Chapter I: Preface (1)

_In a strict sence, a good_ Compositer _need be no more than an English Scholler, or indeed scarce so much; for if he knows but his Letters and Characters he shall meet with in his_ Printed _or_ Written Copy, _and have otherwise a good natural capacity, he may be a better_ Compositer _than another Man whose Education has adorn’d him with_ Latin, Greek, Hebrew, _and other Languages, and shall want a good natural Genius: For by the Laws of_ Printing, _a_ Compositer _is strictly to follow his_ Copy, _viz. to observe and do just so much and no more than his_ Copy _will bear him out for; so that his_ Copy _is to be his Rule and Authority: But the carelesness of some good Authors, and the ignorance of other Authors, has forc’d_ Printers _to introduce a Custom, which among them is look’d upon as a task and duty incumbent on the_ Compositer, _viz. to discern and amend the bad_ Spelling _and_ Pointing _of his_ Copy, _if it be English; But if it be in any Forrain Language, the Author is wholy left to his own Skill and Judgement in_ Spelling _and_ Pointing, _&c. his_ Copy, _and_ Correcting _the_ Prooves, _unless they be_ Latine, Greek _or_ Hebrew, _for to those Languages there is generally a_ Corrector _belongs to the_ Printing-House: _And how well other Forrain Languages are_ Corrected _by the Author, we may perceive by the English that is_ Printed _in Forrain Countries_.

_Therefore upon consideration of these accidental circumstances that attend_ Copy, _it is necessary that a_ Compositer _be a good English Schollar at least; and that he know the present traditional_ Spelling _of all English Words, and that he have so much Sence and Reason, as to_ Point _his Sentences properly: when to begin a Word with a_ Capital Letter, _when (to render the Sence of the Author more intelligent to the Reader) to_ Set _some Words or Sentences in_ Italick _or_ English Letters, _&c. But of this more at large in_ ¶. 6.

_Thus much of his qualifications: Now to his Taask._

_The_ Master-Printer _gives him his_ Copy, _and directs him to his standing Place or_ Case, _and orders him_ Letter _to Work withal_.

_If his_ Case _want_ Papering, _as all_ New Cases _do, and many times old, He must_ Paper _his_ Case.

§. 22. ¶. 1. _Of_ Papering _and_ Laying _the_ CASE.

The _Composster_ sends the Boy to the _Master-Printer_, or to him that attends the Warehouse, for _Half a Quire_, or a _Quire_, or so much as he guesses he shall want, of good strong _Wast-Paper_, and cuts it into so many several Scantlins as the number of each Scantlin of his _Boxes_ in his _Case_ are; but he cuts his _Papers_ so large, as each _Paper_ may ly double in its _Box_, and have enough besides to fold almost half way towards the middle of each _Paper_, and also enough to turn up again against the sides of each _Box_, about the thickness of a _Pica_, or an _English_, above the bottom of the _Box_; and its _Paper_ on all its sides, except the upper side of the _Box_, which, as near as he can, he leaves no turning up of _Paper_ to, because the tendency the whole _Case_ has downwards by its a-slope position, the _Letter_ in each _Box_ tends also downwards, and therefore is not so apt to get between the _Paper_ and that side of the _Box_, as between the _Paper_ and the other sides of each _Box_: But yet that upper side, and all the other sides of the _Box_, he _Papers_ so smooth and tight, that he leaves no wrinckles in the turnings up against the sides of the _Box_; but if there be any, drives them carefully into the corners of the _Box_, lest his _Letter_, especially if it be Small, should get into the openings of those Wrinckles, and in time work their way under the _Paper_.

Having _Paper’d_ his _Case_, he considers how the rest of the _Cases_ in that _House_ ly, _viz._ into what _Boxes_ the several _Letters_ are to be disposed; for they are not in every _Printing-House_ disposed alike, and accordingly he applies himself to fill his _Case_ with _Letter_.

If a _Fount_ of _New Letter_ be brought home from the _Founders_, the _Compositer_ has no more to do, but to fill each _Box_ in his _Case_ with so many of each sort as each _Box_ will hold, and fall to _Composing_ till he has emptied his _Case_; which the same way he fills again, and _Composes_ on again till the whole _Fount_ be _Set up_: But when he has no longer any _New Letter_ to work upon, he must _Destribute_ some former _Set Forms_ to fill his _Case_ withal.

And before I shew you the Rules and Method of _Destributing_ and _Composing_, it will be necessary I say somewhat of the _Case_, and _Laying_ it.

By the _Case_ is meant, in _Printers_ common diolect, a _Pair of Cases_, viz. the _Upper_ and the _Lower-Case_: They are described with the most common way of _Laying_ them, in Plate 2. A the _Upper Case_, B the _Lower Case_. The _Upper Case_ is devided into Ninety eight _Boxes_ all of equal size; but the _Lower Case_ is devided into but Fifty six _Boxes_, and those of four different sizes (as you may see in the Figure) by the Frame and Black streight Lines representing the several Partitions. The manner how the several sorts of _Letters_ are disposed in the several _Boxes_, is called, _Laying of the Case_, where in the _Upper Case_ you see _Capital_ A Ly in the uppermost _Box_ on the Left-hand, B C D E F G succeeding it in that Row to the Right hand, as far as the broad Partition in the middle of the _Case_; under _Capital_ A lies _Capital_ H, I K L M N O orderly succeeding it to the right hand, as far as the great Partition in the middle of the _Case_: But the Figure being plain, I refer you to it.

The _Lower Case_ is not devided according to an orderly succession of the _Alphabet_, in Ranks; for those _Letters_ that are most used are laid in the biggest _Boxes_, about the middle of the _Case_, That the _Compositers_ hand may have the quicker access to them. See the Figure.

¶. 2. _Of_ Rincing a Form of Letter, _in order to_ Destributing _it_.

After the _Press-man_ has _Wash’d a Form_, he brings it to the _Rincing-Trough_, and rears it a little a-slope on one of the ends of the _Chase_, either against a convenient place of the _Frame_ of the _Rincing-Trough_, or towards the Wall; for so plac’d, the _Face of the Letter_ runs less hazzard of receiving dammage, and the _Form_ stands in a proper position for the _Compositer_ to rear a _Letter-board_ against the backside of it.

