERENCE BOOK 11 ^ - ni l .j>iU jj^ CO .l coa.i 18 Son leohr fsep ^ nlyhr ee eelcn cumn- t>ne man on pij^ne mit>t)an eajit). T>O clv?n ri Zv Ovog nuuc ^nort 1 H KAKKVV HIE HI CASlUAME CEKOH A^ TOBO- CO CBOHATX HH ASLIKS, EX KOHTO CME EVERY-HOUR OFFICE COMPANION. 119 ' 5 * : PT 81 GdG$^)llQoo|GQ NOTE. Mongolian (Central Asia) ; Burmese and Pali (Burmah, Ceylon, &c.) ; Guzerathi or Gujerati (Western India) ; Telugu (South- east India) ; Amharic (Abyssinia) ; Tamil and Malayalim (Southern India) ; Orissa (Bengal, Eastern India). 120 PRINTERS UNIVERSAL REFERENCE BOOK : SIGNS, PECULIARS, AND ACCENTS. THESE signs, and their significations, are the most com- plete set ever published in a work of this kind. All the English and American printers' grammars and scientific books relating to this subject respectively omit some of them : and these will be found to be a compendium of all the books we have had access to. GEOGRAPHICAL SIGNS. O denotes a Circle, or 360 ,, a Degree denotes a Minute of Arc a Second of Arc MEDICAL SIGNS. R ... Recipe, take of SS ... Semis, half a or aa Ana, equal parts of each . Ib ... Libra, a Pound Ounce Drachm Scruple Grain ARITHMETICAL, ALGEBRAIC, AND GEOMETRICAL SIGNS. $ ... Per, each @ ... At or to $ ... Dollar or dollars , ... Libra, libra, pound or pounds sterling / ... Solidus, solidi, shilling or shillings -J- ... Plus, more, in addition ... Minus, less, in subtraction X ... Into, in multiplication -f- ... By, in division ... Equal to : : Signs in proportion ^/ . . The radical sign in evolu- tion y ... Irrationality, root vv ... Sign in evolution 02 ... Unknown difference ; si- militude n ... Regular Quadrangle A Triangle Z_ ... Angle || ... Parallelism ~ ... Geometrical proportion f. ... Sum, or integral ... Residual .*. ... Whence oo ... Infinitely large oc ... Proportional to IT ... Ratio between diameter and circumference e ... Napier's base Vide " Gill's Practical Geometry" for a full list of geometrical signs and their applications. EVERY-HOUR OFFICE COMPANION. 121 ASTRONOMICAL CHARACTERS. I. The Twelve Signs of the Zodiac. Aries, the Ram Taurus, the Bull Gemini, the Twins Cancer, the Crab Z#7, the Lion Virgo, the Virgin Libra, the Balance Scorpio, the Scorpion Sagittarius, the Archer Capricormis, the Goat Pisces, the Fishes 2. The Planetary Signs. ... The Sun $ ... Pallas $ ... Mercury ... Juno $ ... Venus g ... Vesta ... The Moon y. ... Jupiter e ... The Earth ^ ... Saturn tf ... Mars y ... Uranus, or Georgian Sidus .p ... Ceres ig ... Neptune Ceres, Pallas, Juno, Vesta, Astrsea, Hebe, Iris, Flora, Metis, Parthenope, Clio, Irene, and all the other asteroids, are now commonly designated by a circle O enclosing the number indicating the order of their discovery. A ... New Moon First Quarter Conjunction Opposition Trine Quartile a t> t> fib c cb 3. The L^lnar Signs. O Full Moon O ... Last Quarter ASPECTS OF THE PLANETS. * ... Sextile & ... Ascending Node $3 ... Descending Node ... Part of Fortune DOOMSDAY CHARACTERS. MUSICAL SIGNS. /^ Pause -N Slur / r Shake ^ Crescendo ;> Diminuendo jf Sharp V Flat {j Natural x Double Sharp W? Double Flat In addition to the above there are a large number of Commercial, Pedigree, Masonic, and Miscellaneous Signs, Scratched Figures with a diagonal line across them, Peculiar Sorts, and a number of Accents, including the following : French (akuaSiduaeioue^), Spanish (, e i 6 ti n ), Portuguese (a a 6610669), Italian (a & i 6 u ), Zatfw (ae!5ueI5tl), Romanic Orientals, &c. 122 PRINTERS' UNIVERSAL REFERENCE BOOK: RULES IN ORTHOGRAPHY. THE few following rules will be found of assistance to young compositors, because they relate to a class of words about the spelling of which doubt and hesitation are frequently felt, viz. : (i.) All words of one syllable ending in /, with a single vowel before it, have double / at the close, and words of one syllable ending in /, with a double vowel before it, have only one / at the close. All derivations from words ending in / have one / only as .equality, from equal ; fulness, from full except they end in er or ly. (2.) All participles in mg, from verbs ending in e, lose the e final, unless they come from verbs ending in double . Pound or pounds' weight. L.C. Lord Chancellor. l. c< Loco citato, in the place cited. I.e. Lower case. *L.C. Long Colombier. L.C.J. Lord Chief Justice. L.D. Lady-Day. Ld. or L. Lord. *L. D. E. Long Double Elephant. Ldp. Lordship. Leg. Legate. Legis. or Leg. Legislature. Lev. Leviticus (Book of). fL. Ex. Thk. B. W. Post Large Extra Thick Blue Wove Post. *L. H. R. Large Half Royal. Li. or L. Lithium. Lib. Librarian . Lib. or lib. Liber, book. Lieut, or Lt. Lieutenant. Lieut-Col. Lieutenant- Colonel. Lieut. -Gen. Lieutenant-General. Lieut. - Gov. Lieutenant - Go- vernor. Lit. Literary. Lit. Mag. Literary Magazine. Lit. or lit. Literally. Liv. or Liverp.; Lpool. or Lpl. Liverpool. Liv. or liv. Livre, livres. LL.B. Legum Baccalaureus, Ba- chelor of Laws. LL.D. Legum Doctor, Doctor of Laws. EVERY-HOUR OFFICE COMPANION. 135 1. 1. Loco laudato, in the place quoted. *L.M. Large Middle or Large Demy. L.M. Lord Mayor. L.M. Long Metre. Lon. or Ion.; Long, or long. Longitude. Lond. or Lon. London. L.P. Large paper. *L.R. Long Royal. L.S. Locus sigilli, place of the seal. L. s. d. Livres, sous, deniers. s. d. Pounds, shillings, pence. Lt. Inf. Light Infantry. *L.T. Long Thin. LX. Sixty or sixtieth. LXL. Ninety (anc.). LXX. Seventy or seventieth. LXX. The Septuagint (Version of the Old Testament). LX XX. Eighty or eightieth. M. Mille, a thousand. M. Million. M. or Mon. Monday. M. or Mons. Monsieur. M. or Marq, Marquis. M. or m. Manipulas, handful. M, or m. Mile, miles. M., M., or m. Meridies, noon. M. or m. ; Mas. or mas. ; Masc. or masc. Masculine (gender), m. Major. *M. Middle or Small Demy. M. or m.; Min. or min. Minute, minutes. M. or m. ; Mo. or mo. Month, months. m. Married. M A. Master of Arts. M.A. Military Academy. Ma. or Mg. Magnesium. Mace, or Mac. Maccabees. Mad. Madam. M ag. M agazine. Maj. Major. Maj.-Gen. Major-General. Mai. Malachi. Man. Manasses (Book of). Mar. March. Marg. Tran. Marginal Transla- tion. Math. Mathematics ; Mathema- tician. Matt, or Mat. Matthew. M. B. Medicine Baccalaureus, Bachelor of Medicine. M.B. Musicae Baccalaureus, Ba- chelor of Music. *M.Bd.- Mill Board. M.C. Master of the Ceremonies. M.C. Member of Congress. M.D. Medicinse Doctor, Doctor of Medicine. Mdlle. or Mile. Mademoiselle. Med. or med. Medical or Medi- cine. fMed. Medium. Mem. Memento, remember. Mem. Memorandum, Memo- randa. Mer. Mercury. Messrs, or MM. Messieurs, Gen- tlemen. Meth. Methodist. M. -Goth. Moeso-Gothic. M.H.S. Member of the Histori- cal Society. mi. Minor. Mic. Micah. Mid. Midshipman. Mid. or mid. Middle (voice). Mil. Military. Min. Mineralogy. Min. Plen. Minister Plenipoten- tiary. Miss. Sta. Missionary Station. Mkt Market. MM. Two thousand. Mme. Madame. M. M. S. Moravian Missionary Society. Mn. Manganese. Mob. Mobile. Morn, or morn. Morning. M. P. Member of Parliament. Mr. Mister. M.R. A.S. Member of the Royal Asiatic Society. 