i A (I UC-NRLF B M Iflfl S3T EM i<L<i % LIBRARY OF THE University of California. GIFT OF GEORGE MOREY RICHARDSON. Received, ^August, i8q8. iiuMV Accession No.7j2 \yj& / Class No. ev V i / * * * Four hundred and thirty -five copies of this edition printed. MAKING AND ISSUING OF BOOKS ¥ On the Making and Issuing of Books BY CHARLES THOMAS JACOBI M MANAGER OF THE CHISWICK PRESS u O^ *»^ LONDON : MADE AT THE CHISWICK PRESS AND ISSUED FROM THE BODLEY HEAD, BY ELKIN MATHEWS, VIGO ST. W. MDCCCXCI ***** yt-^c/ I <;> io> o ( PREFACE, TN the course of my experience I have frequently observed alack of that know- ledge which is so essential to all who have to do with the production of books. I have endeavoured in this brochure to give a few practical hints, avoiding technicalities as much as possible, which 1 hope may be of service and value to the author and to all lovers of books. I trust these short chap- ters may arouse some feelings of interest in the details which serve to make a good book, whether in the old-fashioned style or in the more modern form. This is, indeed, immaterial, so long as it is well made, and is consistent in the matter of style throughout. The Author. LIST OF CONTENTS. CHAPTER PAGE I. The Preparation of MS. for the Press, and the Correction of Proof Sheets l II. The Character, Sizes, and Names of Types 11 III. The Character and Varieties of Papers 17 IV. Of the Margins of Books ....21 V. The Sizes of Books determined . . 25 VI. Some Methods of Illustrating Books % . 31 VII. The Binding of Books 35 VIII. The Issue of Books by Publication and by Subscription 39 IX. Copyright and Registration. Review Copies, and the Rights of Public Libraries. Advertising .... 45 X. Miscellaneous Information .... 49 Glossary of some Bibliographical and Typo- graphical Terms in more general use $5 Index 69 On the Making and Issuin of Books. CHAPTER I. THE PREPARATION OF MS. FOR THE PRESS, AND THE CORREC- TION OF PROOF SHEETS. Oo much importance can- not be attached to this preliminary and most importantpartin the pro- duction of a Book. A tidily and carefully writ- ten MS., especially if the work of an unknown author, will often carry weight with it when placed before the publisher for his consideration. A badly written MS. sometimes does not receive that amount of attention which its literary merit would other- wise command. B I In writing use either quarto or folio paper, and write on one side only, with, say, an inch margin on the left-hand edge. This allows room for any desirable subsequent alteration, or for remarks and instructions for the printer. Let each sheet be distinctly paged, and avoid interlineations. Bad copy is a bane to the printer, and much trouble and annoyance is obviated if good MS. is supplied at the outset. To write clearly entails but little extra labour, the habit once acquired becoming second nature. Every printing establishment of any note has its methods and customs as regards ortho- graphy, capitalization, and punctuation. As a rule, it is best to leave these details to the printer; any little deviation desired may be easily remedied in the proofs with which the author is supplied. At any rate, it is best that the capitals be kept down as much as possible, spelling only proper names and titles with a capital letter. It is perhaps as well to say here that there are certain methods of indicating in MS. where italic, capitals, and small capitals, should be used. These are simply : Italic : Small capitals Full capitals — These underlinings, if borne in mind, will save much trouble. 2 Paragraphs should be boldly indicated by setting the line well back in the "copy," as the MS. is technically called, but if by chance, when the copy has been written, a fresh line is required where it has already been run on in the same line, a paragraph maybe expressed by making a bracket mark, thus [ Footnotes should each have a corresponding reference, and where possible should be written at the bottom of the page to which they refer. Either letters, a b c d , or figures, * 2 3 4 , may be used for the purpose. Extracl matter included in the text should be clearly shown, either by marking it down the side with a vertical line from beginning to end, or by setting the whole well back within the compass of the text. Titles of works or newspapers should be underlined or placed within inverted commas in order to make them distincl, the printer using his discretion as to which style he will adopt, except in the case of special instruclions from the author. If a work has to be divided into chapters, a table of contents should be placed in front ; if illustrated to any extent, a list of illustra- tions should be added too. Nearly all works of any value are the better for an index, and the absence of one is to be deprecated. It of course depends on the nature of the work to what extent it shall be indexed. 3 Volumes issued with a regard to these details are undoubtedly the better for them. If the volume is an important one, and a good index is required, the author or editor is the best person to provide it ; failing either, the printer's reader who has had charge of the volume may be entrusted with the task. Some firms are willing to undertake this portion of the work. The index should not be completed till the work has been finally corrected and passed for the press, or errors may creep in which will destroy its reliability and value. The best and quickest way to make an index is to write each item on a separate slip of paper. Each slip should contain the head to be indexed, with the page reference attached to it. Assuming you have chosen what subjects to index, for instance, say, all names of persons and places, let every one of these be written out as often as they occur in the text, commencing with the first page and taking the whole in sequence. As they are written, throw them into a box or basket, and, when finished, gather them together and place all in alpha- betical order. The next step is to eliminate all duplicate headings, but before doing this the page reference of the one thrown out must be transferred to the slip retained, and in its numerical order. This considerably reduces the bulk of the index. This plan is the only royal road to making 4 a correcl index, without the chance of duplica- tion or omission. Care must be taken a second time in checking the striclly alphabetical arrangement of the slips. When you have assured yourself of this, they may be pasted up in sheet form ; this reduces the risk of losing any of the slips, and is a more convenient form for handling. With regard to the corrections in the proofs it must be remembered that the more care- fully a book is written, the less expense will be incurred for " author's corrections." This charge is often a great source of contention between the author, publisher, and printer, and altogether is an unsatisfactory item. A printer is bound, with certain reservations, to follow the copy supplied, and if he does that, and the author does not make alterations, there is no charge, and nothing to wrangle about. But should there be many emendations in the proof, they may prove disastrous as regards trouble and expense. A page of type may contain two or three thousand letters, every word being built up letter by letter, and so line by line till the page is complete. A small correction, trivial as it may seem to the inexperienced, will possibly involve much trouble to the printer, and the labour expended on it is not apparent and is only appreciated by a practical man. A word inserted or deleted may cause a page 5 e/ to be altered throughout line by line, and a / few words may possibly arfecl scveraPpages. J Yu/^(TU.i" r^The charges made for corrections anfbased on the time consumed in making them, and G^ are very difficult to check, even by an expert. e~f If it is actually a necessity that a work must be corrected when in type,(theyand\a mount of &*> £&: thesejalterations is likely to upset the arrange- ment of the lines and pages, it is best to ask l*>n. tVj for proofs in galley, or slip form. This / means a little more trouble to the^printer, but L — . it will probably cause less expense in the long . 71. jl. run. fip marking JZorreclions for the printer -l-£. certain signs and symbols are used which ex- press more concisely the meaning thJjEl could fe be indicat/ed by a more ordinary method of m arking the alterations.