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Master Printers, Amateurs, Apprentices, and Others,

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IN THE CLERK S OFFICE OF THE DISTRICT COURT OF THE UNITED STATES. FOR THE SOUTHERN DISTRICT OF OHIO.

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in: alnindant supply of excellent and beautiful typographic appliances of every description now presented to the choice of the Printer, and the cultivated tastes and often exacting caprices of his patrons, render it not only comparatively easy but very necessary for him to attain to excellence in workmanship. If he would reap the rewards of profit and honor, he must be prepared to meet the varied demands of popular patronage with intelligence, taste, and skill, as well as be constantly alert to the best practical effedts, if not the extreme possibilities, of his craft.

It cannot be denied that refined taste and elegance in his productions give the printer a hold upon public consideration and support that the most laborious and obliging incapacity — with even better advantages in other respeiits — would fail to retain for any considerable period. It is from lack of ability or carelessness in arrangement that bungling workmen are compelled to accept the oftal of patronage, while the good craftsman culls the best of it, and distances his weaker rival in the advance to financial success. For this reason, if for no other, all engaged in the business of printing should take advantage of every avenue leading to better information and pracflice in its accomplishment, if they would reach the higher results of this progressive art.

The need of a more pra6tical hand-book and guide, than an\ at jiresent available, for the use of novices and unskilled workmen, has led the publisher to issue this volume, in the belief that it will measurably fill the want and afford such learners real assistance. While this is the main intention of the publication, it will, howe\er, aim to be of ser\ ice to accomplished adepts and managers of printing concerns, — who hold the position of teachers, — by relieving them, to some extent, of the annoyances and vexations so frequently attending verbal instruction or practical demonstration, where there is no convenient means of reference at hand to illustrate an idea desirable to be impressed ujion tlie learner's mind.

Under tlie captions: — Hints About Starting an Office; On Letterpress Composition ; The Press Room ; General Business Alanag^emcnt ; and Closing IVotes; — will he found such information and suggestions as are deemed pertinent to the obje<5ls in view.

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The various specimens herein displayed have been taken, except in obvious instances, from the current transactions of a regular printing office, and were not especially designed for the pages of the book. These specimens are presented in the order of their occurrence, the necessity to use the material in the type forms — from which' they were almost entirely printed — preventing the possibility of systematic arrangement. A convenient Index will be found at the end of the book.

The presswork on nearly all of the pages was done in ordinary course, bv average workmen, and is not offered for rr/V/rff/ judgment, further than it applies to general pradlical execution, such as may be accomplished on job presses now in vogue. Qiiarto and half-medium bed-and-platen presses were used throughout the main body of the work.

Elsewhere will be fovmd refei-ences to, and explanatory of, such matters as are deemed worthy of particular mention. Nothing, however, is sought to be made an arbitrary- guide. The first part of the Book is condensed from the writer's experience of many years, and the samples of design are submitted as a varied collecflion of respectable work, that may help to remove some of the embarrassments usually experienced by learners and teachers.

The expense of the Typograph has been greater than was at first anticipated, in consequence of considerable additions to the original plan. Consequently the prospeifl of a future edition of the work, except at an advanced price, is very doubtful.

Cordial acknowledgements are due to those friends of the vmdertaking who have spoken words of encouragement from the start, as well as given more tangible evidences of their desire to assist it. Without particularizing, in this place, any who have extended to it a helping hand, the publisher off"ers his sincere thanks to each and all, hoping that the deficiencies of a first book Avill meet with leniency at the hands of those who ma.y see proper to judge its merits.

In conclusion, the desire is earnestly expressed that the Typograph may aid to inaugurate a better understanding of the tasteful utility as well as artistic scope of typography in the present da^^ It is hoped, moreover, that a kindly disposition of emulation, communication, and comparison, will spread among the junior and senior members of the honorable craft. Such a spirit, if properly maintained, can only promote the interests of all concerned, and serve to elevate Printing still higher as a substantial, creative, and preser\ative Art.