136 PRINTERS UNIVERSAL REFERENCE BOOK : M. R. C. S. Member of the Royal College of Surgeons. M.R.I. Member of the Royal Institution. M.R.I. A. Member of the Royal Irish Academy. 'Mrs. Mistress. M. R. S. L. Member of the Royal Society of Literature. M.S. Memoriae Sacrum, Sacred to the Memory.- MS. Manuscriptum, Manuscript. MSS. Manuscripts. Mt. Mount, or Mountain. Mus. D. Doctor of Music. M.W. Most Worthy. M.W.S. Member of the Werne- rian Society. Myth. Mythology. N. Nine hundred (anc.). N. Nine thousand (anc.). N. Nitrogen; North. N., Nom. or nom. Nominative. N. or n. Name ; Noun. N. or n.; neut. or neut. Neuter. N. or n. Note, notes. n. Near. N.A. orN. Am. North America, North American. Na. Natrium (Sodium). Nah. Nahum. Nap. Napoleon. Nat. National ; Natural. Nath. Nathanael or Nathaniel. Naut. Nautical. N.B. North Britain. N.B. Nota bene, mark well. N.E. North-east. nem. con. or nem. dis. Nemine contradicente, or nemine dis- sentiente ; no one opposing, unanimously. New Test, or N. T.~- New Testa- ment. N. F. Newfoundland. Ni. or Nk. Nickel. N.I. or n.l. Non Liquet, it does not appear. N.N. E. North-north-east. N. N. W. North-north-west. No. or no. Numero or nombre, number. Nos. Numbers. Nov. November. N.S. New Style (after 1752). n.u. Name or names unknown. Num. Numeral. Num. or Numb. Numbers (Book of). Numer. Numerator. Nux Vom. Nux Vomica. N.V.M. Nativity of the Virgin Mary. N.W. North-west. N.Y. New York. N.Z. New Zealand. O. Eleven (anc.). O. Eleven thousand (anc.). O. Oxygen. Ob. or ob. Obiit, he or she died. tOb. 8vo Oblong Octavo. Obad. Obadiah. Obs. Observation. Obs. Observatory. Obt. Obedient. Oct. October. 'hSvo Octavo. O.F. Odd Fellow, or Odd Fel- lows. Old Test, or O.T. Old Testa- ment. Olym. Olympiad. Op. or op. -Opposite. Op. or op. Opened. Opt. Optics. Opt. or opt.; Optat. or optat. Optative (mood). Ornith. Ornithology. O.S. Old Style (before 1752). Os. Osmium. tOs. Outsides. Oxon. Oxonia, Oxonii, Oxford. Oz., ozs. Ounce, ounces. P. Pica. P. or G. Four hundred (anc.). P. Four hundred thousand. P. Phosphorus. P. or p. Page. P. or p. Pint, pints ; pole, perch. EVERY-HOUR OFFICE COMPANION. 137 P. or p. Particula or pugillus, what is taken between the fingers. P. or p.; Part, or part. Parti- ciple. P. or P.; Pi. or pi. Pipe, pipes. P. Pop. or pop. Population. *P. Pot. P. A. or p. a. Participle adjective. P.JE. or p. req. Panes sequales. Par. Paragraph. Par. or par. Parish. Par. Pas. Parallel passage or Passages. Parl. Parliament. Parl. or parl. Parliamentary. Partic. or partic. Particle. Pash. or pash. Pashalic. Pass. Passive (voice). Payt. Payment. Pb. Plumbum (Lead). P.C. Patres Conscripti, Con- " script Fathers ; Senators. P.C. PrivyCounsellor, Post Card. Pd. Palladium. Pd. or pd. Paid. Pent. Pentecost. Per. By the. per an. Per annum, by the year. per ct. or per cent. Per centum, by the hundred. Perf. or perf. ; Pf. or pf. Perfect (tense). Peri. Perigee. Pers. or pers. pro. Personal Pro- noun. Pf. or pf. Perfect (tense). *PF. Portfolio. tPft. Perfect. tPg. Demy Printing Demy. Philom. Philomathes, a lover of learning. Philomath. Philomathematicus, a lover of learning. Phil. Trans. PhilosophicalTrans- actions. Phosph. Phosphorus. Phren. Phrenology. Pk. or pk. Peck or pack. Pks. or pks. Pecks. PI. or pi. Place. PI. or pi.; Plur. or plur. Plural. PL or Pt. Platinum. Plup. or plup.; Plupf. or plupf. Pluperfect. Plff. Plaintiff. P.M. Postmaster. P.M. P.M. or p.m. Post Meri- diem, afternoon, evening. P.M. Peculiar Metre. P. M. G. Postmaster-General. P.O. Post Office. P.O.O.-Post Office Order. Pop. or .pop. Population. Posit, or posit. Positive. P.P. Pulvis patrum, the Jesuits'- bark in powder. Pp. or pp. Pages. P.p. or p.p. Past participle. P. pr. or p. pr. Participle pre- sent. Ppt. or ppt. Pnsparatus, pre- . . pared. P.R. Populus Romanus, the Ro- man people. Pr. p. or pr. p. Present parti- ciple. Pr. Prince. P.R. A. President of the Royal Academy. Pref. Preface. Prep, or prep. Preposition. Pres. or pres. Present (tense). Pres. or pres. President. Presid. Presidency. Pret. Preterite (tense). +Prg. Printing. Prim, or prim. Primary. Prob. Problem. Prof. Professor. Pron. or pron. Pronoun. Pron. or pron. adj. Pronominal adjective. Prot. Protestant. Pro tern. Pro tempore, for the time being. Prov. Proverbs ; provost. Prov. or prov. Province. prox. Proximo, next month. P. R.S. President of the Royal Society. K 138 PRINTERS' UNIVERSAL REFERENCE BOOK : Prss. Princess. P. S. Participle-stem. P. S. Post scriptum, Postscript. P. S. -Privy Seal. Ps. Psalm or Psalms. P.T. or p. t. Post-town. Pt. or pt. Part ; port ; point. P. Th. G. Professor of Theology in Gresham College. P. T.O. Please turn over. P.V. or p.v. Post-village. Pub. Publisher ; Publication ; published. Pub. Doc. Public Documents. Puls. Pulsatilla. Pun. or pun. Puncheon, pun- cheons. p. W. Prince of Wales. Q ; Five hundred (anc.). Q. Five hundred thousand (anc. ). Q. Quintus ; Quintius. Q. Queen/ Q. Ques. or Quest. Question. Q. or q. Quadrans, a farthing; quadrantes, farthings. Q. or q. ; Qu. or qu. ; Qy. or qy. Quaere, inquire ; query. q. Quasi, as it were. Q.B. Queen's Bench. Q.C. Queen's College. Q.C. Queen's Counsel. Q.d. or q.d. Quasi diciat, as if he should say ; quasi dictum, as if said ; quasi dixisset, as if he had said. Q.E. or q.e. Quod est, which is. Q.E.D. Quod erat demonstran- dum, which was to be proved. Q.E.F. Quod erat faciendum, which was to be done. q.l. Quantum libet, as much as you please. Q. Mess. Queen's Messenger. Qm. or qm. Quomodo, how, by what means. q.p. or q.pl. Quantum placet, as much as you please. Qr. or qr. Quarter. tQr. Quire. Qrs. or qrs. Quarters. Q.S. or Qr.S ess. Quarter Ses- sions. q.s. Quantum sufficit, a sufficient quantity. Qt. or qt. Quart. Qts. or qts. Quarts. Quar. or Qu. Quarterly. ^to Quarto. q.v. Quantum vis, as much as you will. q.v. Quod vide, which see. Qy. or qy. Query. R. Eighty (anc.). R. Eighty thousand (anc. ). *R. Large Whole Royal. R. or Reg. Regina, Queen. R. Rex, King, R. Rhodium. R. Rupee. R. or r. River. R. or r. Rod, rods. R. or r. Rood, roods. R. or r. Rule. r. Resides ; retired ; rises. tR. or XX. Retree. R.A. Royal Academy. R.A. Royal Academician. R.A. Royal Arch. R.A. Royal Artillery. Rad. Radical. R.E. Royal Engineers. Reed. Received. Recpt. Receipt. Rec. Sec. Recording Secretary. Rect. Rector. Ref. Ch. - Reformed Church. Ref. or ref. Reference. Reg. Register, Registry. Reg. Prof. Regius Professor. Regr. Registrar. Regt. Regiment. Rel. or rel. pron.; Rel. or rel. pr. Relative pronoun. Rep. Reporter or Representative. Repub. or Rep. Republic. Rev. Reverend; Revelation. R. H.S. Royal Humane Society. Richd. - Richard. R.M. Royal Marines. Ream. EVERY-HOUR OFFICE COMPANION. 