Part 2
+------+------+------+------+------+------+------+------+------+-----+ |Pica. |Small | Long |Bourg.|Brev. | Min. |Nonp. |Ruby. |Pearl.|Pica.| | | Pica.|Primr.| | | | | | | | +------+------+------+------+------+------+------+------+------+-----+ | 10 | 11½ | 12½ | 14 | 15½ | 17 | 20 | 23 | 25 | 10 | | 11 | 12½ | 14 | 15½ | 17 | 18½ | 22 | 25½ | 28 | 11 | | 12 | 14 | 15 | 17 | 18½ | 20½ | 24 | 27½ | 30 | 12 | | 13 | 15 | 16½ | 18½ | 20 | 22 | 26 | 30 | 33 | 13 | | 14 | 16 | 17½ | 20 | 21½ | 23½ | 28 | 32½ | 35 | 14 | | 15 | 17½ | 19 | 21½ | 23 | 25½ | 30 | 34½ | 38 | 15 | | | | | | | | | | | | | 16 | 18½ | 20 | 23 | 25 | 27 | 32 | 37 | 40 | 16 | | 17 | 19½ | 21½ | 24 | 26½ | 28½ | 34 | 39½ | 43 | 17 | | 18 | 21 | 22½ | 25½ | 28 | 30½ | 36 | 41½ | 45 | 18 | | 19 | 22 | 24 | 27 | 29½ | 32 | 38 | 44 | 48 | 19 | | 20 | 23 | 25 | 28½ | 31 | 34 | 40 | 46 | 50 | 20 | | | | | | | | | | | | | 21 | 24 | 26½ | 30 | 32½ | 35½ | 42 | 48½ | 53 | 21 | | 22 | 25½ | 27½ | 31½ | 34 | 37 | 44 | 51 | 55 | 22 | | 23 | 26½ | 29 | 32½ | 35½ | 39 | 46 | 53 | 58 | 23 | | 24 | 27½ | 30 | 34 | 37 | 40½ | 48 | 55½ | 60 | 24 | | 25 | 29 | 31½ | 35½ | 38½ | 42 | 50 | 58 | 63 | 25 | | | | | | | | | | | | | 26 | 30 | 32½ | 37 | 40 | 44 | 52 | 60 | 65 | 26 | | 27 | 31 | 34 | 38½ | 42 | 45½ | 54 | 62½ | 68 | 27 | | 28 | 32½ | 35 | 40 | 43½ | 47½ | 56 | 65 | 70 | 28 | | 29 | 33½ | 36½ | 41 | 45 | 49 | 58 | 67 | 73 | 29 | | 30 | 34½ | 38 | 42½ | 46½ | 50½ | 60 | 69½ | 75 | 30 | +------+------+------+------+------+------+------+------+------+-----+
THE NUMBER OF LINES CONTAINING A THOUSAND ENS
In any body of type from Pica to Nonpareil, and from 10 to 40 Pica ems in width.
