Part 10

The index is generally placed at the end of the volume, and set in letter two sizes less than that of the work. It is always begun upon an uneven page. In setting an index, the subject-line should not be indented; but, if the article make more than one line, all but the first should be indented an em.

In preparing the copy of an index, care should be taken that the subject-words are arranged alphabetically, as the compositor will not transpose his matter afterward without remuneration.

Where several index-figures are used in succession, a comma is put after each folio; but, to save figures and commas, the succession of the former is noted by putting a dash between the first and last figures: thus, 4-8. Again, if an article has been collected from two pages, the folio of the second is supplied by _sq._, or _sequente_, and by _sqq._, or _sequientibus_, when an article is touched upon in succeeding pages. A full-point is not put after the last figures, because it is thought that their standing at the end of the line is a sufficient stop. Neither is a comma or a full-point placed to the last word of an article in a wide measure and open matter with leaders; but it is proper to use a comma at the end of every article where the figures are put close to the matter, instead of running them to the end of the line.

TITLES.

Ornamental type may be used to good purpose in fancy jobs, and without violating any of the canons of a correct taste. The universal eye is pleased with ornament; and it is well to foster this fancy, just as we cultivate a poetical feeling, or a passion for music, or flowers, or any beautiful thing that God has made. But, as life should not be all music, or flowers, or poetry, so printing should not be all ornament. And as men whom nature puts in the fore-front of all other men are noted for a becoming simplicity of life and style, so the title-page that heralds all the inner pages of a book should be printed in a style of elegance severe and unadorned: no fancy type, except a line of Scribe Text, or Old English,—no italics, unless perchance a single-line motto in Pearl caps,—no bold-face type, nor Antique, nor Gothic,—but plain, clear, light-faced letters that seem the embodiment of the soul of thought. All experienced printers incline to this simple style; but publishers sometimes interfere with this province of art legitimate only to a typographer, and insist on the indulgence of a taste which certainly owes no allegiance to any of the laws of beauty; and the printer or stereotyper who executes the book receives credit for a title-page which he would fain utterly repudiate.

We add a few hints which may assist the learner. 1st. Having divided the title into lines, and decided upon the size of type suitable for the principal one, begin by composing those of the second and third class, both in ascending and descending order. 2d. Avoid having two lines of equal length to follow or come in contact with each other. 3d. Catch-words should be set on quite a reduced scale, and proportioned according to the strength of the preceding and succeeding lines; for bold catch-words detract from the general effect of the title. 4th. Close attention should be given to those title-pages which are acknowledged to be displayed with true taste and judgment.

Authors should endeavour to make their title-pages as concise as possible; for a crowded title can never be displayed with elegance or taste.

DEDICATIONS.

The dedication generally follows the title, and seldom exceeds one page. It should be set in capitals and small capitals, neatly displayed. The name of the person to whom the work is dedicated should always be in capitals, and the terms, Your very humble and very obedient, &c., should be in a smaller type, and the signature or name of the author in capitals of a smaller size than that in which the name of the personage is printed to whom the book is dedicated.

CONTENTS.

The contents follow the preface or introduction, and may be set either in Roman or Italic, generally two sizes smaller than the body of the work; the first line of each summary full, and the rest indented an em quadrate, with the referring figures justified at the ends of the respective lines.

PREFACES.

Formerly, the preface was uniformly set in Italic; at present Roman is used, one size larger or smaller than the body of the work. The running title to the preface is commonly set in the same manner as that of the body of the work. If the work has been printed without a running title, and paged in the centre of the line only, then the preface should be treated in like manner.

SIGNATURING.

The title, preface, &c. of a volume are commonly left till the body of the work is finished, as circumstances may arise in the course of its progress through the press which will induce the author to alter his original preface, date, &c., or the work may conclude in such a manner as to admit of their being brought in at the end, in order to fill out a sheet, and thus save both paper and press-work. For this reason, it is well to begin the first sheet of every work with signature B (or 2), leaving A (or 1) for the title-sheet.

It was formerly the custom to omit the letters J, V, and W in the list of signatures. But the greater convenience attending the use of twenty-five letters has recently induced several of our largest establishments to omit the letter J only.

ERRATA.

The errata are put immediately before the body of the work, or at the end of it. They should consist only of such corrections as are _indispensably necessary_, without noticing any defects in the punctuation, unless where the sense is perverted. It is strongly to be wished that works could be produced perfectly free from errors; but this is almost a vain hope while imperfection clings to humanity, and while every form is exposed to accident and every additional proof may be productive of fresh error.

HINTS HONOURED IN THE BREACH.