-^ &//? <fn. C^e .give on the opposite page the princinj^ a// cnaraclers used : that page showing the correc- /n/st// tions as $#* would be marked by a skilled (ft person; this, the facing page, the type corrected ~2 according to these direclions ; and the page < overleaf the signs explained in detail. yC In making a correclion in a proif always 0/ „ mark the wrong letter or word through, and Uf/. insert the alteration in <*k<* margin, not in jfe/- the middle of the printed matter, as it is apt (to fc Jpe overlooked if there is no marginal reference to the correclion/ /o keep the different %/ correclions distincl, finish each one off witru^ V ~> fo a? stroke, thus / to be altered throughout line by line, and a few words may possibly affect several pages. The charges made for corrections are based on the time consumed in making them, and are very difficult to check, even by an expert. If it is actually a necessity that a work must be corrected when in type, and the amount of these alterations is likely to upset the arrange- ment of the lines and pages, it is best to ask for proofs in "galley" or slip form. This means a little more trouble to the printer, but it will probably cause less expense in the long run. In marking corrections for the printer certain signs and symbols are used which express more concisely the meaning than could be indicated by a more ordinary method of marking the alterations. We give on the opposite page the principal characters used : that page showing the corrections as they would be marked by a skilled person ; this, the facing page, the type corrected according to these directions; and the page overleaf the signs explained in detail. In making a correction in a proof always mark the wrong letter or word through, and insert the alteration in the margin, not in the middle of the printed matter, as it is apt to be overlooked if there is no marginal reference to the correction. To keep the different corrections distincl, finish each one off with a stroke, thus / 7 Synopsis of Readers' Marks used on page 6. J_ A space or quadrat standing high to be pushed down. Full out. The line is to be set back so as to range with the others. °* A turned letter. D This indicates that the line has to be in- dented one em of its own body. Trs. A transposition of a word or words. 8 A space has to be inserted. Rom. Change italic into roman. L Space to be reduced. n. p. or new par. or [ Commence a fresh line. /. c. A capital or small capital to be changed to a lower-case letter. S Delete or expunge. Run on. Sentence not to commence a new line, but to follow on previous matter. 5 The matter has something foreign between the lines, or a wrong-fount space in the line, causing the types to get crooked, x A bad or battered letter. w.f. Denotes a wrong-fount letter. Stet. Matter wrongly altered shall remain as it was. Dots are usually placed under the matter in question. © A full-stop or full-point has to be inserted. Cap. T. Alter a lower-case letter into a capital. 3 The words or letters over which this is marked to be joined. 8 When the corrections have been duly made and approved by the author or editor, it is customary to write the word " press " on the top of the first page of the sheet ; all inter- mediate proofs should be marked " revise." The final, or "press proof," is always retained by the printer in case of any challenge or dis- pute. It is his voucher, and he retains it for future reference. Printer's readers, styled " correclors of the press," are, as a rule, a very careful and pains- taking body of men. Generally with a practical experience, and sometimes a classical knowledge, they virtually subedit the MS. Their queries on proofs should be seriously considered, for they frequently find an author nodding, and due attention to their valuable queries will well repay the trouble. -J CHAPTER II. THE CHARACTER, SIZES, AND NAMES OF TYPES. He beauty of a volume is dependent on the selec- tion of a suitable character of type. These "founts" of type may be broadly classified into three divi- sions, namely : (a) the old faced, (b) the revived old style, (c) the modern faced. The first series (a) is occasionally used for bookwork, as the case in this volume ; the old-fashioned long J* being sometimes used in conjunction with the ligature letters, Ji Jl JJJl Jh Jjl JJ1 Jk Jb cl, and so on. The second series (b) is more generally used for bookwork ; a glance at the general run of books nowadays will corroborate this state- ment. The third series (c) is perhaps more II in demand for newspapers, magazines, school- books, scientific works, pamphlets, and such like. As mentioned before, the bulk of this book is printed in an old-faced type, but without the long f for the sake of greater clearness. It is a special fount of type cut after the manner of those used by Froben, an early printer of Basle, and is unique in the peculiar formation of each distinct letter. This particular page is composed in the more ordinary old-faced character of type, first pro- duced by William Caslon in 1720, and the next two pages are printed respectively in the revived old style and modern -faced types. Each distinct class should be carefully noted. Each series of type is made in many sizes ; for purposes of identification they are here named, commencing with the smallest : I. Diamond. 4 8. Long Primer. 2. Pearl. 9- Small Pica. 3- Ruby. 10. Pica. 4- Nonpareil. 1 1. English. 5- Minion. 12. Great Primer. 6. Brevier. x 3- Paragon. 7- Bourgeois. H- Double Pica. The size used for this book is Small Pica. There are other larger sizes than those here enumerated, and smaller too, but they hardly come within the scope of our essay. 12 Most of these founts of type have some relative proportion to each other in depth, and a knowledge of these equivalents is sometimes useful in matters of calculation. Diamond is equal to half of Bourgeois. Pearl „ M Long Primer. Ruby „ „ Small Pica. Nonpareil „ „ Pica. Minion „ „ English. Brevier Bourgeois „ „ Great Primer. Long Primer „ „ Paragon. Small Pica „ „ Double Pica. The width of pages is measured by the use of " ems." Technically an em is the exact depth of the body of any fount of type, but Pica size is that adopted for governing the measure of the line. By 33B3333333333333 " body " we mean the square of metal on which the face of the letter is cast. Pica type without leading runs 6 lines to an inch ; and sixteen Pica ems wide, as in this work, will be found to measure 2f rds of an inch if a rule be placed across the print. Type is sometimes bulked out by the insertion of thin strips of lead, this being called " leading." Where no leads are em- ployed, it is obviously "solid." This type is 13 " thin " leaded, and there are other degrees of thickness. A " thick " lead is equal to two " thin " leads. A book may even be double or treble thick leaded. By this means a volume may be spun out to almost any length. As there is sometimes a difference of opinion with regard to the appearance of leaded or non- leaded matter, we venture to express our views. Undoubtedly a page of type set quite close looks pretty as a whole, but it is not so comfortable in reading as a page which is slightly leaded out. Pages of great width especially demand spacing out, as the eye is apt to lose the continuity in turning from the end of one line to the commence- ment of the next. There are many other varieties of type in existence than those mentioned, but mostly of a fanciful character, and not in good taste or in keeping with bookwork. However, the occasional use of black-letter, italic, and a bolder face of type is permis- sible in order to give emphasis to certain passages. This fatter face of type is some- times called " clarendon." We do not reject fancy types altogether by any means. These characters are sometimes good, but more often bad, and their employ- ment can only be tolerated in advertise- ments and work of a miscellaneous nature. 14 These types represent in " old style " charac- ter many of the different sizes in general use : Pearl is the name and size cf the type shown here in this specimen page of old Nonpareil is the name and size of the type shown here in this Minion is the name and size of the type shown here in this Brevier is the name and size of the type shown here in Bourgeois is the name and size of the type shown Long Primer is the name and size of the type Small Pica is the name and size of the type Pica is the name and size of the type English is the name and size of Great Primer is the name Double Pica is the 15 £tfB CHAPTER III. THE CHARACTER VARIETIES OF PAPERS. AND Ext to the selection of a good type is the choice of paper to be used, the nature of the work to some extent governing this choice. To put an old-faced type on machine paper or a modern-faced on one made by hand is hardly logical, though there are exceptions to this rule. To be consistent, it is best to print old-faced type on hand-made paper, 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. Papers may be at once divided into two D 17 classes — hand-made and that made by ma- chine. Each kind, again, has two varieties ; these are distinguished as " laid " and "wove" respectively. Laid papers are identified by the wire marks or water-lines, which are rendered more visible when a sheet is held up to the light. Wove papers have none of these lines or marks, and their absence at once fixes the class. Further, hand-made papers in the full size of sheet have a raw or ragged edge all round the four sides, which is called the " deckle." Those manufactured by the machine have cut or even edges ; except in the case of imitation or antique papers, which are now made with a sham raw edge on one, or even two, sides of the paper. Another mark of distinction between papers made by hand or machine is that the former- is darker on the right side and the latter darker on the wrong side, the two sides being obvious by comparison. Machine papers are subject to a very great number of varieties, not only in shade of colour, but in style and quality ; this quality is improved by a larger proportion of rag being used. If durability and quality are sought for in a fine book, hand-made paper is desirable, its texture being stronger and of more lasting properties. Very smooth or highly calendered paper is only recommended for a book which absolutely 18 requires it for the sake of its illustrations, hand-made or rough papers not being adapted for the suitable printing of pictorial subjects unless of a purely outline character. The principal sizes of printing papers measure in inches : Foolscap Crown . Post. . . . Demy . Medium Royal . Double Pott . Double Foolscap Super Royal . Double Crown Imperial Columbia . Atlas . . . Double Post . 