The _Compositer_ therefore brings a _Letter-board_, and puts the Face of it against the back-side of the _Form_, and draws _Form_ and _Letter-board_ toward him, leaning them against his Knee till he can conveniently grasp about the middle of the sides of the _Chase_ and _Letter-board_ between his Fingers under the _Board_, and his Thumb upon the _Chase_ and _Furniture_: And if the _Form_ be not too heavy, in this position he lifts it up to the _Rincing Trough_; but if it be too heavy, as most commonly it is, He lifts it up in this position till he brings the upper edge of one of the long sides of the _Letter-board_ to rest between his Belly and Stomach, and then sets _Letter board Form_ and all in the _Rincing-Trough_, letting the hither side of the _Board_ rest upon the hither Ledge of the _Rincing-Trough_; that the _Form_ may tilt downwards.

When it is on the _Rincing Trough_, he gets the _Mallet_ and _Shooting-stick_, and holding the _Mallet_ in his Right hand, and the _Shooting-stick_ in his Left, he places the Foot of the _Shooting-stick_ (that is the thin end of it) against the narrow ends of each _Quoin_, and knocking with the _Mallet_ upon the _Head_ of the _Shooting-stick_ as gently as he can to drive them back, he loosens every _Quoin_; and this is call’d _Opening of the Quoins, Unlocking of the Quoins, Opening of the Form, and Unlocking of the Form_.

But in the _Unlocking of the Form_, he observes these three Circumstances:

_First_, He begins at the _Foot-Quoins_ of a _Quarter_, and loosens them; then with his Fingers and Thumb he puts them up again pretty stiff; yet not so stiff, but that he can again with his Fingers and Thumb loosen them.

The Reason why he opens the _Foot-Quoins_ first, is, because the _Letter_ is less subject to _Squabble_ between _Line_ and _Line_ (that is _Head_ and _Foot_, the length of the _Page_) than it is between side and side (the breadth of the _Page_): For all the _Letters_ of a _Line_ being of the same _Body_, are all of the same size in their parallel bounds; and the two sides of the _Letter_ being generally considerably broader than the Thickness of the _Letter_, are held by their breadth and flatness faster and closer together in a motion towards the _Head_ or _Foot_ of the _Page_, than they are a-thwart the _Lines_, there being generally many thin _Letters_ and _Spaces_ in a _Line_, whose thickness is very little considerable to their _Body_ or parallel bounds: So that if the _Form_ be loose, those Thin _Letters_ and _Spaces_ not having a Thickness proportionable to their _Body_ to keep them in their proper Square, their Thin Edges twist them about, and one _Letter_ very seldom twists alone, but forces many others (perhaps in some _Lines_ above and below it, and on each side of it) out of its square position.

But the _Foot-Quoin_ being thrust up again with the Fingers, that the _Lines_ may joyn again after they were knock’d open with the _Mallet_ and _Shooting-stick_, make the Thin _Letters_ in the _Lines_ less subject to _Squabble_ (as not having the room to twist about) because _Opening_ the _Foot-Quoins_ afterwards with the Fingers, offers less violence than the smart knock of a _Mallet_.

_Secondly_, He holds the _Shooting-stick_ much aslant to the _Letter-board_, so as the Foot of it touch not the Face of the _Letter-board_, lest with knocking upon the _Shooting-stick_ (it being hard Wood, and the grain running downwards) the Foot should batter and spoil the Face of the _Letter-board_.

_Thirdly_, He _Unlocks_ the outermost, _viz._ the broadest _Quoins_ first, and then with his Fingers thrusts them pretty close up again, unless the _Form_ he _Unlock_ be a great _Letter_, for then he observes not this Circumstance so nicely; then the other _Quoin_, or (according to the bigness of the _Form_) _Quoins_.

Having _Unlock’d_ the _Foot Quoins_, he _Unlocks_ the _Side Quoins_ in the same manner and order; and being provided with a Pail, or a great Pan full of fair Water, and a _Wooden Dish_; he takes a Dish full of fair Water, or more, if the _Form_ require it, and throws it upon the _Form_, till he have so well wetted it, that the Water may sink between the _Letters_ in the _Form_, to hold and keep every _Letter_ contiguous to its next.

Then he _Opens_ the _Quoins_ pretty loose, the _Foot Quoins_ first, and in _Opening_ them he considers the _Body_ of the _Letter_, whether it be Great or Small, and accordingly he _Opens_ them; for at the _Foot_ he _Opens_ them about the thickness of the _Body_ of the _Letter_: But on the _Sides_ not above half the _Body_.

By _Opening_, you must now understand removing the _Quoins_, till they stand loose, or distant from the _Furniture_, the _Body_, or half the _Body_ of the _Letter_.

He _Opens_ but one _Quarter_ at a time, _viz._ one of the hithermost _Quarters_, till he have well _Rinc’d_ that, which when he has done, with his Fingers he thrusts the _Quoins_ of that _Quarter_ stiff up again, aswell that it may be the less subject to _Squabble_ or _Break_, as that the Water may the better be squeezed out from between the _Letter_; when he comes to _Destribute_ it.

Having thus _Opened_ the _Quoins_, He also _Opens_ the _Furniture_, viz. the _Head sticks_, and the _Inner Side-sticks_ and _Gutter-sticks_, if the _Form_ have any, to make himself the more room to _Open_ the _Letter_: The Balls of the three first Fingers of each Hand he places near the ends of the _Head-stick_, and _Opens_ it by taking as good hold as he can of so much of it as stands above the _Cross_ of the _Chase_, drawing the _Head-stick_ towards him about half the _Body_ of the _Letter_. And in the like manner he _Opens_ the inner _Side-sticks_, but draws them towards him about a quarter of the _Body_ of the _Letter_. Yet sometimes this Office is not perform’d with the three Fore-fingers of each Hand, but with the two Thumbs; and this is when the _Quarter_ of _Letter_ stands between the _Head_ or _Side-sticks_, and then he places his two Thumbs near the ends of the _Sticks_, as before he did his Fingers, and thrusts the _Sticks_, _Letter_ and all, from him.