139 R.N. Royal Navy. R.N. 0. - Riddare af Nordstjerne, Knight of the Order of the Polar Star. Ro. Recto, right-hand page. Robt. - Robert. Rom. Romans (Book of). Rom. Cath. Roman Catholic. R.P. Regius Professor, the King's Professor. R.P. Republica, Republic. R.S. Right side. R. S.S. Regime Societatis Socius, Fellow of the Royal Society. Rt. HOP. Right Honourable. Rt. Rev. Right Reverend. Rt. Wpful. Right Worshipful. Ru. Runic. R.W.O. Riddare afWasa Orden, Knight of the Order of Wasa. S. Sextus, seven (anc.). *S. Short. S. Solo (in Italian music). S. Stem (of a word). S. Sulphur ; Sunday. S. or So. South. S. or s. Set, sets ; sign, signs. S. or s. Solidus, a shilling. S. or s. Solidi, shillings. S. or s. Sou, sous. S. or s.; Sec. or sec. Second, seconds. S. or s. ; Sec. or sec.; Sect, or sect. Section. SS. or ss. ; Sects, or sects. Sections S. or s. ; Ser. or ser. Series. S. or s. ; Sing, or sing. Singular (number). S. or s. ; Subst. or subst. A sub- stantive (noun). S. or s.; SS. or ss. - Semis, half, s.a. Secundum artem, according to art. Sansc. or Sans. Sanscrit. S. A.S. Societatis Antiquariorum Socius, Fellow of the Society of Antiquarians. Sat. or Sa. Saturday. Sb. Stibium (Antimony), sc.or scil. Scilicet, to wit, namely. Sc. or sc. ; Ser. or ser. Scruple, scruples. Sc. or sc. ; Sculp, or sculp. Sculpsit, engraved. S.c. or S. caps. Small capitals. Sch. or sch.; Schr. or schr Schooner. Schs. or schs. Schooners. Sci. Science. S. C. L. Scholar of Civil Law. Scot. Scotch or Scottish. S.E. South-east. Se. Selenium. Schol. Scholium, a note. Schol. Scholia, notes. Sec. or Secy. Secretary. Sec. Leg. Secretary of Legation. Sen. Senate ; Senator. Sen. or senr. Senior. Sept. or Sep. September. Sept. Septuagint , seq. or sq. Sequente, and in what follows. seqq. or sqq. Sequentibus, and in the following (places). Sergt. Sergeant. Sergt.-Maj. Sergeant-Major. Serj. Serjeant. Serv. Servant. Sess. Sessions. Sex. Sextus. Shak. Shakespeare. *S.H.L Small Half Imperial. *S.H.R. Small Half Royal. S. H. S. Societatis Historise So- cius, Fellow of the Historical Society. S.I. Star of India. Si. Silicium or Silicon. Sic. Sicily or Sicilian. Sig. Signature, Signer. Sing, or sing. Singular. S.L. Solicitor at Law (Scot.). S.L. or S.I. South latitude. Sid. or sld. Sailed. S.M. Short Metre. S. M. Lond. Soc. Cor. Societatis Medicse Londonensis Socius Cor., Corresponding Member of the London Medical Society. K 2 140 PRINTERS UNIVERSAL REFERENCE BOOK : ^Sm. Cap. Small Cap. tSm. Hd. Small Hand. vSn. Stannum (Tin). s.n. Secundum naturam, accord- ing to nature. Sol. Solomon. Sol. - Solicitor ; Solution. Sol. -Gen Solicitor-General. S. of Sol. Song of Solomon. S.P. or s.p. Sine prole, without issue. S.P.G. Society for the Propaga- tion of the Gospel. Sp. or sp. gr. Specific gravity. *S.R. -Small Whole Royal. S.R.I. Sacrum Romanum Impe- rium, the Holy Roman Empire. S.R.S. Societatis Regise Socius, Fellow of the Royal Society. S.S. Sunday School. S.S. or s.s. Screw steamer or Steam ship. S.S.C. Solicitor before the Su- preme Courts (Scotland). S.S.E. South -south-east. S.S.W. South-south-west. St. or S. Saint. St. or st. Street ; strait. vStat. Statute or statutes. S.T.D. Sanctse Theologize Doc- tor, Doctor of Divinity. Ster. or ster. Sterling. S.T.P. Sanctse Theologize Pro- fessor, Professor of Divinity. Subj. Subject. Subj. or Subjunct. Subjunctive. Subst. or subst. Substantive. Su. -Goth. Suio-Gothic. Sulph. Sulphur or sulphurous. Sup. Supplement. tSup. Roy. Super Royal. Super, or super. Superfine. vSuperl. or superl. Superlative. Supt. Superintendent. Surg. Surgeon ; Surgery. Surg.-Gen. Surgeon-General. Surv. Surveyor. Surv.-Gen. Surveyor-General. Sus. Susannah. S. W . South-west. T. A hundred and sixty (anc. ). T. A hundred and sixty thou . sand (anc.). T. Tutti, the whole band after a solo. T. or t. Ton, tons ; tun, tuns. T. or tn Trillo, a shake. Tel. Co.- -Telegraph Company. Ter. Territory. Text. Rec. Textus Receptus, the Received Text. Th. Thorium. Th. or Thurs. Thursday. Theol. Theology, Theological. Thess. Thessalonians. Thos. Thomas. Tim. Timothy. T.O. Turn over. Tr. or tr. Transpose ; treatise. Tr. Trustee. Trs. Trustees. Tr. Brit. Mus. Trustee of the British Museum. Trans, or Tr. Translator, Trans- lation, Translated. Treas. or Tr. Treasurer. Trin. Trinity. Trin. T. Trinity Term. Trin. Coll. Cam. Trinity Col- lege, Cambridge. tT.S. Tub Sized. Tues. or Tu. Tuesday. ^121110 Twelvemo. Typ. Typographer. U. Uranium. U.J.C. Utriusque Juris Doctor, Doctor of both Laws. ult. Ultimo, last ; of the last month. U.K. United Kingdom. um. Unmarried. Univ. University. U.S. United States. U.S.A. United States of Ame- rica. U.S.M. United States Mail. U. S.N. United States Navy. U. S.S. United States Ship. u.s. Ut supra, as above. V. Five, or fifth. V. Five thousand (aiic.). EVERY-HOUR OFFICE COMPANION. 141 V. Vanadium. V. or Viet. Victoria. V. Violin. VV.- Violins. V. or v. --verb. V. or v. ; Ver. or ver. Verse, verses. V. or Vid. ; Vi. or vi. Vide, see. Vil. or vil. Village. V., Voc. or voc. Vocative. v., vs., or vers. Versus, against. v.a. Verb active. v. aux. Verb auxiliary. v. def. Verb defective. v. dep. Verb deponent. V. C. Vice-Chancellor. V C. Vice- Chairman. V.C. Victoria Cross. V.C. Volunteer Corps. V.D.M. Verbi Dei Minister, Minister of God's Word. Ven. Venerable. VI. Six or sixth. VII. Seven or seventh. VIII. Eight or eighth. Vice-Pres. or V.P. Vice-Presi- dent. v. imp. Verb impersonal. v. in. or v.i. Verb intransitive. v. irr. Verb irregular. Vise., Vis. or V. Viscount. viz. Videlicet, to wit, namely. v.n. Verb neuter. Vo. Verso, left-hand page. Voc. or voc. Vocative (case). Vol. or vol. Volume. Vols. or vols. Volumes. V.R. Victoria Regina, Queen Victoria. v.r. Verb reflective. v. tr. Verb transitive. Vul. Vulgate (Version). Vulg. or vulg. Vulgar (expres- sion). \V._West; Welsh. W. or Wed. Wednesday. Wk. or wk. Week. Westm. Rev. Westminster Re- view. wf. Wrong fount. Whf. or whf. Wharf. W. I. or W. Ind. West Indies ; West India. Wks. or wks. Weeks. W. Ion. West longitude. Win. or Will William. W.M. Worshipful Master. W. M.S. Wesley an M issionary Society. W. N.W. West-north-west. Wp. Worship. Wpful. Worshipful. fWri. Writing. W.S. Writer to the Signet. W. S. W. West-south-west. Wt. or wt. Weight. X. Ten or tenth. X. Ten thousand (anc.). XL Eleven. XII. Twelve. XIII. Thirteen. XIV. Fourteen. XV. Fifteen. XVI. Sixteen. XVII. Seventeen. XVIII. Eighteen. XIX. Nineteen. XX. Twenty. XXI. Twenty-one. XXII. Twenty-two. XXX. Thirty. XL. Forty. XC. or L.X.L. Ninety. X. or Xt. Christ. Xmas. or Xm. Christmas. Xn. or Xtian. Christian. Xnty. or Xty. Christianity. Xphor. Christopher. Y. A hundred and fifty (anc.). Y. A hundred and fifty thou- sand (anc.). Y. or yr. Year or year. Y.B. or Yr. Bk. Year Book. Yd. or yd. Yard. Yds. or yds. Yards. Ye. The. Yr. or yrs. Year or years. Yrs. Yours. fY. W. Post Yellow Wove Post. Z. Two thousand (anc.). 