ifiTifiiS SOME PRESS NOTICES ON THIS WORK First Edition. Saturday Review. — " Any gentleman about to publish may create, in his mind's eye, without great difficulty, the appear- ance of the masterpiece he intends. There can be no more trustworthy guide ' For those that think in type and ink ' than this clearly written and admirably printed handbook." New Review. — "A modest volume, but one which is pretty in its vermilion lettering upon clear white buckram . . . all professional writers ought to possess." Daily Telegraph. — "Abundant infor- mation is stored within its pages ; in short, no one whose bent is literary will take up the book without learning some fact in typography which will both in- terest and enlighten him." Literary World. — "With the aid of this guide, one intending to publish can go to his publisher not wholly ignorant of the technicalities of bookmaking, and others can pick up a good deal of inter- esting information." Publishers' Circular. — "Writers will save themselves much trouble and un- necessary labour if they diligently master its contents, and the knowledge so gained will in turn benefit the printers." The Bookman. — "This is a practical handbook for authors, publishers and printers, on types, proofs, stereotyping, binding, copyright, registration, and other matters relating to the issuing of books." The Speaker. — " It is the outcome of wide and practical experience in the making of all sorts and sizes of choice and artistic books." Birmingham Daily Post. — " Book- lovers as well as bookmakers are certain to be interested in a work, modestly en- titled ' Some Notes on Books and Print- ing, a Guide for Authors and Others,' by Mr. Charles T. Jacobi, the Examiner in Typography to the City and Guilds of London Institute, which is being issued from the Chiswick Press, of which Mr. Jacobi is manager." Second Edition. Athenmtim. — " Will be of real use to authors who take an interest in the form in which their books appear, and also offers to novices some excellent advice as to how to prepare their manuscript and correct proofs." Week's Survey. — " Needs no commen- dation to experienced editors and au- thors. An admirable specimen of the exquisite care with which artistic book- printing is done at the celebrated Chis- wick Press." Spectator. — " It is a really practical guide for those who write and those who publish." Studio. — "No better work than this could be placed in the hands of any one who contemplates writing, printing, or publishing a book." Library Association Record. — "It is a volume that no librarian should be with- out, as it would enable him to master many technical details in the production of books and catalogues." Publishers' Circular. — ' ' This may rea- sonably be called the ' Book of Books,' seeing that without the knowledge which it comprehendsno book could be properly produced." Daily News. — " It is a publication that no beginner in the pursuit of journalism or literature should be without, as it would enable him to master many tech- nical details in the production of books." Daily Graphic. — " The whole subject of printing and the preparation of books, beginning with the manuscript, and pass- ing by way of the index, the type, the margin, the paper, the size of the paper, the binding, right on, indeed, until the idea has taken a concrete form and the work of publishing begins, is treated of at length by one who has little to learn on the subject." Literary World. — "We have said that Mr. Jacobi is practical, and indeed he is well qualified to deal with his subject from a practical standpoint, having been forsomeyears, andstill being, the manag- ing partner of the Chiswick Press. " London: The Chiswick Press, 20 & 2 1, Tooks Court, E.C. By the same Author. PRINTING. A Practical Treatise on the Art of Typo- graphy as applied more particularly to the Printing of Books. With upwards of 150 Illustrations, and a Glossarial Index of Technical Terms and Phrases. Second Edition. Small Post 8vo, cloth, price ^s. THE PRINTERS' HANDBOOK of Trade Recipes, Hints, and Suggestions relating to Letterpress and Lithographic Printing, Bookbinding, Stationery, Engraving, etc. With many useful Tables and an Index. Second Edition, Enlarged and Classified. Crown 8vo, cloth, price 5^. THE PRINTERS' VOCABULARY. A Collection of some 2,500 Technical Terms, Phrases, Abbreviations, and other Expressions, mostly relating to Letterpress Printing. Useful book for Authors and Publishers. Crown 8vo, cloth, price 3^-. 6a'. ON THE MAKING AND ISSUING OF BOOKS. Fcap. Svo, price 2s. 6d. net. [Oui of pritit. THE PRINTING OF MODERN BOOKS. A Paper read before the Bibliographical Society. Pott Svo, sewed. [Reprinted for presentation. SOME NOTES ON BOOKS AND PRINTING. A Guide for ."Authors, Publishers, and Others. This work is an amplification of " On the Making and Issuing of Books." Demy Svo, blue vellum cloth boards, lettered in white. New and Enlarged (third) Edition. Price 6s. net. GESTA TYPOGRAPHICA ; or, A Medley for Printers and Others. Fcap. Svo, rubricated throughout, price 3^. dd. net. A FEW SUGGESTIONS OF PLAIN LETTERINGS FOR ARTISTS AND OTHERS. Some type models of capital letters adapted for designers, etc. Imperial i6mo, sewed, price bd. net. N.B. — These volumes, where in print, are supplied post free on receipt of postal order by the Author at the Chistvick Press, 20, Tooks Court, Chancery Latte, London, E. C. SOME NOTES ON BOOKS AND PRINTING ^ THIRD EDITION ^ 4^ 1790 1903 ^ SOME NOTES ON BOOKS AND PRINTING A GUIDE FOR AUTHORS PUBLISHERS & OTHERS BY CHARLES T. JACOBI MANAGING PARTNER OF THE CHISWICK PRESS LONDON : CHARLES WHITTINGHAM & CO. AT THE CHISWICK PRESS, TOOKS COURT CHANCERY LANE. MDCCCCIII First printed, Nov. 1892, 1000 copies. Reprinted, March, 1902, 500 copies. Reprinted, June, 1903, 500 copies. NOTE TO THIRD EDITION THIS new impression, save for a few minor corrections in the text, a fresh title-page, and a different colour in binding, is practically a reprint of the second edition, which was on a new and enlarged scale. I have nothing more to add except to thank all those friends — not forgetting the Press — who so kindly received the last edition. Chas. T. Jacobi. June, 1903. IX PREFACE TO FIRST EDITION THE present volume is pracftically a revised reprint of my little book "On the Making and Issuing of Books," which Mr. Elkin Mathews published for me in the spring of last year. The appreciation with which that volume met, and the inquiries I have had for it since the limited edition was exhausted, have encouraged me to re-issue it in a different form, with the addition of many typographical specimens, and a few samples of really good papers suitable for printing purposes. All the types shown here are in use at the Chiswick Press, but founts which are peculiar to that office have not been included, in order that the utility of the book for general reference may not be in any way limited. Chas. T. Jacobi. OHober^ 1892. PREFACE TO SECOND EDITION IN issuing a fresh edition of this work, I have introduced some additional features in the type specimens given at the end of the volume. The literary part has been revised and much enlarged, and I trust it will be found even more useful than the earlier issue of this work. I am greatly indebted to Mr. F. Howard Collins for the chapter on the Index, and for many kind suggestions and much help in the literary portion of the work. I also thought, as illustrated books are so much in demand nowadays, that the article bearing on Methods of Illustration was worthy of a fuller treatment than that accorded to it ten years ago, when process engraving was not so developed as at the present time. I therefore per- suaded Mr. Walter Boutall, Chairman of Messrs. Vaus and Crampton, Ltd., who has had a long and varied experience of mechanical processes, to enlarge the chapter previously devoted to this sub- je6l, and for this I tender him my best thanks. I am also obliged to Mr. C. R. Rivington, the clerk of the Worshipful Company of Stationers, for looking over the proof of the chapter relating to copyright. Chas. T. Jacobi. March, 1902. XI CONTENTS CHAPTER I. The Manuscript . PAGE I 11. The Index i8 III. Types and Margins 22 IV. Methods of Illustration . 33 V. Papers .... 50 VI. The Sizes of Books 55 VII. Binding 59 VIII. Publishing 62 IX. Copyright 70 A Short Glossary . 7S Specimens of many Types ■ 89 Samples of various Papers . 138 General Index . . . " . . 160 SOME NOTES ON ^^^^^^^^''^ BOOKS AND PRINTING CHAPTER I The Manuscript IHE proper preparation of the manu- script is one of the first and most important steps in the making of a book. A clearly written MS., especially if by an unknown author, will often appeal to a publisher, when he would pass over the same matter in a scarcely legible form. In writing, it is preferable to use a medium size of paper, such as quarto — copy-book size — for two important reasons. If additions or alterations of any extent have to be made to any one page, there is less matter to re-copy than if the paper be folio or foolscap. The latter is too high at the top or commencement of each page for writing to be done without effort or strain : a consideration not to be despised when many thousand words have to be B 2 ^ooks and Printing penned. A smaller paper makes an objectionable thickness of MS. when a book is finished. The paper used may be without lines, but it is better for regularity, and for estimating the number of words, if ruled paper be used, and the writing be on the lines. Each leaf should be separate, and not in folded sections, to facilitate turning over. One other suggestion is as follows: If the author wishes to make for his own convenience a rough draft of his manuscript, he should adopt a paper with lines rather widely ruled, or, if he has closely ruled paper, should write on alternate lines. This allows of space for interpolations and emen- dations. The writing must of course be on one side only, for it is necessary in bookwork that each composi- tor's portion or "take" should finish at the end of a paragraph, and if the paper be written on both sides the scissors cannot be used by the overseer who allots the portions to each com- positor. A blank margin of one inch from the left-hand edge should always be left : it allows room for small alterations, and also for remarks and instruc- tions to the printer. Each leaf must be distinctly paged in con- secutive order from the first to the last, for on the MS. arriving in the printer's room it is all dis- tributed in se6lions here and there, and unless this has been done, great and unnecessary trouble is caused to everyone concerned, The 3/[anuscript 3 It is, however, advisable that all manuscript should be typewritten. In many instances pub- lishers now make it a sine qud non : they will not even "consider" any work until it is in this form. Most frequently the MS. is simply sent to a typewriter to be copied ; but now that a really good machine can be purchased for about ten pounds, it is very much better in every way for the author himself to learn it, and thus do away with the pen entirely for all work intended for the printer. A friend of the author's has used a type- writer for some years, and he asserts that it is no exaggeration to say that, with ordinary attention, at the end of the first month, after writing each day for an hour or more, the speed will more than equal that possible with the pen ; and that with further pra6lice this speed will be increased. The result is so good that it can always be treated as a first proof — to the great saving of the author's pocket. Another great advantage with typewrit- ing is, that by placing a piece of thin paper and the ordinary black carbon paper over the one to be typewritten, a duplicate can be obtained as good as the one which will be sent to the printers. By this means any anxiety about the MS. being lost in transmission, or by fire — as occurred in the historic case of Carlyle's " French Revolution " — is removed, and the expense saved of postal regis- tration and the insurance which is advisable with valuable matter. And to the young author all his 4 ^ooks and Trinting writing is valuable before it has been submitted to a publisher ! It may be mentioned here that though the MS. be typewritten it is paid for at the "manuscript" rate. In London there are three distin6l rates paid for type-setting : {a) where the copy is in print, and an absolute facsimile is to be made ; (b) where the copy is in print, but is to be set up in a different type, measure, or width ; (c) where the copy is wholly or partly written or typewritten. Avoid all interlineations : if necessary, cut the sheet in two where the addition is required, and gum in the slip containing the added matter. On reading the copy over, should it be desired to commence a new paragraph, a bracket mark thus [ should be put in front of the first word, and " new par." written in the margin against it. Should, on the contrary, a paragraph already written as such appear unnecessary, a line should be drawn from the end of the last word of the first paragraph to the first word of the next, and a marginal note made, "run on." Either of these alterations concerning paragraphs should onlyh^ made in the MS., as they are ex- pensive when in type, for they often entail the alter- ation of a large amount of subsequent matter. The following abbreviations, agreed to at the International Shorthand Congress, 1887, are a great convenience, and save writing many thou- sand useless letters in ordinary copy. The best way to learn them — and they are worth learning — The 3V[anuscript is to write out several times both the shortened form and the word for which it stands. Longhand Abbreviations recognized by Printers. About, ab\ Account, ace*. Afternoon, aft". Again, ag^. Against, ag"*^. Among, ani^. Amount, ain\ Because, bee. Been, b'^. Between, btwn. Brought, bro\ Caught, (f. Chairman, ch"-. Circumstance, cir". Committee, coin\ Could, c^. Difference, dif\ •^ Different, dtf. Difficult, dzf'K Difficulty, dzf^'^. Evening, ev^. Every, ev''. Extraordinary, xtr^. For,/ From,/'". Further,/^''. General, genK Government, govK Great, g^. Had, ¥. Have, /i. However, /tow''. Importance, tmp'". Important, tmpK Large, /ge. Meeting, int^. Might, m\ Morning, jn^. Notwithstanding, notw^. Obje6lion, obj". O'clock, dc. Of, ^. Opinion, of. Opportunity, opp^. Other, o\ Ought, o\ Particular, parf. Question, ^". Said, ^. ^ooks and Printing Several, sei/. Shall, sh. Should, s¥. That, t The, /. Their, there, tJf. Though, tho. Through, thro. Together, tog". Very, v". Whenever, whetf. Wherever, where". Whether, 'wh\ Which, w^. Whichever, which'' With, w. Without, w^. Would, w^. Yesterday, yest\ You, y. Your, y. Terminations. Ance, ence, ce. Ever, r. Ion, sion, tion, n. Ment, m'. Sunday, Sun. Monday, Mon. Tuesday, Tues. Wednesday, Wed. Thursday, Thurs. Friday, Fri. Saturday, Sat. Most printing establishments of any note have their " customs of the house " as regards ortho- graphy, the use of capital letters, pun6luation, etc., though they may be unw^ritten law^s. As a rule these details can be left to the printer. If any particular style is required, a general direction should be given to the printer when handing in the copy, any little deviation being remedied in the proofs. It is the fashion now to reduce the number of capitals as far as possible, except for proper names. Some correspondence has recently taken place in the literary press concerning these customs and The [Manuscript j styles, which differ in the leading printing offices, and it is to be hoped that greater uniformity will be the result. The beginnings of paragraphs should always be boldly indicated by insetting the first word, say an inch further towards the right than the other lines. The following underlinings are universally em- ployed in MS. to indicate italic, small capitals, and capitals : italic =: italic small capitals i= small capitals caps & small caps = Caps and Small Caps capitals zz CAPITALS Titles of works or periodicals are underlined or placed within inverted commas, to make them distin6l ; the printer using his discretion, except in the case of special instructions from the author. Extra6l matter included in the text — which is generally set in a smaller type — should be clearly shown, either by marking it down the side from beginning to end with a vertical line (in coloured ink or pencil is the best plan), or by setting the whole well towards the right of the other matter. Footnotes should each have a corresponding reference, and where possible should be written immediately after the word to which they refer. Figures, ^ ^ ^ ^ are to be preferred for this purpose. 8 ^ooks and Printing It is most important to remember that pages are not the same as leaves : a leaf, being printed on both sides, is equal to two pages. The one side, corresponding to the right-hand page of this book, being technically called the " redlo" ; and the other side, the left-hand page, back, or obverse, the ** verso. With regard to the corrections in the proofs it must be remembered that the more carefully a book is written, the less expense will be incurred for "author's corre6lions." This charge is often a great source of contention between the author, publisher, and printer, and is altogether unsatis- factory. A printer is bound, with certain reserva- tions, to follow the copy supplied, and if he does that, and the author makes no alterations, there are no author's corre6lions and nothing to dispute. But should there be many alterations, they may prove disastrously troublesome and expensive, besides delaying the work. The charges made for corrections are based on the time consumed in making them, and are very difficult to check, even by an expert. A page of type may contain two, three or more thousands of letters, every word being built up letter by letter and line by line, till the page is complete. A small correction, trivial as it may seem to the inexperienced, may possibly involve much trouble to the printer, and the labour expended on it not being apparent, is only appreciated by a praClical man. A word inserted or deleted may cause a The 3\danu5cript 9 page to be altered throughout line by line, and a few words may possibly affe6t several pages. Therefore, if possible, in making verbal correc- tions always substitute words of an equal length to those removed — this is money saved in correc- tions. "Extras" comprise the foregoing author's cor- re6lions, because the labour likely to be involved is not apparent when a volume is put in hand ; extraneous or miscellaneous matter, such as tables, foreign languages, etc., being expensive in com- position ; and all charges for types smaller than the body of the work. In the case of printed copy, termed " reprint," the extras can be accurately esti- mated. If it is necessary to corre6l a work in type, and the alterations are likely to disarrange lines and possibly pages, proofs in "galley" or "slip" form should be ordered. In America first proofs are generally in this form, and it will save an inex- perienced author much expense if he always has them so. This means a little more trouble to the printer, but to the author or publisher less expense in the long run, because corre6lions can be more easily effected in slips. In marking corrections for the printer certain recognized signs and symbols are used which express concisely what is required. We give on page 1 1 the principal chara6lers used, and the corrections as marked by a skilled person ; on page 10 is shown the type corre6led accordingly. lo ^ooks and Printing These corre<5lions are explained in detail on the verso of the marked page. In corre6ling a proof always ink the wrong letter or word through, and insert the alteration in the margin, not in the middle of the printed matter, because it is apt to be overlooked without a marginal reference. To keep the different cor- re6lions distin6l, finish each one off with a stroke thus / And to make the alterations more clear, if they are many, mark those on the left-hand por- tion of the page in the left margin, and those on the right-hand in the right margin. We have already said that as corre6lions and alterations are occasionally a source of dispute between publisher, author, and printer, it is most important that these corre6lions should be clearly and concisely made. Frequently proofs are un- necessarily cut about, which makes it difficult for the compositor to follow, and hence he consumes more time in making these alterations. This waste of time applies also to the reader, whose duty it is to see that the author's corrections have been properly effe6led. It is also recommended that all old proofs bearing author's corre6lions or alterations be retained. They are sometimes necessary for the verification of charges, or in checking some pre- sumed "error of the press," which has been discovered at a later stage. On receiving a proof the first thing to be done is to read it through carefully, not noticing the sense, The JVIanuscript 1 1 These correcflions are explained in detail on the verso of the marked page. [Tn corre6ling a proof ^-^ always ink the wrong letter or word throup-h, and y insert the alteration in the 7ndrgin, not in the iFl mid(|dle of the printed matter, because it is Apt -/.c. t o h^e overlooked without a marginal reference ^ lim an. CTo keep the different corre6lions distin6l, finish each one off with a stroke"thus / And to make I the alterations more clear, TT they are many, mark those on the left-hand portion of the page in the left margin, and those on the right-hand in the right margin/ \rj We have already said that as correlations and alterations are occasionally a source of dispute between publisher, autqor, and printer, it is most (5^ / important /that these corre6lions should be clearly and concisely made. Frequently proofs are un- 'i'^^^ ■ necessarily cut about, which makes it difficult for ^ the(toJcompositor^follow, and hence he consumes more time in making these altef^ions. This waste ^ of time applies also to the reader, whose duty it is to see that the author's corre6lions have been ^ properly effedled. . »// h is also recommended that all old proofs ^ / bearinor author's cor redlions or alterations be 3 Ji: retained. The^^j^re sometimes necessary for the 1 verification of charges, or in checking some pre- sumed "error of the press," which has been C^^a-/ discovered^ater stage. J On receiving a pr^of the first thing to be done . ^^f is to read it through carefully, not noticing the sense, ^£^- 12 ^ooks and T^rinting The P roof- Reader s Marks Explained. New par. or n. p. or [. Commence a fresh line or paragraph. X A bad or battered letter. cT Delete, expunge, or omit. /. c. A capital or small capital to be changed to a lower-case or small letter. Run on. An instru6lion to follow on previous matter and not to commence a new line. \_ A space or quadrat to be pushed down. A full-stop, or full-point, to be inserted. 