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^jy^PouNG printers, as well as other people, when going into business on jj^ their own account for the first time, frequently assume that if thev have a good outfit, plenty of assurance, and announce themselves in strong terms, patronage and income will follow as matters of course. But a majority eventually arrive at wiser conclusions, and learn from later experience that numerous other essentials are required to bring about success. A few advisory notes concerning these matters arc therefore not considered out of place in this volume.

In commencing the establishment of a new interest, if any one would have it become profitable and popular, he should possess strong common sense, economy, personal energy, and a dispositon to please. If he have little or no experience in general management, and steps, as it were, from the position of workman to that of employer, he can not exercise too much prudence in arranging his plans for future procedure. No matter ho\\- familiar he may deem himself with ordinary business routine, or the uses of the various implements and articles that comprise a complete printing establishment, when he comes to be master, and has to choose, determine, and deal for himself, the chances are that he will often fall into errors and admit disadvantages that older managers have learned to avoid.

Every one about to enter the printing business, will do well to make a careful survey of the proposed field he would occupy. The anioimt and character of average current patronage should be fairly estimated, and, as far as possible, the ability, facilities, and dispositions of competitors ascer- tained, with a view to marking out the course of at5lion to be taken — leaping at no hasty conclusions as to one's own personal superiority, nor expecting to become established through dishonorable pracfiices, underbid- ding, and the like. Make " Live and I^et Live " an abiding rule, and if this can not be sustained, seek for an opening in a more promising quarter.

Supposing, however, the inquiries in regard to the place of operation shall have proved satisfactory, the next step will be to secure a location that is convenient of access to neighboring and transient patronage; not too expensive; but well ventilated, and with plenty of light from without. Dingy, obscure rooms are generally adverse to prosperity, and (.(.rtaiiily disagreeable to most patrons and workmen.

The tendency of the inexperienced piu-chascr of ])rintiiig nialerial lor a new office, is usualh toward injudicious and supLMlluous CJUtfit. \\'ith a

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Hints About Starting an Office.

limited capital at command, the desire is generally felt to expend it to the best advantage; but, from one cause or another, the intention is often defeated — probably, in most cases, through haste or want of reflection. Real present requirements are not sufficiently calculated, nor future con- tingencies considered, and so the beginner becomes encumbered with things not needed until a later period, if at all, while the necessity to have matters of immediate utility, which were overlooked while available means lasted, compels him to ask for credit in obtaining the deficiency.

Mere predilections, theories, and experiments, unless san(?tioned by aCtual and satisfactory tests, should be entertained with much precaution at the outstart. Carrying out speculative projeCts and solving doubtful enigmas have crippled many who might have been prosperous enough had thev pursued the beaten path that was sure and distinCt.

It is beneficial to observe local traits, tastes, and requirements in regard to printed matter, and, especially in large communities, the methods of operation adopted by prosperous and well-managed concerns, whereby to correct and modify one's own preconceived notions of business transaction. But, be not deceived, while witnessing the busy performance and evident good fortune of well-patronized establishments, into the belief that there is no end of patronage to be had, provided one can have suflicient material and an office under one's control wherein to become rich! Ah, how often do such thoughts deceive! A confident feeling of capability and a supply of approved facilities for the execution of work, are excellent things to begin with; vet an enduring business can be built up only on a sure foundation, little bv little, and must involve fixed principles of industry, fair dealing, painstaking, and close and systematic attention to expenditure and income, whatever natural advantages may surround it besides. Negligence and bad policy will overthrow the best conceived enterprise.

Whether the work to be undertaken consist of newspaper, book, or job printing, or a combination of branches, nothing should be purchased at the start that is not absolutely necessary to its moderate execution. Addi- tions may always be made as required, but articles got for possible or prospective utility, are, in nine cases out of ten, not only dead capital but greater or lesser annoyances. What is seleCted, however, should be the BEST. Thorough examination of previously prepared memoranda should be made, to ascertain if anything has been put down that should not be, or if indispensable things have not been omitted. To buy old, worn, and delapidated machinery, type, etc. is a bad investment, no matter how small the price paid for them.