+--------+------------------------------------------------------+ | Pica. | NUMBER OF LINES CONTAINING A THOUSAND LETTERS. | | ems in +------+------+--------+------+--------+--------+------+ | width. |Pica. |Small | Long |Bourg.|Brevier.|Minion. | Nonp.| | | |Pica. |Primer. | | | | | +--------+------+------+--------+------+--------+--------+------+ | 10 | 50 | 43 | 40 | 36 | 32 | 29 | 25 | | 11 | 45 | 40 | 36 | 32 | 29 | 27 | 23 | | 12 | 42 | 36 | 32 | 29 | 27 | 24 | 21 | | 13 | 38 | 33 | 30 | 27 | 25 | 23 | 19 | | 14 | 36 | 31 | 29 | 25 | 23 | 21 | 18 | | 15 | 33 | 29 | 29 | 23 | 23 | 20 | 17 | | | | | | | | | | | 16 | 31 | 27 | 25 | 22 | 20 | 19 | 16 | | 17 | 29 | 26 | 23 | 21 | 19 | 17 | 15 | | 18 | 28 | 24 | 22 | 20 | 18 | 16 | 14 | | 19 | 26 | 23 | 21 | 19 | 17 | 15 | 13 | | 20 | 25 | 22 | 20 | 18 | 16 | 15 | 13 | | | | | | | | | | | 21 | 24 | 21 | 19 | 17 | 15 | 14 | 12 | | 22 | 23 | 20 | 18 | 16 | 15 | 13 | 12 | | 23 | 22 | 19 | 17 | 15 | 14 | 13 | 11 | | 24 | 21 | 18 | 17 | 15 | 13 | 12 | 10 | | 25 | 20 | 17 | 16 | 14 | 13 | 12 | 10 | | | | | | | | | | | 26 | 19 | 17 | 15 | 14 | 12 | 11 | 10 | | 27 | 19 | 16 | 15 | 13 | 12 | 11 | 9 | | 28 | 18 | 15 | 14 | 12 | 12 | 11 | 9 | | 29 | 17 | 15 | 14 | 12 | 11 | 10 | 9 | | 30 | 17 | 14 | 13 | 12 | 11 | 10 | 8 | | | | | | | | | | | 31 | 16 | 14 | 13 | 11 | 10 | 10 | 8 | | 32 | 16 | 14 | 12 | 11 | 10 | 9 | 8 | | 33 | 15 | 13 | 12 | 11 | 10 | 9 | 8 | | 34 | 15 | 13 | 12 | 10 | 9 | 9 | 7 | | 35 | 14 | 12 | 11 | 10 | 9 | 8 | 7 | | | | | | | | | | | 36 | 14 | 12 | 11 | 10 | 9 | 8 | 7 | | 37 | 14 | 12 | 11 | 10 | 9 | 8 | 7 | | 38 | 13 | 11 | 10 | 9 | 9 | 8 | 7 | | 39 | 13 | 11 | 10 | 9 | 8 | 8 | 6 | | 40 | 12 | 11 | 10 | 9 | 8 | 7 | 6 | +--------+------+------+--------+------+--------+--------+------+
APPENDIX II.
DIAGRAMS OF IMPOSITION.
APPENDIX III.
ILLUSTRATIONS.
APPENDIX IV.
TERMS USED IN A COMPOSING-ROOM.
_Author’s proof._--The clean proof sent to an author after the compositors’ errors have been corrected.
_Bastard title._--A short title preceding the general title of a work.
_Bastard type._--Type with a face larger or smaller than its appropriate body: as Nonpareil on Minion body, or Minion on Nonpareil body.
_Batter._--Types accidentally injured in a forme.
_Beard of a letter._--The outer angle supporting the face of a type and extending to the shoulder.
_Blank page._--A page on which no matter appears.
_Body._--The shank of the letter.
_Boxes._--The compartments of a case in which the types are placed.
_Break._--The last line of any paragraph.
_Casting off._--Estimating how many pages a certain quantity of copy will make in type.
_Chapel._--The meetings held by compositors for the purpose of redressing grievances, collecting fines, and disposing of their funds.
_Clean proof._--When a proof has but few faults in it, it is called a clean proof; and when a proof is to be sent to the author, the compositor is ordered to pull a clean proof.
_Clearing away._--Properly disposing of materials after a work has been completed.
_Close matter._--Solid matter with few break-lines.
_Companionship._--All the hands on a work.
_Composing._--Setting type.
_Correct._--When the reader reads the proof, or the compositor corrects the mistakes marked in the proof, they are both said to correct; the reader the proof, the compositor the type.
_Corrections._--The alterations or errors marked in a proof.
_Cut-in letter._--A type of large size adjusted at the beginning of a line at the commencement of chapters.
_Cut-in note._--A note justified into the side of a page.