1 I The line to be indented one em of its own body. Q. A letter upside down, or turned round. ^ Space to be reduced. Rom. Change into roman. Trs. Transpose a word or words. ^ The types being crooked, to be straightened. Cap. A lower-case letter to be altered to a capital, expressed also by three lines under, = . O The words or letters between this to be joined. JJ A space to be inserted. y^ A caret mark. Insert matter written in the margin. w.f. A letter of a "wrong fount" to be changed. Ital. Change into italic — sometimes indicated by a single underlining. The Manuscript ' 13 but searching for "letterals,"or, in other words, see- ing that every single word is spelt correctly. If sense and meaning be examined in the first place, the eyes get so accustomed to the words and their spelling that mistakes — even flagrant ones — are sometimes overlooked. Whatever else be wrong, a book must be spelt correctly ! Among many other desirable things it is im- portant that an author should always verify in the proofs all extrafls, references to dates, titles, and so forth. When the first proof has been read and marked by the author, and he wishes to see it again, he should write " Revise " on the top left-hand corner, and return it to the printer, who will submit a "revise" to him with the corre6lions carried out. Should the corrections be few and the author not wish to see it again, he writes " Press" on the sheet, which means that no more alterations will be made by him, and that after the corrections have been effeCled by the compositor it can at once be printed. The final, or " press proof," is always retained by the printer for future reference in case of any dispute, and the author or editor should always preserve the intermediate proofs bearing corrections, in case of queries afterwards arising. Printer's readers, styled " correClors of the press," are, as a rule, a very careful and painstak- ing body of men. Generally with praClical ex- perience, and sometimes a classical knowledge, they virtually sub-edit the MS. The queries they 14 'Books and Trinting mark on proofs should always be carefully con- sidered, as they frequently indicate an interpre- tation of the copy that may not have occurred to the author. Searching for an interpretation of his query may often show that the passage may be understood in two ways — one of which the author may not have thought about. Hence their queries well repay consideration. What amount of printed matter will the MS. make — how many pages will it cover, in fa61: ? This is not always an easy question to answer. No exadl rules can be laid down ; manuscript copy varying so much in chara6ler of writing, and in the quantity of deletions and insertions. A prac- tical man has frequently to spend much time and patience on manuscripts for estimation. Printers are frequently and astonishingly accurate in cal- culating most difficult manuscript. It is not possible to explain in writing how to deal with intricate MSS. ; it requires experience and pra6lical knowledge. One blank page for the beginning and ending of each chapter must be allowed on the average, and extra matter and footnotes, should there be either, must be con- sidered. If your copy is a fair one, open the MS. at ten different places, taken purely at random (they must not be sele6led in any way), and count the number of lines on each of the pages, and also the number of words in any one line (taken again at random), on each of the ten pages ; add together the number 7he 3^anuscript 15 of lines. Strike out the last figure of the total, and you have the average number of lines per page ; then do the same with the words, and you have their average number. Multiply these two together, and you have the number of words per page ; multiply this by the number of pages, and you will have the approximate number of words In the whole. Mark this number on the outside sheet, as a guide to the publisher, and do not forget at the same time to put your name and address, in case it may get lost. By the same method it is easy to find the number of words in any printed book when, for instance, it is desired to compare sizes. A rough and ready way to find the average quantity of English words contained in one square inch of ordinary printed matter in "old style" type will be to use the following table : Solid. Thin leaded. Thick leaded. Great Primer 8 7 7 English 12 II 10 Pica 15 14 12 Small Pica 23 19 16 Long Primer 27 24 20 Bourgeois 32 28 24 Brevier 38 33 29 Minion 44 37 33 Nonpareil 59 47 40 Pearl 8i 65 55 A reference to the various specimens of types 1 6 ^ooks and Vrinting at the end of this volume and the analysis table on page 92 will further help to form an idea of the quantity contained in any given page, set in the other founts. The headline for every page should be settled by the author himself. It is usual to have the short title of the work on the top of the left-hand page, and either the title of the chapter, or the subje6l-matter of the two pages open at the same time, on the top of the right-hand page. The former headline is useful in identifying and re- placing a leaf that may have been torn out, and the latter is of frequent use to the reader, and often a very great help in compiling an intelligible index. It may be well to say a few words here about the Preface. It is the introdu6lory address of the author, in which he explains the purpose and scope of his book. In these days of hurriedly-written newspaper reviews, it is useful to make the pre- face thoroughly explain the author's obje6l in writing the book ; for be it hinted to the budding author that in some cases this is the only part of the work read by the reviewer. The " preliminary matter " is usually the last to be dealt with. The corre6l order in which it should appear at the commencement of English books — for this does not hold on the Continent — is half-title (a leaf to prote6l the full title from injury); title, of course bearing the date of pub- lication ; dedication, almost obsolete now; preface, contents, and list of illustrations if there be any. The 3^anuscript 17 In a limited edition the certificate or guarantee of number printed should face either the half-title or title-page. If the work has passed through many editions, a bibliographical list with the respe<5live dates of issue is often, and usefully, placed facing or backing the title-page, if not already occupied with some other bibliographical detail. In this conne6lion it is most important that the precise year of publication be expressed at the foot of the title-page. To omit the year or to postdate the issue is very misleading. 1 8 ^00 ks and T^rinting CHAPTER II The Index ILL works are the better for an Index, and its absence in those dealing with scientific matters is frequently noticed as a great fault by reviewers. The "Athenaeum" nearly always gives credit to a volume which con- tains a good index, and points out the omission should it be a work requiring one. In making an index, it is not enough for the indexer merely to understand the subje6l of the book, but he must understand the wants of the reader : two quite distincft things. The art of finding the correal title — or, as it is called, the "catchword" — under which to describe the thing indexed, must be combined with the knowledge that under that head, and no other, will the reader most probably look for it. Hence a specialist in the particular subje6l of which the book treats may not compile so valuable an index as one who, while knowing less of the subje6l, has had more experience in the ways of readers, and the catch- words they use. A good index must be exhaustive ; must include the various " points " of a book ; must gather under one heading the same subje(5ls ; must be The Index 19 concise, yet explicit ; must contain the subje6ls of chapters, and the smaller divisions, such as sections, not merely single words as they occur ; and must define each entry that occurs under the same title, so that the reader may turn at once to the desired page. An index cannot be commenced until the sheets as finally printed are at hand, otherwise errors in pagination are sure to occur. Supposing the sheets are at hand, the best way to commence is to have an ordinary ruled copy-book, and to make each entry as it is decided upon, writing the catch- word somewhat more plainly than the subsequent definition, so as to catch the eye when turning back for reference, as is often necessary. Between each entry leave one line blank for the subsequent cutting up and sorting which will be necessary. As each entry is made, underline the word in- dexed in the text, if it is there, or write it in the margin if not, so that when the index proof comes to be checked with the sheets, the eye may readily catch the sought-for word. In front of the desk, and visible without effort, should be kept the list of cross-references. This should be written up as each heading is decided upon, and sele6led from one or more possible synonyms. For instance, if " Printing" is the title sele6led and entered on the cross-reference sheet, there will be no subsequent re-arranging required from say such headings as " Book," " Caxton," 20 'Books and Trinting " Fount," " Typography," for these will all be re- ferred on the cross-reference sheet to " Printing." Do not imagine that it is sufficient to sele6l mere words as they occur in the text. Entries must be made for the contents of whole chapters, se6lions, and paragraphs. For the indexer must give the author credit for wanting to say some special thing in each subdivision of his work, and must similarly credit the intelle6lual reader with — having once found that particular subjeft dealt with — a desire to refer to it again, although pagination and all else concerning it has vanished from his mind. When all the sheets have been extracted, and all the entries made in the copy-book — or it may be many copy-books — it then remains to separate the book into loose pages, and to cut with scissors along all the intermediate blank lines ; then to sort the slips thus freed into alphabetical order ; and then all slips with the same title in page order, commencing with the lowest. When this is done, to paste or gum them all on sheets of paper in proper order, and to revise them for the press, putting in cross-references from the sheet where a record of them has been kept, properly pun6tuating, eliminating duplicate headings by transferring page numbers, and otherwise giving the compositor as little trouble as possible when it comes into his hands. The pun6luation of an index may seem a simple matter, but it may be such as to make or mar it for a bibliographic eye. To make the catchword The Index 21 or heading of each entry prominent, it may be printed in a special fount, or even in italic or small capitals, or, if this be not desired — as it may involve extra expense — a good plan, which still throws up the heading a little, is to put a colon (:) after the first word. A comma should be put between the last word of an entry and the first figure of the page, and a semicolon between each entry under the same heading. Where there are several pages given to one reference, put a comma between each. When the index proof comes from the printer it must be checked with the pages of the book itself, for who has not known the irritation produced by an incorre6l page number in an index ^. Many hours of labour will be saved in this dreary task if the word indexed has been — as recommended — underlined on the page itself at the time it was sele6led, and marginal notes made of anything not in the text. 22 ^ooks and Printing CHAPTER III Types and Margins H E beauty of a volume is dependent on the sele6lion of a suitable char- a6ler of type. These "founts" of type may be broadly classified into three divisions, namely : {a) The Old Face {b) Revived Old Style Face (c) The Modern Face These three examples are given in large founts (double pica) to emphasize the difference in the charadler of the letters. (a) The Old Face is occasionally used for book- work, generally of an antiquarian chara6ler, the old-fashioned long f being sometimes used in conjun6lion with the ligatured letters, fi fl ff ft fh ffi fQ fk (b 61. This series was designed and cut by William Caslon, who flourished in the early part of the eighteenth century. It is closely modelled on the Dutch types used in the seventeenth century. {b) The Revived Old Style is more generally used for bookwork, as a glance at most modern books will show. This volume is printed in this Types and JVlargins 23 style, and in the Pica size, from Messrs. Miller and Richard's series, which was designed about the middle of the nineteenth century. {c) The Modern Face is more in demand for news- papers, magazines, schoolbooks, scientific works, pamphlets, and so forth. This class of type faces was mostly created in the first half of the nine- teenth century. There are many other varieties of type, but they are mostly of a fanciful chara6ler, and not in good taste or in keeping with bookwork. However, the occasional use of tl^Cil ICttEt, italic, and a bolder face of type is permissible in order to give em- phasis to certain passages. This fatter face of type is sometimes called "Clarendon," and occa- sionally " Egyptian." This one is generally termed " Antique Roman," and has a pretty effedt, especially with old style types. Fancy types need not be entirely reje6led. Their characters are sometimes good, and their employment is appropriate for advertisements and works of a miscellaneous or commercial nature. The types on the following page represent the '* revived old style" in some of the different sizes in general use. The black impression at the beginning of each line represents the a6lual depth of the type-body employed in that particular line. It should be remembered that pica is, when set solid, six lines to the inch. If this is taken as a standard the various other sizes, both smaller and larger, will in due time fix themselves on the mind. 24 'Books and Printing 3 Pearl is the name and size of the type shown here in this specimen page of old style types. " Nonpareil is the name and size of the type shown here in this specimen page of old ^ Minion is the name and size of the type shown here in this specimen page of " Brevier is the name and size of the type shown here in this specimen " Bourgeois is the name and size of the type shown here in this 2 Long Primer is the name and size of the type shown here in ^ Small Pica is the name and size of the type shown here " Pica is the name and size of the type shown here J English is the name and size of the type " Great Primer is the name and size JJ Double Pica is the name ■ 2-line English is the jj2-lineGreatPrimer Canon is th Types and ^Margins 25 Each separate kind of type is made in many sizes, each size having a special name: that of the type used in this work is "Pica." The follow- ing table shows all the ordinary sizes for book work, with their approximate dimensions, and equivalents where they happen to be in proportion. There are of course larger sizes, but these lie rather outside our present scope. Size. Is half the Lines to inch size of "solid." Diamond Bourgeois 17 Pearl Long Primer 15 Ruby Small Pica 14 Nonpareil Pica 12 Minion English lOf Brevier Two-line Brevier 9t Bourgeois Great Primer 84 Long Primer Paragon 74: Small Pica Double Pica 7 Pica Two-line Pica 6 English Two-line English Si Great Primer Two-line Great Primer 4i Paragon Two-line Paragon l\ Double Pica Two-line Double Pica 3i This table is based on the old system of type measurement. The American system of type bodies is gradually coming into use here. It is measured by points, taking pica zz 12 points, or roughly 72 points to the inch. This innovation is a good one, as each size of type bears a definite ratio to other sizes, whereas the former custom of the different English founders resulted in chaos, 26 'Books and Printing for, as a rule, no two founts of the same body made by different founders could be used together. This is an example of the point system, which speaks for itself: Points Points Diamond = 4t" ^<3:^^Bourgeois = 9 Pearl = 5 » Long Primer = 10 Ruby = 5i >) Small Pica = II Nonpareil = 6 )) Pica = 12 Minion = 7 » English = 14 Brevier = 8 >> Two-line Brevier = 16 Bourgeois = 9 M Great Primer = 18 Long Primer ■= lO » Paragon = 20 Small Pica = 1 1 )J Double Pica = 22 Pica = 12 )) Two-line Pica = 24 English = 14 )) Two-line English = 28 Great Primer = i8 » Two-line Great Primer =36 It may be as well here to explain the unit of measurement which the printer employs, and has indeed employed since the time of Caxton. It should be thoroughly understood, as it is fre- quently referred to in printing matters. Really the "em" H is but the name for the unit which represents the a6lual square of the side of any particular body, and has no conne6lion with the letter "■ m " excepting that it is sometimes thus abbreviated. An "en" | is the same depth precisely, but half the width of an " em," so two ens Hi make one em | This pica "em" is the standard adopted for governing the measure or width of type matter. The wages value of any page is Types and 3\/largins 27 obtained by measuring the a6lual length and width in ems of that fount in which the volume or work is composed, this being doubled to obtain the ens, e.g., 50x20^:1,000x2 — 2,000. This gives the number of letters in a page— the en being con- sidered the average thickness of the twenty-six letters of the alphabet. For example, supposing the twenty-six letters of the lower-case roman alphabet (a to z) were set up in the composing stick, the total length of the complete alphabet should not be less than twelve ems of its own body ; more often it is thirteen or fourteen ems. If less than twelve ems it is a "thin" fount, and the compositors are paid extra for the additional work it entails. That there are six pica ems to the inch should be remembered. As an illustration : the width of this page is twenty-one pica ems. Now 2^^:=3J; therefore the print on the page is three and a half inches wide, which any rule will show it to be. Lines of type are frequently separated by the insertion of thin strips of lead: "solid" type is when set without " leads." This text is set up "thin leaded." Forty-eight "thin