An ot^ce should be purchased with direCt regard to the capital at command, wherewith to pay for it immediately, and without dependence upon possible trade or assistance, that may arrive too late. Embarrass- ment arising from indebtedness, as well as inferior capability, has caused much of the unfair and suicidal competition, and consequent depression of the printing business, in many places. Be content with a small office out of debt, rather than a large one that is encumbered.

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Hints AhoKt Stiir/iiii; (III Off ice.

\\\- would rcionniu-iul plain, neat, and snhstanlial Furniture — such a> cabinets. iack>. iniposin^ stones. talilc>. cl(»cts, standinj^ <4"allevs. lianques. etc. — iinifbrni in appearance, lint made t"oi- use ratlier than show. For Case Stands, liesired without racks, the hitelv invented, neat, strong Iron Bracket Stands are to he preferred, as xhcy do not warp or get out of" ortiiT like wooden ones, ,ind |iernut the tree passage of air besides.

Racks for Job Letters ought to be strongl\ antl coni))aCtl\- buill. 'I'lu' cases should be about ti\e-eighths to three-quarters ot' ;in inch apart, and rest on strong, Iiard wood cleats well fastened to their ])laccs b\ screws, or slotted into the legs or ends of the stand, and have stout hack stops to permit the cases, w hen pushed back, to be on a line in front. A rack will contain t'roni tour to eight more cases, it" construO'teil in this wav, than it woidd if made bv the common method, with wide spaces between ca.ses. anil the cleats or rests carelesslx naileii on. and liable to gi\e wa\ under hea\ \' founts. 'J'he usual sui'plus space ot" si\ or more inches foimd in rack> meant to ser\e also as stands.— which we do not approve, howe\er, — is best if left in front, as it will therebv afford room for a case to be used in the rack, w hen onlv ])artiall y ]>ulled out, at times when single lines are to be set up for jobs and display pages. Where this plan is adopted, the inter- \ als between the cleats should be closed in nearly even with the ends of the case, so a> to prexenl it from slipjiing out sidcwaAs.

Cabinets, Racks, Drawers, and other pieces of office furniture a|)t to liecome hea\ \' when tilled with material, if" raised three or foiu" inches above the floor, by means of blocks, will enable them to be examined underneath for dropped letters or dirt that could not otherwise be got at.

Cases, whether t"or book or job work, should be made of the best kinds of well-seasoned wood, that is not liable to split or warp. The bottoms should be smoothly covered with tough cartridge paper, or such as is not easily afl"'ed-ted h\- dampness. 'J'hose cases that have the angles of the boxes wired down firml\ w ith Hne co]i]ier w ire at \ arious points, are stiffer and more durable than those without such wires. The ledges of cases should be made with sc]uare angles, not roimded, as some are.

Closets for Standing Jobs, Alive Matter, or anything in t \ pe that it i^ desirable to preserve t"ree from picking, dust, and pi, should ha\e close- fitting lioors. Such closets ought alwa\s to be placed in I'harge ot' a responsible person, who will examine them weeklv to see if there is an undue accumulation of matter that should lie distributed.

Cabinet Drawers, t"or ixwy purjiose, shoidd have strong Iron Handles, tirmly screwed on, instead of the light t"anc\- or jiorcelain knobs, that are liable to get broki-ii and ))ull out.

Strong Boxes, — or. lietter still. Drawers that cannot lie removed, — t"or sui-plus iiuatlraUes. should also have good Iron Handles, as indeed should all rei-ejitai'les that are to hold hea\\- articles.

A Compact Cabinet for Cuts, with suitable strijis for sepaiating the diflerent sizes, is a much better way to kee]i them uninjured than the common prai^tice of piling them up in odd corners, or on shelves, making it necessary to o\-ei-haul them t'requcnth to get at some needeil one, and

,c^^^!^^,<f'=^^

Hints Aboni Starting an Office

1

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causing more or less injury to tlieir faces, each time, from unnecessary handling.