142 PRINTERS UNIVERSAL REFERENCE BOOK : Z. Two million (anc. ). Z. or Zir. Zirconium. Zech. Zechariah. Zeph. Zephaniah. Zool. Zoology. &. And. &c. or etc. Et cseteri, et cseterae, et caetera, and the rest. ABBREVIATIONS AND ALTERATIONS OF CHRISTIAN NAMES USED IN FAMILIAR DISCOURSE. Bat Bartholomew. Ben Benjamin. Bess, Bet, Betsy, Betty Eliza- beth. Biddy Bridget. Bill, Billy, or Will William. Bob or Robin Robert. Chris Christian. Cis Cicely. Dan Daniel. Davy David. Dick or Dicky Richard. Dolly Dorothy. Ellic Alexander. Fanny Frances. Frank Francis. Hal or Harry Henry. Harriet. Henrietta Jack or Johnny John. Jemmy James. }erry Jeremy, enny Jane. Joe Joseph. Kate, Kitty Catherine. Kit, Chris Christopher. Mat Matthew. Molly Mary. Nancy, Nanny Anne. Nat Nathaniel. Ned, Ted Edward. Nel, Nelly Eleanor. Nic Nicholas. Polly Mary Ann. Patty Martha. Peggy Margaret. Sally Sarah. Sam Samuel. Sophy Sophia. Suky Susanna. Tim Timothy. Tom Thomas. Tony Anthony. Wat Walter. Zach Zachary. Southward, in his " Dictionary of Typography and its Accessory Arts," says : "In the primitive times of printing, most Latin words were abbreviated in order to save paper, composition, and press work. As reading, however, became more general, they were by degrees abolished, except in legal works. The present practice in regard to abbrevia- tions, as in side-notes, &c. is not to abridge a word at the end of a syllable, but always to annex one or more letters of the next syllable ; and always to carry the reading part so far that it cannot be mistaken for any other word." EVERY-HOUR OFFICE COMPANION. 143 CHRONOLOGICAL TABLE OF PRINTING, &c. ALTHOUGH the art of making paper, block-printing, &c., appears to have been known in China, Egypt, and Rome, long before the Christian era, some of the information handed down to us by historians is by no means authen- ticated, and even that recorded with respect to the inventor of printing and the dates of its introduction into England are alike uncertain, but we have compiled the following from the most reliable sources, and much more will be added to the next edition should it prove of interest : Arithmetical cyphers brought into Europe, from Arabia, by the Saracens 991 (Letters of the Alphabet had hitherto been used. ) Paper made of cotton rags.., 1000 A new species of music, under six notes, introduced by Aretin IO22 Domesday Book begins to be compiled in 1080, from a survey of all the estates in England, and is completed in 1086 Booksellers about this time appear in England noo The phraseology of "we" first adopted, instead of the singular pronoun, by King John 1207 Caxton born in Kent 1410 Wickliffe begins to teach in England in 1369, and his bones were burnt in ... 1412 Foundation of the Vatican library at Rome 1417 Earliest wood engraving ... 1423 Public library founded at Oxford 1426 The art of printing invented by Lawrensz Jansz Koster, of Haerlem, in Holland, who used moveable wooden types, about 1430-40 Printing invented at Mentz, by Faust (?) 1430-40 Koster's pupil, Geinsfleisch (John Guttenberg's elder brother), practised print- ing at Mentz 1441 The brothers Guttenberg im- proved the art by making types of metal 1444 The Vulgate, known as the " Mazarin Bible," printed in Germany, this being the first work issued by Gut- tenberg at Mentz 1455 John Faust and John Gutten- burg dissolve partnership 1455 The Psalms printed in Ger- many by Faust and Schoef- fer (the latter of whom invented the casting of type in matrixes) 1457 Engraving and etching on copper invented 1459 Guttenberg and Conrad Hu- mery opened an office in Mentz 1460 Geinsfleisch died 1462 Faust disposed of the Bible in Paris, where he was ac- cused of having connection with the devil 1462 Printing introduced into Italy 1465 The second book "Cicero deOfiiciis" printed ... 1466 144 PRINTERS' UNIVERSAL REFERENCE BOOK A.D. First press set up in France 1470 William Caxton printed his first book in Flanders, en- titled " Recueil of the History of Troy " 1471 The second^book was printed at Burges, in Belgium, by Caxton, entitled "The Game and Playe of Chesse," translated from the French, and finished on March 3 ist 1474 Caxton returns from the Con- tinent to England, and sets up a press in the armoury of Westminster Abbey (the introduction of printing into this realm) 1475 Printing in Brussels and Saragossa 1476 Wood engraving invented in Rome 1478 Caxton died, and his remains interred in Westminster Abbey ... 1491 Printing in Geneva (H7 8 ); Vienna (1482); Stockholm (1483); and Copenhagen 1493 Music printing introduced into England 1495 Wy nkyn de Worde flourished 1 496 Printing in Amsterdam, Cra- cow, and Munich 1500 Aldus Manutius, of Venice, invented Italic type 1501 Printing introduced into Scotland 1508 Acts of Parliament first printed 1509 Music printed from metal types by Petrucci 1515 The first Polyglot Bible printed at Alcala 1515 Engraving on Wood by Durer 1521 First English Bible printed at Antwerp 1526 Translation of the Bible, by Tyndal and Coverdale, published at Oxford ... 1535 Tyndal being burnt for her- esy, his Bible is revised by Coverdale (afterwards bishop of Exeter) and Arch- bishop Cranmer, and pub- lished by authority 1540 Printing introduced into Ire- land 155! Books on astronomy and geometry destroyed, in England, under a charge of magic 1552 Printing introduced into Russia 1560 Archbishop Parker's transla- tion (see 1613), or the Bishop's Bible, printed ... 1568 Book-keeping by double en- try began in England ... 1571 First paper-mill erected in England, at Dartford, Kent 1588 First newspaper in England, dated July 28th; it was called the English, Mer- cury, and was published by Lord Burleigh 1588 The Blaew printing-press, followed by the Ro worth 1601 A new translation of the Bible ordered in 1604, and commenced in 1607 Parker's translation our present Bible (see 1568) revised and amended by forty-seven learned men, appointed by King James, first published 1613 Only four typefounders per- mitted in England by Act of Parliament 1637 Printing first carried on in America 1638 First trade journal Mercu- rius Librarius published 1648 Fine writing paper first made in England 1690 Stamp duties first instituted 1694 Advertisements subjected to a duty, and the stamp duty levied 1712 EVERY-HOUR OFFICE COMPANION. 145 William Ged, of Edinburgh, invented stereotype print- ing 1725 Printing introduced-to Turkey 1 726 Chambers' Cyclopaedia of the A rts a nd Sciences publi shed the first dictionary of the kind 1728 The Gentleman! s Magazine (the first in England) begins 1731 Paul's patent card-machine invented in England ... 1748 The first " Printers' Manual" published in England, by John Smith 1755 Literary property determined Feb. 2nd 1774 Maps with moveable types invented by Sweynheym .. 1 77^ Lithographic printing in- vented by H. Johnson (see 1796) 1783 Printing re-established in Constantinople 1 784 Embossed typography for the blind invented by Valen- tine Hauy 1784 The Daily Universal Register (afterwards the Times} published 1785 Benjamin Franklin born at Boston, America, 1706, and died in 179 W. Nicholson's machine in- vented 1790 Lithographic printing dis- covered by Alois Sene- felder at Prague 1 796 Newspapers first published in Constantinople *797 The Stanhope press invented by Lord Stanhope 1800 British and Foreign Bible Society established 1801 W. Magrath published the "Printers' Assistant" ... 