26 [Hand-made papers may vary slightly.') 134 15 20 22i 24 25 25 27 27t 30 30 344 36 40 x X X X X X X X X X X X X X JO 16 20 17 201, 20 22 23t 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 quite a luxury. A substitute for vellum which has crept in during the past few years, is the Japanese hand-made vellum. It is almost untearable, and its beautifully even and smooth surface is !9 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 much more than a good English hand-made rag paper. 20 CHAPTER IV. OF THE MARGINS OF BOOKS. iE now approach what is 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 principle, and to be depre- cated. 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, even if placed in the centre of the paper, of having more margin on the inner than on the outer edge of the book, the same deception applying to the top and tail margin. To remedy this, it is therefore necessary to have more margin on the outer than the inner 21 side of a page, called respectively the "back" and u fore-edge" ; and the same rule applies to the top and bottom, less at the " head " than at the « tail." 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, as it is just these edges which usually suffer most. It also allows room for annotation, and this margin was much used in olden times for this very purpose, as a reference to some of the best printed books of the past will show. Another suggestion that has been advanced is that there is more wear and tear on these por- tions of a book. As regards proportion of margin, the size of the book must be taken into consideration : a gradual increase of margin from a sextodecimo to a folio. For the sake of symmetry the head and back margin should be about the same, and likewise the fore-edge and tail about equal to each other ; if there is any difference, it should be in favour of a slightly greater margin on tail and head than on back and fore-edge respec- tively. If an issue of a work has an edition de luxe, it is well not to make the difference in size too extravagant. It is often the rule to make an oclavo an oclavo still in the large paper, though no definite guide in this matter can be laid down ; for in the case of this volume the large 22 paper is a small quarto, whereas the ordinary or small paper copies are printed on an oftavo. Supposing a book is printed in the revived old style type on a machine paper, it is quite permissible to print the large paper copies on a hand-made paper. These sizes are suggested for the difference between small and large paper editions : Foolscap 8vo in large paper may be Crown 8vo Crown 8vo >» >> Demy 8vo Post 8vo >> >> Medium 8vo Demy 8vo >> >» Royal 8vo Medium 8vo >> >> Super Royal 8vo Royal 8vo >» » Imperial 8vo The same scale may be applied to quartos ; for instance, a foolscap 4to may be made a crown 4-to in large paper, and so on. 23 CHAPTER V. THE SIZES OF BOOKS DETERMINED. T is a difficult matter sometimes, even for the bibliophile, to discrimi- nate between the various sizes of Books, but the rules here laid down will be found useful and cor- real in the main. Books are defined respectively as folio, quarto (4-to), oclavo (8vo), duodecimo (i2mo), sextodecimo (i6mo), oclodecimo (i8mo), vige- simo-quarto (24010), trigesimo-secundo (32010), etc. These definitions are arrived at by the number of times a sheet is folded ; for instance, a folio would be two leaves to the sheet, a quarto four leaves, and so on. Sometimes it is diffi- cult to distinguish, say, an oclavo from a quarto ; but if it is printed on a laid paper, the water- E 25 lines that run at intervals through the sheet (not to be confused with the smaller and closer wire marks of the sheet) will determine this. The water-lines on a folio, oclavo, and octo- decimo would be perpendicular ; on a quarto, duodecimo, and sextodecimo, horizontal. The signatures or letters placed at the foot of the first, and sometimes the third page, also serve as a guide to identification (see table on page 28). Books with uncut or merely trimmed edges should measure in inches : O&avo. Q uarto. Pott . . . H X 4 n X H Foolscap . H X 44 8i X H Crown n X 5 10 X n Post . . . 8 X 5 10 X 8 Demy . «1 X 5* "i X H Medium . 9i X 6 12 X 91 Royal . 10 X H 121 X 10 Super Royal . ioj X H m X 104 Imperial ♦ 11 X ik 15 X II Other sizes are a matter of further subdivision. These dimensions are not for books with cut edges, but it is safe to allow a quarter of an inch less in height, and not quite so much in width, if the edges have been cut down, always assuming these edges have not been cut more than once ; otherwise, if the book has been re- bound more than on one occasion, no reliance can be placed on this rule. 26 There is not always a clear understanding as to the terms used in connexion with the treatment of edges. "Uncut" does not ne- cessarily mean that the edges have not been opened with a knife, but simply that the book has not been cut down by machine, a method which sometimes sadly mars the appearance of a book. The expression " unopened " is per- haps a stricter term to be applied when abso- lutely untouched. "Trimmed edges" means that the heads have been left untouched, and the fore-edge and tail merely trimmed suffi- ciently to make them tidy. " Cut edges" means that a portion has been cut from the three sides of the book. Once more we repeat, the different edges of the book are named head, tail, and fore-edge, the back being the inner margin. The table of signatures and folios on the next page will be found useful. The principal object in the use of signatures at the foot of the first page of a sheet is to serve as a guide to the binder in folding ; they are further useful to the printer in discriminating between the different sheets of a work, and in giving him the sequence of a volume without the trouble of referring to the pagination. Sometimes figures are used as signatures, but more often the letters of the alphabet, omitting J, V, W, and reserving A for the pre- 27 liminary matter. If this preliminary matter is somewhat extensive and exceeds a sheet, the signatures are continued with the small letters No. Sigs. Folio 4to 8vo 121110 i6mo i8mo 1 1 1 1 1 1 1 2 C 5 9 17 25 33 37 3 D 9 17 33 49 65 73 4 E 13 25 49 73 97 109 5 F 17 33 65 97 129 145 6 G 21 41 81 121 161 181 7 H 25 49 97 145 193 217 8 I 29 57 113 169 225 253 9 K 33 65 129 193 257 289 10 L 37 73 145 217 289 325 1 1 M 41 81 161 241 321 36i 12 N 45 89 177 265 353 397 13 49 97 193 289 385 433 H P 53 105 209 313 417 469 15 Q 57 113 225 337 449 505 16 R 6i 121 241 361 481 541 17 S 65 129 257 385 513 577 18 T 69 137 273 409 545 613 19 U 73 145 289 433 577 649 20 X 77 153 305 457 609 685 21 Y 8i 161 321 481 641 721 22 Z 85 169 337 505 673 757 b, c, d, e, and so on, technically called " lower case " letters, as distinct from capitals or small capitals. Supposing the text of a volume exhausts the alphabet, the letters are repeated as A A, B B, C C, and so on. Occasionally the third page of a sheet bears a subsidiary signature, marked B2, C2, D2, 28 etc., according to the signature on the first page. A second signature is hardly necessary, except in the case of an inset or offcut of a sheet. This is only requisite in certain sizes of books, duodecimo or oclodecimo, by reason of the binder not being able to fold up a sheet properly without first cutting off a small section and insetting it within the larger portion; this second signature thus acling as a check on its proper sheet. 29 '■r. CHAPTER VI. SOME METHODS OF ILLUSTRATING BOOKS. Nother feature which imparts value to a Book is the piclorial portion, if the subject is one requiring illustration. There are two kinds of pictures in relief, which may be incorporated with the type and printed by the same operation. We mean the hand-engraved woodcuts and the •* process" blocks. These process blocks are mechanically produced by the aid of photography ; this system having improved so vastly during the last few years, a great future is, no doubt, before it. These blocks can be made at a nominal expense from almost anything, from pen-and- 3 1 ink drawings, prints, drawings from nature (wc mean direcl from the objecl),or even from photographs, and some very beautiful effects have been obtained by the many processes now practised. For some purposes they even sur- pass the engraved woodcuts so laboriously and expensively produced by hand. Another process for illustrating books is the intaglio system, executed on steel or copper, distinct from the relief. This cannot be well employed with type, because it requires a sepa- rate printing, and perhaps is not in keeping with the type if placed in its midst. It is admirably suited for full-page illustrations, and is gene- rally used for the better class of volumes. These plates are engraved both by hand and pro- cess, photography still being the medium in this last instance. These mechanically produced plates are what are called photogravures, and, as in the case of the relief process blocks, ad- mirable effects are often secured. In addition to these two styles of illustrations, lithography, autotype, Woodbury-type, and many other processes are occasionally used. Space will not permit our going into the details of these different methods, but we will say that each has its special characteristics, and perhaps merits, though we ourselves prefer that the illustrated parts of a book should be printed entirely by the same method, letter- press fashion, in pure relief. 