leads" go to one inch, and two are equal to one " thick lead." Therefore twenty-four " thick leads" are equal to an inch, and consequently four to the pica. By means of leading a volume may be spun out to almost any number of pages, and books are even double or treble thick-leaded all through. Opinions differ as to the appearance of leaded and 28 l&ooh and Printing non-leaded matter. Undoubtedly a page of type set quite close looks pretty as a whole, but for comfort in reading, unless the type is fairly large and the page not too wide, the eyes travel more easily from the end of one line to the beginning of the next if it be leaded. In the larger di6lion- aries and encyclopaedias the difficulty of reading across a wide page of small print is obviated by dividing the pages into two, three, or more columns. Where a reprint of a book is expe6led — as for a second edition — the expense of re-setting all the type may be saved by various processes. The principle of them all is, to take a mould of the type in some material from which a metal impress may be obtained forthwith or at any future time. This impress takes the place of the original type, and is printed from with varying results, the exa6l degree of quality being dependent on the process employed. In moulding by the patent or paper (papier- mache) process, papier-mache moulds are formed by placing several sheets of prepared paper to- gether, pasted with a special composition. This, after being moistened, is laid on the surface of the type and then beaten with a large brush. It thus forms a "matrix," which is dried by artificial means. These moulds are then stored. When required, melted metal is poured on them, and in the " stereo- type " resulting each page is faithfully reproduced as in the original type. With care the results obtained in printing are fairly good. This is an Types and Jvlargins 29 inexpensive method, as these moulds need not be stereotyped until they are required. Daily news- papers are all produced by means of this plan. A better process is the plaster, but now almost obsolete in pra6lice. In this the matrix is formed with plaster poured over the surface of the type. This is afterwards baked, and the metal poured into it, thus giving a reproduction. This method is more satisfa6lory as giving a sharper and more even stereotype, but it is slower and more expensive. Music type is nearly always stereotyped by this process. Ele6lrotyping is the art of duplicating by an ele6lro-deposit of copper from a mould made in wax, which forms a mere filmy shell, afterwards backed up with type-metal to give it the requisite thickness and strength. This is more durable, but costs rather more than the plaster stereotype, which it has largely superseded. It is well adapted for works that have to be reprinted many times, because, the face being harder, a larger number of impressions are given with less wear and tear. It is always used for duplicating woodcuts, a careful ele6lrotype being almost equal to the original block from which it is made. If wood- cuts are to be preserved they should be electro- typed, and prints made only from the duplicates, the originals not being used, and carefully pre- served. When worn, a fresh ele6lrotype can always be readily taken. If a work is likely to run into another edition and 30 ^ooks and Printing it becomes necessary to correal the matter some- what extensively, some arrangement with the printer to keep the type standing is usual, because alterations in stereotype- or ele61;rotype-plates are very expensive to make. Such type kept to special order is generally subje6l to a nominal rental based on a fair interest on the value of the material locked up for the time being. It will be seen from this that the paper process allows of tentative moulds being taken in the first place, and, if they are never used afterwards, this first cost is not of great moment. If required at some later date, these moulds are equally good for casting from, provided they have been taken good care of. In the plaster-stereotyping and ele6lro- typing instances the plates must be made forthwith, because these moulds in either case could not be stocked without injury. We now approach another important feature in the appearance of a well-printed book. Margin is a matter to be studied. To place the print in the centre of the paper is wrong in prin- ciple, and to be deprecated. If we look at a book printed in this fashion, it is apparent to the book- lover that something is amiss ; for by an optical illusion its pages have the appearance of having more margin on the inner and top edges than on the outer and lower margins. To remedy this it is therefore necessary to have more margin on the outer than the inner side of a page, called respectively the " fore-edge " and Types and JVIargins 31 "back"; and less at the top, or "head," than at the bottom, or " tail." In fa6l, the two facing pages of the open book must both be taken into consideration at the same time. Apart from this, the larger amount of paper on the fore-edge and tail serves a double purpose. It allows of subsequent rebinding and cutting; and it also allows room for annotation. A reference to some of the best printed books of the past will show that this margin was much used in olden times for this purpose. In modern times the Kelmscott Press books may be cited as an in- stance, though perhaps a little exaggerated. It is also useful, as there is more wear and tear on these portions of a book. Indeed, books may be seen that have had their fore-edge a6lually worn away in places by incessant fingering until they are one-eighth of an inch, or more, narrower than they were originally. The proportion of margin depends upon the size of the book : there must be a gradual increase from a sextodecimo to a folio. In an idition de luxe it is well not to make the difference in size too extravagant, though no definite rules in this matter can be laid down. Supposing a book is printed in the revived old style type on a machine paper, it is quite permiss- ible to print the large paper copies on a handmade paper. Sometimes, where the difference in size between 32 'Books and Printing two editions is not very great, and the size happens to be quarto, the inner and top margins are not altered. In this case the extra paper would fall on the fore-edge and tail of the book. This plan obviates the expense of altering margins of type pages and saves the cost of a fresh making-ready on the press. These sizes are suggested for the difference between small and large paper editions. Octavos. Foolscap 6|^ X 4^ may become Crown 7^ X 5 inches. Crown 74: X 5 „ „ Demy 8| x 5|- Post8x5 „ „ Medium 9ix 6 Demy8|-X5|- „ „ Royal 10x6^ Medium 9^x6 „ „ Super Royal loix 6|- Royal iox6i „ „ Imperial 11 x 74- Quartos. Foolscap Si X 6i may become Crown 10 x 7^ inches. Crown 10 X 74: „ „ DemyiiixSl; Post 10x8 „ „ Medium 12 X gi Demy 11^x8-1 „ „ Royal I2ix 10 Medium 12X94- » >» Super Royal 13!- x I0| Royal i2i-Xio „ „ Imperial 15 X II (. Methods of IlluSfrWtton 33 CHAPTER IV Methods of Illustration |T now becomes necessary to devote some attention to what is very often the most important feature where a modern book is concerned — the illustrations. Within the last few years illustrated books have become more and more frequent, until at thepresent time very few books are published without some kind of illustration, or attempt at least, at typo- graphical decoration. The facility with which illustrations can be produced is largely responsible for this tendency : on the other hand, the demand for * ' pi6lures " in a book has undoubtedly stimulated the development of modern methods of engraving until the variety of processes available for the purpose is positively bewildering. In the sele6lion of the mode of illustration, one must be guided by whether the designs are original or whether the pi6lures are mere reproductions of old subjeCls. If the former, the drawings can be generally adapted to the requirements of the particular process to be employed, the precise method being regulated by the total expense to be incurred ; whereas, in the case of reproductions, the choice would naturally be more limited. Now- adays nearly all illustrations are mechanically D 34 ^00 ks and Printing produced, and the a6lual cost of making any blocks or plates may be taken in the following order : line process, half-tone process, collotype and other photo-mechanical gelatine methods, and, lastly, photogravure as the most expensive. It must be remembered, too, that the first two being relief processes, the blocks may be incorporated with type matter in printing, but the last two methods necessitate quite separate and distin6l printings from letterpress and are best adapted for inserted plates in a volume. When the printed book succeeded the written and illuminated manuscript its pages were un- doubtedly printed from a single block upon which had been engraved in reverse relief the chara6lers of the required lettering. And, as such books were mainly of a devotional kind, masses or service books predominating, it was the custom to supple- ment the letterpress matter with a rude outline design. These were engraved on small sele6led planks of straight-grained pear or sycamore wood : the lines were cut by means of a knife and followed the dire6lion of the grain of the wood, in contradistin6lion to the later method of wood engraving, where the blocks are cut upon the end of the grain. Such a method naturally did not afford much scope for the engraver, but all the extant examples of early wood engraving bear remarkable testi- mony to the wonderful power and resource of their designers. When the use of movable types 3[det hods of Illustration 2,5 for printing letterpress became general, blocks were no longer required, and woodcut illustration fell into disuse. But simultaneously with the introdu6lion of block-printing there occurred a very general extension of the pra6lice of the art of engraving in the sense in which that term has been so universally employed. Such work consists in engraving a design upon the surface of a smooth plate of metal with a burin or graver. The engraved plate is inked ; the surface wiped so as to leave only ink in the in- cised lines ; then an impression is taken on soft paper in a roller press. With proper attention to the amount and quality of pressure applied, and a judicious sele6lion of an appropriate paper and ink, engraved plates give really fine artistic results. And as line engraving was capable of such results, it was during the seventeenth and eighteenth centuries, when books were not many, and when illustrated books formed only a small proportion of the total output, the method most generally adopted. Not that illustrations were numerous : the fa6l that they involved a separate printing and were divorced from the letterpress effe6lually pre- vented their extended use, and generally speaking they were limited either to a decorative title-page or frontispiece. Such briefly was the condition of things until the end of the eighteenth century : with the dawn of the nineteenth a new era begins, and illustration becomes a more important feature in books than 36 ^ooks and Printing previously. The invention of the art of litho- graphy by Senefelder furnished the artist with a fresh method, and, although open to the obje6lion already urged against line engraving, the necessity for a separate printing did not prove altogether fatal to the use of lithography for book illustra- tion. Commonly regarded asamysterious art, litho- graphy is really a very simple affair, and is based upon the power of certain kinds of mineral matter to absorb fatty organic substances. A smooth- surfaced piece of porous carboniferous limestone is sele6led, and the opposite sides are ground so as to form a fairly uniform and flat bed of stone ; one face is polished, and upon this the artist makes his drawing with a greasy pigment. When the design is finished it is usual to give a slight acid bath, or " etch the stone," as it is termed, for the purpose of imprisoning the greasy pigment within the minute pores of the surface of the stone. If the stone be damped and then rolled up with an elastic roller charged with a greasy printing ink, that ink will adhere to the design, while the damp stone will repel it. The stone can then be printed by passing it through a press fitted with a scraper. Before passing from this short consideration of the lithographic art, it may be useful to note that when a slightly grained instead of a polished stone is used, no more perfe6l method exists for faithfully reproducing in the printed impression the real character of a drawing executed in chalk or pencil, and that, by reason of the delicacy and subtlety ^Methods of Illustration 37 of the tints which can be printed from stone, lithography is extensively employed in colour- printing. The early part of the nineteenth century saw the revival of wood engraving, and, we may add, the end of that same century its decline. When the mediaeval German and Fleming worked upon wood they cut their designs as already stated upon a longitudinal plank, and their opportunities for adequate expression of the intention of their designs were limited accordingly. But Bewick, his contemporaries and pupils, were not content with these restri6led facilities : they were familiar with the work of several generations of line engravers, and realized that a much wider field was open to them if they could treat their blocks as line engravers treated their plates. Accordingly they employed a hard wood and engraved their blocks on the end of the grain. These transverse se(5lions were trimmed and surfaced, one face being finely polished. Upon this the artist's design was drawn, and the pi6lure made no longer with a knife but with a burin. The task of the wood engraver was not quite so simple as that of his brother craftsman upon metal. While the latter was required to plough the surface of his plate to produce his line, and inflexion could be obtained by merely varying the pressure which he exerted, and so making a deep and wide cut or a shallow and thin one, the wood engraver had to leave his line alone, and cut out 38 ^00 ks and Printing what are known as the "whites," or the blank spaces between the Hnes. For fully half a century the superiority of wood engraving for the purpose of general book illus- tration was unchallenged. Artists of repute became book illustrators, but few of them had been trained as engravers or were willing to undertake the drudgery of such training, and it frequently happened that the artist, being dependent upon the engraver for the translation of his design, and the drawing being destroyed during the progress of the work, perfe6l results were not always forth- coming. Photography was then employed to assist the artist, and instead of drawing dire(5lly upon the wood-block he was enabled to make an independent drawing and have it transferred to the surface of the block, which had been specially sensitized for the purpose. Wood engraving was a slow process ; both artist and engraver had to be employed — and paid. The cost of produ6lion was considerable, and if illustrations were to be extensively used some cheaper method of engraving must be found. Now, the lithographers had ascertained bypra6lical experience that it was possible to use thin plates of polished zinc in the place of the ordinary litho- graphic stone. Transfers from the stone were made ; they were laid down on zinc plates and printed from with ease and certainty. From the substitution of zinc plates for lithographic stones, a single step sufficed to convert them into relief blocks capable of being printed at a letterpress machine. Methods of Illustration 39 All that was required was to draw upon the zinc with a greasy pigment, or one containing a resisting varnish, and then to etch the plate with acid. The whites of the design were thus bitten away, and the lines, having been prote6led by the varnish from the a6lion of the acid, were untouched and remained in relief. When mounted upon a wooden or metal support of sufficient thickness, the plate could be imposed with type and printed in the ordinary way. We have already seen that the aid of photography was invoked by the wood engraver ; it was destined to render still more important service to the process engraver. Instead of drawing direftly upon the metal, the zincographer makes a reversed negative from his drawing, and having sensitized the surface of his plate proceeds to print the negative upon it. This is effe6led by covering the zinc plate with a thin coating of albumen, in which potassium bi- chromate has been dissolved. When dry the negative is exposed in conta6l to the a6lion of light, and it is found that the physical condition of the sensitized albumen undergoes an important change. Where the light has penetrated the negative, the albumen has been rendered insoluble in water ; where, on the contrary, the dense film of the negative prevents the passage of light, there is no alteration in the condition of the albumen. After rolling up with a lithographic ink the plate can be washed and the unprinted albumen dissolved away, the remaining portion, a6led upon by light corresponding with the lines of the design, being 4© ^00 ks and Printing undisturbed. The plate is then etched, and when sufficient relief is obtained mounted and printed from in the manner already described. Modified in various particulars and improved in detail this is the ordinary line process now in common use. Where a drawing is prepared with due regard to photographic requirements it is an excellent method of obtaining at very small cost an efficient and faithful reprodu6lion. A subje6l that would have formerly cost several pounds if engraved on wood, can be reproduced by line process for a few shillings, the rate for the finest work of this class not exceeding sixpence per square inch, while in a great many instances it is much lower. It must not be imagined, however, that line process will satisfa6lorily reproduce any drawing, although such a belief is commonly but erroneously entertained. The drawing must be made in a suitable manner ; it must express everything the artist intends to convey, and, as a good photograph is an essential preliminary, it must be made in clear, firm, definite black lines. There must be no question as to colour, otherwise over-exposure in the negative cannot be avoided, and this re- sults in thickened and distorted lines, or, on the other hand, in their becoming broken and rotten in the reprodu6lion. The drawing should be rather hard; all the tone is to be obtained by cross-hatching or by tints made up of line ; no wash or pencil work is admissible. Sometimes it is advantageous to make it somewhat larger in ^Methods of Illustration 41 proportion than the resulting block, but when this is done the artist must not be tempted, be- cause he has a larger surface to cover, to put more work upon his design than would be re- quired for a reprodu6lion to scale. Simplicity- is desirable, and the most effedlive pen drawings are generally those which are made with the least effort. The zincographic line process is very rapid in operation. Using artificial light and labour-saving contrivances in the various stages of its manufac- ture, a block can be completed in a very few hours ; so quickly, indeed, that this process is ex- tensively employed for daily newspaper purposes, where the entire preparation of the paper has to be completed between sunset and sunrise. Another process in which the block is produced by swelling a photographic print made upon a gelatine film, so as to enable a cast of the lines to be obtained in relief, was for some time extensively used in America as well as in this country. Except in the case of originals where the colour is im- perfe6l, or for reprodu6lions from old and stained prints of existing engravings, it possesses no advantage over the ordinary zinc method, and being more complicated in working its use has almost entirely died out. Artists accustomed to draw upon wood were unfettered as to technique. Sometimes they chose to indicate the precise treatment the engraver was to adopt when interpreting a design, but very fre- 42 ^ooks and Printing quently they were content to make a wash draw- ing on the wood-block, and left the engraver to use his own discretion in translating the mono- chrome into a line engraving, for it must be remembered that for letterpress printing a definite texture of lines or dots must exist. There is a level surface exposed to pressure, and, except as modified by the making-ready, the