In all Carpentry done for an office, neatness and comfort should be considered. lIa^'e no tight-fitting cases, creaking drawers, ill-made closets, rough, proje(5ling corners, rickety joints, or haphazard constru(5lion of any kind, no matter how plain or simple the work may be in other respedts.

Types, Borders, Ornaments, Rules, etc. ought to be judiciously selected with a view to harmonious eflfetSt in any kind of work for Avhich they may be employed. Styles should be varied systematically, and a due propor- tion of the various sizes of romans, italics, texts, gothics, antiques, bold and light faces, scripts, hairlines, ornamented, etc., maintained, whether Avith ordinary, condensed, or extended Ijodies. so as to insure elegance of combination, as well as sufficient variety, Jiccording to the tastes of different patrons. A large, incongruous collecftion of type, bought without regard to its harmony or application, simply because it is new, or strikes the passing fancy, or is the same as that contained in other offices, will seldom be found as useful for general purposes as a smaller quantity sele(R:ed with direift reference to its futin-e employment and tasteful adapt- ability.

The introdu<!:tion of many -charactered and elaborate Combination. Borders causes a great waste of time in printing offices, that is rarelv paid for by the work on which it is usually employed. Some are very beautiful when carefully worked, but wear out quickly, and should not be indulged in to any great extent where expedition and moderate prices are de- manded. It were better, we think, if founders, who seem to vie with each other in producing such things as rapidly as possible, would furnish any of the various combinations such borders are capable of forming, electrotyped and mortised, as they are needed by the printer.

In Job Letters we would recommend purchasing all the series of a really desirable lace or none of them.

The rivalr\- Of type-makers, at times, is apt to cause the produ(5tion of so-called Novelties that are of an indifferent charaifter. Although neiv, they have often nothing to commend them besides oddity or incompleteness of design — are generally evanescent as to utility, and seldom profitable to persons imwary enough to expend money for them. When such things appear, they should be persistently refused, which would soon make them scarce. Almost every printing establishment of long standing, that does- much mixed work, has a number of founts of type, ornaments, etc. that have been discarded as unpopular, difficult to w^ork clearly, or are clumsy, and otherwise nearly useless, although but little worn; while others, that were elegant and attracStive at first, have never ceased to be in request. One often wonders, in glancing over samples of past work, how such and such styles of type could ever have been thought handsome or appropriate, or even admitted among the adjuncts of an office at all. If it is true that

"•A thing of" beauty is a joy forever,"

then it is proper to deliberate somewhat l)etbre ordering any and every-

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thinii thai appears, simjilv because it may please the iancv inomentarih . but which will not prove useful enough to pay for its cost. Let us have fewer of these unprofitable temptations say we.

Uniformity of Body in the various founts of letters used in an office ha% ing the same names — such as long primer, pica, great primer, etc. — should be maintained as nearly as possible. It is a bad thing to have two or three bodies of pica, for example, that var^' enough to affe<5l the appear- ance of work when the quadrates and spaces are used indiscriminately. The lack of a proper imderstanding among founders of different seiftions in this particular, has rendered the possession of type made by all of tliem, rather a drawback than an advantage.

Every Case in a printing office should be neatly and distinctly Labeled with a line or two of the type it contains, set up for that purpose, and accompanied with its foundry name. Tough, well-calendered paper, either white or light yellow, if used for such labels, will last a long time.

In arranging letters in cases, care should be taken that those of approximate sizes placed near to each other shall have their Nicks so difterent that there will he no liability of one being taken for another in corre(?ting or distributing.

Labor-Saving Rules, acciu-atcly cut to ems of pica, and Brass Leaders to line with the various bodies of Scripts and Italics, are costly, but, wc think, amply repay their cost in convenience and saving of time. In very particular work, however, we prefer single lengths of rule, as it is not always possible to join pieces so as to prevent the point of their coming together from being noticed, especially on card and tabular work.