3 2 From a strictly typographical point of view, it is best that the illustrations, if they are designed specially for the work and are intended to be used in the midst of type, should be of such a nature as to be in harmony with the type. This, of course, is a purely decorative idea, but one that is worthy of being carried out as far as possible. The reader may be referred to some book illustrations which have been designed from time to time by such artists as Walter Crane, Lewis Day, and Heywood Sumner. Obviously these remarks cannot always be applied or acted on ; therefore, when some other kind of illustration has to be employed, the nature of the type and paper must be con- sidered, or perhaps adapted to the require- ments of the method selected. 33 CHAPTER VII. THE BINDING OF BOOKS. His is the last stage in the Making of a Book, and the question should be considered as to whether the book is to have a temporary or a per manent binding. Paper or cloth answer for immediate purposes, and leather for a permanency. Taking the temporary binding first : it is important, if this fastening up is merely a tentative one, that the edges should not be cut, but opened carefully with a knife, if to be read before receiving its final covering. There are many ways of doing up books temporarily. 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 character, the edges may be 35 cut at once ; otherwise they should be left untouched, or merely trimmed on the side and at the foot. There are different expressions used in connection with the description of edges, which we venture to repeat. " Cut edges ' are those cut perfectly smooth with a machine all round, and possibly with a total disregard of the margins ; " trimmed edges " are those which have the fore-edge and tail lightly cut, thus leaving the heads and bolts (on the fore- edge) unopened. The term "untouched" or "unopened" edges is obvious to all. The term " uncut edges," used by the second-hand bookseller, does not mean necessarily that a book has not been opened, but simply that it has not been cut down by machine. Books issued with uncut edges can be opened at will by the purchaser ; in the event of their being bound on some future occasion, the mar- gins would not suffer when cut for the purpose of gilding or marbling. The term " bound" is more striclly applied to leather work, or at least when there is some leather used in the binding — each copy being separately bound together and not simply cased. There are several degrees of binding in this form : " quarter bound," having a leather back with cloth or paper sides ; " Roxburghe " is a term sometimes used for this style of binding, with gilt top and cloth sides. " Half bound," 36 the same with the addition of leather corners ; "full bound," when wholly encased in leather. If the volume has been printed on hand-made paper, the heads only need be cut and gilt. This plan prevents dirt from getting between the leaves. It is a good rule, when taking such a book from its receptacle, to blow the dust gently off the top before opening it. This ac- cumulation of dust is a drawback from which even the best regulated libraries suffer unless the volumes happen to be in air-tight glazed bookcases. The use of wire in sewing is to be depre- cated, and cotton or silk thread is recommended instead. Wire tears the paper and frequently leaves a rusty mark on the leaves. These faults, together with the sometimes excessive cutting down of margins, are great evils in the eyes of a book-lover. Expensive plates should not be stitched or pasted in without the aid of a guard of strong paper or linen, and then they should be sewn in with the different sections of a work. There are rules laid down for the binding of works on certain subjecls, if one is desirous of forming a library, each in a different colour of leather ; but this must be left to the taste of the owner. However, some regard should be given to the nature of the work. Historical books should be in a distinct shade from those, say, on theology ; dictionaries and other works of re- 37 ference being bound in a different hue from that which would be chosen for poetry, and so on. Vellum and parchment are both largely used in the binding of books. They are durable, but soil quickly, The proper and full title should be lettered on the back of the volume, together with the author's name, with the date at foot. This rule will save a great deal of unnecessary handling when a particular book is sought for. Having now briefly discussed the questions of type, paper, sizes, and margins of books, the selection and choice of style to be adopted for any one volume is a matter of taste and fancy, and no exacl rules can therefore be laid down ; the nature and bulk of the work must of course first be considered. We have somewhere seen it suggested that dictionaries and encyclopaedias should be quarto or folio, and other classes of books should be something else ; but when we look round we find such reference works ranging from a pocket volume to a ponderous folio in size. There- fore the choice of size must still remain an open question, and the same remark ap- plies to all other kinds of literature. 38 CHAPTER VIII. THE ISSUE OF BOOKS BY PUBLICATION AND BY SUBSCRIP- TION. E have now arrived at the second half of our treatise : the Issuing of Books by private or public means. We will take the first section at once, and give some account of the method of publishing. The first step is to find a suitable publisher, one who is willing to undertake the charge of the proposed work. To do this it is necessary to submit the MS. to him for his consideration. The suggestions we made in the opening of this little brochure with regard to neatly-written MS. must be remembered. In large firms competent readers are retained for the purpose of reporting on the merits of proposed works, and their opinion is generally 39 considered final, especially if the publisher is to take whole or part risk. There are usually three methods of agree- ment adopted. In the first the author would part with his copyright for a lump sum, and perhaps receive a royalty on all copies sold, the publisher undertaking all risk. The second method is where the profits are equally divided, termed the " half-profit " system, after ex- penses have been paid. The third is called " publishing on commission," the author paying all expenses of production and advertising, and allowing the publisher a commission on all copies sold ; the publisher accounting to the author at the trade price, and copies, 13 as 12 or 25 as 24, according to the value of the book, less review and presentation copies. As different publishers have each some little variation in dealing with their clients, it would be invidious to go into details, but it is strongly advised that only well-known pub- lishers be approached. Some publishing houses make a speciality of certain subjects ; consequently they have better means for pushing works which bear on their particular branch of literature. It is obviously important that the author should take this into consideration. All arrangements should be in writing, and it is of the utmost importance that any agreement entered into should be thoroughly understood. 40 Books are by no means always real successes from a commercial point of view, and a publisher often runs a great risk in taking a work unless it is from a well-known writer ; therefore his terms are adjusted with a view to protecting himself and the author too, supposing he has some share in the cost of production. It is on record that publishers have some- times made very handsome additions to their payments when a book has achieved an un- looked-for success, much credit being due to them for this extension. The author may place himself in the hands of a respeclable firm and rely on fair dealing. With regard to privately issued books by subscription, there are two ways of proceeding. If the author is satisfied that there is a demand for his work, he will have it printed at his own expense, and meanwhile issue some pro- spectuses to secure orders. If he desired to feel the market, so to speak, he would issue a prospectus first, and when he had received sufficient orders to warrant the risk, he would then put the work into the hands of the printer. In order to secure some part of the subscrip- tions in advance, an additional advantage is sometimes offered by accepting a smaller sub- scription at first, which would be raised on issue. If the printer selecled for the book is ac- customed to this class of work, he can impart useful information and advice to his client. G 41 Some such form as the accompanying is generally used for soliciting subscriptions. First the author would draw up a scheme showing what was intended, and attach the following order-form : Mr. 