amount and distribution of colour in the design can only be expressed by means of lines and dots of different sizes, shapes, and dire6lions. Men familiar with line drawing were quite at home when called upon to produce drawings for photographic reproduction, but a larger and equally capable class of illustrators were at a disadvantage inasmuch as they lacked the ability to express tone properly by means of line. So the photographers turned their attention to perfecting some arrangement whereby wash or monochrome drawing should be made available for printing at letterpress, and the solution of the problem resulted in what is known as the half-tone process, the most extensively used of any existing method of illustration. The half-tone engraver does for the drawing in flat tint what the draughtsman in line does for himself, and his funClion is somewhat akin to that of the wood engraver engaged in cutting tints. In point of fadl the half-tone operator converts an indefinite tint, whether in wash or pencil, or the tone of an ordinary photographic print, incapable as it stands of dire6l expression at the letterpress 3^ethods of Illustration 43 machine, into a texture of dots and points which can be readily printed from. This is accomplished by very similar methods to those of the ordinary line process. There is, indeed, a close analogy between them, the only radical difference being found in the negative. A negative from an outline drawing will obviously represent that drawing exa6lly, the lines will appear as transparent replicas of those in the drawing, and the colour of the paper will be represented by the opaque film of the negative. In the case of a monochrome it has to be replaced by one made with a screen interposed between the drawing and the sensitive plate. The screen is a very fine piece of optical apparatus. It is composed of two sheets of plate glass absolutely free from flaws or defe6ls of any description whatever. These are ruled by means of delicate machinery fitted with movements capable of exa6l mathematical adjust- ment so as to insure uniformity in the width both of the line itself and the spaces between the lines. The ruling on each generally follows the direction of the diagonal, and the two sheets are secured face to face and hermetically sealed. The sealing material is opaquely coloured, and when viewed against a luminous background the screen is seen to be composed of minute squares. The number of lines to the inch and the ratio between the width of line and intervening space vary. Originally screens of eighty or one hundred lines to the inch were employed, now screens of one 44 "Books and Printing hundred and fifty up to two hundred lines to the inch are common, and even finer screens are used where the conditions will permit of the most careful printing. When inserted in the camera in front of the sensitive plate the a6lion of the screen is to intercept very much of the transmitted light from the copy, and to break up the image into that mass of dots and points, which, whether conspicuous or almost imperceptible, is always present in a half-tone engraving. Having secured the negative, the later stages of the production of a half-tone block are similar to those already described in conne6lion with line blocks. Copper has largely replaced zinc as the material used, and the various stages of re-biting require greater deftness on the part of the operator than the cor- responding steps in making a line block. Before entirely leaving the subje6l of photo- graphy as applied to either letterpress or litho- graphic printing, a few words are necessary on the subje6l of colour printing, and also as to those photo-mechanical methods of printing which are sometimes used inconne6lion with book illustration. Colour printing involves a number of separate blocks or stones for one subje6l, the number varying with the number of colours to be used. The lithographer selects from his design the appropriate colours, and, having drawn the key or general outline, he lays down a number of transfers on to separate stones. On one he will draw in so much of the tint as is necessary to obtain, say, the yellow, 3\dethods of Illustration 45 and on another what is required to give the blue, and on another the violet, and so on. Each one of course is treated with sufficient inflexion to convey the different strengths of colour, and again separate stones are provided for such intermediate tints as cannot very well be secured by a combina- tion of any other colours used. All these transfers being laid down from one key they can be printed in succession in perfect register, and so the colour print is gradually built up. Where a long run is required, some economy is found in employing relief blocks instead of litho- graphic stones, or again it is sometimes advan- tageous to combine the two methods, and print part of the work from stone and the rest from relief blocks. The increasing tendency to produce colour work by letterpress has lately contributed to an important development of the photographic half-tone process, which is generally known as "three-colour work." The researches of Ives and others in the field of photographic optics have demonstrated that it is possible to constru6l photo- graphic positives which will discriminate natural colours. The photographer does this by making negatives in register on specially prepared sensitive plates so arranged that each one shall automatically sele6t only a sympathetic colour and reje61: any other. In this way a negative may be obtained from any obje6l which shall reproduce only so much of it as is coloured yellow, another shall reproduce 46 ^00 ks and T^rinttng the blue, and another the purple. If half-tone blocks are made from these, and are printed in pigments corresponding as closely as possible with the colours seledled by the respe6live negative filters, a fairly satisfactory result may be obtained. It is clear, however, that any such result is an approximation only, and its success depends largely upon the chara6ler of the subje6l to be reproduced. Natural obje6ls as a rule present fewer difficulties than paintings or drawings in colour. A very brief reference to the photo-mechanical processes will suffice. They are numerous, and for fidelity of reproduction are valuable, but they involve separate printing, and in some cases this is a costly matter. The most important are the group of collotype processes, which are known by a variety of names. A collotype may be described as a mechanical print from a chemically prepared surface, and is in effeCl a lithograph printed from a gelatine film. In this country climatic changes are so frequent and sudden that it is difficult to rely upon the behaviour of gelatine, which is largely affeCled by variations of temperature, and by the amount of moisture present in the atmo- sphere. Very fine granulation can be employed, and therefore a collotype print is capable of ex- pressing the most delicate textures and the lightest tints. It only remains now to mention the group of illustrative methods known as intaglio or incised JVIethods of Illustration 47 processes. Line engraving upon copper has been already referred to. A later development intro- duced the use of steel instead of copper plates, and a more delicate style of engraving became popular. During the earlier part of the last century, line and stipple engravings were used for book illustration in the case of sumptuous editions, but have now almost entirely died out. The revival of copper etching dates from the decline of line engraving. For the artist who is expert in the control of his treatment of line, no method can be simpler or more effe6live. Having covered a polished copperplate with a resist varnish, he draws in reverse with a sharp point the lines of his design, revealing the metal : he then proceeds to etch the plate, generally using a retarding mordant such as perchloride of iron. Not only can the width of line be varied, but its depth can also be regulated by re-covering the plate and re-biting those portions of the design which need strengthening. Much more restricted in its application to book illustration is the mezzotinter's art. It is a com- plicated process to produce a mezzotint plate, and when done the number of perfe6l impressions that can be relied upon is not great. A copper- plate is worked upon by a tool known as a " rocker," which raises a burr like velvet-pile. The engraving is made with a scraper, the burr is reduced in height for the middle tones, and is altogether removed for the high lights of the sub- je6l, which are represented by the smooth metal. 48 ^ooks and Printing The plate is inked and printed in the same manner as a line copperplate, but the tint obtained by the rocking is so full and deep, and of such a varied charadler, that a print from a mezzotint plate always presents a rich appearance, and possesses a quality unobtainable in any other way. The fa6l that every print from a copperplate involves a large amount of manual manipulation insures variety, and the introdu6lion among the illustrations of a book of at least one printed from a plate enables it to claim a higher place among the season's editions than is allotted to others. Hence the need for a cheap and speedy method of making copperplate illustrations, which has been satisfied by the introdu6lion of photogravure. In conne(ftion with relief work gelatine surfaces for ele6lrotyping purposes have already been men- tioned. The use of undulating gelatine films in conjun6lion with resin for granulating the plate gives the process of photogravure. A negative of the subje6l is made in the usual manner, and from this a reversed glass positive is printed. A carbon print is then made, which is laid down on a copperplate already covered with finely powdered resin. The undulations in the carbon film corresponding with the gradations of light and shade in the subje6l regulate the time re- quired for a mordant to penetrate to the surface of the copperplate beneath, and permit of the more immediate a6lion of the acid upon those parts where the carbon film is thinnest. These corre- 3VIethods of Illustration 49 spond with the shadows, while the denser film indicating the lights of the subje6l does not permit of much, if any, chemical a6lion. The printing texture is secured by the powdered resin, the separate grains of which prevent the uninterrupted a6lion of the mordant and granulate the bitten area. Although not a particularly cheap process photo- gravure is an efficient and comprehensive method of securing artistic results in the way of book illustration, and for the reprodu6lion of paintings it is unsurpassed by any of the mechanical processes. It is not unusual for us to be told that these may be dismissed as unworthy of consideration from that point of view which insists upon the individu- ality of the craftsman as the only criterion of artistic excellence, and photogravure has consequently received less attention than it deserves, the circum- stance that much of the beauty of the finished produ(5l depends upon the skill of the retoucher being conveniently ignored. In pra6lice the plate which requires little or no retouching is the one which soonest fails in printing. This closes our review of the processes available for purposes of illustration. The sketch is neces- sarily incomplete — it cannot pretend to be more. It aims only at giving information which will aid an inquiring reader in his search for more. 50 ^ooks and Printing CHAPTER V Papers A V I N G sele6led an appropriate type, and considered the illustrations, if a pi6lure-book, the next thing is the question of Paper, of which there is an almost infinite variety. In its sele6lion the nature of the work must be constantly borne in mind. To put an old-faced type on machine paper, or a modern-faced on one made by hand, is not generally appropriate. To be consistent, it is best to print old-faced type on hand-made paper, or paper of an antique chara6ler ; and most certainly modern-faced type on machine paper. The intermediate series of type faces — the revived old style — may, however, without offence to the most critical, be employed on either kind of paper. All papers are primarily divided into two classes : the " hand-made " and the " machine-made." And each of these may be either "laid" or "wove." The hand-made may generally be recognized in the full size of sheet by having all round a raw, ragged, or rough edge — called the "deckle" — and usually by the right side being darker than the wrong. The machine-made papers have smooth, cut, or even edges, except imitation antiques. T^apers 5 1 when they may have one, or two, or even four rough edges. In the last case they are machine-made in a mould, and are apt to deceive most persons. These papers as a rule are darker on the wrong side than on the right. The laid papers are also easily identified by the wire marks or water lines, which are rendered more visible when a sheet, or part of a sheet, is held up to the light. The wove papers lack such lines. Both kinds may, however, be found water-marked with some design or trade emblem. Machine-made papers are made in a very great number of varieties : not only in shade of colour, but in style and quality ; this latter being largely dependent upon the amount of rag. Hand-made paper is desirable where durability and quality are sought, its texture being stronger, and its pro- perties more lasting. Hand-made papers stand an equal strain in any dire6lion, machine-made papers in one dire6lion only. This can be tested by tearing a small square piece of paper and floating it on water. The hand-made will turn up on all four sides, and the machine-made only on two. The substance of paper is regulated to a given weight per ream. For instance, the paper on which this book is printed is 321b. demy, 516 sheets to the ream, and is a paper of the machine- made antique laid chara6ler. In selecting a paper that is of a thin substance, care should be taken to see that it is fairly opaque. 52 ^00 ks and Printing The principal sizes of machine-made printing papers measure in inches : X n\ X IS X i6 X i7t X 19 X 154: X 20 X 17 X 204: X 20 X 22 X 20 X 23i X 26 Foolscap 17 Crown 20 Post 20 Demy 224^ Medium 24 Double Pott 25 Royal 25 Double Foolscap ... 27 Super Royal 27^ Double Crown .... 30 Imperial 30 Double Post 32 Columbia 344; Atlas 36 Hand-made printing papers may vary slightly. Most of these papers are made in the double or quadruple sizes, because the modern fashion is to print on machines of larger capacity, for the twofold obje6l of expedition and cheapness. Very smooth or highly calendered papers are only recommended where the illustrations in the text absolutely require them, especially if these illustrations are of the half-tone nature ; hand- made, or papers with a medium surface, being only adapted for printing illustrations of a purely outline chara6ler. If possible, it is better to make separate plates of all illustrations, so that a good printing paper of ordinary finish may be employed for the Tapers 53 letterpress portion of the work, these separate plates being afterwards inserted in their proper places by the binder. A word may be said here about the so-called "art papers," which are but coated with a material that contains a very large proportion of clay. These papers certainly give the best results for half-tone cuts, but they are not recommended generally if a suitable super-calendered paper can be used instead. The loading of these papers adds considerably to the weight of the volume, and the dazzling glare of such papers renders them most uncomfortable and trying to the eyes in reading. Other papers to be on the guard against are some of those of an advertised light-weight chara61:er. In all these there is an entire absence of strength or substance, and there is a great tendency in some of the cheaper kinds of these papers to disintegrate in the mere handling of the sheets in printing. As regards the cost of papers, the average quality of hand-made is approximately about three times the value of machine-made — Whatman paper being a little dearer : say four times the value of a good quality of machine-made. That used by the late William Morris for his Kelmscott Press produc- tions was even dearer. In limited editions of a work the total amount of paper used is so small that the price is not worth much consideration. For this reason it is advisable to use the best. 54 ^ooks and Printing A ream of writing or hand-made paper usually consists of twenty quires, containing twenty-four sheets, or 480 in all ; but machine-made paper generally contains 516 sheets (twenty-one and a half quires), termed "printers' reams." As long numbers are mostly printed on these papers, each ream, allowing for waste and spoilage, thus gives something more than 500 perfe6l copies. Vellum is occasionally used for very special copies of a choice work, but its first cost and the subsequent trouble and expense in printing render it truly an ddition de luxe. Nowadays it is some- what difficult to obtain that material uniform in colour, thickness, and flexibility. A substitute for vellum which has come into use during the past few years is the Japanese hand- made vellum paper. It is almost untearable, and its beautifully even and smooth surface is capable of receiving the finest impression. So much so, that it is largely used for printing engravings and etchings. Its cost as compared with real vellum is small, and not very much more than the best English hand-made rag paper. This paper is admirably adapted for children's toy-books, and also for sheet music, which has, as a rule, a bad habit of soon parting at the folds. One objedlion, however, to the Japanese paper is that it is not easily cleaned should it become fingered, as its surface becomes rough in the process of cleaning. The Sizes of 'Books ^^ CHAPTER VI The Sizes of Books jT is a difficult matter sometimes, even for the bibliophile, to discrim- inate between the various sizes of Books, but the rules here laid down will be found useful and generally corre6l. The present day custom of making books of various odd or irregular sizes, however, is apt to increase the difficulty. Books are defined respe6lively as folio (2°), quarto (4to), o6lavo (8vo), duodecimo (i2mo), sextodecimo ( 1 6mo),o61;odecimo{ 1 8mo),vigesimo-quarto (24mo), trigesimo-secundo (32mo), etc. These terms are founded upon the number of times a sheet is folded ; for instance, a folio sheet would form two leaves, a quarto four, and so on. Sometimes it is difficult to distinguish, say, an o6lavo from a quarto ; but if it is printed on a hand-made laid paper, the water-lines that run at intervals of one to two inches through the sheet (not to be confused with the wire-marks of the sheet, numbering usually eight or more to the inch) will mostly determine this. This rule should also apply to machine-made papers if the paper-maker knows his business. The signatures or letters placed at 56 ^00 ks and Printing the foot of the first, and sometimes also the third page, serve as another guide to identification. Abbreviated to Pages to one sheet. Waterlines in hand-made. Folio Fo. 4 vertical Quarto 06lavo 4to 8vo 8 i6 horizontal vertical Duodecimo i2mo 24 horizontal Sextodecimo i6mo 32 horizontal 06lodecimo i8mo 36 vertical Vigesimo-quarto Trigesimo-secundo 24mo 32mo 48 64 vertical vertical Books with uncut or merely trimmed edges should measure in inches : Pott . . . Octavo. 6i X 31- Quarto. 71 X 6i ^ Foolscap . . • 6i X 4i 8i X 6i '^ Crown . . 7\ X 5 10 X 74 Post . . . 8x5 10 X 8 Demy . . . Si X 51- Ili X 8i Medium . . 9^ X 6 12 X 9k Royal . . . 