_Distributing._--Returning types to their various boxes after having been printed from.
_Double._--A repetition of words.
_Dressing a chase or forme._--Fitting the pages and chase with furniture and quoins.
_Even lines._--When a piece of printing has to be executed in great haste, a number of compositors are employed on it, and the copy is cut into small pieces for each, to facilitate the making-up, imposing, and the general furthering of the work; if the copy should be in long paragraphs, the compositors have each to begin a line and to make their copy end a line, frequently with great irregularity of spacing. This is termed making even. In newspapers it is of constant occurrence.
_Fat._--Poetry and leaded matter.
_Folio._--The figure or figures which stand at the head of the page; also a sheet of paper once doubled.
_Forme._--The pages when imposed in a chase.
_Foul proof._--A proof with many faults marked in it.
_Fount._--An assortment of type in definite proportions.
_Furniture._--Strips of wood or metal, placed around and between pages when imposed.
_Gauge._--A strip of reglet with a notch in it, passed with the making up, to denote the length of the pages.
_Get in._--To set close.
_Gutter-sticks_.--Furniture used in imposition to separate the pages.
_Half-title._--The title of a book inserted in the upper portion of the first page of matter.
_Head-line._--The top line of a page containing the running title and folio. When there is no running title the folio is styled the head-line. Chapter lines are head-lines, as are also the titles of articles in periodicals and newspapers.
_Imposing._--Arranging and locking up a forme of type in a chase.
_Imprint._--The name of the printer or of the publisher appended to jobs or title-pages.
_Inferior letters._--Small letters cast near the bottom of the type.
_Justifying._--Spacing out lines accurately.
_Keep in._--To crowd in by thin spacing.
_Keep out._--To drive out or expand matter by wide spacing.
_Kerned letter._--Type of which a part of the face hangs over the body.
_Laying cases._--Filling cases with a fount of new type.
_Laying pages._--Placing pages on the stone in the proper order for imposition.
_Lean._--Close and solid matter.
_Lean face._--Light, thin type.
_Letter hangs._--When the page is out of square.
_Locking up._--Tightening up a forme by means of quoins.
_Longcross._--The bar that divides a chase the longest way.
_Low case._--When the compositor has set almost all the letters out of her case.
_Making up._--To arrange the lines of matter into pages.
_Making margin._--In imposition, arranging the space between the pages of a forme so that the margin will be properly proportioned.
_Measure._--The width of a page.
_Open matter._--Matter widely leaded or containing numerous break-lines.
_Off its feet._--When matter does not stand upright.
_Out._--An omission marked in a proof by the reader.
_Over-running._--Carrying words backward or forward in correcting.
_Passing the making-up_.--Passing to the next hand in order the lines remaining (if any) after a compositor has made up her matter, together with the gauge and proper folio.
_Pie._--Type promiscuously intermingled.
_Planing down._--To bring down types evenly on their feet, by laying a planer on the page and striking it firmly with a mallet.
_Revise._--The last proof of a forme before working it off.
_Riding._--Type at the end of a line catching against a lead, or the ends of leads over-lapping each other.
_Runs on sorts._--Requiring an inordinate proportion of particular letters.
_Shank._--The square metal upon which the face of a letter stands.
_Signature._--A letter or a figure used at the bottom of the first page of a sheet, to direct the binder in placing the sheets in a volume.
_Sorts._--The letters in the several case-boxes are separately called sorts, in printers’ and founders’ language.
_Squabble._--A page or forme is squabbled when the letters are twisted out of a square position.
_Shoulder._--The upper surface of the shank of a type not covered by the letter.
_Stet._--Written opposite to a word, to signify that the word erroneously struck out in a proof shall remain.
_Superior letters._--Letters of a small face, cast by the founder near the top of the type.
_Table work._--Matter consisting partly of rules and figures.
_Take, or Taking._--A given portion of copy.