And having _Opened_ the _Quoins_ and _Furniture_ of one _Quarter_, he also _Opens_ the _Letter_, that it may receive the Water more plentifully: He _Opens_ the _Letter_, by fixing the Balls of his Fingers of both his Hands upon the _Face_, and so thrusting and joggling it from him, and drawing it towards him from _Head_ to _Foot_, and from _Side_ to _Side_, and then throws a good Dish full or two of Water upon it, and with the Balls of his Fingers still rubs upon the _Face_ of the _Letter_, that by shaking and joggling the _Letter_, the Water (e’re it sink through the _Letter_) may the better _Rince_ away that _Ly_ that by the _Press-mans_ washing soak’d into it: And this joggling the _Letter_, and throwing on fresh Water he continues till the Water that spurts out from between the _Letters_ by this joggling, be as clear as it was when it was thrown on, and then, and not till then, he knows his _Quarter_ is well _Rinc’d_: Then with his two Thumbs, one placed on the side of the _Foot-stick_ and the other on the side of the _Side-stick_, as near as he can, he thrusts both at once towards their opposite _Cross_, and so thrusts the _Letter_ and _Furniture_ close up again: And that the _Letter_ may not be in danger of _Squabbling_ or _Breaking_, he thrusts the _Quoins_ loosly up again also.

As he _Open’d_ and _Rinc’d_ this first _Quarter_, he _Opens_ and _Rinces_ the others.

The reason why he _Opens_ and _Rinces_ the hithermost _Quarter_ first, is, because the Water that descends from the hithermost _Quarters_ does in a degree help to Rince the nethermost also.

Having thus _Rinced_ the whole _Form_, and with his Fingers shut it up again, he lets it stand a little while to drain; then grasping the two ends of the _Letter-board_ a little beyond the middle, with his Fingers underneath, and the Thumb-balls of his two Hands upon it, he sets one side of the _Letter-board_ against the bottom of his Stomach, and carries _Letter-board_, _Form_, and all to the _Destributing Frame_.

Then he falls to _Stripping_ of one _Quarter_ first: Taking the _Quoins_ quite out, and laying them upon the _Face_ of the _Letter_, either on the same or another _Quarter_ (if he _Strips_ but one _Quarter_ at once) with their ends standing the same way they stood in the _Chase_, and in the same order of succession; then he removes the _Side_ and _Foot-sticks_ to their respective sides, close to the inside of the _Chase_, and again removes the _Quoins_, laying them in the same order he laid them upon the _Face_ of the _Letter_, upon the upper sides of the _Side_ and _Foot-sticks_, and _Chase_; then, as I told you before, how he _Opened_ the Inner _Side-sticks_, just so again he not only opens them, but by the _Side_ and _Head-sticks_ he draws or slides the _Letter_ from the _Crosses_, that he easily takes them out if he pleases; or if he have room enough to come at the _Letter_ without, he lets them stay in.

Thus the first _Quarter_ is _Stript_, and so the other _Quarters_ successively, in order to be _Destributed_.

¶ 3. _Of_ Destributing.

The _Compositer_ seeks among the _Furniture_ for a _Riglet_, a little longer (about a _Pica_ or _English_) than the _Line_ of the _Page_ he is to _Destribute_; or else he cuts a _Riglet_ to that length (this _Riglet_ is called a _Destributing-stick_) and coming to his _Stript Form_, or _Quarter_ of the _Form_ he is to _Destribute_, he places one flat side of the _Riglet_ against the Head of the _Page_, and claps the Balls of his two Fore-fingers behind it, and the inner Joints (next his Fore-fingers) of his middle Fingers he claps against the ends of so many _Lines_ as he intends to _Take up_, supposing it _Pica_, about Seven; and presses them pretty close to the sides of the _Lines_: Then with the ends of the Balls of his two Thumbs he parts that number of _Lines_ from the rest of the _Page_, by pressing gently towards his _Riglet_ or _Destributing-stick_ upon the _Face_ of the _Letter_ of the farthest _Line_, which, if the Joints of his middle Fingers press pretty hard towards each other at first, easily part, and he may open that number of _Lines_ so far from the rest of the _Page_, that he may get the Balls of his Thumbs far enough upon the shank of the _Letter_: So that the pressing the _Lines_ yet a little harder between the Joints of his middle Fingers, and pinching with his Thumbs the _Letter_ hard against the _Riglet_, with a quick jerk he rears that _Taking-up_ upon his _Destributing-stick_. See _Plate 23. at_ A.

Having it upon his _Destributing-stick_ between both his Hands, with the _Face_ of the _Letter_ from him, he disingages his middle Fingers, and with his fore Fingers and Thumbs holding the _Riglet_, and now the Top of his _Taking-up_ pretty loosly between them, he turns (as on two moving Axises) the ends of the _Lines_ that were towards his Right Hand, and guides them to the Thumb-ball of his Left Hand: Thus the _Face_ of the _Letter_ is turn’d towards him; then bowing the inner Joynt of the middle Finger of his Left Hand (which before prest the left side of the _Line_) under the middle of the _Riglet_ he takes the weight of the _Taking-up_ upon it, which yet he eases as he lifts, by mounting the now Right Hand end of the _Lines_ a little above an Horizontal level, and depressing the Left Hand ends a little below; so that now he he has his _Taking up_ in his Hand, with the _Face_ of his _Letter_ towards him, and the _Notches_ upwards, he goes with it to his _Case_, and places himself against the middle of it. See _Plate 23. at_ B.

Then clapping the Ball (or if he will take off more than the length of the Ball) of his middle Finger of his Right Hand, of the second Joint of that Finger, against the bottom of the uppermost _Line_ of his _Taking up_ towards his Right Hand, and his fore Finger about the middle of the shank of the _Letter_, he slides or draws towards him about an Inch or an Inch and an half of that _Line_ upon the Ball of his Thumb, which is placed at the _Face_ of the _Letter_ to receive it: And as it comes off the _Taking up_, he with his aforesaid two Fingers and Thumb disposes it so among his Fingers that he gathers the Ball of his fourth Finger under the bottom of the _Letter_, and then he brings what he has taken off towards his Sight to read; then with a sleight thrusting the Ball of his Thumb outwards, and drawing inwards the Balls of his fore and middle Fingers, he spreads and _Squabbles_ the shanks of the _Letters_ between his Fingers askew; and remembring what _Letters_ he read, he nimbly addresses his Hand with a continued motion to every respective _Box_, which his Fingers, as they pass by, lets a _Letter_ drop into, till his _Taking off_ be quite _Destributed_.