10 X 6i 12\ X 10 Super Royal lOi; X 6\ 13^ X io± Imperial . . ir X 7i 15 X II For books with cut edges, dedu6l a quarter of an inch in height, and rather less in width. If the book has been bound more than once, a greater dedu6lion must of course be made. There is not always a clear understanding as to the terms used in conne6lion with the treatment of edges. " Uncut edges " does not necessarily mean that they have not been opened with the ordinary The Sizes of ^ooks ^y hand paper-knife, but simply that the book has not been cut down by machine, a method which sometimes sadly mars the appearance of a book. Whe^i the edges are absolutely untouched, it is perhaps better to say " unopened." " Trimmed edges " means that the heads have been left untouched and the fore-edge and tail merely trimmed sufficiently to make them tidy. " Cut edges " are those cut perfe61;ly smooth with a machine on three sides, and possibly — even probably — with a total disregard to the margins, perhaps facilitated by the bad margins of the printer in the first instance. The principal use of signatures at the foot of the first page of a sheet is to guide the binder in folding ; they also save the printer the trouble of referring to the pagination. The letters of the alphabet are used as signatures, rarely figures, omitting j, v, w (evidently a survival of the days when Latin was the general language used in printing), and reserving a for the " prelim- inary " matter. I f this preliminary matter exceeds a sheet, the signatures are continued with the small letters b, c, d, e, and so forth, technically called " lower case " letters, which may be either in roman or italic, as distin6l from capitals or small capitals. Supposing the text of a volume exhausts the alphabet, the letters are duplicated as a a, bb, cc, or 2 A, 2B, 2C, and so on. Occasionally the third page of a sheet bears a subsidiary signature, marked b 2, c 2, d 2, etc., 58 ^ooks and Printing according to the signature on the first page. This is only requisite in such sizes of books as duodecimo or o6lodecimo, where a sheet cannot be properly folded without first cutting off and in- setting a small se6lion within the larger : this second signature indicating its position and ailing as a check on its proper sheet. binding 59 CHAPTER VII Binding IN DING is the last stage in the produ6lion of a Book, and the question arises — should the book have a temporary, or a permanent, binding ? Paper or cloth suffices for the former, but leather is necessary for the latter. Taking the temporary binding first : it is im- portant, if this is merely a tentative binding, that the edges should not be cut, but the binder or the owner should open it carefully with a knife, other- wise its size will be too small for the final and permanent covering. There are many ways of doing up books tempor- arily. They may be in loose paper wrappers, or in cloth, which is generally called publisher's binding, or " case work," the sheets being simply encased in boards. If a book is of an ephemeral chara6ler the edges may be cut at once ; otherwise they should be left untouched, or merely trimmed on the fore-edge and foot. The proper and full title should be lettered on the back of the volume, together with the author's name, and the date at foot. This rule saves unnecessary handling when a particular book is 6o ^ooks and Printing sought. This should be done even in a thin volume, because the lettering may be along the back. The better way is to have it lettered from top to foot, so that if the volume is placed face upwards on the shelf this back lettering is still readable. On the other hand, some prefer it to read from foot to head. Wire sewing should never be allowed : it tears the paper, and, frequently rusting, stains the leaves. These faults, and the excessive reduction of mar- gins, are never forgiven by a book-lover. Cotton or silk thread should only be used. Where a large number of copies has been printed off, a portion only should be bound — the publishers should be consulted as to this — for there may not be a demand at first for the whole. The term " bound " is more stri6lly applied to leather work, or at least when there is some leather used in the binding — each copy being separately bound together "in-boarded" and not simply cased. There are several degrees of binding in this form : " Quarter bound," having a leather back with cloth or paper sides : this, with gilt top and cloth sides, is called " Roxburghe." " Half bound " has leather back and corners, and cloth or paper sides. "Full bound," when wholly encased in leather. If the volume has been printed on hand-made paper, the heads only should be cut and gilt, to prevent dirt getting between the leaves. If the fore-edge or tails are very uneven they should be very lightly trimmed, just sufficient to make them ^Binding 6 1 tidy. It is a good rule, when taking such a book from its shelf, and before opening it, to blow the dust gently off the top. This accumulation of dust can only be avoided by the use of air-tight book- cases. Vellum and parchment are both largely used in the binding of books. They are durable, but quickly soiled. Expensive plates should only be stitched or pasted on to guards of strong paper or linen, as used in atlases, and then sewn in with the different sections of the work. Rules have been laid down for the binding of works on certain subje6ls, to form a library, so that each subjefl may be in a different and appropriate colour ; but this must be left to the taste of the owner. However, some thought should be given to the nature of the work. Historical books should bear a distin6l shade from those, say, on theology ; didlionaries and other works of reference a different hue from poetry, and so forth. If the reader of this volume is interested in full bindings, he is referred to the different reports of the Committee on leather for bookbindings, formed by the Society of Arts, and issued by that society in 1 90 1. He will there find much useful information and valuable hints as to the care of bound books. 62 ^ooks and Tr in ting CHAPTER VIII Publishing HE Book being now printed and bound — how can it be issued to the pubHc ? The first step is to find a suitable publisher. Many authors, even those experienced in the ways of books, employ a literary agent for this work, as they not only are able to suggest the most appropriate publisher for a book dealing with any particular subje6l — for some publishers make a speciality of certain subje6ls — but also are able afterwards to help the author in technical matters with which he may not be fully conversant. The Incorporated Society of Authors also helps with advice and offers assistance in suggesting a publisher. As every publisher deals with his clients in a slightly different way, it would be useless to go into details. The best advice that can be given is to approach only those who are well known. The author, or his agent, having decided upon a publisher, the first thing is to submit the MS. to him. Never call on a publisher with a MS., for no verbal explanation is ever necessary. If it cannot Publishing 63 and does not explain itself to him, much less will it explain itself to the public. When sending the copy, make it up into dijlat parcel, so that there may be no folds in the paper, which are a great hindrance to reading, and never roll it into a cylindrical form, for this is even more inconvenient than folding. After the MS. has been sent, the author must not expe6l a reply by return, for although in large firms competent and special readers are retained to report on proposed works, the number of these submitted is so large that time must necessarily be taken when dealing with them. In some firms from twelve to twenty different manuscripts are received for consideration per day I and it is currently said that only ten per cent, of all the books written are ever published. All arrangements should be in writing, and any agreement entered into should be thoroughly understood. Books are by no means always commercial successes, and a publisher often runs a risk in taking a work by an unknown writer ; his terms are therefore adjusted with a view to prote6ling himself; and the author too, if he shares the cost of production. A rough rule for settling the price at which most books may be sold is to treble the cost. Supposing the entire cost — printing, binding, etc. — of an edition of 1,000 to be ;^ioo, treble it equals £2)'^o, and this sum divided by i,oooi=:6i^. 64 ^ooks and Printing the price at which each copy may be sold ; the second third being absorbed by trade discounts ; and the final third profits to author and publisher respectively. This calculation is based on ordin- ary books, and not those sold at net prices. All methods of agreement between author and publisher come under one of the following five heads : (i) Sale outright. (2) Limited sale. (3) Profit-sharing. (4) Royalty. (5) Commission. (i) Sale outright to the publisher is sometimes the best for the author, as he gets one cheque for all his work ; saves trouble as far as possible ; and avoids all dispute. The only difficulty of course here is to decide upon a " fair price." Under (2), limited sale, the author may sell his rights for a limited time, or a limited number of copies. This is not a common form of agree- ment. (3) Profit-sharing, including in this term not only half, but all other proportions of profit, such as a quarter and three-quarters, is very simple, and should be satisfa6tory to the author. It has, however, almost died out, as the author is not in a position to know what the whole real profits amount to ; still less therefore the amount of his own fra6lion. Should this system be adopted, cost Publishing 65 of produ6lion should not be included without in- vestigation ; American, colonial, serial, or transla- tion rights should not be relinquished without a consideration ; future work must not be promised. The royalty system (4) is perhaps the most popular. In this method the publisher produces the book at his own cost and pays the author a fixed royalty on the published price of every copy : A. From the beginning; B. After a certain number have been sold ; c. After the sales have covered the cost of produ6lion. The first (a) is to be preferred. If the ordinary 6s. novel is published on these terms with a 1 2 J or 15 per cent, royalty on the published price (6^.), by the time an edition of a thousand or more has been disposed of, the profits of author and publisher will be practically the same. They will, in fadl, each have " half-profits." In publishing on commission (5), the author pays the whole cost of produ6lion, and a percentage — usually ten — to the publisher for his services as agent. This is a very large branch of the trade : many works can indeed only be published on these terms, such as some on philosophy, science, tech- nology, poetry, and at least three-quarters of modern fi6lion ! If the author be a business man and does not object to the trouble this system involves — for he should superintend all the printing and binding, F 66 ^ooks and Printing and merely send the finished copies to the publisher for sale — he will probably make more by his book if it is successful than by any other system. But then so many authors will not systematically, and twice a year, work at what they call " accounts," which must here be done to obtain satisfa6lory results. Care should be taken to obtain a fair cost of produ6lion, and to keep control of the advertise- ments, and also the sale price of the book. A variation of the commission system is publish- ing by "subscription." Subscribers are those who promise to take a copy at a certain price, and when a sufficient number have agreed, and thus pra6lically guaranteed the author against loss, the book is put in hand and published. Expensive works — county histories and art volumes — are thus frequently produced when otherwise there would be no chance of their publication. Before any prospe6lus is issued it is very necessary that the author or editor should obtain from a responsible printer a complete estimate of the approximate cost of the volume in all respe6ls — not forgetting to allow some margin for the inevitable extras, in the nature of small type and corre6lions, that spring up in the course of seeing the work through the press. To secure the subscription price in advance, a smaller one may be asked for at first, which will be raised on issue. If the printer is accustomed to this class of work, he can frequently impart useful information and advice. Publishing 6j Some such form as the accompanying is generally used for soliciting subscriptions : M Please enter my name as a subscriber for cop of the work entitled by for which I undertake to pay on delivery [or enclose']. Name Address Date This scheme may be modified if necessary. Should there be two editions, large and small paper, this should be stated, and room for choice allowed in the order-form. In all editions limited to a certain number of copies, a certificate should be printed in each volume stating : *4j^* This is to certify that only copies of this edition have been printed, all of which are numbered [and signed\. No. Signed If there are two editions to be printed, they may both be expressed in the certificate, but the numbers of the two sizes can either be distinfl and each start at No. i, or, if preferred, be continuous. 68 ^ooks and Printing The large paper or special copies should come first. Ordinary books are frequently issued having a limited large paper edition struck off at the same time. These are generally subscribed for in the manner just mentioned. Dire6lly a work is ready to be issued by the publisher, it is customary to send certain copies for review to various newspapers and journals. The chara6ler of the work must be considered before sending them out broadcast, or perhaps they may be sent where no notice will be taken of them. The publisher generally knows where to place these copies, but the author should mention any particular papers to which he desires them to be sent. Good notices of a work materially add to its success. Advertising a work is another very important matter. In arranging for this with a publisher, supposing it is a commission book, the author should name some limit. If the advertisement can be included with other books in a general way, the expense is not so great ; but the announcement of a work singly is expensive. Insurance, too, must not be overlooked if the book is a commission one, and the author may either insure the stock himself, or give instru6lions that it should be covered. Presentation or gratis copies are frequently sent out in order to give the book a fillip, the copies generally allotted to the writer as "author's copies" 'Publishing 69 probably being distributed amongst his more immediate friends. All criticisms on the book are filed by the publisher, and use may be made of the best of them should it be necessary to send out a pro- spe6lus. Some extra6ls from these opinions of the press may be included in any future advertisement of the volume. Most publishers, and sometimes authors too, subscribe to some press-cutting agency, but it is very advisable to see that a competent firm is employed. 70 ^ooks and T^rinting CHAPTER IX Copyright 'OW long does a Book belong to the author ? This may seem a strange question to ask, but is really not so. In this country, for forty-two years from the date of first publication : or while the author lives and seven years after- wards, whichever term be the longer. The term of copyright for a posthumous work is forty-two years from the date of first publication; the possessor of the MS. being the owner of the copyright. By Acft of Parliament one copy of the best edition of each work, and of each subsequent edition, must be despatched at once to the British Museum, London ; and four copies may be sent to Stationers' Hall for the public libraries at Oxford, Cambridge, Dublin, and Edinburgh. In the event of the work running to more than one edition, it is only necessary to send the first issue to the last four libraries, providing no additions have been made to the work. The Librarian of the British Museum and the Officer of the Stationers' Company give receipts for all copies delivered to them. If by chance any of these copies for the libraries are delayed or Copyright 7 1 overlooked, a demand is soon made, generally through the appointed agent, and must be com- plied with. Privately-printed books for presentation and not sold in the ordinary way, nor advertised, are supposed to be exempt from the demands of the libraries, though a copy is often sent voluntarily to the British Museum. With regard to Registration at Stationers' Hall, this stands in a somewhat peculiar position. For some time after printing was first introduced into this country, copyrights were almost exclusively the property of members of the Stationers' Company, and the governing body, to prevent disputes, made a rule requiring all their members to enter their "copies" in a register which was kept at Stationers' Hall. This register, commenced in the fourteenth century, has been continued to the present time, at first under a private ordinance of the company, subsequently continued in accordance with the decrees of the Star Chamber, and afterwards in accordance with the provisions of divers A6ls of Parliament. Under the present Copyright A61, which was passed in 1842, registration is not a compulsory matter, but should anyone desire to bring an a6lion for infringement of his copyright he must first register his book and the exa6l date of first publication, A five-shilling fee is payable to the Registering Officer when the application is made, and the title of the Book is then entered on the Register. 72 ^ooks and Trinting It is essential that the precise terms of the Statute be complied with, and upon application to "The Registrar, Stationers' Hall, London," he will for- ward full printed instru6lions, the following ex- tra6l from which will be found useful : Mode of Registration. — A proprietor of copyright desir- ing to register at Stationers' Hall must lodge there a demand signed by him and witnessed, in the form printed on the back thereof, together with a fee of ^s. for each entry. Special care should be taken that the full and proper title of the book, and the correft day, motith, and year of first publication are entered, as any error or omission may invalidate the entry. A book cannot be registered before it is published. A proprietor of the copyright in an encyclopaedia, review, magazine, periodical work, or other work published in a series of books or parts, will be entitled to all the benefits of registration upon his registering the first volume, number, or part. Assignments. — Registered copyrights, or any share or shares thereof, may be assigned, without payment of any stamp duty, by the registered proprietor lodging, at Stationers' Hall, an entry signed by him in the form prescribed by the Statute, together with a fee of ^s. Forms of Assignment can be obtained at Stationers' Hall. Certified Copies of entries are supplied on payment of a fee of 5i". each, and such copies 2lVQ primd facie proof of the matters alleged therein. Searches. — A printed Lexicographical Index of all Literary Works registered between 1842 and 1897 is now provided for the use of persons desirous of searching the Book Register. The statutory fee for each entry searched for is is. Copyright 73 British Possessions. — Books first published in any British Possession which does not provide for registration should be registered at Stationers' Hall. International Copyright. — Under the provisions of the Berne Convention, books copyright in Great Britain are prote6led in the following countries : — Belgium, France, Germany, Italy,Spain, Switzerland, Tunis, Hayti, Luxem- bourg, Monaco, Montenegro, and Norway. United States, &c. — To secure copyright in Great Britain of works intended to be published in America and other foreign countries (except the Kingdoms and States represented in the Austrian Reichsrath) which have not adopted the provisions of the Berne Convention, simultaneous publication in both countries is essential, and the work should be registered at Stationers' Hall, and one copy delivered to the British Museum, and four copies lodged at Stationers' Hall for the Public Libraries. The name of the British publisher and place of publication must in all cases be entered in the register. Foreign Reprints. — Proprietors of books first composed, or written, or printed in the United Kingdom, desiring to prevent the importation of foreign reprints, must give notice in writing to the Commissioners of Customs, accompanied by a statutory declaration that the copy- right subsists, and when it will expire. Registration at Stationers' Hall is also necessary before duties can be levied for the benefit of the proprietor of copyright on foreign reprints of British copyright works imported into the Bahamas, Barbados, Bermuda, British Guiana, Cape of Good Hope, Grenada, Jamaica, Natal, Nova Scotia, Newfoundland, Prince Edward Island, St. Christopher, St. Lucia, and St. Vincent. It should be noted that one of the conditions of copyright being granted in the United States is 74 ^00 ks and T^rinting that a work must be printed from type a6lually set up in America. As before said, in the case of omission to register a work in this country, and there is a presumed infringement of any work, priority of publication is generally accepted as evidence, pro- viding the demands of the five public libraries have been met. Although the A61 of Parliament does not require a book to be registered at Stationers' Hall im- mediately after publication, it is a wise and prudent course to adopt, as, if delayed, difficulties often arise in supplying the needful particulars in after years ; and when once registered, transfers of the copyright are exempt from stamp duty, whether the consideration for the transfer be in tens or hundreds or thousands of pounds. Qlossary 75 A SHORT GLOSSARY OF BIBLIOGRAPHICAL AND TYPOGRAPHICAL TERMS IN MORE GENERAL USE. \dDENDA (pL), Addendum (s.).