Leads and Slugs made to various type bodies should be plentifullv supplied to an office. If they are cut to various lengths of ems and ens of pica, as is now pretty generally the case, they render the waste of time and metal, in chipping them at the cutting bench — an abominable prac- tice— inexcusable.

Metal Furniture and Quotations, cast in accurate moulds, are alwavs desirable, and save mucli labor and many quadrates in doing blank work, imposing forms, etc.

Where Economy in Case Room is requisite, instead of the bad custom of putting two small founts of different faces together, it is better to u>c large upper cases, and divide the bo.xes diagonally by means of high (stereotypers') leads, four to pica in thickness. These leads should be fitted tightly to prevent them from lifting when the case is moved about or jolted suddenly, thereby letting the contents of different compartments get mixed.

A con\enient size for Imposing Stones is about three feet three inches by five feet three inches. They should l)e elevated about three feet four or live inches above the floor. The slab or stone should be hard, close grained, elastic, not apt to chip, smoothly polished, and perfectly le\el on the work- ing surface. White Italian marlilc. and some kinds of slate, make good stones. Have them from one and three-quarters to two and one-half inches thick, and laid ^n a bed of sawdust or gypsum, to i>re\ ent springing II — 9 —

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I llinls About Starting- „ ,i Office. \

or cracking at the weaker parts. The box that is to contain the sawdust or other bedding should be made with tightly matched lumber, and about three-quarters of an inch deeper than the thickness of the stone. An imposing stone well set up, will be firm, and so level as to allow single lines of letters to stand on their feet an_\ wliere upon its surface. Iron Imposing Tables we do not consider good, on account of their tendencv to rust and A\ear the bottoms of type faster than stone.

The Frame of the Stone should be strongly construcHed of well- seasoned and rather hard wood. Drawers tor lock-up furniture, mallets, planers, shooting-sticks, quoins, etc. shouUl not come out square to the sides and ends, lower than a couple of feet above the floor, as below that there should be leg-room for persons working at the stone for any extended period, as in imposing, correcting, etc. If the drawers are inserted length- \yise, or into the narrow ends of the stone frame, there will be plenty of loom for a Chase Hole eighteen inches wide, at the centre. (See diagram in another part of the book.)

The best Composing Sticks are made of steel, and are smoothl\ polished, as well as strong, light, perfectly true from top to bottom, and without any •'gi\e'' or spring at the slide. W'e have examined a very excellent kind made with a brace firml\- secin-ed to. and extending from, the top of the sliding bar to the bottom part of the stick, where it fits sqiuii-ely, yet is so contrived as to be entirely out of the way of the hand, and adds but little to the weight to be sustained while composing. Few of the ordinary sticks, adjusted by means of a common clasp, are to be depended upof* for particular work when the^' are worn in an}- degree, and seldom hold as firmly as the nut and screw; although the latter is bj no means the most convenient form of fastening. Those secured, when set to a measure, by means of a groove and lever arrangement, we consider good.

.\n obvious fault that exists in most of the composing sticks used in this country-, is, that they are too deeji from top to bottom by one to two ems of pica. Tlie longer ones, when maiie of metal, are tiresome and unwieldy while being filled \yith solid matter. Although the workman may empty them before the\ are full, if he wishes, vet it \\ Id be lietter, \\e think, if tiie_\- were made less deep w hen more than eight inches in length. Procure close-grained Mahogany Composing Sticks for long measures.

,\ simple but well-construi!:ted Mitreing Machine, that will cut rviles and leads perfe(ftly true to any required angle, is certainly a nccessit\ to e\ery employer who wishes to do exacH w oik, as well as to economize in the time consumed therein.