Having _Destributed_ that _Taking off_ he makes another _Taking off_ as before, and so continues his _Takings off_ till his whole _Taking up_ be Distributed: And thus he _Takes up_ and _Destributes_ till his _Case_ is full.

If the _Form_ were not well _Rinc’d_, the shanks of of the _Letters_ will be more or less slippery, and with long _Destributing_ will make the Balls of the Fingers and Thumb supple, by the wetness of the _Letter_ and sharpness of the _Ly_; and consequently the grain of the skin will be made clumsie, and those Joints feeble; so that they will not so well fasten upon the sides of the Shank to command the _Letter_, and draw it askew, or be so nimble at disposing them into their several _Boxes_.

This happens most if they work upon small _Letter_, and that old, and the _Ly_ old too, for then the _Ly_ will have much _Inck_ mingled in it: And the _Compositer_ will have much ado to _Rince_ his _Form_ so clean but that the _Letter_ will be slippery, and consequently not spread, as aforesaid. But against it they may use a remedy, which is, to have a piece of Allom about the bigness of a Hasel-nut, lye in one of the _Boxes_ of the _Case_; for by feeling that now and then, the dilated pores of their Fingers are again contracted, and fit to do their office: For by the greasiness of the _Letter_, the grain of the Skin of the Fingers were so dilated, that the _Compositer_ could not so actively draw the Shanks of the _Letters_ askew, as aforesaid.

The _Compositer_, if conveniences suit, chuses to _Destribute_ his _Letter_ over Night, that he may have a _dry Case_ (as he calls it) to work at in the Morning, because Wet _Letters_ are not so ready and pleasant to pick up as Dry; and besides are apt to make the Fingers sore, especially if the _Ly_ be not so well _Rinc’d_ from the _Letter_ as it should be. In the Winter, when he _Destributes_ in the Day time, he commonly brings the _Lower Case_, when full of _Letter_, to the Fire to dry, rearing the farther side of the _Case_ a little upwards: And when it is well dryed, he sets it again upon the _Frame_.

¶ 4. _Of_ Composing.

The _Compositer_ now addresses himself to _Composing_: And looking a little over his _Copy_, to see how it pleases him, for he runs different fortunes, either of good or bad _Copy_, viz. well or ill writ, if it be a _Written Copy_, or much _Italick_, _Latin_ or _Greek_, or _Marginal Notes_, or few _Breaks_, _&c._ for this he likes not in his _Copy_: But a _Printed Copy_, or a fair Written Hand, and full of _Breaks_ pleases him well, and is by _Compositers_ call’d _Good Copy_, _Light_, _Easie Work_; when the former they call _Bad_, _Heavy_, _Hard Work_: And if a Price be already made for a whole Book, the Good and Bad is done at the same Price.

If the _Measure_ be already made, that is, if he was already upon that _Work_ before, and his _Composing-stick_ be set to the _Measure_ of that _Work_, he needs not, or must not alter his _Composing-stick_: But if his _Measure_ be not made, he must unskrew the _Skrew_ of his _Composing-stick_, and slide the _Cheeks_ nearer to, or farther off the _Head_ of his _Composing-stick_, till he have exactly fitted his given _Measure_.

If it be a _Printed Copy_ he is to Work on, and his Work must run _Line for Line_ with his _Copy_, he then without more ado, _Sets_ or _Composes_ the fullest _Line_ he finds in his _Copy_, and slides up the _Cheeks_ of his _Composing-stick_, and pinches that _Line_ between the _Cheeks_ and the _Head_, till it stands as stiff or hard in the _Stick_ as he intends to _Justifie_ all the rest of his _Lines_: Then screws up the _Composing-stick_.

_Justifying_ (in _Compositers_ Language) is the stiff or loose filling of his _Stick_, for if it be fill’d very stiff with _Letters_ or _Spaces_, they say it is _hard Justified_, if loosly, they say it is _loose Justified_.

Having the _Measure_ fitted, he places the _Galley_ on his _Upper Case_ on the Right Hand, for those _Boxes_ are seldomest used, because in them are placed only the _Latin sorts_, or sometimes the _Small Capitals_, _Astronomical Signs_, &c.

He places his _Galley_ so, that the Left Hand corner of the bottom of its Frame stands lower upon the _Case_ than any of the other Corners, for in that position the _Letters_ at the end of every _Line_ stand safest from falling, as leaning towards the rest of the _Page_.

Some _Compositers_ use _Visorums_, as is described in _Plate 2._ at i. Therefore pricking the point of the _Visorum_ most commonly upon the Border or Frame of the _Case_ on the Left Hand about the &-_Box_, they fold the _Leaf_ of _Copy_ they _Compose_ by, so as the bottom of it may rest upon the Square-Shoulder near the bottom of the _Visorum_; then with two pieces of _Scaboard_ tyed together at one end, they clasp both the _Copy_ and _Visorum_ between these two _Scaboards_, which two _Scaboards_ pinch the _Copy_ and _Visorum_ fast enough to keep the _Copy_ in its place, and at the same time also serves for an _Index_ to direct the Eye to every _Line_, as the _Compositer_ moves it downward.

After this preparation, the _Compositer_ falls to _Composing_. But first reads so much of his _Copy_ as he thinks he can retain in his memory till he have _Composed_ it, as commonly is five or six words, or sometimes a longer Sentence. And having read, he falls a Spelling in his mind; yet so, that his Thoughts run no faster than his Fingers: For as he spells A, he takes up A out of the A _Box_, as he names n in his thoughts, he takes up n out of the n _Box_, as he names d in his thoughts he takes up d out of the d _Box_; which three _Letters_ set together make a Word, viz. And; so that after the d he sets a _Space_: Then he goes on to the next _Word_, and so _Composes_ on, _Setting_ a _Space_ after every _Word_ till the _Words_ come to the end of the _Line_, for then he sets no _Space_.