1805 The Quarterly Review com- menced 1809 Steam first applied to print- ing machines 1810 Sentence on nineteen printers of the Times for conspiracy twelve months' impri- sonment; fine, i/ each ... 1810 Paper-making inventions are discovered by Mr. Dicken- son 1811 Ruthven press and the Don- kin machine brought out 1813 The Times first printed by steam 1814 " The Printer's Price-Book " published by C. Stower... 1814 Inking rollers introduced by Cowper 1816 Messrs. Ackerman & Willich, Strand, London, intro- duced lithographic printing 1817 The Cope and Hansard presses invented 1817 Zincography introduced ... 1817 Cowper machine invented... 1818 Clymer's Columbian press patented 1818 The liberty of the press in Poland rendered nuga- tory by the imperial edicts 1819 Congreve machine intro- duced 1820 W. Mason published two books " The Printers' Assistant," and " Price Book for Job Work " ... 1821 Royal Society of Literature founded 1821 Revival of engraving on steel by Mr. C. Warren, who received a gold medal ... 1823 266 newspapers, including fourteen dailies, published in the United Kingdom... 1824 Censorship of the Press re- stored by the King of the French, August I5th, eleven days after the close of the Session 1824 The Westminster Review commenced 1824 Applegath brings out his patent in machines 1824 146 PRINTERS' UNIVERSAL REFERENCE BOOK : The Tinted (a small sheet of four pages) proprietors paid .181 in taxes to the State for one issue on January 1st 1824 "The Typographer" pub- lished by Johnson 1824 State prosecution of news- paper proprietors 1825 Embossed typography intro- duced into England ... 1827 Royal patent for the exclu- sive printing of 'Bibles in England, January 2 1st, to extend to 1860 1830 Napier's machine invented . 1830 Earl Stanhope's calculating machinery introduced ... 1830 Suppression of the charter ; the liberty of the press suspended 1830 The types and presses of the Temps, National 'and other newspapers, are seized and destroyed in France ... 1830 The Kitchen press patented 1833 The Penny Magazine com- menced and issued by the Society for the Diffusion of Useful Knowledge ... 1833 The duty on Almanacks re- pealed 1834 Hill & Smith's machines made 1835 Electrotyping invented ... 1837 " The Printers' Manual," by C. H. Temperley, pub- lished 1838 The daguerreotype process made public in France, and a life-pension of 6,000 francs is granted to the inventor, M. Daguerre ... 1839 Anastatic printing introduced 1 840 Copyright Act, conferring upon the author right over his own works for life, and to his heirs seven years after his death ... 1842 The "Lightning Press" brought out by R. M. Hoe 1846 Little's printing machine works in one hour 12,000 copies of the Illustrated News 1847 Paper first made of straw in America 1847 The "Main" machine in- troduced 1850 The right of an alien author to acquire a British copy- right, by first publishing his work in Britain, estab- lished by decision of Lord Campbell on May 2Oth ... 1851 Advertisement duty abol- ished ... 1853 Hoe's printing machine brought to England ... 1858 Degener's "Liberty" press introduced 1860 Paper duty abolished in England 1861 Glazing, folding, and stitch- ing machine introduced into England by Griiner . 1862 Printing telegraph invented 1863 Hattersley's composing and dis. machines brought out 1863 Marinoni's machine brought to England 1869 Bullock's machine first used for printing the Daily Telegraph 1869 Mackie's composing (12,000 types per hour) machine completed 1869 Newspaper Stamp abolished September 3Oth 1870 The imports of esparto and other paper-making ma- terials into the United Kingdom was 130,500 tons, value ^"593,000 ... 1873 Southward's "Dictionary of Typography " published in 1871, and re-issued in 1875 Halfpenny post cards intro- duced 1870, and raised in . price to 3^d. and 4d. the half dozen 1875 EVERY-HOUR OFFICE COMPANION. 147 TRADE JOURNALS. ENGLISH. Bookseller. 12, Warwick-lane, Newgate-street, London. British Trade Journal. 42, Cannon-street, E.G. Circular of Typographic Association. H. SLATER, Ardwick, Manchester. News-vendor. SIMPSON, Red Lion-court, E.G. Papermakers* Journal. MARCH ANT, SINGER, & Co.,- I, Ingram- court, Fenchurch-street, E.G. Paper and Printing Trades Journal. FIELD & TUER, 50, Leaden- hall-street, E.G. Perry's List. Red Lion-square, London, E.G. Press News. W. DORRINGTON, 2, Carlton-villas, Maye's-road, Wood- green, N. Printers 1 Register. J. M. POWELL, St. Bride's-street, Ludgate-circus, E.G. Printing Times and the Lithographer. WYMAN & SONS, 74 and 75, Great Queen-street, W.C. Publishers' Circular. 188, Fleet-street, E.G. Scottish Typographical Circular. W. KAY, 5, Bank- street, Edinburgh. Shippers 1 Monthly Circular and Prices Current. New Cross Works, London, S.E. Stationer. DEAN & SON, St. Dunstan's-buildings, Fleet-street, E.G. Trubner's American and Oriental Record. TRUBNER & Co., 57 and 59, Ludgate-hill. COLONIAL. Australasian Typographical Journal. 85, Collins-street East, Melbourne. Dominion Printer. Chenneville-street, Montreal. AMERICAN. American Journalist. 607, Chesnut-street, Philadelphia. American Newspaper Reporter. G. P. ROWELL Co., New York. American Stationer. HOWARD LOCKWOOD, 14, Park-place, New York. American Printer and Lithographer. J. W. ESTABROOK & Co., New York. Buffalo Specimen. N. LYMAN'S SONS, Buffalo Typefoundry, U.S.A. Chicago Specimen. MARDER, LUSE, & Co., Chicago. Electrotype Journal. ZEESE & Co., 114, Monroe-street, Chicago, U.S.A. Electrotyper. in, East Madison-street, Chicago, U.S.A. Lithograph. 36, Vesey-street, New York. Paper Trades Journal. 14, Park -pi ace, New York. Paper Trades Reporter. THOMAS MANAHAN, 32, Reade-street, New York. Printers' Circular. 515, Minor-street, Philadelphia, U.S.A. Printing Gazette. Cleveland, Ohio. Proof Sheet. COLLINS MCLEESTER, 705, Jayne-street, Phila- delphia. Publishers' Weekly. 712, Broadway, New York. Quadrat. BAKEWELL & Co., Pittsburgh, U.S.A. 148 PRATERS' UNIVERSAL REFERENCE BOOK. Typographic. 62, Congress-street, Boston, Massachusetts, U.S.A. Typographic Advertiser. 606, Sanson-street, Philadelphia, U.S.A. Typo. J. & F. B. GARRETT, Syracuse, New York. Typographic Messenger. 28 to 32, Centre-street, New York. FOREIGN. Allgemeiner Anzeiger fiir Druckereien. KLIMSCH Co., Frankfurt - am-Main. Annalen. Leipzic, organ of Masters' Union. Free to Members. Berliner Mittheilungen. B. PAPE, 132, Alte Jakobstrasse, Berlin. Bibliografia Italiana. Sig. BARBARA, Firenze, Italy. Bocktryckeri Tidning. Stockholm. Boekdrukers - Nieuivsblad. Messrs. RUTERING & VERMANDEL, Deventer, Holland. Correspondent fiir Deutschlands Buckdrucker. Leipzig, Germany. // Tipografo. Via LEUTARI, 20, 2 piano, Roma, Italy. Journal de.s Fabricants de Papier. 1 6, Rue de Birague, Paris. Weekly. Journal des Fabric -ants de Papier. 1 6, RuedeRivoli, Paris. Fortnightly. Journal fiir Buchdruckerkunst. MEYER, Brunswick, Germany. JJArte del/a Stampa. I, Via della Mattonaia, Firenze, Italy. L? Imprimeru. 28, Passage Verdeau, Paris. La 7ypologit'-7ucker. H. J. TUCKER, 35,. Rue Jacob, Paris. Le Gutenberg. 