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 or enlarged according to requirements, but if there are to be two editions, large and small papers, this should be explained in the prospeclus, and room allowed in the order-form for choice. In all editions limited as to the number of copies, a certificate similar to the following should be attached : * # * This is to certify that only copies of this edition have been printed^ all of which are numbered [and signed]. No. Signed 42 If there are two editions to be printed, they may both be expressed in the certificate, but the numbers of the two sizes should be distincl and each start at No. I. Publishers frequently issue books in the ordinary way, which have a limited large paper edition struck off at the same time, generally subscribed for in the manner just mentioned. 43 Icc^^^c^^l CHAPTER IX. COPYRIGHT AND RE- GISTRATION. REVIEW COPIES, AND THE RIGHTS OF PUBLIC LIBRARIES. ADVERTISING. Here are many details in connection with the Issu- ing of a Book which are worthy of mention, and we will endeavour to make them as clear as possible in a small compass. Copyright in this country is secured for the full term of the lifetime of the author, and for a further term of seven years commencing at the time of his death ; provided that, if the said term of seven years shall expire before the end of forty-two years from the first publication of the book, the copyright shall endure for forty-two years. The copyright in any book published after the death of its author shall endure for the term of forty- two years from the first publication thereof, and shall be the 45 V property of the proprietor of the author's manu- script from which it shall be first published. With regard to Registration at Stationers' Hall. This is not a compulsory matter, but should anyone desire to bring an aclion for in- fringement of title or copyright it must then be registered (if this has not already been done), the date of publication being the criterion of priority. A five-shilling fee is exacled by the Stationers' Company when the application is made and the title of the volume duly en- tered. Very frequently the facl of registration is expressed at the bottom of the title-page, but this is really not necessary if the date is there. Direftly 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 character of the work must be considered before sending them out broadcast, or perhaps they may be sent where they are not likely to be reviewed. Good notices of a work materially add to its success. 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. 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 prospectus, or extracts from these opinions of the press may be included in any advertisement issued by the publisher. 4 6 By Acl of Parliament five copies of each work, and of each subsequent edition, must be despatched to the libraries of the British Museum, London ; Bodleian, Oxford ; Trinity College, Cambridge; Trinity College, Dublin ; and Advocates', Edinburgh. They are gene- rally all sent through one official agent here in London, who gives a receipt for them. If by chance these copies for the libraries are delayed or overlooked, a demand is soon made for them, and must be complied with. Privately subscribed books of a limited number, not sold in the ordinary way, or advertised, are exempt from these demands. Advertising a work is another very important matter. In arranging for this with a pub- lisher, supposing it is a commission book, the author should give some limit of expense that he desires to go to. If the advertisement can be included with other books in a general way, the expense is not so great ; but the an- nouncement of works singly costs a good deal. Insurance too must not be overlooked if the book is a commission one, and the author may either insure the stock himself, or give instruc- tions 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 copies" probably being distributed amongst his more immediate friends. 47 CHAPTER X. MISCELLANEOUS INFOR- MATION. iZiyS5 §5^S 022 »f «f^ a W$M *^^3 ¥sk \l£&fr 9 ^^==^^"3 ASTING OFF COPY. — No exacl rules can be laid down for this purpose, manuscript copy varying so much in character of writ- ing, and having sometimes many deletions and insertions. Then, again, there are frequently differences in size — some sheets being quarto and others perhaps folio. The following rules may be taken as a rough guide for immediate purposes. Selecl a book which shall be your model ; count a number of lines, and obtain the average number of words in a line ; then multiply these by the amount of lines in a page : this will give you the total number of words comprised in a page of type. To obtain greater accuracy, the whole page may be counted throughout. The next step is to find the number of words in your MS., frequently a difficult task. If your copy is a h 49 fair one, treat it exactly in the same way, making sure that you have obtained a good average. Then multiply this product by the number of folios your MS. contains. If the copy is ill assorted, every line of each chapter or seclion must be counted off, and then multi- plied by the average number of words in a line. Some allowance must be made for notes, if any, and for short chapter pages, if the book is so divided. When the gross amount has been arrived at, this must be divided by the number of words contained in the page of print which was selected as your pattern. It is not possible in writing to deal with intricate MSS. ; it requires a very experienced and practical person to estimate the length of these. EXTRAS. — These comprise all charges for smaller types than text matter, not easily fore- seen or calculable except in the case of printed copy, termed " reprint." Extraneous or mis- cellaneous matter, such as tables, foreign languages, etc., is more expensive in com- position and ranks as extras. Correclions and alterations made in proofs are also charged as extras, because the extent of labour likely to be involved is not apparent when a volume is put in hand. MOULDING is a temporary process adopted for certain classes of work likely to be reprinted, when it is not convenient for the printer to keep a large amount of type standing idle. It is 5° the preliminary stage to stereotyping by the patent or paper process. Papier mache moulds are formed by placing several sheets of pre- pared paper together, pasted with a special composition. This, whilst still moist, 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 may then be stored away. When required, they are cast in metal, each page being faithfully reproduced. The results obtained in printing are almost as good as from the original type. This is an inexpensive method if there is any doubt about the pro- bability of a future reprint, because these moulds can be stereotyped from at any time afterwards. Stereotyping. — This is performed by two distinct modes. The first and cheaper is that just referred to, *.*., the paper process. The second process is the plaster, which is the better of the two. 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 satisfactory as giving a sharper and evener stereotype, but it is the slower plan, and hence is more expensive. ELECTROTYPING is the art of duplicat- ing by a galvanic deposit of copper, which leaves a mere filmy shell, which is afterwards 51 backed up with type-metal to give it the re- quisite thickness and strength. This process is the more durable method, but costs even more than the plaster stereotype. It is well adapted for works that have to be reprinted many times, because the face is harder, and it will therefore give off a larger number of impressions with less wear and tear. It is always used for du- plicating woodcuts, a careful electrotype being almost equal to the original block from which it is made. If woodcuts are to be preserved they should be eleclrotyped, and the originals taken care of. When worn, a fresh electrotype may then be taken from the wood-block. Hints on drawing for process BLOCKS. — All pen-and-ink sketches for this purpose should be pure " black and white." Freshly-made Indian ink should be used on thin white and smooth card, the Bristol boards obtainable from most artists' colourmen being well adapted for this purpose. The lines should be firm and distincl, the depths of light and shade being obtained by thick and thin lines respectively ; the distance between the lines also helping this effecl. The drawing should be made larger than the size intended for the block ; from one and a half times to double the size is a good rule. A smaller amount of work thrown into the sketch is often more effective than an excess of pen-and-ink work. Care and attention to these details, 52 with praclice, will soon enable anyone with a knowledge of drawing to overcome any diffi- culties which might otherwise be encountered. Half-titles. — The use of this fly-title, sometimes called a bastard title, is for the pur- pose of protecting the general or full title from injury. Without this additional leaf in front, the title-page, being the first in the book, would be very likely to get soiled. COST OF PAPER. — The relative difference in value of a good machine-made as com- pared with a hand-made paper may be roughly estimated as one-third. Whatman paper is a little dearer, and may be reckoned as four times the value of a machine paper. In limited editions of a work, the question of price is not so much to be considered, as the total amount of paper absorbed is not great. For this reason, it is advisable to use the best. REAMS OF PAPER. — A ream of writing or hand-made paper usually consists of twenty quires of twenty-four sheets each, 480 in all ; but machine-made paper is generally made up to 516 sheets (twenty-one and a half quires), termed " printers' reams." As long numbers are mostly printed on these papers, each ream thus gives something more than 500 perfecl copies, and allows for waste and spoilage. 