When he _Composes_ the _Letters_ he holds the _Composing-stick_ in his Left Hand, placing the Second Joynt of his Thumb over the moving _Cheek_ of the _Stick_, and the end of the Ball of his Thumb reaches down to the bottom of the _Cheek_ and _Stick_; so that with the end of the Ball of his Thumb he gently presses the _Letter_ close to the _Cheek_, and keeps the _Letters_ tight and square together, as he places them in the _Stick_ successively. _See Plate 24. at_ A.

And as his Eyes are very quick in reading his _Copy_, and in shifting its Visual Ray to the several _Boxes_ he is to have a _Letter_ out of, so is his choice what _Letter_ to take up very sudden; for though the _Box_ be full of _Letters_, yet in an instant he resolves and pitches his Fingers upon that one, which for its posture and position his Fancy reckons lyes most commodious for his immediate seizing. For position, he generally chuses that which lies uppermost, because it is readiest at Hand to snatch up: And for posture, that which lies with its _Face_ towards his Right Hand, because catching at the _Letter_ near the _Face_-end of the _Shank_, he by an accustomed sleight, in his Fingers while it is coming to the _Stick_, disposes it so, that as the bottom of the Shank goes directly forwards, towards the bottom of the _Stick_, so the _Notch_ of the _Letter_ shall also be placed upwards.

Most _Compositers_ use a _Composing-Rule_, which is only a piece of a _Brass-Rule_ cut to the length of the _Measure_, with a small Ear left at either end, to take it out by when the _Line_ is full, and to lay it upon the _Compos’d Line_, to _Set_ successively a succession of _Lines_ upon, till the _Stick_ be full.

This _Rule_ is very commodious to Work with, because the _Letter_ slides easier and smoother down to the _Back_ of the _Stick_, than it will upon a _Line_ of _Letters_: Besides, the _Letters Compos’d_ on it stand streighter and truer in _Line_, and are less subject to _Hang_, than those _Compos’d_ on a _Line of Matter_; unless with a _Riglet_ (as that they many times do) they rub pretty strongly along the _Line_ they have _Compos’d_, which is a labour more than needs, and the loss of some time to make the Work more unpleasant.

Having _Composed_ one _Line_, if it ends with a _Word_ or a _Syllable_ and a _Division_, and just fill the _Measure_, it needs no more _Justifying_; but if the _Line_ conclude not as aforesaid, then he puts a _Space_ more between every Word, or so many Words as will fill up the _Measure_ pretty stiff, viz. _Justifie_ the _Line_. But if the _Line_ be not yet _Justified_, he puts another _Space_ between every Word, or between several Words, till the _Line_ be _Justified_: So that here is now three _Spaces_, and strictly, good Workmanship will not allow more, unless the _Measure_ be so short, that by reason of few _Words_ in a _Line_, necessity compells him to put more _Spaces_ between the _Words_. This often happens in _Marginal Notes_, where the _White_ between _Words_ is often as great or greater than between _Line_ and _Line_.

These wide _Whites_ are by _Compositers_ (in way of Scandal) call’d _Pidgeon-holes_, and are by none accounted good Workmanship, unless in such cases of necessity, as aforesaid.

And as _Lines_ may be too much _Spaced-out_, so may they be too close _Set_: It maybe accounted too close _Set_ when only a _Thin-space_ is set between Words, especially if no _Capital Letter_ follows the _Thin-space_ or _Point_ go before it. _Thin-spaces_ being intended and _Cast_ only that the _Compositer_ may _Justifie_ his _Lines_ the Truer, and not to serve for convenient distinction between Words; yet do some _Compositers_ too often commit this error, rather than put themselves to the trouble of _Spacing_ out a _Line_, where many _Spaces_ must be used to _Space_ it out.

A good _Compositer_ takes care not to _Set_ too Close, or too Wide; for if he _Set_ too Close, and should happen to leave out a Word or two, it will give him a great deal of trouble to get those Words in; Nay perhaps when he comes to a _Break_ he drives out a _Line_, for which _Line_ perchance he may be forc’d to _Over-run_ all the _Pages_ that are _Set_ forwards upon that _Matter_. And if he _Sets_ too Wide, and he chance to _Set_ a Word or two twice over, he may be forc’d to make _Pidgeon-holes_ e’re he come to a _Break_, and then perhaps his _Break_ is got in too, and his _Page_ a _Line_ too short, and he forc’d to _Over-run_ several _Pages_ e’re he can drive that _Line_ out. As I shall farther shew you when I come to the ¶ of _Correcting_.

In _Justifying_ his _Line_ he takes great care that it do not _Hang_: It is an unproper Term, yet grown into Use, for when the _Letter_ stands askew, and not directly Square, they say it _Hangs_. New _Letter_ is most subject to _Hang_, especially if not very smoothly _Drest_; Because the least Bur, or sharpness of its Angles, may catch in the Burs or Angles of the _Letters_ that stand next them, and so make them stand aslope, and one _Letter_ standing aslope is very subject to make all the other _Letters_ in that _Line_ stand aslope too. Therefore if he find his _Letter Hang_, while his _Line_ is yet _loose_, viz. Unjustified, he gently with the Ball of the Thumb of his Left Hand, thrusts the top of the shank of the _Line_ where it _Hangs_, moving the _Letter_ somewhat from him, towards the farther end of the _Stick_, and with the Balls of the two Fore-fingers of his Right Hand pats upon the _Face_ of the _Letter_, till he have got them into an upright position. He moves or drives the top of the Shank of the _Letter_ from him, because generally the placing the Ball of his Thumb on the top of the shank of the _Letter_ when he _Composes_ (as was shewn before) is subject to draw the _Letter_ askew towards him, but that his care commonly prevents it: Yet if by chance the _Line_ should _Hang_ from him, then he with the Ball of his Thumb as aforesaid, draws the _Letter_ towards him, to set it upright.

