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 UC-NRLF 
 
 
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LIBRARY 
 
 OF THE 
 
 University of California. 
 
 GIFT OF 
 
 GEORGE MOREY RICHARDSON. 
 
 Received, ^August, i8q8. iiuMV 
 
 Accession No.7j2 \yj& / Class No. 
 
 ev 
 
V 
 
 
 
 

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* * 
 * 
 
 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° 
 
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