When you lay a fount of new type, don’t open the papers carefully, and place the lines evenly with a brass rule in the cases, nick up; but show your skill by tumbling over each package rapidly, and bringing it down with a rush on the imposing-stone; then, roughly throwing the a’s into a chaotic pile, grab them up by handfuls and work them well down in the appropriate box. The harder you jostle them down, the more you will get in. Proceed thus with each letter; and, if the operation has been vigorously performed, the value of the fount will have been reduced, say ten per cent.

2. While you set out one case, let your galley lie on the overheaped type of another case.

3. If a line is rather too tight to permit the last letter to get in easily, push it down hard with your rule or a quadrate. The type may be injured; but why didn’t it fit in just right at first?

4. Empty your matter at a gentle inclination on the galley, and make it up at the same angle. You can bring it right afterward—perhaps—by the energetic application of mallet, shooting-stick, and planer.

5. When the case is half set out, shake up the type energetically, and do so very often. The exercise will strengthen your muscles.

6. Don’t brush off the stone before you lay the matter down. If any sand happens to get under, the type will show its impression beautifully deep and clear on the face of the planer,—perhaps a whole word or two.

7. Don’t plane till the form is locked up, as thus you save the trouble of the first planing. But, now that you do plane, hammer away, and show your musical ability in playing a tattoo on the form. Don’t lay the planer tenderly and lovingly on the types, as if you were afraid to hurt their feelings, and gently tap it; but hold it off about a quarter or three-eighths of an inch, and then bring down the mallet with a will. Phew! how the planer will descend obedient to the stroke, and rebound again, and perhaps again. If the form is not smooth on the surface now, it is not your fault. Repeat this each time when the form is locked up, till it goes to press; and you may depend on it the impression will gain in boldness, if not in looks.

8. When correcting your numerous errors, don’t trouble yourself to lift the lines carefully at the ends, but dig right into the head of the erring letter, and, resting your bodkin on the type below it, pry up the sinner: it does not matter if you demolish two or three types in the under line.

9. Wash your form energetically, and apply the ley bountifully with a good stiff wiry brush. Never mind rinsing: clean type is an old-fogy notion.

10. When the type is out of use, let it lie around promiscuously,—on a table, or board, or any place where it will be occasionally convenient to lay on it a mallet or tin basin. If one strip of matter is placed on another, room will be economized. Moreover, the under layers will be safe from dust.

11 (comprehensively). Do every thing in a loose way generally, letting matters go as they list, throwing your pi into spare boxes or secretly placing it on the letter-table or some out-of-the-way place, stealing sorts from your neighbour, overcharging time-work and extras, fishing for fat takes, &c.

12. If you observe these things faithfully and constantly, and your employer does not kick you out of his office, why—you do not get your deserts.

TO THE APPRENTICE.

Aspiring apprentice, a word or two in your ear. If you desire success in any matter pertaining to this life or the coming, you must have a purpose,—a determination that, God helping you, you _will_ achieve success. You may be poor, friendless, unknown,—your clothing scant, your stomach half filled,—your place may be at the foot of the ladder: no matter. Whatever your position may be, do your duty in it, stoutly and perseveringly, with your eye fixed far ahead and upward.

Keeping the purpose before you that you _will_ rise, be obedient to your employer, attentive to your business, obliging to your shopmates, and courteous to strangers; and seize every opportunity to improve your heart, your mind, and your workmanship. Do every thing well,—no slighting, no hiding defects, aiming always at perfection. Watch those who are skilful, and strive to equal and excel them. Secure the friendship of all by deserving it. Allow no opportunity of rendering a service to pass without improving it, even if it cost you some labour and self-denial. Be of use to others, even if in a small way; for a time may come when they may be of service to you. A selfish man may get ahead faster than you; but selfishness is contemptible,—and you need not envy his success: when you achieve your object nobly, you will enjoy it, and be respected.

Always bear in mind that _character is capital_. To gain this, you must be so scrupulously honest that you would be as willing to put live coals in your pocket as a penny that is not yours. Never run in debt: do without what you cannot at once pay for, even though you should suffer somewhat. No matter what the amount of your earnings may be, save a portion every week, and invest it in a savings-bank of good standing: it will grow, and will stand you in good stead some day. Better temporary abstinence and constant plenty afterward, than unearned present comfort and future perpetual want. Never lie, openly or covertly, by word or action. A liar may deceive his fellows,—God and himself never. Conscious of falsity, a liar can have no self-respect; without self-respect, reputation cannot be achieved.

With a noble purpose as the end of all your actions, and with actions becoming your purpose, your success is merely a question of time,—always provided you have some brain and abundant common sense.

TO BEGINNERS.

Sanguine beginners sometimes fail in their attempts to establish themselves in business; and in many cases are disposed to lay the blame on every thing and on everybody except themselves. So we here give some rules—(in an ironical way, to make them stick in the memory)—

HOW NOT TO SUCCEED.