Here is now one _Line Compos’d_: And as he _Compos’d_ that _Line_, so he _Composes Line_ upon _Line_ till his _Stick_ be full: When his _Stick_ is full, he _Empties_ thus; He lays his _Stick_ down upon his _Lower Case_, with the bottom of his _Stick_ against the hither _Ledge_ of the _Case_, and the _Face_ of the _Letter_ upwards; being provided of a _Riglet_ just the Length of his _Line_, he lays his _Riglet_ against his last _Line_, and places the Balls of his two Fore-fingers behind the _Riglet_, near the middle of it, if the _Line_ be not too long, and then only as near the middle as he can to command it with his Fore-fingers; and he places the Balls of his Thumbs against the first _Line_ in his _Stick_ as far below the _Face_ of the _Letter_ as he can, and he places first the Joints of his middle-fingers against the Sides of the _Letter_ at the two ends of the _Line_, so as I shewed you he did when he was _Taking up_ his _Letter_ to Destribute it; and in this posture pinching the _Letter_ between his Thumbs and his Fore-fingers, and and squeezing his two middle fingers towards each other, he leans the _Letter_ in the _Stick_ almost flat upon the _Riglet_: But if his _Lines_ were _Hard Justified_, he cannot perhaps with the first leaning the _Letter_ back get them clear out of the _Stick_, therefore he again wriggles the _Stick_ of _Letter_ forwards and backwards, till he gets them quite out. _See Plate 24. at_ B.

Having gotten them out, and in this posture fast between his Thumbs and Fingers, and the _Letter_ leaning almost flat upon his _Riglet_, he directs both his hands together to his _Galley_, and nimbly claps that _Stick_ of _Letter_ down into the _Galley_, placing the first _Line_ close and upright against the lower ledge of the _Galley_, and the begining of his _Lines_ close and upright against the left hand _Ledge_ of the _Galley_, and then disingages his Fingers and Thumbs, and leaves his _Riglet_ standing in its place till he have occasion to use it in like manner for the next _Stick_ of _Letter_.

As he _Set_ this _Stick_ of _Letter_, so he _Sets_ on till his _Page_ is _Out_, Remembring after the last _Line_ of every _Page_ to set a _Direction_: That is, he _Sets_ a _Line_ of _Quadrats_ and at the end of it the first word of the next _Page_, or if the Word be very long and the _Line_ very short, two _Syllables_, or sometimes but one of that _Word_. And if it be the _First Page_, viz. the first _Page_ of that _Sheet_, he _Sets_ a _Signature_ about the middle of the _Line_, or rather a small matter nearer the end than the middle is, (because when the _Sheets_ are wrought off and gather’d, they _Collation_ something quicker: The _Collationer_ not being forced to prick up with his _Bodkin_ the corners of the _Sheet_ so high to see the _Signature_: which in a long train of work saves time.

If it be the _First Page_ of the first _Sheet_ of a _Book_ the _Signature_ is A, if the first of the second _Sheet_ B, if the first of the third C, and so successively till he come to W, which is always skipt, because the _Latin Alphabet_ has not that _Letter_ in it; but next V follows X Y Z, so that if the _Book_ contain above three and twenty _Sheets_, the _Signature_ of the four and twentieth _Sheet_ must be A a, if five and twenty B b; till in like manner he run through the _Second Alphabet_, and comes to the third, fourth, _&c._ still as he begins a new _Alphabet_ adding an a.

To the second _Page_, or any other _Even Page_, he _Sets_ no _Signature_, but to the Third which is an _Odd Page_ he does, viz. A 2. The _Figure_ of 2 is no part of the _Signature_, but is only an adjunct to shew the _Book-binder_ the Second _Leaf_ of that _Sheet_, that he may the surer _Fold_ the _Sheet_ right.

If it be a _Folio Sheet_ he cannot set A 3 in a single _Sheet_, because it has but two _Odd Pages_ in it; but if they be _Quir’d Sheets_, that is, two, three, or four _Sheets Quir’d_ together, he must set A 3 in a _Folio_, though not in the First, but Third _Sheet_ of that _Quire_. But no wise _Compositer_, except he work on _Printed Copy_ that runs _Sheet_ for _Sheet_, will be willing to _Compose_ more _Sheets_ to a _Quire_ than he shall have a _Fount_ of _Letter_ large enough to set out, unless he will take upon him the trouble of _Counting off_ his _Copy_: because he cannot _Impose_ till he has _Set_ to the last _Page_ of that _Quire_; all the other _Sheets_ being _Quired_ within the first _Sheet_, and the last _Page_ of the _Quire_ comes in the first _Sheet_. But when he _Composes Quir’d Work_, the _Signature_ of the first _Page_ is A, the _Signature_ of the _Sheet Quir’d_ next within the first _Sheet_ is A 2, the first _Page_ of the next _Quir’d-Sheet_ A 3: So that the _Signatures_ of all the _Sheets_ in the first _Quire_ is A, A 2, A 3, _&c._ according to the number of _Sheets Quired_ together. The second _Quire_ begins B, B 2, B 3, _&c._ The Third _Sheet_ C, _&c._ according to the number of _Quires_. This is called _Printing_ in _Quires_. Now to return.

If the _Form_ be _Quarto_, he _Sets_ under the Fifth _Page Signature_ 3. If _Octavo_, he sets also under the Fifth _Page Signature_ 3. and under the Seventh _Page Signature_ 4. If _Twelves_, he sets also under the Fifth _Page Signature_ 3, and under the Seventh _Page Signature 4_, and under the Ninth _Page Signature_ 5, and under the Eleventh _Page Signature_ 6. The Rule is, that all _Odd Pages_ should have a _Signature_, if they stand on the _Out-side_ of the _Sheet_; and the reason for the Rule is, that the _Gatherer_, _Collater_ and _Bookbinder_ may the readier lay _Sheets_ right, if they be turned wrong. This Rule is not among _Compositers_ so well observed as it ought to be: For in _Quarto’s_ they not only leave the _Signature_ 4 out, but rarely put in _Signature_ 3.

¶ 5. _Some Circumstances a good_ Compositer _considers and observes in_ Composing.

A good _Compositer_ is ambitious as well to make the meaning of his _Author_ intelligent to the _Reader_, as to make his Work shew graceful to the Eye, and pleasant in Reading: Therefore if his _Copy_ be Written in a Language he understands, he reads his _Copy_ with consideration; that so he may get himself into the meaning of the _Author_, and consequently considers how to order his Work the better both in the _Title Page_, and in the matter of the _Book_: As how to make his _Indenting_, _Pointing_, _Breaking_, _Italicking_, _&c._ the better sympathize with the _Authors_ Genius, and also with the capacity of the Reader.