37, Rue de 1'Olivier, Bruxelles, Belgium. Le Moniteur de la Papcterie Ftancaise. 3, Rue du Pont-de-Lodi, Paris. Lithographia. HERR ISERMAN, Hamburg, Germany. Mittheilungen. (HERR H. BURCKHARDT), Kl. Fleischerg. II. Leipzig, Germany. Nieuwsblad voor den Boekhandel. C. ZWAARDEMAKER, Amsterdam. Oest. Buchdrucker-Zeitung. III. Heumarkt 7, Wien, Austria. Vorivarts / NEUBAU, Hermangasse, No. 10, Wien, Austria. ALEXANDER JOHNSON, ACCOUNTANT, {Associate of the Society of Accoiintants in England), 68, NORTH END, CROYDON, AND EAST GRINSTEAD, SUSSEX. Tradesmen's Books Posted, Balanced, and Audited (by Contract or otherwise). Balance Sheets prepared for meetings of Creditors in Town or Country. A. J, calls the special attention of the Trade to his system of collecting outstanding debts. TERMS ON APPLICATION. " HPHE HECKMONDWIKE EXPRESS," published every Saturday, price id. A general advertiser for Yorkshire. Independent in politics. CHAS. WARD, Heckmondwike, Yorkshire. MACHINE PRINTER TO THE TRADE, &c., GEORGE DAWSON, 239, Well-street, South Hackney, E. PRINTERS, BOOKSELLERS, AND STA- TIONERS, BARNICOTT AND SON, Taunton. Estab- lished iSt/i Century. PINTER, BINDER, AND STATIONER, JAMES TIBBETT, n, High-street, Dunstable. BELIEF AND CAMEO STAMPER, ALFRED A BOOTH, 91, West-street, Sheffield. TUT A CHI N E P RI N T E R^TO TH E TRAD E , *** ROBERT JACKSON, "Guardian " Steam Printing Works, Consett. TWTACHINE PRINTER TO THE TRADE, -"-'-** R. E. BRENAN, The Square, Dungarvan. MAC H IN E PR INT E R~,"B O O K S E LL E R, BOOKBINDER, &c., ASHTON TAYLOR, Scaitcliffe- street, Accrington. W. F. CRISP'S PUBLICATIONS. The PRINTERS', LITHOGRAPHERS', ENGRAVERS', BOOKBINDERS', and STATIONERS' BUSINESS GUIDE, with ready-reckoned General Price Lists, to which are added Legal and Commercial Information, numerous Statistics and Tables, Miscellaneous Recipes, and Practical Advice for every member of the combined trades. Fifth Edition, extended and improved. Price, Post Free, 2s. 6d. ; bound in doth, 3*. 6d. See Opinions of the Press in the Preface. PRINTERS' SCHEME OF IMPOSITION SHEET, &c. Post Free, 6^d. Demy Broadside, to paste on the walls of every Printing Office for the guidance of the Operatives. SHEET OF 1,100 ABBREVIATIONS AND REPRE- SENTA.TIVE LETTERS. "As a sheet of every-day reference in the Printing Office, it will be found invaluable. " Post Free, f>\d. LESSONS IN HISTORY, GRAMMAR, WRITING, &c., in Prose, with an Addenda containing Words and Letters in the Bible, Important Events, Ancient Structures, Extraordinary Calcu- lations, Wonders of the Heavens, Fecundity of Nature, Derivation of the Months and Days, &c., suitable for Children and School Presents. Price ^d., or Twelve Copies for is. 6d. to Stationers. HAND-BOOK TO FRESH & SALT- WATER FISHING. 1 6 pages Crown 8vo. Second Edition. Post Free, 2,\d. CRISP'S EASY CATECHISM OF PUNCTUATION (now in the press), for the use of Newspaper Correspondents, Printers, Painters, Juvenile Students. &c. Price (post free], 6 stamps. FINGER-POST GUIDE TO GREAT YARMOUTHt AND ENVIRONS. Beautifully Illustrated. 56 closely- printed Crown 8vo pages. Post Free, is. 2d. CHRONOLOGICAL HISTORY OF GREAT YAR- MOUTH. 2,000 Local Events, &c., from A.D. 47 to 1870. Reduced from $s. Sd. to 2s. &/., Post Free. LONDON : J. HADDON & CO., 3, BOUVERIE ST., FLEET ST. GREAT YARMOUTH : W. F. CRISP, 30, CROWN ROAD. BOOK OF POETRY AND BLANK VERSE upon Printers, Editors, Newspapers, &c., with technical phrases. This most amusing selection, of about 50 pp., will not be published as a book unless at least 100 sixpenny subscribers' names be forwarded to the compiler, W. F. CRISP. NOTICE TO PRINTERS. PRINTING ESTIMATES, &c.-Mr. WM. FINCH CRISP, of 30, Crown Road, St. George's Park, Yarmouth, will be happy to furnish any practical advice within the scope of his knowledge, or forward PRINTING ESTIMATES of any description, on receipt of full particulars, a stamped directed envelope, and a fee of 12 stamps. THE PAPER AND PRINTING TRADES JOURNAL, ONE SHILLING per Annum Subscription, Postage paid. Large Home Circulation. Large Foreign Circulation. EVERY Printer, Stationer, Paper-maker, Bookseller, Author, Newspaper Proprietor, Reporter, in fact every one inte- rested, directly or indirectly (and who is not ?), with Printing and Paper, ought to subscribe. " I consider this the best paying investment I have entered into this year." (From F. VV. TALBOT, Printer, 19, Sussex Street, Cambridge.} Thousands of letters of this character have been received. USEFUL TRADE TABLES, HEAPS OF WRINKLES, SPRIGHTLY ARTICLES, TRADE IN- FORMATION. HOME AND FOREIGN TRADE NEWS, REVIEWS, &c. &c. Over 400 applications for goods were recently received by an extensive manufacturing firm in London from a single advertisement in THE PAPER AND PRINTING TRADES JOURNAL. The moment you have finished reading this announce- ment send in your SHILLING (a dozen stamps will do). "No time like the present." Foreign subscription, One and Sixpence ; foreign stamps received in payment. FIELD & TUER, Publishers, &c., LEADENHALL WORKS, 50, LEADENHALL STREET, LONDON, E.G. REDUCED NETT TRADE LIST. Manufacturers to H.M. Post Office, Telegraphs, &c. FIELD & TUER'S Carbonic Papers. NEW MAKE. DEMY. ) 30 / per Ream. (22^ by lyi) Black both sides J 2/ per Quire. DOUBLE CROWN. ) 4 5/ per Ream. (30 by 20) Black both sides J 3/ per Quire. Extra Quality DEMY. ( 55/ per Ream. (22^ by 17^) Black both sides / 3/ per Quire. Extra Quality DOUBLE CROWN. ) 7S / per Ream. (30 by 20) Black both sides J 4/ per Quire. Carbonic Papers specially prepared to order for hot climates. Blue Demy Carbonic, $o/ per Ream, 3/ per Quire. MANIFOLD COPYING TISSUES. Demy, 22^ by 1 7 J, 6/6 per Ream (480). Double Crown, 30 by 20, 12/6 per Ream (480). Carbonized Ribbon l for Automatic Telegraph Instruments, &C., IN VARIOUS WIDTHS. STYLES FOR MAN/FOLD WRITERS. Agate tips, Ebony Handles, 8/. Steel Tips, Ebony Handles, 10/ per Doz. Bone Tips, Wooden Handles, 4/ per Doz. BLACK JAPANNED METAL PLATES. 8vo 8/ per Doz. 4 to ll/ per Doz. 50, LEADENHALL STREET, LONDON, E.G. 50. CITY TYPE FOUNDRY (Combining the Foundry of the late Mr. BROWN}> 167, CITY ROAD, E.G. CHARLES MORTON Invites the attention of Printers, Printers' Brokers, and others, to the very large assort- ment of Types, Cheques, Borders, Ornaments, &c., always on hand (in complete Founts) at the above Foundry, which, for hard metal and accuracy, cannot be excelled ; and trusts that prompt attention to orders (executed on advantageous terms) with which he may be favoured, will ensure for him their further commands. Shipping and Export Orders expeditiousfy executed, P.O.O. made payable at 219, City Road. SPECIMENS ON APPLICATION. ham Tbihr DAY & COLLINS, 10 & 11, BRIDGEWATER GARDENS, LONDON, E.G., Jllock (Cutters, Designers, & (Ejtgrakrs on SSoob. MA NUFACTURERS OF ALL KINDS OF PRINTING MA TERIALS, &c. ADVERTISERS' BLOCKS IN ANY NUMBER OF COLOURS. SKETCHES AND ESTIMATES FORWARDED. PRESS NEWS, ESTABLISHED 1866, CIRCULATES every month throughout the various branches of V_^ the Printing Trade in the United Kingdom. It is the recognised Printers' Trade organ, and is read by all classes in the Business, and is consequently the best medium for communicating with Printers and Newspaper Proprietors. Single Number, 2d, ; Annual Subscription, Post-free, 3s. Published about the \^>th of each month, at 12 and 13, Red Lion-court, Fleet- street, London, E.G., by the Proprietor and Editor, Mr. WILLIAM DORRINGTON, Printer and Journalist, of 2, Mayes-road, Wood Green, London, N. ESTABLISHED THREE TWENTY-FIVE PRIZE MEDALS, YEARS. SS ETC. ETC, R. J. SCOTT, 8, WHITEFRIARS STREET, LONDON, E.G. AUBREY & Co., 24, Southward Bridge Road, NEAR SOUTHWARK BRIDGE, LONDON, S.E., ARE OFFERING - NE"W TYPE at astonishing low prices. An immense number of modern faces in stock. 