The old-fashioned Wood Quoins, altbougli rather rude w hen compared w ilh some excellent mechanical ones that ha\ e been introduced recenth . must still be used for a long time in man\ places. They should be made of dog-, live-oak-, box-, or iron-wooti. and ha\e their be^ eled sides to correspond exacHly to the furniture with which the\ are to lock up. For \er\ narro\\ lock-ups. Iron Side and Foot Sticks are decitiedh better

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Hints About Sta it i )ii;- nil Officr.

tlian wooden ones, as tlif\' will not \ ifld >o rcailih when tlu' quoins arc driven entirely lionie.

Wood Furniture is eon\enienl to elo^e in anti lii^luen torni^ that aie to he locked up for ordinarx presswork rec|uiriny no register: hut it" the latter is necessary, it shoidd not he used to anv extent, as it will swell when wet. Metal Furniture is always hest for exae't registers. For poster or otlier connnon work reqinring a great deal of wood furniture, it is advisahle to lia\e the whole of it, including reglets and side-sticks, cut to ems of pica, and marked with figures struck into the squared ends to indicate the length and a\ idtli of each piece.

Shooting Sticks made of polished Avrought steel, if properlv shaped, ai-e the hest, but require careful handling to pre^•ent damage to t\'pe and imposing stone.

Choose Mallets of medium weight tiu-ned tVom lignum-xita- or iron- wood, and see that the handles are thorouglilv seciu-ed.

Planers made of compact mahogany-w ood and perfeiflly true are to be jireferred. They should be capped w ith a strip of stout calf-skin or kip, to lessen the vibration of the strokes wlien forms are planed ciown.

In choosing Printing Presses and other Office Machinery, liave onlv the most efficient and best made kinds, if possible. These will be found to be the cheapest in the end, if nice work and durability are desired from them, although the prices paid for them may be greater than for inferior articles. Beware of troublesome complications that require experts to handle. Simplicity of construdtion and action, combined with strength, are most necessary. Remember the machines will necessarily be managed, more or less, by partially skilled workmen and learners. Scientific invention and modern improvement has su})plied much machinery that is almost perfeift in its operation, hut there still remains considerable that is little better than wortliless. which slioukl ne\ er he atimitted into a well regu- lated office, however plausibly those concerned in its sale ma-v speak of it. Prudent inquiry among disinterested and experienced pracHical men will iniiicate what to avoid in this rcspecH.

I'2\ery pix-ssroom should be pro\ided with a well-huill Roller Closet as nearl\ aii' tight as possible. Rollers are among the most expensi\e perishable articles of a printing office, and if carelessl\ attendeii to the_\ become doubly- so. They slioidd he arranged s\ stematicalh and sepa- rately, according to size, in such a closet. especiall\ in cold weather. Shallow tin pans, to be filled with warm water in dry or cool seasons, should be placed at the bottoms of closets, to allow the rollers to attrae't moisture, whicli will jireserve them in good working condition longer than tiie\' would otherwise In- kept.

Have Ley Brushes made of real bristles that are firm yet elastic, antl without rougli or irregular rubbing surfaces. Much small type is injured by inattention to this item. Try a brush by rubbing it briskly over the palm of the hand for !i few moments, and if it has a searching, s]iring\- feel, yet produces no harsh or scratchy sensation, it will he a good lirush.

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Hints About Startiiig an Office.

An Ink Table, eighteen inches square at top, and three feet high, with stout legs spreading from the perpendicular two or three inches at the bottom, and furnished with one or two drawers for holding tjmpan paper, odd tools, and the like, belongs properly to each press where fountains are not used, and colors are frequently changed.

Ink Stones of smoothly finished slate or marble, whereon to mix, grind, or bray out inks for immediate use, are better and cleaner than the iron tables attached to small presses, which are not good for delicate colors.

A Muller of marble that will not easily splinter, or of the best flint glass, is useful for rubbing up old inks that have lost some of their cohesiveness, elasticity, or "life." In fa6t, if the Muller were more gener- ally used, inks that are sometimes condemned as worthless, would be found very good, after being well rubbed in cold weather by its means; and a rubbing up of most ordinary black or colored inks, without unduly heating" them, improves their working qualities and brilliancy very perceptibly at all times.