Nor does a _Compositer_ the least shew his skill in the well ordering and humouring of a _Title Page_, which, because it is the first _Page_ of a _Book_, we shall begin the _Compositers_ Considerations at.

He, as aforesaid, judiciously reads his _Title Page_, and considers what _Word_ or _Words_ have the greatest Emphasis in it. If many _Words_ precede the Emphasis, he considers whether it be best to make one or two _Lines_, or more of them, by electing a _Body_ bigger or less to _Set_ the precedent _Matter_ in, and whether any of these _Lines_ ought to be _Indented_, either at one end or both, viz. _Set_ in the middle of the _Line_. And what Words of Emphasis come in that precedent _Matter_; that he may _Set_ them either in _Capitals_, _Roman_, _Italick_, or _English_; and at last bring the great Emphasis, which is generally the _Title_ or _Name_ of the _Book_ in a _Line_ by it self, and just fill it if he can; which he has some helps to do, by the great _Bodied Letters_ of the _Lower Case_, or else by _Capitals_, _Roman_, _Italick_ or _English_, of a proper _Body_, which best pleases his fancy, or is in present mode.

If this _Word_ of great Emphasis be _Set_ in the _Lower Case_, yet he _Sets_ the first _Letter_ a _Capital_, and he _Sets_ no _Space_ between _Letter_ and _Letter_, but between _Word_ and _Word_ he does, if there happens more than one _Word_ in that _Line_: But if that _Word_ be _Set_ in _Capitals_, he chuses to _Set_ a _Space_ between every _Letter_, and sometimes he _Sets_ two _Spaces_, yet that is rather to drive out the _Line_.

If he _Sets_ but one _Space_ between the _Letters_ in a _Word_, he _Sets_ three _Spaces_ between _Word_ and _Word_: And if he _Set_ two _Spaces_ between _Letter_ and _Letter_, he _Sets_ four _Spaces_ betwen _Word_ and _Word_, as well to give a graceful appearance to the Eye, as to make a Visible and proportionable distinction between _Word_ and _Word_.

He also considers what _Whites_ to _Set_ between his _Lines_; as either a _Line_ of _Quadrats_, and of what _Body_; or (if his _Title Page_ be large) but a _Scaboard_: and at last _Justifies_ his _Page_ in _Length_, either by adding more _Whites_ (where they may be proper) if his _Page_ be too short, or by taking out or diminishing _Whites_ if the _Page_ be too long: And this he does by altering the _Body_ of _Whites_, for if a _White-line_ be _English_, he may take it out, and in its room put in _Pica_, _Long-primmer_ or _Brevier_, according as he finds he has _Run out_; yet this he does with Consideration, where more or less _White_ is properest.

But the mode of ordering _Titles_ varies; as may be seen by comparing the _Title Pages_ of every twenty years: Therefore a Lasting Rule cannot be given for the ordering them: only what has been said in general concerning Emphasis, and in particular to humour the Eye, the _Compositer_ has a constant regard to.

When he is to Work upon a continued Series of _Matter_, he _Sets_ the _Title_ of the _Chapter_ or _Section_ in a bigger _Body_ and different Character than his _Matter_ is _Set_ in; as if the _Matter_ be _Set_ in _English Roman_, he _Sets_ the _Title_ in _Great Primer_ or _Double Pica Italick_, but the _Words_ of _Emphasis_ he will _Set_ in _Roman_, and varies the Character for them as well in the _Title_, as he does in the _Matter_.

If his _Title_ be short, he _Sets_ it in the middle of the _Line_, by _Setting Quadrats_ on both sides: If his _Title_ be long, he _Sets_ the middle _Line_ in the middle: If it make three or more _Lines_, he _Indents_ the first with an m _Quadrat_, and the other with two m _Quadrats_. Before his _Title_ he sets a _White-line_, viz. a _Line_ of _Quadrats_, and so he does after it; but with regard to what the bigness of the _Body_ of the _Letter_ the _Title_ is _Set_ in, _Runs out_; for these _Whites_ must be set of such _Bodies_ (bigger or less) as will make the difference of the _Body_ the _Title_ is _Set_ in, a just number of _Lines_ with those of the _Body_ the _Matter_ is _Set_ in, because the length of the _Page_, as aforesaid, must be _Justified_. And he always forecasts to put rather more than less _White_ before the _Title_ than after it; because the _Title_ has relation to the _Matter_ of the _Chapter_ or _Section_ it is _Set_ to, and therefore ought not to be so distinct, as from the precedent _Chapter_ or _Section_.

After his _Title_, he begins his _Chapter_ or _Section_ with a _Two-lin’d Letter_, or _Three_ or _Four-lin’d Letter_, but _Indents_ it not. He begins his _Chapter_ or _Section_ with the first _Line_ in the _Stick_, unless his _Stick_ be very Deep, or his _Two_ or _Three-lin’d Letter_ small, because it may else reach above the top of the _Stick_, and so hinder him from filling up _Lines_ to the _Body_ of the _Two_ or _Three-lin’d Letter_.

After the _Two_ or _Three-lin’d Letter_, he _Sets_ a _Capital Letter_ of the _Body_ his _Matter_ is of, and _Indents_ all, those _Lines_ that are to fill up the _Great Letter_ with an n _Quadrat_.

He cannot use his _Composing-Rule_ (mentioned in the foregoing part of this ¶) till he have filled up _Lines_ to the _Body_ of the said _Great Letter_; because his _Composing-Rule_ is too long to go between the _Great Letter_ and the _Head_ of the _Stick_: but then he uses the end of a _Riglet_ to rub along the _Lines_ he has _Composed_ to smoothen them, and so _Set_ on till he has filled up the whole _Body_ of the _Great Letter_, and most times somewhat above it; which _Letter_ he afterwards _Justifies_ with _Small Bodied Quadrats_, or with _Scaboards_ or _Cards_, or with any or all of them till the _Great-letter_ stands even with the number of _Lines_ that it _Indents_, and afterwards uses his _Composing Rule_, and _Sets_ the succeeding _Lines_ to their full Length.