— An addi tion to any work. Advance sheets (or copies'). — Sometimes sup- plied for simultaneous publication, or preliminary notices. Ampersand. — A corruption of the words " and per se a7id" — the short sign being & or 6^, Antiqua. — A German expression for roman types. Antique Roman. — A somewhat heavy face of type, a fashion which the Kelmscott Press books suggested. See specimens at the end of this volume. Arabic figures. — Ordinary figures, roman or italic, thus — i 2 3, etc., as distinct from roman numerals, i, ii, iii, etc. Art paper. — Coated papers adapted for half-tone block printing are usually, but inappropriately, so called. Atlas. — A size of paper, 36 x 26 inches. Folio, 26 x 18 ; quarto, 18 x 13; o6lavo, 13 x 9. Author's proof. — A proof bearing corredlions made by the author or editor. A. P. is the short expression. Backs. — The " back " margin of pages — that margin next the binding. Bastard title. — A fly- or half-title before the full title of a work. Black-letter. — A general expression used to indicate Oltl iSngliStt gothic text, or church type. Bleed. — When a book or pamphlet has been cut down too much, so as to touch the printed matter, it is said to " bleed." Blind blocked {ox tooled). — Simple impressed lettering on book- covers, not inked or gilt. Blind P (or paragraph mark ^). — Frequently used in old printed books. 76 ^ooks and Printing Blocks. — A general term embracing woodcuts, ele6lros, etc. Body of the 7vork. — The text or subjedl-matter of a volume is thus described, to distinguish it from the preliminary, index, appendix, and notes. Bolts. — The folded or doubled edge of paper at the head and fore-edge. Bottom notes. — Footnotes are sometimes so called, to distinguish them from sidenotes. Bourgeois. — Pronounced Burjoice ; a size of type having eight and a half lines to the inch. Bracket. — A square sign [ as distindl from the round sign ( or parenthesis. The bracket is sometimes used by the printer to indicate a new paragraph. Brevier. — Pronounced Bre-veer ; a size of type having nine and a half lines to the inch. Broadside. — A sheet printed on one side only, such as a poster. Calendered paper. — Paper very highly rolled or glazed, much used for printing illustrations. Cancel. — A term used for a new leaf or leaves reprinted in consequence of some error or defedl. Ca///aZy.— Letters thus, CAPITALS. Shortly called " caps." Caps, and Small Caps. — CAPITALS and small capitals. Caret. — The sign /\ used to indicate an insertion in MS. or proofs. Catchline. — The bottom line of a page, containing the " catch- word " only, which is the first on the next page — now almost obsolete. Catch-word. — See above; also the first word in an index entry. Certificate. — A guarantee of a limited number of copies only having been printed of any work, usually placed near the title-page. Circuit edges. — Books, generally bibles or prayer-books, with the covers projedling and turned over, so as to prote6l the edges. Clarendon.— Cx&xiGxzS\.y a bold or fat-faced t3rpe ; the older founts were called "Egyptian." Clean proof. — One ready to be sent out to the author : not a printer's first proof. glossary jj dean sheets. — Sheets put aside as they are printed off to show the progress of the work. Cliche. — A stereo or ele6lrotype plate. Cloth boards. — Books bound in cloth cases. Cobb paper. — A paper in various shades of colour largely used by binders for the sides of books. Collotype. — A method of printing from a slightly raised gelatine film produced by photographic means. Colophon. — An inscription, device, or tailpiece at the end of a book, usually a printer's imprint. Columbia. — A size of paper, 34^ x 23^ inches. Folio, 231x17^; quarto, i7^xii|-; odlavo, ii|x8|. Copperplate. — A term applied generally to those methods of illustration by intaglio, as distin6l from blocks in rehef. Copy. — Manuscript for the printer. Corrigenda (pi.). Corrigendum (s.). — A table containing cor- re6lions at the end or commencement of a work. Cropped. — A book with pages cut down too much is said to be " cropped." Crown. — A sheet measuring 20 x 15 inches. Folio, 15 X 10; quarto, 10 x 7^^; o6lavo, 7^ X 5. Cursive. — The German expression for italic types. Cut edges. — A book with pages machine-cut on the three edges. Cut-in notes. — Those inserted within the text at the side, and not in the margin. Dead reprint. — An absolute facsimile reprint, line for line and page for page. Decimo-sexto. — The same as sixteenmo, q.v. Deckle. — The raw, rough edge of hand-made paper. Dele (or delete). — To expunge, cancel, delete, or omit, indicated thus 0. Demy. — A size of printing paper, 22^ x 17^ inches. Folio, 171 X Hi; quarto, ii^ X 8^; o6lavo, 8| X 5|. Diamond. — A size of type having seventeen lines to the inch. Double Crown. — A sheet measuring 30 x 20 inches; double the size of Crown, which see. Double foolscap. — A size of printing paper, 27x17 inches; double the size of Foolscap, which see. 78 ^ooks and Printing Double Pica. — A size of type having three and a half lines to the inch. Double pott. — A size of paper, 25x151- inches; double the size of Pott, which see. Dropped heads. — First pages of chapters, printed lower down the page than ordinarily. Dummy copy. — One generally made of blank leaves, to represent the bulk of a work. Duodecimo. — Commonly called twelvemo. A book having twelve leaves to the sheet. Written 12 mo. Dutch papers. — Van Gelder's hand-made papers, made in Holland. Edition de luxe. — An elaborate, costly and limited edition on large paper. Egyptian. — See "Clarendon." Eighteenmo. — A book having eighteen leaves to the sheet, written shortly i8mo. Bibliographically termed "06I0- decimo." Ele^rotyping. — A means of duplicating woodcuts, etc., by an ele6lro deposit of copper, which is afterwards backed up by a kind of type metal. End leaves {ox papers). — The blank flyleaves at each end of a book. English. — A size of type having five and a quarter lines to the inch. Errata (pi.). Erratum (s.). — A list of errors, not necessarily printers' errors. Even pages. — The left-hand or verso pages of a book. Fine paper edition. — The best edition of a book ; sometimes expressed by the letters F. P. Finishing. — The lettering or tooling on a book- cover. Flat pull (or impression). — A simple proof without under- or over-laying. Flexible. — A style of binding which allows the book to open quite flat. Flyleaf. — A blank leaf at each end of a book. (jlossary 79 Fly-title. — The half-title in front of the general title, or the one dividing secflions of a work. Folio. — A sheet of paper folded in two leaves only. Foolscap. — A sheet measuring 17 x 13^ inches. Folio, i3l:x8i; quarto, Z\y.(i\; o6lavo, 6|x4^. Fore-edge. — The edge of a book opposite the binding. Format. — The bibliographical expression for the size and shape of a book. Forme. — A printer's term for a number of type-pages imposed in an iron frame called a "chase." Forwarding. — The different stages in binding between the sew- ing and finishing of a book, i.e., lettering the title, colouring or gilding the edges, etc. Fount. — Pronounced font. The whole number of letters, etc., in one complete set of type. Foxed. — Paper or books which are stained or mouldy. F. P. — The short abbreviation for fine paper copies of a work. Fra^ur. — The German expression for their text or black-letter chara6lers. Frontispiece. — The pi6lure or plate facing the title-page of a book. Full bound. — A book wholly bound in leather. Full point. — The printers' expression for a full stop. Galley proofs. — Those supplied in slips about two feet long, before the matter is made up into pages. Gilt tops. — Books with the top edges cut and gilt, to prevent them being soiled by the dust which coUeds there. Gratis copies. — Those copies not sold, but sent out for presenta- tion, review, etc. Great Primer. — A size of type having four and a quarter lines to the inch. Guarded. — Books are said to be "guarded" when the plates are mounted or sewn on guards (as maps are), instead of being stitched or pasted in the ordinary way. Hair leads. — Very thin leads for spacing out printed matter. Frequently they measure sixteen to a pica, or ninety-six to an inch. 8o ^00 ks and T^rinting Hair space. — The thinnest space made for placing between words. Half bound. — Books bound with leather back and corners, and cloth or paper sides. Half-title. — The short title in front of the full title. Half-tone blocks. — Photographic relief printing blocks, produced with the aid of a screen, which breaks the pi6lure up into various tones. Heads. — The margin at the top of the page. ImperfeHions . — Sheets required by a binder to complete books imperfedl through bad gathering, collating, or spoiled sheets. Imperial. — A size of printing paper, 30 x 22 inches. Folio, 22 X 15 ; quarto, 15x11; odlavo, 11 x 71- Imposition. — A term applied generally to the laying-down of the pages in certain positions, to form, when printed, quartos, o6lavos, etc. Imprint. — The printer's name and address in a book, which is necessary by A61 of Parliament. Indent. — To set back any line or lines, as in the commencement of a paragraph. In quires. — Unbound books in sheets. In slip. — Galley-proofs printed before making-up into pages. In the press. — A work in the course of being printed is thus announced. India paper. — A fine paper used for engraver's proofs. It is generally imported from China, though called " India." India rubbered. — Books with plates are sometimes coated at the back with a solution of india rubber to save stitching or ex- pense of guarding : when open the book will lie perfedlly flat. Inferior figures and letters. — Made to range at the bottom of a letter, thus — i z 3 a e i o u Initial letters. — Large block or floriated letters used at the commencement of a chapter or work. Inset. — A sheet, or part of one, placed inside another sheet to complete sequence of pagination. Intaglio. — A term used for printing from an incised copperplate; the reverse of ordinary or "relief" printing. Italic. — The sloping charaders, distindl from roman types, invented by Aldus Manutius, the Venetian printer. (jlossary 8 1 Japanese paper. — Hand-made paper with a vellum surface manu- fadlured in Japan. Justification. — The exadl spacing out to a given measure in type-setting. Keep standing. — An order not to distribute the type, pending possible reprinting. Laid paper. — Those papers that show, when held up to the light, parallel waterlines, at intervals of an inch or so. Large paper. — The best copies of a work with large margins, etc. ; also termed edition de luxe. Sometimes expressed by the initials L. P. Leadtd matter. — Lines of type separated by leads, or narrow strips of metal. Leatherette or Leatheroid. — An imitation of leather, usually made of embossed paper. Leaves. — Must not be confused with pages, because the leaf being printed on both sides is equal to two pages. Letter paper. — A term for quarto paper : note paper being odlavo. Letterpress. — Matter printed from type as distindl from litho- graphic or plate printing. Ligatures — Tied letters cast on one body, thus, fi fF fl ffi fR ft fh ft fk, etc. Line process block. — A diredl photographic relief printing block, suitable for ordinary work in line, or drawings in " black and white." Lining papers. — Papers used by bookbinders for pasting down on and inside the covers. Literals (or letterals). — Single errors by the printer in setting up type — a first proof is usually well sprinkled with such before it is submitted to the author. Lithography. — Printing from the surface of a smooth but porous stone, invented by Aloys Senefelder over one hundred years ago. LL. — The abbreviation for " leaves " in a book. Long Primer. — A size of type having seven and a half lines to the inch. G 82 'Books and Printing Lower-case letters. — The small letters, a, b, c, d, e, f, g, etc., not capitals. Mackle. — A printed sheet with a slurred appearance, owing to some mechanical defe6l in the impression. Make-up. — To measure off matter into pages. Marbled edges. — When the cut edges of books represent marble. Margin. — The blank paper surrounding a page of print. Marginalia. — The bibliographical term for marginal notes. Medium. — A size of printing paper, 24x19 inches. Folio, 19X12; quarto, 12 x 9^ ; octavo, 9^ x 6. Mezzotint. — An elaborate but effedlive method of illustration from an intaglio copperplate engraved by hand. Minion. — A size of type having ten and one-eighth lines to the inch. Modern face type. — That class of type mostly used in newspaper printing. See specimens at the end of this volume. Moulds. — The preliminary stage in stereotyping by the paper process. They are also used for plaster work and eledlro- typing. Movable. — A general term applied to type to distinguish it from stereotype, etc. N. D. — An abbreviation denoting " no date " on a book. Nonpareil. — A size of type having twelve lines to the inch. Note papers. — Papers odlavo in shape, but of various sizes ; letter papers being quarto shape, and also of various sizes. N. P. — An abbreviation for new paragraph, either in MS. or in corre6led proof. 05lavo. — Shortly written 8vo. A book having eight leaves to the sheet. OHodecimo. — Written shortly i8mo. A book having eighteen leaves to the sheet. Odd pages. — The right-hand or re6lo pages of a book. Off-cut. — That part of the sheet which has to be cut off in order that the sheet may be folded corre6lly, as in a " twelvemo." Off-set. — The set-off of ink from one sheet to another, a result of bad ink or insufficient drying. Qlossary 83 Old English. — Founts of type of tllacfe'lfttft chara<5ler. Some- times expressed by O. E. Old face type. — That class of type designed and cut by William Caslon in the early part of the eighteenth century. See specimens at the end of this volume. Old style type. — Generally used for the best class of bookwork, and known as the " revived old style." It was first designed and cut by Messrs. Miller and Richard about the middle of the nineteenth century. See specimens at the end of this volume. O. P. — An abbreviation for "out of print." Overcast. — A particular kind of book-sewing which allows the book when open to lie flat. Overlays. — The making-ready of an illustration by cutting out varied thicknesses of paper to give light and shade to the design by altering pressure upon the block. Overplus. — The "plus" or "over" copies of a definite number in printing. P. — An abbreviation for the word " page." The plural is " pp." Page. — This must not be confused with a leaf or leaves. Each leaf, being printed on both sides, is equal to two pages. Paragon. — A size of type having three and three-quarter lines to the inch. Paste-dowfis. — The blank flyleaves, sometimes coloured, at each end of a book, which are pasted down on the covers. Pearl. — A size of type having fifteen lines to the inch. Photogravure. — A mechanical intaglio process superseding the hand-engraved copperplate. Pica. — A size of type having six lines to the inch. Pointing. — The general term used by printers for pun6luation. " Stiff pointing " is matter well peppered with commas and other punctuation marks. Points. — All marks of pun6luation. Post. — A size of printing paper, 20 x i6 inches. Pott. — A sheet measuring i5ix 12^ inches. Folio, i2ix y^; quarto, 7^x6^; octavo, 6\ x 3I-. Preliminary. — Any matter coming before the main body of a work — title, preface, contents, etc. 84 ^ooks and Printing Press proof. — The final proof marked by the author or editor "press." Prima. — In reading a work sheet by sheet the first word of the ensuing signature is marked by the reader as the " prima." Process blocks. — Illustrations produced by photography, and mechanical or chemical processes. Proof. — A trial print from type, plates, or blocks. Proof. — A bookbinder's term for some rough edges left on a trimmed book, to show that it has not been cut down ex- cessively. Publisher's binding. — Cloth binding. Quad papers. — Those papers made in large size, such as quad crown, 30 X 40 in. — four times the size of crown, 20 x 15 in. Quadrat. — Blank pieces of metal used by the printer to fill up short lines. Quarter bound. — Books bound with the back only of leather. Quarto. — Written shortly 4to. A book having four leaves to the sheet. Quaternions. — Printed sheets folded and insetted in sedlions of four. Query. — A mark (?) made by the corre6lor of the press to call attention to a possible error. Quinternions . — Printed sheets folded and insetted in sedlions of five. Quire. — Twenty-four sheets of paper. Quires. — Unbound books in sheets are said to be in quires. Ream. — Paper in parcels or bundles of a certain size, a printer's ream being 516 sheets. Hand-made and drawing papers may contain 472, 480, or 500 sheets. Reflo. — The right-hand pages of any book. Register. — The adjustment of print on one side of a leaf to that on the other. Relief printing. — Letterpress and block printing, as distindl from lithography or plate printing. Removes. — The difference between one size of type and another. Retree. — The reje6ted or slightly damaged paper of different reams, marked x x . Distin<5l from outsides or " broken," marked x x x (glossary 85 Revise. — A proof bearing author's corre6lions, which has to be submitted again before being sent to press. Revived old style type. — See "Old style type." Roman. — The class of type (such as this fount) distinguished from italic or fancy types. It is called "antiqua" by the Germans. Roman numerals. — i, ii, iii, iv, etc. The pagination of the pre- liminary matter of a volume is generally thus expressed. Roxburghe binding. — A quarter-bound book with top edge gilt. Royal. — A size of printing paper, 25 x 20 inches. Folio, 20 x i2i; quarto, 12^x10; octavo, iox6i. RF. — An abbreviation for "reprint." Rubricated. — Printed in red ink. Ruby. — A size of type having fourteen lines to the inch. Runners. — Figures or letters placed down the side margin of a page to indicate the position of any given line. Script. — Type similar in chara6ler to handwriting. Serif. — The fine lines on the top and bottom of a letter, as in H. A sanserif is H- Set off. — When the ink transfers from one sheet to another. Sextodecimo. — A bibliographical term for i6mo. Shoulder notes. — Marginal notes placed at the top corner of the page. Sidenotes. — Notes in the side margin, distindl from "foot- notes." Signature. — The letter or figure at the foot of the first page of a sheet, used to identify any particular sheet. Sixteenmo. — Written shortly, i6mo. A book having sixteen leaves to the sheet, usually about 44- x 7 inches. Size copy. — A thickness or dummy copy of blank paper to show a specimen of size and binding. Slips. — Matter pulled as proofs in long slips, and not made up into pages. Small capitals. — The smaller capitals, as distin6l from full CAPITALS, indicated in MS. by underlining with two strokes. Small paper. — The ordinary copies of a work. Sometimes ex- pressed by the initials S. P. 86 ^ooks and Printing Small Pica. — A size of type having seven lines to the inch. Sprinkled edges. — Cut edges of books finely sprinkled with colour. Stabbed. — A cheap form of stitching by piercing or stabbing, used mostly for pamphlet work. Standing matter. — When a volume has been printed off and kept standing in type by order. Start. — Leaves of books are said to "start" when they are loose through defedlive sewing. Stereotypes. — Plates cast in metal from movable types, either by "plaster" or "paper" processes. Stet. — A Latin word written in the margin to cancel any alteration, dots being placed underneath the alteration itself .... Style of the house. — Methods of setting titles, quotations, spellings, etc., peculiar to each printing office. Sub-title. — The bastard- or half-title placed before the general title. Same as " fly-title." Super-calendered paper. — Highly rolled paper for dry printing. Superior letters and figures. — Small letters cast at the top of type, and used for references or abbreviations, M'', N°, ^ ^ ^ Super royal. — A size of printing paper, 2 7|^ x 20^ inches. Folio, 2o|:Xi3i; quarto, \i\x\o^; octavo, ioi:X6|-. Swash letters. — Seventeenth-century italic capitals with tails and flourishes, thus— ^ S © M O^&ic. Tails. — The bottom or tail-end of a page. Ternions. — A bibliographical expression for three sheets folded together in folio. Thick leads. — Strips of metal one twenty-fourth of an inch in thickness, used for separating Unes of type. Thickness copy. — A thickness or dummy copy of blank paper to show a specimen of size and binding. Thin /fefl^^.