1. Get from your father, uncle, aunt, grandmother, or somebody, four or five thousand dollars. You need not give notes or any written obligations, as they may prove troublesome some day.

2. Rent a comfortable room somewhere, no matter whether in a business centre or not, but let it be showy and pleasant.

3. Spend one-fourth of your capital in furnishing the room with matters of personal comfort. Provide an elegant desk, a luxurious lounge, and a pivot-chair: why shouldn’t the master of a printing office “take it easy”? Have a closet in your desk, it is so handy for your whisky-bottle and cigar-boxes.

4. Get all you can from the type-founder, press-maker, and paper-manufacturers. If they will give you credit for one-half of what you buy, well and good: if they trust you for the whole amount, all the better for you, and the more money you will have on hand for jollifications.

5. Put up your sign—a handsome one—

B. Sipwell Lovepunch, Printer.

and signalize its erection by keeping “open house” for all comers between 11 A.M. and midnight. The mothers and wives of all who become tight and go home loose will long remember your public spirit.

6. Be at your office by nine in summer and ten in winter; and, following Charles Lamb’s witticism, _that he who goes to work late should quit early_, you need not return after dinner. Let your foreman attend to the business: isn’t he paid for it?

7. When you do go into your office, curse and grumble promiscuously, and be sure to swear at the apprentices, to show your spirit, and to let them know that you are master. Be careful never to praise them or any of the hands, or they may think they are worth higher wages.

8. Take work at any price that will keep it from a competitor, no matter whether it pays or not. Perhaps you can save something by giving short numbers, counting in imperfect copies, using very common ink, &c. The style is of no consequence: you want to make money if you can, let others improve the typographical art if they choose.

9. Cultivate the acquaintance of fancy folk, politicians, and wit-livers. A fast horse or two wouldn’t be a bad thing to bind their friendship; and, besides, you will never be at a loss for a companion in your rides.

10. If you want new type, and the founder who made your outfit won’t sell to you unless you pay off the old score, transfer your patronage to another foundry. How can you expect to get along if you pay your debts? Such a course would compel you to sell your horse and to taboo rum-shops and gay saloons, and to live economically; and this, you know, wouldn’t do at all.

11. Get out a newspaper, and advocate the principles of the strongest party, swearing thick and thin through every thing. You need not bother yourself about writing original matter; crib wherever you can. There are plenty of fellows who want office,—lawyers particularly,—and they will write slang enough to fill your columns. You might quietly levy a little black-mail or hush-money from neighbours guilty of indiscretions: dirty money will buy as much as clean.

12. You needn’t marry, unless some fond rich girl should happen to fancy a fool. You know, you need not trouble yourself much about her after you have secured her money: let her father look after her welfare. If she dies broken-hearted, why—she ought not to have been so sensitive.

13. You may be troubled occasionally by a qualm of conscience; but this can be settled by a dram or two. After a few doses, conscience will go to sleep, and trouble you no more, unless you should happen to see a Bible or hear a sermon, which as a matter of course you will try to avoid. It is true, wreck and ruin will be sure to overtake you, and the devil will catch you at last; but why worry yourself before the time?

IMPOSING, OR PREPARING FOR PRESS.

IMPOSITION

Comprehends a knowledge of placing the pages so that they may regularly follow each other when printed and the sheet is folded up; and also the mode of dressing chases and the manner of making the proper margin. As many pages as are required for a whole or half sheet being made up, the compositor lays them upon the imposing-stone, placing the first page with the signature to the left hand facing him, and then proceeds according to one of the schemes on pp. 150-199. These will be found to contain every necessary imposition,—viz. folios, quartos, octavos, twelves, sixteens, eighteens, twenties, twenty-fours, thirty-twos, thirty-sixes, forties, forty-eights, sixty-fours, seventy-twos, ninety-sixes, and one hundred and twenty-eights. We also introduce schemes for imposing from the centre, by which means the blank or open pages may be thrown in the centre of the form, leaving the solid pages on the outside to act as bearers for the rollers, as well as for the better regulation of the impression.

All odd matter, for any form, should be divided into fours, eights, twelves, and sixteens, which is the groundwork of all the impositions except the eighteens, which differ from all the others; for instance, sixteens, twenty-fours, and thirty-twos are only octavos and twelves doubled, or twice doubled, and imposed in half sheets: for example, the sixteens are two octavos imposed on one side of the short cross; the twenty-fours are two twelves imposed on each side of the long cross; and a thirty-two is four octavos imposed in each quarter of the chase. Thus, a sheet may be repeatedly doubled. By this division, any form or sheet may be imposed, always bearing in mind that the first page of each class must stand to the left hand, with the foot of the page toward you. Having set down the first page, then trace the remainder according to the scheme which applies to its number; in proof of which, the standard rule for all other impositions may be adopted,—namely, _the folios of two pages, if placed properly beside each other, will when added together make one more than the number of pages in the sheet_; that is, in a sheet of sixteens, pages 1 and 16 coming together will add up 17, and so 9 and 8 will make 17, &c.