53 K A SHORT GLOSSARY OF BIBLIOGRAPHICAL AND TYPOGRAPHICAL TERMS IN MORE GENERAL USE. Dvance sheets (or copies). — Sometimes supplied for simultaneous publication or for preliminary notices. Ampersand. — The abbrevia- tion or sign for the word " and/' thus — & (roman), 6° (italic), (J (black letter). Antiqua. — A German expression for roman types. Arabic figures. — Ordinary figures, roman or italic, thus — l 2 3 etc., as distinct from roman numerals. Atlas. — A size of paper, 36 X 26 inches. Author' s proof . — A proof bearing corrections made by the author or editor. A. P. is the short expression. Backs. — Referring to the " back " margin of pages — that part of a book which is sewn when bound. Bastard title. — A fly or half-title before the full title of a work. 55 Black letter. — A general expression used to indi- cate old English, text, or church type. Bleed. — When a book or pamphlet has been cut down too much, so as to touch the printed matter. Blind blocked (or tooled). — Lettering on book covers not inked or gilt, simply impressed. Block. — A general term used, embracing wood- cuts, electros, or zincos. Body of the work. — The text or subject-matter of a volume is thus described to distinguish it from the preliminary, appendix, or notes. Bolts. — The folds at the heads and fore-edge are thus described by the binder in receiving in- structions for opening or not opening the edges of a book. Bottom notes. — Foot-notes are sometimes thus called, to distinguish them from side-notes. Bourgeois. — Pronounced Burjoice ; the name of a type one size larger than Brevier and one size smaller than Long Primer, equal to half a Great Primer in body. Brevier. — The name of a type one size larger than Minion, and one size smaller than Bour- geois. Broadside. — A sheet printed one side only. Calendered paper. — Paper very highly rolled or glazed, much used for the printing of illustrated books or magazines. Capitals. — Letters other than lower case or small capitals. Shortly called " caps." Cast. — Generally applied to a stereotype cast. Catchline. — The line which contains the " catch- word " at the bottom of a page. This word is the first one on the next page. Certificate. — A guarantee of a limited number of copies only having been printed of any work, usually placed near the title-page. 56 Circuit edges. — Books, generally bibles or prayer- books, are sometimes bound with the covers pro- jecting, and turned over to protect the edges. Clarendon. — A bold or fat-faced type is gene- rally thus described ; the older founts were called " Egyptian." Clean proof . — A term used to discriminate between a printer's first proof and one ready to be sent out to the author. Clean sheets. — Sheets put aside as they are printed off to show the progress of the work. Cliche. — French term for a cast, usually applied to stereo or electro duplicates. Cloth boards. — Books when bound in cloth cases are described as being in " cloth boards." Cobb paper. — A paper largely used by bookbinders for the sides of half-bound books. It is made in various shades of colour. Colombia. — A size of paper, 34^ X 23^ inches. Colophon. — An inscription or tailpiece, usually a printer's imprint, at the end of a book. Cropped. — A book is said to be " cropped " when cut down too much. Cut edges. — A book which has been cut on the three sides is said to have cut edges. Cut-in notes. — Side-notes which are inserted within the text at the side, instead of in the margin. Decimo-sexto. — A bibliographical term for six- teenmo — written shortly, l6mo. Deckle. — The raw, rough edge of hand-made paper is thus termed. Dele. — To omit or expunge, indicated thus B Demy. — A size of printing paper, 22^ X 17^ inches. Diamond. — The name of a type one size larger than Gem, and one size smaller than Pearl, equal to half a Bourgeois in body. 1 57 Double foolscap. — A size of printing paper, 27 x 17 inches. Double Pica. — The name of a type one size larger than Paragon, and one size smaller than Two- line Pica ; its body is two Small Picas in depth. Double pott. — A size of printing paper, 25 x 15^ inches. Dropped head. — Chapter or first pages driven down at the top are thus called. Dummy copy. — A thickness or size copy, gene- rally made of blank leaves, to represent the actual bulk of a work not quite complete. Duodecimo. — Commonly called twelvemo, a sheet of paper folded into twelve leaves — written shortly, 12mo. Dutch papers. — Van Gelder's hand-made paper of various sizes, made in Holland. Editions de luxe. — French colloquialism for the large paper editions issued of first-class books. Eighteenmo. — A sheet folded into eighteen leaves (see " Octodecimo ") — written shortly, 1 8mo. Eleclrotyping. — The art of duplicating woodcuts, etc., by a thin galvanic deposit of copper, after- wards backed up by ordinary metal similar to that used for type, but not so hard. End leaves. — The blank flyleaves at either end of a book. Sometimes called " end papers." English. — The name of a type one size larger than Pica and one size smaller than Great Primer. Fine paper. — The best edition of a book ; some- times expressed by the letters F. P. Finishing. — A term used for the lettering or tooling on the cover of a book. Flat pull (or impression). — A simple proof without under- or overlaying. <8 Flexible. — A term used in giving directions to a binder for sewing or binding in a style which will permit of the book opening quite flat. Flyleaf. — A blank leaf at the ends of a book. Fly-title. — The half-title in front of the general title, or which divides sections of a work. Folio. — A sheet of paper folded in two leaves only. Fore-edge. — The outer side edge of a book (distinct from head or tail) when folded. Format. — The bibliographical expression for size and shape of a book. Forme. — A printer's term applied to the number of type pages which a sheet may contain. Forwarding. — The different stages in binding a book between the sewing and finishing, i.e., lettering the title, colouring or gilding the edges, etc. Fount. — This term is applied to the whole number of letters constituting a complete set of types of any particular class of face or body. Foxed. — Paper or books stained or mouldy are said to be " foxed." FraSiur. — German expression for their text or black-letter characters. Full bound. — A term sometimes used to define a book wholly bound in leather. Galley proofs. — Those proofs supplied in slip form — not made up into pages. Gilt tops. — Books when on hand-made paper are sometimes bound with the top edges cut and gilt, thus preventing them being soiled by the dust that would otherwise collect if they were left rough. Great Primer. — The name of a type one size larger than English and one size smaller than Paragon, equalling two Bourgeois. 59 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 in the ordinary way. Half bound. — Books partly bound in leather, with cloth or paper sides. Half-title. — The sub-title in front of the full title. Heads. — A term applied to the margin of books at the top of the page. Imperfections. — Sheets required by a binder to complete books imperfect through bad gather- ing, collating, or spoiled sheets. Imperial. — A size of printing paper, 30 X 22 inches. In quires. — Books in sheets not bound up. In slip. — Matter set up and pulled on galleys before making-up into pages. In the press. — A work in course of printing is thus announced to the trade or public. Indent. — To set a line some little distance back, as in the case of a fresh paragraph. India paper. — A fine paper used by engravers for proofs, which, though generally imported from China, is called "India." India rubbered. — Books when interspersed with plates are sometimes coated at the back with a solution of india rubber to save stitching or expense of guarding ; when open the book will lie perfectly flat. Inferior figures and letters. — Made to range at the bottom of a letter, thus — , 23aeiolI Initial letters. — Large block or floriated letters used at the commencement of a chapter or work. Inset. — A sheet, or part of a sheet, to be placed inside another sheet to complete sequence of pagination. 60 Intaglio. — Printing, such as from copperplate ; the reverse of "relief" printing. Italic. — The sloping characters, distinct from roman types, invented by Aldus Manutius, the Venetian printer. Japanese paper. — Hand-made paper with a vellum surface manufactured in Japan. Keep standing.— An order to keep the type still up pending possibility of reprint Large paper. — The best copies of a work with large margins, bibliographically termed editions deluxe. Sometimes expressed by the initials L. P. Leaded matter.