— Strips of metal one forty-eighth of an inch in thickness, used for separating Hnes of type. Thirty-twomo.—^xWXtn shortly 32mo. A book having thirty- two leaves to the sheet. Three-colour process. — The method of printing any coloured pidlure by the use of the three primary colours superimposed Qlossary 87 on each other — the blocks being automatically dissedled for the purpose in photographing. Transpose. — Letters or words to be re-arranged as indicated on a proof. Written shortly "trs." Trigesimo-secundo. — The bibliographical term for "thirty- twomo." Trimmed edges. — Edges of books cut or trimmed sufficiently to make them tidy without opening head-folds or bolts. Turned commas. — These are used at each end of an extra6t or quoted matter. Sometimes called "inverted commas" or " quotation marks." Twelvemo. — Written shortly i2mo. A book having twelve leaves to the sheet. Also called " duodecimo." Twenty-fourmo. — Written shortly 24mo. A book having twenty- four leaves to the sheet. Bibliographically termed "vigesimo- quarto." Two-line letters.— VXdXvs. initial letters occupying two lines in depth, used at the commencement of a chapter or work. Typography. — The art or style of printing from movable letters. Uncut edges. — Leaves uncut by machinery, not necessarily " unopened " by hand. Unopened edges. — Applied to books the edges of which have not been opened. Verso. — The reverse or back of a leaf; the left-hand page of a book ; the reverse or opposite of " re6lo." Vigesimo-quarto. — The bibliographical term for *' twenty-fourmo." Vignettes. — A class of illustration with the edges undefined and shaded off gradually. Waste. — Surplus odd sheets of a book beyond the plus copies. Watermark. — The wire-mark of any particular design woven in a sheet of paper. White. — The space between any lines or words of type. White edges. — Edges of books machine-cut, not coloured or gilt. White out. — To space or "branch out" any composed matter, such as in advertisements. 88 ^00 ks and Printing — Qlossary White paper. — Unprinted paper, whether white or tinted. Whole-bound. — Books bound entirely in leather, of any kind. Wire-mark. — Those "laid" marks in paper visible when the sheet is held up to the light. Woodcuts. — Pi6lures cut by a knife on wood with the grain, not on the end grain as in modern wood-engraving. Wood-engraving. — The modern form of illustration on wood, that is, engraved on the end grain of the wood, not cut with the grain. Wrong fount. — Letters mixed with, but not belonging to, the same fount. W. F. is the short form. Xylography. — The cutting and printing of old block-books. Zincography. — The art of producing engravings on zinc by a chemical process. SPECIMENS OF TYPES 89 IN giving these specimens of book-founts, and other examples of simple display types suitable for titles, etc., I have introduced a new feature, which I venture to think will be appreciated by both Authors and Pub- lishers. I have taken a standard writer — Ruskin, in " Sesame and Lilies " — and repeated the same passage in every panel, in order that the comparisons may hold good in each case. These panels have been arranged, as far as possible, 2 inches deep, and are set 34 inches wide in all cases. Thus 2 x 3^ = 7. If the tdtal' number of words quoted at the end of each specimen is divided by seven, the average contained in a square inch in any one size of type, leaded or solid, is arrived at by a very simple process. It will be observed that there is a differ- ence between the several classes of types shown, and it will therefore be necessary to selefl the particular series required, in order to obtain the approximate number of words in a square inch. This can be verified by a reference to the table on page 92. 90 INDEX OF TYPES Old Face. Old Style. Antique. Modern. Great Primer 93 lOI III 116 English . . 94 102 — 117 Pica . . . 95 103 112 118 Small Pica 96 104 — 119 Long Primer 97 105 113 120 Bourgeois . 98 106 — 121 Brevier . . . 99 107 114 122 Minion . . — 108 — 123 Nonpareil . 100 109 115 124 Pearl . . . — no — 125 Various. Old Face Roman Capitals 126 Old Style Roman Capitals 127 Modern Roman Capitals 128 Old French Roman Capitals 129 Flemish Roman Capitals 130 Old Face Italic 131 Old Style Italic 132 Modern Italic 133 Old English Black Letter 134 Dutch Black Letter 135 Tudor Black Letter 136 Venetian Text Black Letter 137 H ANALYSIS OF TYPES Class. OLD FACE. Great Primer English . . . Pica . . . . Small Pica . . Long Primer . Bourgeois . . Brevier . . . Nonpareil . . Average Words in a Square Inch. OLD STYLE. Great Primer English . . . Pica . . . . Small Pica . . Long Primer . Bourgeois . . Brevier . . . Minion . . . Nonpareil . . Pearl . . . . ANTIQUE ROMAN. Great Primer Pica .... Long Primer . Brevier . . . Nonpareil . . MODERN. Great Primer English . . . Pica . . . . Small Pica . . Long Primer . Bourgeois . . Brevier . . . Minion . . . Nonpareil . . Pearl . . . . Thick leaded. Thin leaded 7 8 II . . 12 14 15 17 19 21 23 25 29 31 35 44 52 7 7 10 II 12 14 16 '. 19 20 24 24 28 29 33 33 n 40 47 55 65 5 6 II 12 16 20 26 29 36 . 42 6 7 10 II 12 14 16 19 20 24 24 27 26 31 32 37 37 44 52 62 N.B. — Fractions under one-half ofnitted. One-half orniore reckoned as a unit. 92 NOTE In all cases the Top panel is thick leaded; the Middle panel thin leaded; and the Bottom one set solid (without leads). 93 Old Face Great Primer A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is 50 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You 56 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of 76 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would ; you write instead: that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to 95 H 2 94 Old Face English 95 Old Face Pica A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate 96 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he per- 106 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thou- sands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he per- ceives to be true and useful, or helpfully beautiful. A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to 96 Old Face Small Pica 97 Old Face Long Primer A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of perman- ence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he per- ceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of perman- ence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead: that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he per- ceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this i6i A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of perman- ence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he per- ceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and i86 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, 178 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he 206 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knowSj no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and 135 gS Old Face Bourgeois 99 Old Face Brevier A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You can- not talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has some- thing to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could j saying, "This is the best of me ; for 215 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You can- not talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has some- thing to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, Z48 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You can- not talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry It merely, but to perpetuate it. The author has some- thing to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing"; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or 176 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so fer as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another; my life was as the vapour, and is not; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing"; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written ? But, again, I ask you, do you at all believe in honesty, or at all in kindness > or do you 310 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing"; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written .' But, again, I ask you, do you at all believe in honesty, or at all in kindness > or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fragments — ill-done, redundant, 366 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would^the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the ihing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing" ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written ? But, again, I ask you, do you at all believe in honesty, or at all in kindness > or do you think there is never any honesty or benevolence in wise people ! None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fragments — ill-done, redundant, affefted work. But if you read rightly, you will easily discover the true bits, and those are the book. Now, books of this kind have been written in all ages by their greatest men, — by great readers, great statesmen, and great thinkers. These are all at your choice ; and Life is short. You have heard as much before; — yet have you measured and mapped out this short life and its possibilities ? Do you know, if you read this, that you cannot read that — that what you lose to-day you cannot gain to- 459 100 Old Face Nonpareil loi Old Style Great Primer A book is essentially not a talked thing, but a written thing ; and writ- ten, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he 46 A book is essentially not a talked thing, but a written thing ; and writ- ten, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- 52 A book is essentially not a talked thing, but a written thing ; and writ- ten, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk S8 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; 68 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to 84 I 2 102 Old Style English 103 Old Style Pica A book Is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice 87 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate 96 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk to your friend in India; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life 158 104 Old Style Small Pica 105 Old Style Long Primer A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would; you write instead: that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it. A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of i68 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — -the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him 190 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, 169 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would^the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and io6 Old Style Bourgeois 107 Old Style Brevier A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to cany it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and 264 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has some- thing to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life 230 A book is essentially not a talked thing, but a written thing ; and written, not vvdth a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multipHcation of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has some- thing to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing " ; it is, in his small human A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not t6 carry it merely, but to perpetuate it. The author has some- thing to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a "Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at all believe in honesty, or at all in 306 K io8 Old Style Minion log Old Style Nonpareil A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing" ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at all believe in honesty, or at all in kindness ? or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are so unhappy as to think 332 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at all believe in honesty, or at all in kindness? or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fragments — ill-done, redundant, aflFected work. But if you read rightly, you will easily discover the true bits, and those are the book. Now, books of this kind have been written in all ages by their greatest men, — by great readers, great statesmen, and great thinkers. These are all at 412 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere com- munication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you wTite instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " ivriting " ; it is, in his small human way, and with what- ever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at all believe in honesty, or at all in kindness? or do you think there is never any honesty or benevolence in wise people? None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and bene- volently done, that bit is his book, or his piece of art. It is mixed always with evil fragments — ill-done, redundant, affected work. But if you read rightly, you will easily discover the true bits, and those are 383 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere com- munication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is. in his small human way, and with what- ever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so wTitten? But, again, I ask you, do you at all believe in honesty, or at all in kindness ? or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and bene- volently done, that bit is his book, or his piece of art. It is mixed always with evil fragments— ill-done, redundant, affected work. But if you read rightly, you will easily discover the .true bits, and those are the book. Now, books of this kind have been written in all ages by their greatest men, — by great readers, great statesmen, and great thinkers. These are all at your choice ; and Life is short. You have heard as much before ; — yet have you measured and mapped out this short life and its possibilities Do you know, if you read this, that you cannot read that — that what you lose to-day you cannot gain 458 A book is essentially not a talked thing-, but a written thinsf ; and written, not with a view of mere com- munication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would —the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has somethine- to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing', or ^roup of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth ha"; permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying. " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing " ; it is, in his small human way. and with what- ever degree of true inspiration is in him. his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at all believe in honesty, or at all in kindness? or do you think there is never any honesty or benevolence in wise people? None of us, I hope, are "^-o unhappy as to think that. Well, whatever bit of a wise man's work is honestly and bene- volently done, that bit is his book, or his piece of art. It is mixed always with evil fragment'; — ill-done, redundant, affected work. But if you read rightly, you will easily discover the true bits, and those are the book. Now, books of this kind have been written in all ages by their greatest men,— by great readers, great statesmen, and great thinkers. These are all at your choice ; and Life is short. You have heard as much before ; — yet have you measured and mapped out this short life and its possibilities? Do you know, if you read this, that you cannot read that— that what you lose to-day you cannot gain to-morrow? Will you go and gossip with your housemaid, or your stable-boy, when you may talk with queens and kings ; or flatter yourselves that it is with any worthy consciousness of your own claims to respect, that you jostle with the hungry and common crowd for entrde here, and audience there, when all the while this eternal court is open to you, with its society, wide as the world, multitudinous as its days, the chosen, and the mighty, of every place and time? Into that you may enter always ; in that you may take fellowship and rank according to your wish; from that, once entered into it, you can 569 K 2 no Old Style Pearl Ill Antique Great Primer A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to 37 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; 42 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the vol- 49 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a 79 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice 87 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to per- 96 112 Antique Pica f 113 Antique Long Primer A book is essentially not a talked thing, but a written thing; and written, not with a view of mere com- munication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to per- petuate it. The author has something to say which he perceives to be true and useful, or helpfully beau- 114 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere com- munication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you AA^rite instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to per- petuate it. The author has something to say which he perceives to be true and useful, or helpfully beau- tiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound 139 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere com- munication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to per- petuate it. The author has something to say which he perceives to be true and useful, or helpfully beau- tiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to 162 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of perman- ence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or 179 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of perman- ence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if 205 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere communication, but of perman- ence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India; if you could, you would; you write instead: that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever; engrave it on rock, if he could ; saying, " This is the best of me; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the 233 114 Antique Brevier 115 Antique Nonpareil A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you \vould ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not; but this I saw and knew : this, if anything of mine, is worth your memory." 252 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not; but this I saw and knew : this, if anything of mine, is worth your memory." Thatis his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a "Book." Perhaps you think no books were ever so written ? But, again, I ask you, do you 297 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance 01 voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not; but this I saw and knew: this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a "Book." Perhaps you think no books were ever so written ? But, again, I ask you, do you at all believe in honesty, or at all in kindness ? or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and bene- volently done, that bit is his book, or his piece of art. It is mixed always with evil fragments— ill-done, redundant, affected work. But if you read rightly, you 374 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is 50 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. 