'WOOD TYPE, modern, new, from is. per doz. Large quantity on hand. Several tons of CHASES, all sizes. MACHINES and PRESSES, new and second-hand, cheap. Printing Materials of all kinds purchased for cash. AUBREY AND CO., 24, SOUTH WARK BRIDGE ROAD, Opposite the "METROPOLITAN." ZORN, BAHNSON, & CO., IMPORTERS AND MANUFACTURERS OF LITHOGRAPHIC STONES AND MATERIALS, 9 & n, Garrick Street, Covent Garden, LONDON, W.C. FINE DRY COLOURS. I BRONZE POWDERS. BLACK AND COLOURED INKS. I TRANSFER PAPERS. Sole Agents for the United Kingdom and the Colonies for the Sale of the LITHOGRAPHIC STONES from the Solenhofen Joint Stock Company's Quarries in Bavaria. Export Orders promptly executed. SAMUEL JONES & CO., NEWCASTLE COURT, COLLEGE HILL, _ LONDON, E.G. THE CHEAPEST HOUSE IN LONDON FOR PRINTING MATERIALS OF EVERY DESCRIPTION, NEW AND SECOND-HAND, WHICH ARE ALWAYS IN STOCK. H. S. CROPPER'S MINERVA (Treadle and Hand) PAGING and PERFO- RATING MACHINES, of a superior make, supplied on terms hitherto unknown to the Trade. EXCELSIOR ROLLER COMPOSITION, acknowledged the best for all climates, 8d. perlb. Second-hand Lists on application to T. W. MARTIN, 89, SHOE LANK, FLEET STREET, LONDON. EDWARD GOODWIN, israqgi JWMtmWt 88, FARRINGDON STREET, E.G. Estimates Furnished for Large or Small Quantities. MAGAZINES, CHEQUE-BOOKS, ETC., EXPEDITIOUSLY AND NEATLY BOUND. L 2 N. J. HILL, Marble Paper MANUFACTURER, AND DEALER IN 6, CHARLES STREET, HATTON GARDEN, LONDON, E.G. Estimates Given or Sent Free by Post. HONOURABLE MENTION FOR PRINTING MATERIALS INTERNATIONAL EXHIBITION, 1862. ESTABLISHED 1825. ft * STANDARD' PRINTING MATERIAL & COMPOSITION ROLLER WORKS. FREDK. ULLMER, MANUFACTURER OF PRINTING MACHINES, PRESSES, Guillotine Paper Cutting, Perforating and Paging Machines, WOOD LETTER CUTTER, BRASS RULE MAKER, PRINTERS' JOINER, And Manufacturer of Materials of every description, by Steam Power and the most approved Machinery, for 15, OLD BAILEY, LONDON, E.G. STEAM WORKS: 4, 5, & 6, BISHOP'S COURT, OLD BAILEY. Frederick Ullmer's New Type Catalogue, No. 27. Frederick Ullmer's New Ornament Book, containing upwards of 1,600 Ornaments. Frederick Ullmer's New Illustrated List of Machines, Presses, and Materials. List of Second-Hand Machines, Presses, and Materials. Specimen Book of Bookbinders' Tools, Rolls, Fillets, Corners, &c. THE IMPROVED HORIZONTAL PRINTING MACHINES Have received OVER Six Hundred Of these Machines are in operation on If^UT^HIHBNPV BOOK, STRENGTH, SIMPLICITY, -^^SJ AND AND COLOUR WORK Good Work. 'L;^ E THE superiority of this, the cheapest but most substantially built Machine, as adapted for every variety of work, from a Card to a Poster or Newspaper, is derived from the simplicity of its action, which, being direct by means of a Disc, supersedes the com- plication and cost of numerous wheels, guts, straps, bands, &c., and hence avoids the liability of disarrangement or breakage. The working parts are few, simple, and easily accessible. The Machine may be managed by a youth of ordinary capacity, and is wrought in the best steel wherever friction is involved. It may be placed on an upper floor with perfect safety ; and the ease of its movement admits of a rate of production from 1,200 to 1,500 sheets per hour by hand-power, with little fatigue, or 1,500 to 1,800 per hour by the aid of steam. Its erection does not require a skilled engineer, as an intelligent pressman will find no difficulty in putting it up. The most essential requisite accuracy of register is secured without points ; but a Pointing Apparatus is provided, if specially desired, at a small additional expense. ON ACCOUNT OF ITS EXTREME SIM PL/CITY IT IS WELL ADAPTED FOR THE COLONIES. SIZES AND PRICES Including Fly-wheel for Hand-power, or Driving Pulleys for Steam-power, and Two Sets of Roller Stocks. Size of Table. Length. Width. Height. Price. In. In. Ft. In. Ft. In. Ft. In. > 1. Grown 17 X 22 5 3 3 O 4 60 2. Demy 26 X 22 6 O 3 7 4 8O 3. Double Crown ... 34JX 24 6 9 4 4 110 4. Double Demy 40 X 3O 7 6 4 6 4 3 145 5. Double Royal 45 X 30 7 9 4 10 4 6 160 6. Dble. Dble. Grown 36 X 46 18O 7. Full News Size ... 54 X 42 ., ,. 21O J. LILLY & CO., J. B. DELLAGANA, ENGINEERS & PRINTING MACHINE MAKERS, 172, St. John Street, Clerkenwell, London, E.G. HASLER & FAIRBANK'S PATENT "EXCELSIOR" LETTERPRESS MACHINES, WITH OR WITHOUT THE "PATENT AUTOMATON TAKING-OFF APPARATUS," WORKING WITH GREAT SUCCESS. Half-sheet Demy . 52 (Fitted with Treadle.) Crown . . . 60 (Fitted with Treadle if required.) Demy , . 80 Royal . . . 90 Double Crown . 110 Double Demy 145 Double Royal . 165 Full News . .220 Over Four Hundred of these Machines at Work. ALSO MAKERS OF THE PATENT 'Excelsior" Lithographic Machine, TO TAKE A STONE 21 by 15 . 120 24 by 2O . 135 26 by 24 . 150 34 by 24 . . 200 36 by 26 . . 235 38 by 30 . . 260 TESTIMONIALS ON APPLICATION. All Sizes of IMPOSING SURFACES in Stock. LIBERAL DISCOUNT FOR CASH. Makers of most all Bookbinding Machinery. A STAFF OF WORKMEN ALWAYS READY FOR REPAIRS. !Zj ^ HH . ^ .0 ^ .^ i-J - M ^ k^ ^ X*N ^ CO ^ o BENJAMIN PAVYER, TYPE FOUNDER, 31, BARTHOLOMEW CLOSE, LONDON, Having succeeded to the business carried on by his late father for nearly fifty years, begs to inform Printers and the Trade generally that he has a large stock of PLAIN and FANCY TYPE on hand, made into complete Founts, which he offers for Sale at REDUCED PRICES. Specimens and Founts can be seen on application. THE BEST FRENCH METAL FURNITURE IN THE TRADE. MANUFACTURER OF PRINTERS' BLANKETS, MACHINE TAPES, GUTS, &C., 89, SHOE LANE, FLEET STREET. Maker of the Treble-Milled Blanket for Steam Litho 5 Machines. EVERY MAN HIS OWN PRINTER. PRINTING PRESS, to print 9 in. by 7 in., Including 2 Ibs. of Type, Type-case, Ink, Ink-roller, Slab, Composing-stick, Quoins, Reglet, Furniture, and Leads, all complete. Price 1 10s. INSTRUCTIONS SENT WITH EACH PRESS. These Presses are suitable for Amateur Printers, Merchants, Druggists, and Tradesmen, who require Bill - heads, Circulars, Labels, Cards, Envelopes, Hand- bills, &c. &c. First-class references and every information can be obtained on application to W. WIGHTMAN, Printers' Machinest, &c. 5 LKEDS. Patronised by the Clergy and Gentry throughout the United Kingdom. J. BENNETT* t ;RASs BLOCKS, &TOOLS OR GOLD OR INK PRINTING. YLETTERINS& ENDORSINC STAMPS. SMITH, DELITSCH, & CO., DIE SINKERS, AND PRESS MAKERS, 3, BOUVERIE STREET, FLEET STREET, LONDON, E.G. J. HADDON & CO., GENERAL PUBLISHERS, 3, BOUVERIE STREET, FLEET STREET, LONDON. J. HADDON & Co. having been established for many years at the above address, will be happy to undertake the London Agency of Country Publishers, or to act as Wholesale Agents for the sale of Books or Goods connected with the Trade. FLUID LITHOGRAPHIC WRITING INK, Price 33. 