— Type with leads between the lines, in contradistinction to " solid " matter. Leatherette or leatheroid. — An imitation of leather, usually made of embossed paper. Letter paper.— This term is applied to quarto paper, note paper being octavo. Letterpress,— Printed matter from type as distinct from lithographic or plate printing. Lining papers. — End or paste-down papers used by bookbinders. LL. — The abbreviation used by booksellers to indicate the number of " leaves " in a book. Long Primer. — The name of a type one size larger than Bourgeois and one size smaller than Small Pica, equal to two Pearls. Lower-case letters. — The small letters as used here. Mackle. — A printed sheet with a slurred appear- ance, owing to some mechanical defect in the impression. Make-up. — To measure off matter into pages. Marbled edges. — The cut edges of books are often marbled instead of being gilt. 6l Margin. — The blank paper surrounding a page of print. Marginalia. — The bibliographical term for notes in the margin. Medium. — A size of printing paper, 24 X 19 inches. Minion. — The name of a type one size smaller than Brevier. Moulds. — Generally understood as the preliminary stage in stereotyping by paper process. Moulds of course are used for plaster work and eleclro- typing too. Movable. — A general term applied to type to dis- tinguish it from stereotype, etc. N. D. — A bookseller's method of denoting "no date " on a book. Nonpareil. — The name of a type one size larger than Pearl, half of a Pica in depth of body. Note papers. — These papers are octavo in shape, but of various sizes; letter papers being quarto shape, and also of various sizes. Oftavo. — A sheet of paper folded into eight, shortly written thus — 8vo. Octodecimo. — A sheet folded into eighteen leaves (see " Eighteenmo ") — written shortly, l8mo. Off-cut. — That part of the sheet which has to be cut off in order that the sheet may be folded correctly, as in a " twelves." Off-set. — The set-off of ink from one sheet to another, the result of insufficient drying or bad ink. Old English. — Founts of type of black-letter character. Sometimes expressed by O. E. O. P. — A publisher's term signifying that a book is " out of print." 62 Overcast. — A particular kind of book-sewing which allows the book when open to lie flat. Overlays. — The term for the special making-ready of an illustration, consisting of several thick- nesses of paper cut out to give light and shade to the design. Overplus. — The " plus " or " over " copies of a definite number in printing. P. — An abbreviation for the word " page." The plural is " pp." Paragon. — The name of a type one size larger than Great Primer and one size smaller than Double Pica, equalling two Long Primers in depth. Paste-downs. — The blank flyleaves, sometimes coloured, at either end of a book, which are pasted down on the covers. Pearl. — The name of a type one size larger than Diamond and one size smaller than Ruby, equalling half a Long Primer in depth. Pica. — The name of a type one size larger than Small Pica and one size smaller than English ; it is equal to two Nonpareils in body. Points. — An expression applied generally to all marks of punctuation. Post. — A size of printing paper, 20 X 16 inches. Preliminary. — Any matter coming before the main text of a work — title, preface, contents, etc. Press proof. — The final proof passed by the author or publisher " for press." Prima. — In reading a work sheet by sheet the first word of the ensuing signature is marked by the reader as the k ' prima." Process blocks. — Illustrations produced by any mechanical process. Proof. — A trial print of any forme of type, plates, or blocks. 63 Proof. — A bookbinder's term used when some rough edges are left on a trimmed book, thus showing it has not been cut down excessively. Publishers' binding. — An ordinary term used for cloth binding. Quarter bound. — Books bound with back only in leather. Quarto. — A size given when a sheet is folded into four leaves — written shortly, 4to. Quaternions. — Paper folded in sections of four sheets. Query. — A mark made on a proof by the printer to call attention to a possible error, sometimes ex- pressed by a note of interrogation ? Quinternions. — Paper folded in sections of five sheets. Quire. — Sections of a ream of paper, consisting of twenty-four sheets. Quires. — Books in sheets, i.e. not bound, 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 slightly differ in the number of sheets, sometimes 472, 480, or 500. Reclo. — The right-hand pages of any work. Register. — The exact adjustment of pages back to back in printing the second side of a sheet. Relief printing. — Letterpress and block printing come under the head of " relief," as distinct from lithography or plate printing. Removes. — The difference between one size of type and another is expressed by this term. R. P. — These initials stand for " reprint." Retree. — The outside, rejected, or damaged paper of different reams, marked X X 64 Roman. — The particular kind of type in which book and other work is composed (such as this fount), as distinguished from italic or fancy types. Called " antiqua n by the Germans. Roman numerals. — The pagination of the prelimi- nary matter of a volume is generally expressed by these characters, thus — i, ii, iii, iv, etc. Roxburgbe binding. — A quarter-bound book with top edge gilded. Royal. — A size of printing paper, 25 X 20 inches. Rubricated matter. — Sentences or paragraphs printed in red ink. Ruby. — The name of a type one size larger than Pearl and one size smaller than Nonpareil, equal to half a Small Pica in body. Runners. — Figures or letters placed down the length of a page to indicate the particular number or position of any given line. Script. — Type similar in character 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 off-sets from one sheet to another. Sextodecimo. — A bibliographical term for l6mo. Shoulder notes. — Marginal notes placed at the top corner of the page. Side-notes. — Marginal notes at the side, distinct from "footnotes." Signature. — The letter or figure at the foot of the first page of a sheet, to guide the binder in folding ; also used by printers to identify any particular sheet. Sixteenmo. — A sheet folded into sixteen leaves — written shortly, l6mo. Size copy. — A thickness or dummy copy supplied to the bookbinder, in order that a specimen binding may be shown. K 65 Slips. — Applied to matter not made up into pages, but pulled as proofs in long slips. Small capitals. — The smaller capitals, as distinct from the full capitals, thus — printing, indicated in MS. by two strokes = underneath. Small paper. — The more ordinary copies of a work. Sometimes expressed by the initials S. P. Small Pica. — The name of a type one size larger than Long Primer and one size smaller than Pica, equal to half the body of a Double Pica. Sprinkled edges. — Cut edges of books are some- times finely sprinkled with colour to prevent them from getting soiled. Stabbed. — A form of stitching by piercing or stabbing, used mostly for cheap pamphlet work. Start. — Leaves of books are said to " start " when the sewing is defective and the leaves are loose. Stereotypes. — Casts of pages of type, etc., in metal, either by the "plaster" or "paper" processes. Stet. — A Latin word used to denote the cancelling of any correction marked in copy or proof, and indicated by dots underneath, thus Style of the house. — Most printing offices have their own particular methods in the matter of setting titles, quotations, spelling, etc. Sub-title. — The bastard or half-title placed before the general title of a work. Also called " fly- title." Super-calendered paper. — Highly rolled paper for dry printing. Superior letters and figures. — Small letters cast at the top of the shoulder of type, used for refe- rences or abbreviations, as M r , N°, x 2 3 Super royal, — A size of printing paper, 2']^- x 20\ inches. Swash letters. — Seventeenth century italic capitals with tails and flourishes, thus — Jt *B T> [M <^C,etc. 66 Tails. — The bottom or tail-end of a page. Ternions. — A bibliographical expression for three sheets folded together in folio. Thick leads. — Leads cast four to the pica in thick- ness are generally thus termed. Thickness copy. — See " Size copy." Thin leads. — Leads eight to the pica in thickness, two thin leads being equal to one thick lead. Thirty-twomo. — A sheet of paper folded into thirty- two leaves, written shortly thus — 32mo. Trigesimo-secundo. — The bibliographical term for "thirty-twomo," written shortly — 32mo. Trimmed edges. — Edges of books cut or trimmed sufficiently to make them tidy without opening heads or bolts. Turned commas. — These are used at the com- mencement of an extract or quoted matter, thus " and at the end by ". Sometimes called " inverted commas." Twelvemo. — A sheet of paper folded into twelve leaves, written thus — 1 2mo. Also called " duo- decimo." Two-line letters. — Plain initial letters the depth of two lines, used at the commencement of a chapter or work. Typography. — The art or style of printing from movable letters. Uncut edges. — Books not cut down, but not necessarily " unopened." Unopened edges. — Applied to books the edges of which have not been opened. Verso. — The obverse or back of a leaf — the reverse of " recto." Vigesimo- quarto. — The bibliographical term for " twenty-fourmo " — written shortly, 24mo. 67 Vignettes. — A class of illustration with the edges undefined, that is, work tapering or thinning off to the extremities. Waste. — Surplus odd sheets of a book beyond the plus copies. Watermark. — The wire-mark woven to any par- ticular design in a sheet of paper. White. — The space between any lines or words of type. White edges. — Edges of books simply cut, not coloured or gilded. White out. — To space or " branch out " any com- posed matter, such as displayed or advertisement work. White paper. — A general term used for unprinted paper, whether white or coloured. Whole bound. — The term applied to books bound entirely in leather of any kind. Wire~mark. — Applied more particularly to those " laid " marks in paper which are seen when the sheet is held up to the light. Wrong fount. — Letters of a different character or series mixed with another fount, although per- haps of the same body. W.F. is the short form. Xylography. — Applied generally to the cutting and printing of old block-books. Zincography. — The art of producing engravings on zinc by a mechanical process. 