_Turn for a letter._--When a sort runs short, a letter of the same thickness is substituted, placed bottom upward.
_Wayz-goose._--A term given to the annual dinner customary among printers during the summer months.
_White line._--A line of quadrats.
_White page._--A blank page.
_Working in pocket._--When the hands share equally their earnings on a work.
APPENDIX V.
Miss Emily Faithfull wrote as follows in 1874:
In the end of 1859 our attention was directed to the printing trade as offering a field for the employment of women, and early in the following year the Victoria Press was opened in the face of a great and powerful opposition,[A] and we commenced what was then considered a rash experiment, and perhaps might have proved so, but for the liberal support accorded by friends who appreciated the difficulties we had to encounter from those who tried to check the movement by fair means or foul.
[A] Mr. Gladstone in speaking on monopolies (about the date to which we allude) observed;--“Then we come to the printer’s monopoly--a powerful combination, which has for its first principle that no woman shall be employed, for reasons obvious enough--viz., because women are admirably suited for that trade, having a niceness of finger which would enable them to handle type better than men; they are, however, excluded by the printers’ combination.”
The opposition was not only directed against the employer, but the female apprentices were subjected to all kinds of petty insults. Unmanly tricks were played upon them; their frames and stools were covered with ink so as to soil their dresses unawares, the letters were mixed in their boxes, and their cases were emptied of “sorts.”
Nevertheless, after some years of work, in spite of foes without and traitors within, property purposely injured, machinery wantonly broken, &c., &c., we have steered our little bark safely through the natural and artificial perils by which it was surrounded, and can now point to an office in thorough working order, producing its own monthly magazine and weekly paper, together with the books, reports of societies, chancery bills, cards, and circulars, with which the friends of the movement from all parts of the country kindly favour us.
Nor does the success of our experiment stop here; we gladly and thankfully recall the fact that female compositors are now employed in several other offices; the applications for “trained hands” are increasing. During the last month we have received letters from different correspondents asking us to send women compositors and proof readers to country offices. For the women who have taken up this trade have proved equal to their work. They “set up type” with expedition and accuracy. We have no hesitation in saying, after our long experience, that young girls learn with greater rapidity than boys of the same age; they are not only more intelligent, but they are far more attentive.
They have another vantage ground which employers will not be slow to recognise--viz., habits of sobriety. They do not ask for a few hours’ leave of absence and remain away a couple of days “on the spree,” which too often forms the man’s excuse for placing the master printer in a position of more or less awkwardness, according to the size of the office.
And in one direction the introduction of women into printing offices may prove beneficial to others as well as to themselves. This has been tested to a great extent in America. Not only did we find women at work in Harper’s splendid office in New York, but during a visit to Harvard, Mr. Houghton, the proprietor of the _Riverside Press_, kindly took us over his immense establishment, where we found men and women at work, side by side, setting up type. He spoke not so much of the work executed by the nimble fingers of the women, but of the moral effects of their presence there. The men had been shamed out of the use of bad words and habits, and he declared that it was impossible to over rate the good achieved, adducing that in the interests of his business nothing would induce him to have a room in which men worked alone. And this is justly regarded as a model Press in America. It reminds you of the good old days when the printer was a scholar. The heads of departments are all college men. When we had concluded our tour of inspection, and Mr. Houghton had assured us that his idea of introducing women compositors was due to a visit he had paid to our own Victoria Press, we indeed felt amply rewarded for any anxiety experienced in the establishment of an office which had not only helped English women, but actually influenced the fate of their sisters on the other side of the Atlantic Ocean--far beyond its own immediate centre.
Female compositors can earn from 10s. to 30s., but a good reader sometimes receives £2 2s. a week. Before anyone is qualified to undertake this position they must spend about twelve months in learning the technicalities of the business. Quickness of eye and a thorough knowledge of grammar and punctuation are indispensable, but they are not sufficient qualifications. We must be emphatic on this point, for many ladies come to us, and think because they can detect an error in some newspaper or magazine article, they are capable of filling the very onerous position of a reader[B] in a printing office.