If it be a great _Wooden Letter_, he begins his _Chapter_ or _Section_ with, it is most times too _Deep_ for the height of the _Cheeks_ of his _Stick_; therefore he _Justifies_ his _Stick-full_ just to the breadth of the _Wooden Letter_ with _Quadrats_ or _Quotations_, and _Sets_ on between those _Quadrats_ or _Quotations_ and the _Head_ of his _Stick_, as I shewed before, till his _Stick_ be full of _Lines_; which _Lines_ he _Empties_, leaving the _Quadrats_ or _Quotations_ in his _Stick_, to serve, as before, for the succeeding _Stick_ or _Sticks_, till he have _Composed Lines_ enough for the _Depth_ of the _Wooden Letter_.

As he _Sets_ on, he considers how to _Point_ his Work, viz. when to _Set_ , where ; where : and where . where to make ( ) where [ ] ? ! and when a _Break_. But the Rules for these having been taught in many School-books, I need say nothing to them here, but refer you to them.

And as he considers how to _Point_, so he considers what proper Names, either of Persons or Places, he meets with in his _Copy_, as also what Words of great Emphasis, and what Words of smaller Emphasis, what Obsolete Words, and what Foreign, _&c._

When he meets with proper Names of Persons or Places he _Sets_ them in _Italick_, if the Series of his _Matter_ be _Set_ in _Roman_; or in _Roman_ if the Series of his _Matter_ be Set in _Italick_, and _Sets_ the first Letter with a _Capital_, or as the Person or Place he finds the purpose of the Author to dignifie, all _Capitals_; but then, if conveniently he can, he will _Set_ a _Space_ between every _Letter_, and two or three before and after that Name, to make it shew more Graceful and Stately. For _Capitals_ express Dignity where-ever they are _Set_, and Space and Distance also implies stateliness.

_Words_ of great Emphasis are also _Set_ in _Italick_, and sometimes begin with a _Capital Letter_: If the Emphasis bear hard upon the Word to be exprest as well as the Thing to be exprest, it ought to begin with a _Capital_. I shall bring for instance an Observation I made above forty years ago on the Word _that_, viz. that that Word may be reitterated five times, and make good Sense: If it be set thus it will seem nonsense, that that that that that; but if it be _Set_ thus, that that That that that Man would have stand at the beginning of the _Line_ should stand at the end; it will, by toning and laying Emphasis on the middlemost That become good Sense. Now all the thats ought to be _Set_ in _Italick_, and the middlemost That ought to begin with a _Capital_, because it is both the Thing and Word.

Words of a smaller Emphasis may be _Set_ in the running Character, viz. _Roman_, if it be the Series of the _Matter_; or _Italick_, if _Italick_, but begun with a _Capital_: Instance in the last Sentence, That which expresses both the Thing and Word, _&c._ Here Thing and Word both bear Emphasis, though not very great, and therefore ought to be dignified more than those Words that precede or follow those Words. Yet I know some Authors are now so nice to mark both the Word Thing and the Word Word in _Italick_.

After a . though not at the end of a _Break_ he begins with a _Capital_.

When in _Composing_ he comes near a _Break_, he for some _Lines_ before he comes to it considers whether that _Break_ will end with some reasonable _White_; If he finds it will, he is pleas’d, but if he finds he shall have but a little single _Word_ in his _Break_, he either _Sets_ wide to drive a Word or two more into the _Break-line_, or else he _Sets_ close to get in that little Word, because a _Line_ with only a little Word in it, shews almost like a _White-line_, which unless it be properly plac’d, is not pleasing to a curious Eye.

Nor do good _Compositers_ account it good Workmanship to begin a _Page_ with a _Break-line_, unless it be a very short _Break_, and cannot be gotten in in the foregoing _Page_; but if it be a long _Break_, he will let it be the _Direction-line_ of the fore-going _Page_, and _Set_ his _Direction_ at the end of it.

_Indenting_ after a _Break_ (unless it be the end of a _Chapter_ or _Section_) is an m _Quadrat_, (more or less is not proper) _Set_ at the beginning of the _Line_: But when Verses are _Indented_, two, three or four m _Quadrats_ are used, according to the number of the Feet of the Verses, but most times according to the fancy of the Author.

_English_ obsolete Words he _Sets_ in the _English_ Character, the first _Letter_, if the dignity of the Word require it, as aforesaid, with a _Capital_.

Foreign Languages he meets with in his _Copy_, if the _Master Printer_ have them in his House, he _Sets_ them in the proper Character; if not, the Author must write them in the common Character, and the _Compositer Sets_ them as they are written.

That I may be the less unintelligent to the Reader, I will inform him that in _Printers_ Dialect (as in this last Paragraph it is used) _Language_ is understood _Letter_: For the _Compositer_ does say, I shall use a Word or two of _Greek Letter_, or _Hebrew Letter_, or _Saxon Letter_, _&c._ but I shall use a word or two of _Greek_, a Word or two of _Hebrew_, _Saxon_, _&c._ so that the Word _Letter_, is in _Compositers_ Dialect, understood by naming the Language.

If _Indentures_ instead of _Marginal Notes_ come in a number of _Lines_, he _Indents_ his _Stick_, as I shewed you he did for a _Wooden Letter_, leaving a convenient _White_ between his _Matter_ and _Indenture_, and then again _Indents_ his _Stick_ to _Set_ the _Matter_ that comes in those _Indentures_, allowing a reasonable _White_ between the Top and the Bottom of his _Indenture_, and then _Justifies_ it up to an exact number of _Lines_, as he did the _Wooden Letter_.

If _Marginal Notes_ come down the side (or sides, If the _Page_ have two Columns) he chuses to _Set_ them in on the _Stone_, rather than in his _Galley_; because both his _Page_ and _Notes_ stand safer, being cloathed with the _Furniture_, than they do when they stand Naked in the _Galley_. Therefore I shall say nothing of _Marginal Notes_ till I come to _Imposing_.

Some other Circumstances (according as variety of Work does happen) a _Compositer_ may meet with; but by what has been said upon this and several other Trades, the Ingenious (as they occur) may easily consider how they are to be performed.