68 INDEX. Advertising, 47. Antique paper, 18. Authors' copies, 47. Authors' corrections, 5. Autotype, 32. Back margin, 22. Binding, permanent, 35. Binding, temporary, 35. Books, sizes of, 25, 26. Bound hooks, 36. Calendered papers, 18. Capitals, 2. Caslon type, 12. Casting off copy, 49. Certificate, form of large paper, 42. Clarendon type, 14. Cloth binding, 35. Copper plates, 32. Copy, 3. Copyright, 45. Corrections, to mark, 7. Correctors of the press, 9. Customs of printers, 2. Cut edges, 27. Deckle edge of paper, 18. Duodecimo, 25. Edges of books, 22. Edition de luxe, 22, 23. Eighteenmo, 25. Eleclrotyping, 51. Extract matter, 3. Fancy types, 14. Folio, 25. Footnotes, 3. Fore-edge margin, 22. Full-hound books, 37. Full capitals, 2. Galley proofs, 7. Gratis copies, 47. Half-bound books, 36. Half-profit system, 40. Half-titles, 53. Hand-made paper, 18. Head margin, 22. Illustrations, 31. Index, making an, 4. Insurance, 47. Intaglio plates, 32. Italic, 2. Japanese vellum paper, 19. Laid paper, 18. Large paper editions, 22, 23. Leads, 13. Leather binding, 35. Letterpress, 32. Lithography, 32. Machine-made paper, 18. Manuscript, 1. Margins of books, 21. Modern faced type, 11, 14. Moulding (stereotyping),50. Note references, 3. O&avo, 25. Octodecimo, 25. Old faced type, 11, 12. Old style type, 11, 13. Papei', cose of, 53. Paper, hand-made, 18. Paper, machine-made, 18. Paper, reams of, 53. Paper, sizes of, 19. Paper stereotyping, 51. Paragraphs, 3. 6 9 Patent stereotyping, 51. Photogravures, 32. Plaster stereotyping, 51. Preliminary matter, 3. Presentation copies, 47. Press proofs, 9. Press notices, 46. Printers' ems, 13. Printers' extras, 50. Printers' queries, 9. Privately issued books, 41. Process blocks, 31. Process blocks, hints on drawing for, 52. Public libraries, 47. Publishers' binding, 35. Publishing, 39. Publishing on commission, 40. Quarter-bound books, 36. Quarto, 25. Reference ters, 3. Registration, 46. Relief blocks, 31. Review copies, 46. Revised proof, 9. Revived old style type, 11. Rough edges, 18. Roxburghe binding, 36. Sextodecimo, 25. Signatures, 27. Signatures, table of, 28. figures or let- Sixteenmo, 25. Sizes of books, 25, 26. Sizes of papers, 19. Sizes of types, 15. Slip proofs, 7. Small capitals, 2. Steel plates, 32. Stereotyping, 51. Subscription books, 39. Subscription, form of, 42. Tail margin, 22. Thick leads, 14. Thin leads, 14. Thirty-twomo, 25. Titles of works, 3. Trigesimo-secundo, 25. Trimmed edges, 27. Twelvemo, 25. Twenty-fourmo, 25. Types classified, 12. Types, equivalents of, 13. Types, specimens and sizes of, 15. Uncut edges, 27. Unopened edges, 27. Untouched edges, 27. Vellum, 19. Vigesimo-quarto, 25. Water-lines, 26. Wire sewing, 37. Woodbury-type, 32. Woodcuts, 31. Wove paper, 18. 7° BT THE SAME AUTHOR. PRINTING : A Praftical Treatise on the Art of Typography as applied more particularly to the Printing of Books. Largely illustrated. Post 8vo, $s. THE PRINTERS' HANDBOOK of Trade Recipes, Hints and Suggestions relating to Letterpress Printing, etc. Crown 8vo, y. 6d. [Out of print. THE PRINTERS' VOCABULARY of Technical Terms and Phrases, Abbreviations, and other Expressions mostly relating to Letterpress Printing. Crown 8vo, $s. 6d. Vigo Street, London, W. Easter, 1891. NEW AND FORTHCOMING BOOKS. Poetical Works. RENASCENCE : A Book of Verse, by Walter Crane, with 38 designs by the Author. (The Japanese and handmade large paper editions all sold.) Impe- rial i6mo, js. 6d. net. ALIGHT LOAD : A Book of Songs, by Dollie Radford. With a Title designed by Louis Davis. Fcap. 8vo, 2s. 6d. net. VERSE-TALES, LYRICS AND TRANS- LATIONS, by Emily H. Hickey. Imperial l6mo, 5$. net. A SICILIAN IDYLL: A Pastoral Play, by J. Todhunter, with a Frontispiece by Walter Crane. Imperial i6mo, 55. and 105. 6d. net. CHAMBERS TWAIN. By Ernest Radford, with a Frontispiece by Walter Crane. Imperial i6mo, 55. and ioj. 6d. net. CORN AND POPPIES. By Cosmo Monk- house. Fcap. 8vo, 6s. net. (The L. P. copies all sold.) POOR PEOPLE'S CHRISTMAS. By the Hon. Roden Noel. Medium i6mo, 15. net. THE LION'S CUB," and other Verse. By Richard H. Stoddard. Portrait. Medium i6mo. Bound in an illuminated Persian design. 6s. net. THE BACKSLIDER, and other Poems. By Ant.sus. Finely printed on handmade paper, limited to 50 copies for sale (a few remain). Crown 4to, js. 6d. net. "Whether or no 'Antaeus' be the pseudonym of a dis- tinguished writer whose work these poems resemble, they are certainly remarkable. . . . His little book has much in it of grace and skill resembling that of the writer, whose * Shorter Poems ' have likely been in the hands of all to whom grace and skill, and the literature that comes of them, appeal." — Ant'i-J acobin . THE GROWTH OF LOVE. By Robert Bridges. Crown 4to, half vellum. Choicely printed in Fell's Old English type on Whatman's handmade paper, by Mr. Daniel, at his Private Press ; limited to 100 copies. General Literature. ON THE MAKING AND ISSUING OF BOOKS : A Brochure addressed to Authors and others. By C. T. Jacobi, Manager of the Chiswick Press. Embellished with numerous ornaments. Fcap. 8vo, zs. 6d. net. (The large paper and Japanese paper editions are all sold.) GEORGE MEREDITH : Some Characteris- tics. By Richard Le Gallienne. With Bibliography by John Lane much enlarged. Portrait and Plate. Second edition. Post 8vo, js. bd. ROBERT BROWNING : Essays and Thoughts. By John T. Nettleship. Second Edition. Crown 8vo, buckram, ys. bd. '* When an individual work is dealt with, nothing can be more searching and elaborate than Mr. Nettleship's analysis, and to that analysis those works which have done most to justify the common charge of obscurity have been forced to yield up their meaning. A high and penetrating intelligence was needed for such a task ; and something more than in- telligence was needed to make us realize, as Mr. Nettleship has done, the true depth and breadth of the philosophy which underlies the vast and varied body of Browning's poetical work. It is not often that so solid and genuine a piece of thinking is produced in literary criticism." — Academy. LETTERS TO LIVING ARTISTS. Fcap. 8vo, 5*. HPHE STUDENT AND THE BODY- 1 SNATCH ER, and other Trifles. By R. K. Leather, M.A., and Richard Le Gallienne. Royal i8mo, cloth, 35. 6 d. LITERATURE AND POETRY. By Philip Schaff, D.D. Portrait and Plates. 8vo, 125. Dr. Schaff's Volume consists of Ten Critical Essays upon some of the great Literary Epochs in the World's History. The Articles upon Dante and Dante Literature, English and Foreign, are deeply interesting and valuable. The Titles are : " The English Language," " The Poetry of the Bible," "The Dies Irae," "The Stabat Mater Dolorosa," "The Stabat Mater Speciosa," " St. Bernard as a Hymnist," " The University, Past, Present and Future," " Dante Alighieri," " Poetic Tributes to Dante," and " The Divina Commedia." DANTE : Six Sermons. By P. H. Wick- steed, M.A. Cheap edition. Post 8vo, zs. ALMA MURRAY. Portrait as Beatrice Cenci. With Critical Notice containing Four Letters from Robert Browning. 8vo, 3^. 6d. THREE ESSAYS. By John Keats. Portrait. Crown 4to, 10s. 6d. net. Now first published in book form, edited with Note by H. Buxton Forman ; finely printed on handmade paper at the Chiswick Press j limited to 50 copies, only a few left. THE POETRY OF TENNYSON. By Henry Van Dyke, D.D. Second edition, including some details communicated by the Laureate. Post 8vo, 6s, Contents : — Tennyson's First Flight ; The Palace of Art ; Milton and Tennyson ; Two Splendid Failures ; The Idylls of the King ; The Homeric Triology, and The Bible in Tenny- son ; Chronological Bibliography of his Works, etc. " Get this book, published by Elkin Mathews ; $a donne apenser, and this is its great merit." — Punch, Jan. 17, 1891. T^HE READING GUILD HANDBOOK. X 8vo, 4^., post free. ELKIN MATHEWS, at the Sign of the Bodley Head, Vigo Street, W. RETURN TO DESK FROM WHICH BORROWED r CO 10 CM CM i CM < CO O O I— co CO 3CM CO it ujO O LU Ql Z < o RARY SCHOOL LIBRAE .«o/i V»elow, or O - M M r MAR 22 1974 T T"» 1)1 _i nn™.9 '?;?; General Library :..«_«» i-«f f ^ilifnrnia C030aOM44B I (fit mammmmmm 1 t