55 xi6 Modern Great Primer 117 Modern English A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thou- sands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; 68 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance 75 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of per- manence. The book of talk is printed only because its author cannot speak to thou- sands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice 87 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multipli- cation of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he L 2 ''' ii8 Modern Pica iig Modern Small Pica A book is essentially not a talked thing, but a written thing; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and 110 A book is essentially not a talked thing, but a written thing; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once; if he could, he would — the volume is mere multiplication of his voice. You cannot talk b your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true ani useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can 134 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere commu- nication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound 139 A book is essentially not a talked thing, but a wi'itten thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would; you write instead: that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing, 165 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of simshine and earth 187 120 Modern Long Primer 121 Modern Bourgeois A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of 168 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to 191 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and 220 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere con- veyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine 185 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere con- veyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; 214 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere con- veyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, 244 122 Modern Brevier 123 Modern Minion A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write in- stead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beau- tiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like 227 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write in- stead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beau- tiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write in- stead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beau- tiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever; engrave it on rock, if he could; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a "Book." Perhaps you think no books were ever so written ? But, again, I ask you, do you at all believe in A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere convey- ance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ;— this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing" ; it is, in his 260 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere convey- ance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing" ; it is, in his small human way, and with whatever degree of true inspiration is in him, his in- scription, or scripture. That is a " Book." Perhaps you think no books were ever so written ? But, again, I ask you, do you at all believe in honesty, or at all in 306 A book is essentially not a talked thing, but a written thing ; and vn-itten, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would — the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere convey- ance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to .say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; — this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, "This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his "writing"; it is, in his small human way, and with whatever degree of true inspiration is in him, his in- scription, or scripture. That is a " Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at all believe in honesty, or at all in kindness ? or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fra^ents— ill-done, redundant, affected work. But if you read rightly, you will easily discover the true bits, and those are the book. 386 M 124 Modern Nonpareil 125 Modern Pearl A book 13 essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; —this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written t But, again, I ask you, do you at all believe in honesty, or at all in kindness 1 or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are 80 unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fragments— ill-done, 365 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. The book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice. You cannot talk to your friend in India ; if you could, you would ; you write instead : that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manifest to him ; —this, the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying, " This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, like another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory." That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no books were ever so written? But, again, I ask you, do you at aU believe in honesty, or at all in kindness ? or do you think there is never any honesty or benevolence in wise people ? None of us, I hope, are 80 unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fragments— ill-done, redundant, affected work. But if you read rightly, you will easily discover the true bits, and those are the book. Now, books of this kind have been written in all ages by their greatest men,— by great readers, great statesmen, and great thinkers. These are all at your choice ; and Life is short. You have heard as much before ;— yet have you measured and mapped out this short life and its 436 A book is essentially not a talked thing, but a written thing ; and written, not with a view of mere communication, but of permanence. 'Ihe book of talk is printed only because its author cannot speak to thousands of people at once ; if he could, he would— the volume is mere multiplication of his voice You cannot talk to your friend in India; if you could, you would ; you write instead: that is mere conveyance of voice. But a book is written, not to multiply the voice merely, not to carry it merely, but to perpetuate it. The author has something to say which he perceives to be true and useful, or helpfully beautiful. So far as he knows, no one has yet said it ; so far as he knows, no one else can say it. He is bound to say it, clearly and melodiously if he may ; clearly, at all events. In the sum of his life he finds this to be the thing, or group of things, manliest to him ; —this the piece of true knowledge, or sight, which his share of sunshine and earth has permitted him to seize. He would fain set it down for ever ; engrave it on rock, if he could ; saying. This is the best of me ; for the rest, I ate, and drank, and slept, loved, and hated, Uke another ; my life was as the vapour, and is not ; but this I saw and knew : this, if anything of mine, is worth your memory " That is his " writing " ; it is, in his small human way, and with whatever degree of true inspiration is in him, his inscription, or scripture. That is a " Book." Perhaps you think no Itooks were ever so written 1 But, again, I ask you, do you at all believe in honesty, or at all in kindness » or do you think there is never any honesty or benevolence in wise people 1 None of us, I hope, are so unhappy as to think that. Well, whatever bit of a wise man's work is honestly and benevolently done, that bit is his book, or his piece of art. It is mixed always with evil fragments— ill-done, redundant, affected work. But if you read rightly, you will easily discover the true bits and those are the book Now, books of this kind have been written in all ages by their greatest men,— by great readers, great statesmen, and great thinkers. These are all at your choice ; and Life is short. You have heard as much before ;— yet have you measured and mapped out this short lite and its possibilities ? Do you know, if you read this, that you cannot read that— that what you lose to-day you cannot gain to-morrow? Will you go and gossip with your housemaid, or your stable-boy, when you may talk with queens and kings ; or flatter yourselves that it is with any worthy consciousness of your own claims to respect, that you jostle with the hungry and common crowd for entree here, and audience there, when all the while this eternal court is open to you, with its society, wide as the world, multitudinous as its days, the chosen, and the mighty, of every place and time ? Into 544 ABCDEFGHIJKLMNOPQRSTUVWXYZ^CE ABCDEFGHIJKLMN0PQR3TUVWXYZ ABCDEFGH I J KLMNOPQRSTU VX ABCDEFGHIJKLMNOPQRSTU ABCDEFGH I JKLMNOPQR ABCDEFGHIJKLMNOP ABCDEFGHIJKLMN ABCDEFGH I JKL ABCDEFGHI ABCDEFG ABCDE M 2 I 126 Old Face Roman Capitals \ \y 127 Old Style Roman Capitals ABCDEFGHIJKLMNOPQRSTUVWXYZ& ABCDEFGH I JKLMNOPQRSTUVWX ABCDEFGHIJKLMNOPQRSTU ABCDEFGHIJKLMNOPQR ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNO ABCDEFGHIJKL ABCDEFGHIJKL ABCDEFGHIJ ABCDEFG i ABCDEFGHIJKLMNOPQRSTUVWXYZ^& ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGH IJKLMNOPQESTU VWXYZ ABCDEFGH I JKLMNOPQRSTU ABCDEFGH IJKLMNOPQE ST ABCDEFGHIJKLMNOP ABCDEFaHIJKLMNOPQE ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNOP ABCDEFGHIJKLMN ABCDEFGHIJKL 128 Modern Roman Capitals 129 Old French Roman Capitals ABCDEFGHIJKLMNOPQ.RSTUVWXYZ ABCDEFGHIJ KLMNOPQRSTUV ABCDEFGHIJKLMNOPQS ABCDEFGHIJKLMN ABCDEFGHIJK ABCDEFGHI ABCDEFG ABCDE ABC ABCDEFGHIJKLMNOPQRSTUWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTU VWXYZABCDE FG H IJ K LM N ABCDEFGHIKLMNOPQRSTUVWXYZABCDEF ABCDEFGH IJ KLMNOPQRSTUVWXYZ& ABCDEFGHIJKLMNOPQRSW ABCDEFGHIJKLM ABCDEFGHIJKL ABCDEFGI ABCDEF i 130 Flemish Roman Capitals . \^ f' A (^ V ,. 131 Old Face Italic abcdefghijl(Jilmnopqrfstuy'vyiTvxyzaceSlJb/hJkJi&abcdefghijkJilmnopqrfstU'v')>^ tAA'BBCCDDSEFgGHIJKKLmMO^NOTPS^RSrUVFlVXYZ^ abcdefghij\klmnopqrfstu'tv'Wwx;jzace£lJbpJkJl^abcdefghij}{klmnopqr5 JA'BB CCTiD SEFqGHIJKJCLMMC^NOTP^J^RSTTU abcdefghij klmnopqrfstuvwxyzaceSiJbJhJkJi^ abcdefghij klmnopqrs ^A'BBCCT>DeEFgGHrjKJCLmM0^NO TP^'FJL ahcdefgh ijk Imnopq rfstuvwxy z ^oe^jhfhjkft^ahcdefghijk I ^A'BB CCT>DeEFgGHIJ]? atctiefg5)ijMtnnopqr0tut) N 2 134 01^ English Black Letter ^r 135 Dutch Black Letter a(ithefgF|ijfilnmopgrf#t«VilBfp3afic'i«fB8'PninoP9flStuta afithEfg8ijftImnDp5rf^tutiiU):p5afithEf0ljijMmnap5 a]&i;trcf0§fjfilnin0pQrf^tutito)C55a6ttiEf afittiefg§ijfilmn0p5r a6c0cf8bijt!tmiiopatBtU(?wtB3X0eSabc6ctflbiif!lml23456789O ajBaDEjfClbJIRl/ti'flffllEXIllRSI'illUirajSJiZaffiCBEJfClbJ al)c6efgbtJ{!lmnopqt;stuv)wi23seceSabc 1234567890 ascH>]Edf6ib3mxfliMHi©ip(aiRstimiD'rai"i3z um, al)cbefebij?ilmnop(irstuvwj;?3^oe&l2345678 a]!5e©]e]f(Bib3ikxniMn®ip(aiRStriMiDTKiis!3 abcbetgbijhlmnopqtstuvwns^a aBC2)EjF(51b5mxniMFl©lp»l3K£IKnOPQR$CUVWXy2ilBCDe;6l>IW abcder9bljklninopqr$tuou)xpz$abc(i234$67S90 JIBCD€f6l)l3K£n2n0PC|R$CUVUIX]'ZABCD€i) abcder^^i jkimnoparstuowxpz 1 2 IIBCD€F6l>l3K£mnOPQRSCUV abcaefaMjkltnnopqrstuo ilBCD€f6l)l3KCmR0P abcaerdDijkltntiopqr JIBCDeF6I)I3K£mn abcderabijklnopu flBCD€F61)I3KR SAMPLES OF PAPERS THE accompanying leaves of machine- and hand- made papers are given as specimens of papers of fair qualities, and they are here classed in their order of value — machine-made papers first, and those handmade in the second division — each kind being graded accord- ing to its value, which is based firstly on quality and secondly on weight. Papers being sold at so much per pound, the exact cost of a ream of paper is dependent on its size and gross weight. The paper on which this book is printed is ordinary antique laid 32 lb. demy. Machine papers can be made to any size, but the moulds for handmade papers only exist in certain dimensions. Most of the papers shown here may be obtained from stock in several sizes. If they have to be made, colour and weight can be altered in most cases, and the length of time for making machine papers is usually one to two weeks — handmade papers possibly four to six weeks. 138 INDEX OF PAPER SAMPLES Machine made PAGE 140 Ordinary white shade. 141 » CREAMY „ 142 >» TONED „ 143 >) ANTIQUE LAID, DECKLE EDGE, 144 5> WOVE, „ 145 Light bulking antique laid. 146 „ „ WOVE. 147 Super-calendered surface. 148 Enamelled (so-called "Art"). 149 Chromo surface. 150 Plate paper. Handmade 151 French. 152 Dutch, Van Gelder, cream shade. 153 „ „ toned 154 English, Spalding and Hodge. 155 „ Arnold and Foster. 156 „ Whatman (W. and R. Balston). 157 „ Batchelor and Son. 158 „ O. W. Paper and Arts Co. 159 Japanese vellum. 139 140 141 142 143 144 _ 145 146 147 148 149 150 X u JL 152 153 154 55 156 157 158 159 INDEX Abbreviations : manuscript, 4, 5 ; sizes of books, 55, 56. Advertising, 68. Agreements : between authors and publishers, 64. Alphabet : printers', 57. American system of type bodies, 25, 26. Antique roman type, 23 ; various specimens, 111-115. Antique papers : laid, 143, 145 ; wove, 144, 146. Arnold and Foster : hand-made paper, 155. Art paper, 148. Author's copies, 68. Author's corrections, 8. Authors to verify dates, refer- ences, etc., 13. Authors : Incorporated Society of, 62. Batchelor and Son : hand-made paper, 157. Bewick : his method of engrav- ing, n- Bibliographical: list of editions, 17 ; terms, 75-88. Binding : case work, 59 ; paper or cloth, 59 ; varieties of leather, 60 ; wire-sewing, 60 ; parchment, 61 ; rules for, 61 ; vellum, 61. Black letter : its use, 23 ; various specimens, 134-137. Block books, 34. Book : reprint of a, 28 ; margin an important feature, 30 ; large paper copies, 31 ; illustration to be considered, 33 ; deckled edges, 50. Books : to find number of words in printed, 15 ; table of biblio- . graphical sizes, 55 ; rules for binding, 61, Bourgeois : specimen pages in old face, 98 ; old style, 106 ; modern face, 121. Brevier : specimen pages in old face, 99 ; old style, 107 ; antique roman, 114; modern face, 122. British Museum, 70, 71. Calendered paper, 52, 147, Capitals : how to express, 7 ; capitals and small capitals, 7 ; specimens of various kinds, 126-130. Caslon : William, 22 ; old face type, 22 ; various specimens, 93-100, 126, 131. Casting-off : in manuscript, 14 ; printed matter, 15. Certificate of limited editions, 17 ; form of, 67. Chromo paper, 149. Clarendon type, 23. Collotype : processes of, 46. Colour-printing, 44, 45. Commission : publishing on, 65, 66, 68. Copperplate engraving, 35. Copyright : rules and regula- tions, 70-74. Corrections : author's, 8 ; charges for, 8 ; more easily effected in slip form, 9 ; signs used in marking, 9 ; a source of dis- pute, 10. Correctors of the press, 13. Criticism of works, 68, 69. Customs of the house, 6. Cut edges : books with, 56, 57. Ueckled edges, 50. Dutch black letter : specimen, 135- Dutch hand-made paper, 152, 153. 160 ^ooks and Printing Edition de luxe : difference must not be too great, 31. Egyptian, 23. Electrotyping, 29. Em : the printers', 26. En : the printers', 26. Enamelled paper, 148. English hand-made paper. See Arnold, Batchelor, O. W. Co., Spalding, Whatman. English : specimen pages in old face, 94 ; old style, 102 ; modern face, 1 1 7. Engraving : various methods, 33-49- Etching on copper, 47. Extract matter, 7. Extras : printers' charges for, 9. Fancy types, 23. Flemish : specimen of capitals, 130. Footnotes, 7. French hand-made paper, 151. Galley proofs, 9. Gelatine processes, 46. Glossary : bibliographical and typographical, 75-88. Gratis copies, 68. Great Primer : specimen pages in old face, 93 ; old style, loi ; antique roman, in; modern face, 116. Guarantee : limited edition, 17, 67. Half-tone : process of, 42, 43. Hand-made paper, 50 ; various samples, 1 51-159. Headlines, 16. Illustration : methods of, 33-49. Index : how to make, 18 ; omis- sion, 18 ; punctuation, 20 ; should be checked, 21. Insurance, 68. Intaglio : processes by, 46, 47, International copyright, 73. International Shorthand Con- gress, 4. Italic, 7, 23 ; specimens of var - ous kinds, 131- 133. Japanese hand-made vellum 54 ; sample, 159. Kelmscott Press, 31, 53. Laid paper, 50. Large Paper editions : sizes sug- gested for, 32. Leaded type : thick-, 27 ; thin-, 27. Leaves and pages : difference between, 8. Limited editions, 17. Line engraving : process of, 40. Lithographic stones, 45. Lithography: art of, 36 ; invented by Senefelder, 36. Long Primer : specimen pages in old face, 97 ; old style, 105 ; antique roman, 113; modern face, 120. Machine-madepaper,5o; various samples, 140-150. Manuscript : preparation of, i ; typewritten, 3 ; registration of, 3 ; longhand abbreviations for, 5, 6; casting-off, 14 ; illu- minated, 34. Margins : types and, 22 ; an im- portant feature, 30 ; proportion of, 31. Methods of illustration, 33-49. Mezzotint engraving, 47, 48. Miller and Richard : old style type, 23, 24 ; various speci- mens, loi-iio, 127, 132. Minion: specimen pages in old style, 108; modern face, 123. Modern face type : character- istics, 22 ; various specimens, 116-125, 128, 133. Morris : William, 53. Nonpareil : specimen pages in old face, 100 ; old style, 109 ; antique roman, 115; modern face, 124. Index Old English : form of black letter, 134. Old face type. See Caslon. Old French roman : specimen of capitals, 129. Old style type. See Miller and Richard. O. W. Paper and Arts Co. Ltd. : hand-made paper, 158. Page: as corrected, 10; showing corrections, 11. Pages and leaves : difference between, 8. Paper moulds : stereo, 28. Paper : samples of hand-made, French, 151 ; Van Gelder's Dutch (cream or toned), 152, 153; Spalding's, 154; Arnold, 155; Whatman, 156; Bat- chelor, 157; O. W. Co., 158; Japanese vellum, 159. Paper : samples of machine- made, white shade, 140 ; creamy, 141 ; toned, 142 ; antique laid, 143, 145 ; antique wove, 144, 146; super-calend- ered, 147 ; enamelled, 148 ; chromo, 149; plate, 150. Paper : varieties of, 50-54 ; index of samples, 139. Papers : table of sizes, 52 ; ap- proximate cost of, 53 ; number of sheets in a ream, 54. Papier-mache : moulds of, 28. Pearl : specimen pages in old style, no; modern face, 125. Photography : used for wood- engraving, 38. Photogravure, 48, 49. Pica : specimen pages in old face,95 ; old style, 103 ; antique roman, 112; modern face, 118. Plaster stereotyping : process of, 29. Plate paper, 150. Plates : guards for binding, 61. Point system : American type, 26. Preface, 16. Preliminary matter, 16. Presentation copies, 68. Press : when a proof should be so marked, 13. Press-cutting agencies, 69. Press reviews, 68, 69. Printers' alphabet, 57. Printers' readers, 13. Processes : photo-mechanical, 46. Proof-readers : their marks ex- plained, 12. Proofs : varieties of, 9. Public Libraries : copies sent to, 70. Publishers : their methods, 62- 69. Queries : printers', 13. Readers, publishers', 63. Ream : the printers', 54. Registration : needful at Station- ers' Hall, 71, 73. Reprint, 9, 28. Review : copies for, 68. Revise : when a proof should be so marked, 13. Revived old style face type, 22, 23, 24. . Roman capitals : various speci- mens, 126-130. Royalty system : publishing on, 65. Samples of paper: various, 139- 159- Senefelder: lithography invented by, 36. Signatures : use of, 55, 57. Signs : used for marking correc- tions, 9. Sizes : of types, 24 ; suggested for large paper editions, 32 ; papers, 52 ; books, 55-58. Slips : proofs in, 9. Small capitals, 7. Small Pica : specimen pages in old face, 96 ; old style, 104 ; modern face, 119. Society of Arts, 61. Solid type, 27. Spalding and Hodge hand- made paper, 154. 'Books and T^rinti?tg — Index Specimens : type, with names, 24, 89-138. Standing type, 30. Star Chamber, 71. Stationers' Hall, 70, 71, 74. Stereotype : paper process, 28 ; plaster process, 29. Style of the house, 6. Subscription: publishing by, 66; form, 67. Super-calendered paper, 147. Thin fount, 27. Three-colour process, 45. Trimmed edges : books with, 57. Tudor black letter, 136. Type : old face, 22 ; old style, 22 ; modern, 22 ; revived old style, 22, 23 ; antique roman, 23 ; black letter, 23 ; Claren- don, 23 ; Egyptian, 23 ; fancy, 23 ; specimen of sizes and names, 24 ; lines to inch, 25 ; table of sizes, 25 ; leaded and solid, 27 ; standing, 30 ; index of, 91 ; analysis, 92. Typo-etched blocks, 41. Typographical and bibliographi- cal terms. Sec Glossary. Uncut edges : books with, 56, 57. Underlining of words: meaning of, 7. Van Gelder, 152, 153. Vellum : real, 54 ; Japanese, 54. Venetian text black letter, 137. Whatman : hand-made papers, 53, 156. Wire-sewing, 60. Woodcuts : duplication of, 29. Wood-cutting, 34. Wood-engraving, 34 ; revival of, 2,7 ; a slow process, 38. Wove paper, 50. Zincography, 38, 39, 41. CHISWICK PRESS : PRINTED BY CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. rURN LIBRARY SCHOOL LIBRARY 2 South Hall i 642-2253 ^N PERIOD 1 2 3 5 6 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS DUE AS STAMPED BELOW P25 tSSI )EC 2 1983 MAY ll 1984 PR 3 1998 M NO. DD 18, 45m, 6'76 UNIVERSITY OF CALIFORNIA, BERKELEY BERKELEY, CA 94720 ® I i .U.C BERKELEY LIBRARIES CD3DaD^^sl //^