In half sheets, all the pages belonging to the white paper, and reiteration, are imposed in one chase. So that when a sheet of paper is printed on both sides with the same form, that sheet is cut in two in the short cross if quarto or octavo, and in the short and long cross of twelves, and folded as octavo or twelves.

TYING UP PAGES.

In tying up a page, use fine twine, winding it four or five times round it, and fastening at the right-hand corner, by thrusting a noose of it between the several turnings and the matter with the rule, and drawing it perfectly tight, taking care always to keep the end of the cord on the face of the page. While tying it, keep the forefinger of the left hand tight on the corner, to prevent the page from being drawn aside.

The twine being fastened, the compositor removes the page from the ledges of the galley, to see if the turns of cord lie about the middle of the shank of the letter; if they lie too high,—as most commonly they do,—he thrusts them lower; and if the page be not too broad, he places the fore and middle finger of his right hand on the off side of the head of the page, and his thumb on the near; then, bending his other fingers under, he presses them firmly against the head of the page; he next places the fingers of his left hand in the same position at the foot of the page, and, raising it upright, lays it on a page-paper; then, with his right hand he grasps the sides of the page and the paper, which turns up against the sides of the page, and sets it in a convenient spot under his frame, placing it on the left hand, with the foot toward him, that the other pages that are in like manner set down afterward may stand by it in an orderly succession until he comes to impose them.

If the page be a quarto, folio, or broadside, it is, of course, too wide for his grasp; and he therefore carries the galley and page to the imposing-stone, and turns the handle of the galley toward him, and, taking hold of the handle with his right hand, he places the ball of the thumb of his left hand against the inside of the head ledge of the galley, to hold it and keep it steady, and by the handle draws the slice with the page upon it out of the galley, letting the slice rest upon the imposing-stone; he then thrusts the head end of the slice so far upon it, that the foot of the page may stand an inch or two within the outer edge of the stone, and, placing his left hand against the foot of the page, he quickly draws the slice from under the bottom of the page.

LAYING PAGES.

In taking up his pages for imposition, the compositor tightly grasps the paper on both sides of the page, in order that it may be kept firm to the bottom of the page; for if it be left slack, the letters will be liable to slip out, unless it be particularly well tied up. Having conveyed it to the stone, he next places the last two fingers of his right hand under the head of the page, but not under the page-paper at the head of it, still grasping the sides with his forefingers and thumb; he then slips his left hand so that the palm of it may turn toward the bottom, and, lifting the page upright on his right hand, with the left he removes the paper; he next grasps again the foot-end of the page with his left hand, in the same manner as the right holds the head of it, and, turning the face of the type toward him, lays it squarely and quickly down, so that the whole page may come in contact with the face of the stone at the same time.

As this method, in inexperienced or careless hands, would frequently endanger a page containing intricate matter, it will be safer to place the pages at first on good, strong, but not coarse and rough papers, and, when they are brought to the stone, instead of lifting them up as just noticed, slide them off the papers in the same manner as before directed respecting a folio page on the slice galley, being careful that no particles of dirt remain under the page.

MAKING UP FURNITURE.

Having ascertained that his pages are laid down right, the compositor proceeds to dress the chases, which we will suppose to be for a sheet of octavo. Accordingly he selects a good pair of chases that are fellows in all respects; and, having laid them over the pages for the two different forms, he puts such gutter-sticks between page and page, and such reglets along the sides of the two crosses, as will give the book proper margins after it is bound.

To ascertain the proper distance, and to prevent wastage of furniture, he takes short pieces of furniture, or quotations, and quadrates or reglets, to fit the space between two pages; then, pushing the pages close to them, he finds the exact width of the furniture necessary, by trying the ends of various pieces, always measuring from the edge of the lines of type above the page-cords.

By observing a proper method in cutting up new furniture, the same will be serviceable for other works as well as the one for which it is intended, even though the size of the page may differ, provided it agrees with the margin of the paper. The gutters should be cut two or three lines longer than the page; the head-sticks wider; the back furniture may run nearly down to the rim of the chase, but must be level with the top of the page, which will admit of the inner head-stick running in; the difference of the outer head-stick may go over the side-stick, and the gutter will then run up between them. The side-stick only need to be cut exact, and the furniture will completely justify.

Wood and metal furniture, cut or cast to specific lengths and widths, may now be had from the type-founders, the use of which will save time, waste, and labour.

MAKING THE MARGIN.