[B] Several ladies have applied for a readership in a printing office lately vacant, stating as their qualification a capacity for reading aloud; another lady stated that “she knew she could undertake it for her father was a solicitor, and she had often copied out legal documents.”
Unfortunately, few ladies ever think, or are allowed to think, of preparing themselves for work; they never dream of it until driven to take it up for self support, and then require immediate payment. Now, charity cannot find an enduring place in the labour market, consequently women cannot be placed in positions of trust and respectability simply because they need remuneration, and those who desire to undertake any work in connexion with printing must be prepared to train themselves.
In confirmation of the opinions we have expressed about the position of a proof reader, we quote the following observation from a practical printer, who has always been friendly to the movement, and is a recognised authority on this point. He writes in answer to our enquiry:--“There _must_ be a previous acquaintance with practical printing. A very few people will do without it, but they are exceptions. By rights, there ought to be three or four years’ experience as a compositor first. Then a few months under careful supervision may make a reader.”
SIXPENCE MONTHLY, WITH PHOTOGRAPH.
ANNUAL SUBSCRIPTION, 7/-, POST FREE.
NEW SERIES.
THE VICTORIA MAGAZINE,
CONDUCTED BY EMILY FAITHFULL.
It discusses the social questions that affect the status of women with a knowledge and ability altogether its own.--_Spectator._
There is not an article in it too dry for a lady’s reading, or too frivolous to interest a man.--_Examiner._
Takes high rank among its contemporaries.--_Daily Telegraph._
Altogether the _Victoria_ shows traces of increased freshness and power.--_Guardian._
Every number of the _Victoria Magazine_ perceptibly furthers the good work.--_Oxford Undergraduates’ Journal._
A credit to its conductors.--_Liverpool Daily Post._
The _Victoria_ thoroughly sustains its character as the principal organ in questions relating to women.--_Yarmouth Independent._
LONDON:
THE VICTORIA PRESS, PRAED STREET, W.
SIMPKIN, MARSHALL & CO., STATIONERS’ HALL COURT, SOLD AT RAILWAY BOOKSTALLS.
SECOND EDITION.
Price £1 10s.
_Dedicated by permission to Her Majesty._
TE DEUM LAUDAMUS,
ILLUMINATED BY
ESTHER FAITHFULL FLEET.
Could not easily be surpassed in beauty of design, or in the finish of their execution.--_The Times._
Resplendent with gorgeous colouring and gilding, and the designs have much beauty and variety of form.--_Illustrated London News._
We must not omit to state that the book is also a triumph of printing in colour.--_Pall Mall Gazette._
THE VICTORIA PRESS, PRAED STREET, LONDON, W.
THIRD EDITION.
Price Sixpence.
PRAYERS, TEXTS, & HYMNS
FOR THOSE IN SERVICE.
By the Author of
“Count up your Mercies,”
AND
“Tracts for Railway Men and others.”
THE VICTORIA PRESS, PRAED STREET, LONDON, W.
AMATEUR
AUTHORS
Can have their Works printed and published
AT THE
VICTORIA PRESS
With advantage to themselves, and at the
same time help in the movement for
the Employment of Women.
ESTIMATES SENT FREE.
TRANSCRIBER’S NOTES:
1. Unicode symbols have been used to represent the handwritten marks that were used to indicate corrections: δ (Greek small letter delta, U+03B4) for delete ‿ (Undertie, U+203F) to connect two parts of a word ⁐ (Close up, U+2050) to indicate two parts should be closed up ੭ (Gurmukhi digit seven, U+0A6D) to indicate inverted letter 2. Enclosed italics font in _underscores_. 3. Enclosed bold font in =equals=. 4. Enclosed spaced font in ~tilde~. 5. Enclosed underline, overline and undercurve in +plus+.