6d. per Bottle. J. HADDON & Co. beg to suggest to Lithographers to recommend this Ink to Merchants, Solicitors, Brokers, and others who require small numbers of Circulars, Price Currents, Market Reports, &c., expeditiously printed, The original can be written on ordinary paper, with an ordinary pen, and laid down and printed by the Lithographer ; and it pleases customers to be able to offer them the facility of writing a circular in their own offices, and it thus increases rather than diminishes trade. We offer the Trade a good discount off the Retail Price of this Ink. J. HADDON & CO., 3, BOUVERIE STREET, FLEET STREET, LONDON. HERRING, BROWN, & CO,, Jlfjturi 8, FINSBURY PLACE SOUTH, LONDON, B.C. (OPPOSITE MOORGATE STREET RAILWAY STATION.) Writing and Printing Papers of every size and kind, flat or folded ; News (laid or wove) ; Hand-made Papers ; Lithographic and Plate Papers, Cartridges, Long Elephant, Browns, Small Hands, Tissues, Copyings, Tracings, &c. ANY SIZE OR QUALITY OF PAPER MADE TO ORDER. SPECIAL WATERMARKS INTRODUCED IF REQUIRED. Pure Wove Writing Paper, reg. in 1855, has the watermark signature '''RICHD. HERRING' 1 ' 1 in every sheet. V. OSWALD WALMESLEY, 384, CITY ROAD, LONDON, .E.G., PUBLISHER, MANUFACTURER, AND IMPORTER OF- Memorial Cards Outlines for Illuminating Illuminated Outlines Oxford Frames of all sizes French & German Scraps for Books and Screens Coventry Silk Book- markers Photographic Scraps Coloured Scraps Christmas & Easter Cards Valentines and Birthday Cards Materials for Paper Frames Mounts Mounting Boards, &c. &c. Wholesale Catalogue and Price List of Goods free on receipt of Trade Card. HOLLOWAY'S PILLS Sir SAMUEL BAKER, In his work on the Sources of the Nile, says: " I ordered my dragoman Mahomet to inform the Faky that I was a doctor, and " that I had the best medicines at the service of the sick, with advice gratis. In a " short time I had many applicants, to whom I served out a quantity of Holloway's " Pills. These are most useful to an explorer, as possessing unmistakable ''purgative properties; they create an undeniable effect upon the patient, which " satisfies him of their value." This fine Medicine cures all disorders of the Liver, Stomach, Kidneys and Bowels, is a Great PURIFIER of the BLOOD, and wonderfully efficacious in all complaints incidental to Females. A fine Medicine for Children. In WEAKNESS and DEBILITY, from whatever cause, a powerful INVJGORATOR of the system. WOOD ENGRAVINGS OF EVERY DESCRIPTION PRODUCED WITH SUPERIOR FINISH, AND ON THE MOST ECONOMICAL CHARGES, BY A. R. DORRINGTON & CO, 68, FLEET STREET, LONDON. New Specimen Book for 1875, and ^Estimates post free to all parts of the World. A TRIAL ORDER SOLICITED. C. HAMMOND & CO., (ESTABLISHED 1852), TYPE FOUNDERS, PRINTERS 1 BROKERS, WOOD LETTER CUTTERS, Brass Rule Makers and Printers' Joiners, ETC., ETC. Sole Inventors and Manufacturers, of the Curvilinear Furniture. PRINTING MACHINE PRESS AND MAKERS. "GEM" RULE AND LEAD CUTTER, Price 22s. 6d. each. CURVES, THE DOUBLE SET, PRICE 25s. in BOX. OFFICES COMPLETELY FURNISHED. Shipping Orders punctually attended to. 10, BEAR YARD, LINCOLN'S INN FIELDS, (South- West Corner), London, W.C. G. H. Mason, PRINTING INK AND Yaritbfc 6 OFFICE-3 k 4, POPPIN'S COURT, Fleet Street, London, E.G. Works PLAISTOW, ESSEX. Jf nhs nf all fcjesraplians mabje spaallg fcrr Letter-press and Lithographic Inks, Black, Coloured, and Tints, in every Shade. Varnishes, Bronze Powders, Preparation for Bronze Printing, &c., &c. LIST OF PRICES UPON APPLICATION. | atertdf 12, PARSONAGE, MANCHESTER. JAMES SALMON Begs to call the attention of the trade to the undernamed SPECIALITIES : GUILLOTINE CUTTING MACHINES: The " Hercules" is the most powerful and perfect yet made. Extract from Testimonial. " I have been closely connected with Cutting- Machines practically for at least thirty years, and have seen and used, I think, every make, and in my opinion the "Hercules "excels them all. No greater test can be put to a Cutting Machine than cutting through some hundreds of Buckinghamshire millboards ; this we often do in a style that would astonish the ancient hero after whom the Machine is named. " E. B. WARNER. "Manchester, August 13, 1874." The "Schofleld" has had the Largest Sale of any Machine of its kind yet made. It will cut through a Ream of Gummed Enamel Paper by Hand with the greatest ease. PRIZE MEDALS, LONDON AND PARIS. Degener and Weiler's Patent " Liberty " Card and Jobbing Printing Presses. Speed, 1,000 to 2,500 per hour. Upwards of 100 of these Machines have been supplied in Manchester and the neighbourhood alone. Salmon's Patent Railway Ticket Printing Machine will Print, Number, and Perforate 10,000 per hour. Salmon's Patent Card Printing Machine will print any size up to LARGE, at the rate of 60 per minute. Salmon and Brownhill's Patent Bronzing Machine. Testimonial." Mr. JAMES SALMON,- Dear Sir, Having tried all the Bronzing Machines which have been introduced into this country, we have much pleasure in being able to state that the one you have recently patented, and which is now in daily use in our office, is the best, and is working to our satisfaction. " Yours truly, H.Y. BLACKLOCK. & Co. " Albert-souare, Manchester, September soth, 1872." A Second Machine has been supplied. Salmon and Nickol's Patent Rotary Scoring Machine, for Paper Box Makers. From 40 to 60 Sheets per minute can easily be scored on both sides by a young girl or boy. Salmon and Wood's Patent Rotary Perforator can be attached to any Cylinder Printing Machine. Salmon and Grosland's Patent Stone Grinding and Polishing Machine. Send for Testimonials. Salmon's Improved Paging or Numbering Machine. With American Disc Apparatus. Salmon's Improved Round Hole Perforating Machine. With Sections and Treadle Action. Gregory's Patent Compound Action Screw Press supersedes the Hydraulic for Printers' use. Hatton's Patent Nipping Press, for Bookbinders. Steam Engines and Boilers Combined. The Engines and Boilers are especially designed to meet the requirements of Letter- press and Lithographic Printers. Printing Machines, by all the Leading Makers, kept in Stock, ready for immediate delivery. Patent Atmospheric Gas Engine, which never gets out of order. Can be worked at a cost of One Penny per Horse per Hour. Atkinson's Patent Book Folding Machines, Roller Washing Machines, and every Machine used in the Printing and Bookbinding Trades. JAMES SALMON, PARSONAGE, MANCHESTER. C#f-