Ley Pots should be made of iron and not too large; because if too much ley is made, it is apt to become dirty, and fill up, rather than clean, type.

Baskets or Bins, for the reception of waste and spoilt paper, will prevent the slovenlj- appearance visible in many press-rooms, where the floors and tables are allowed to be littered about.

A good Drying Rack, for laying out sheets that are liable to set oft' or have been worked damp, is a very useful piece of furniture. For job oftices, those made about twelve feet long, eight feet high, and sixteen inches deep, with six standards well braced together at top and bottom, and supplied with shelves ten or twelve inches apart, the bottoms of which are made of flat, smooth slats, separated a few inches from each other to permit the circulation of air, will be found most convenient, as they can be placed along walls, and occupy less useful room than if made square.

Another useful article, and one that should always be had, if possible. is a small, solid Bench, supplied with a vise, saw, files, chisels, plane, hammer, and a few other tools. Many a dollar can be saved by having such a bench and tools, to do small jobs of repairing that must otherwise be sent away to be done.

Order, Convenience, and Simplicity in arranging a working place ought to be carefully observed. A crowded, helter-skelter condition of things makes daily labor irritating and uncomfortable; while ease in getting at and using any implement or material, expedites its execution, and con- jsequently increases the profits of an office.

There are numerous other suggestions that might be made relative to organizing an office, but what has been said will suffice. A little fore- thought and care will indicate such additional items to those who have the well-beiny of their establishments at heart.

a

<J )i LcU I- r p res s (Composition. o

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0\Lettei|press Composition.

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Composition, or the nice arrangement and adjustment of type im- plements into various forms, has been described as the more iiitclleci- ital portion of typographic handicraft, and the pressman's work as the mechanical means whereby the former becomes really utilized, and the result termed printing is reached. Each operation, however, is dependent upon the other for its full accomplishment, and an intelligent understanding and co-operation between compositor and pressman is essential to produce in the best manner what is required at their hands. Thoughtful discrimination and painstaking labor is necessary in both branches. Although superior manipulation in either may serve to conceal the defeats of the other, in some degree, vet it is the true policy to have both as excellent as possible under all circumstances.

While there is positive evidence that type composition, in its technical as well as artistic application, is continually improving in most portions of the country, there still remains to be regretted that which is defecSlive and unseemly in many important particulars. The absence of ambition, and nearh' total disregard evinced by certain so-called printers for the "fitness of things," in many cases, is too often occasioned bv ignorance, lack of taste, skill, or the want of an adequate incentive to better per- formance on the part of such printers; and a destructive, short-sighted indifference to good execution on that of their customers, so long as the latter can have done what they foolishly suppose will answer e\erv pur- pose, at a merely nominal price for the service.

The tendency to degrade and cheapen this the best aid to every com- mercial, social, artistic, and scientific accomplishment, has retarded its full progress, and it certainly indicates a want of proper appreciation of the typographic art wherever such practices rule. Wc are sorry to sav, also, that such pseudo-printers assist in extending e\ ils that are becoming daily more injurious to themselves as well as better men.

lIKSr IlllXCiS TO LEAI^N.

Tlie first step of a learner should be to acquire the i/trnirs. and under- stand, to some extent, the difference between the \ariouN inijilcnu'utN ami materials with which he will be surrounded. He should know what is roman, italic, antique, gothic, text, script, ornamental, or other " faces ' of letters; what constitutes a full fount of book letter, and what a foimt of job letter; what are kerns, shoulders, shanks, and nicks of type; what are rules, dashes, leads, slugs, leaders, quotations, and metal, wood, and other form furniture. He should be shown the construiftion of. and \ariations in. dift'erent kincK of tyjie case-, and liow tin- boxi's ought to

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be occupied; what are stands, racks, cabinets, sticks, galleys, chases, bod- kins, mallets, planers, quoins, imposing stones, and other accessories of an office with Avhich he is at all likely to be brought in contact; thus making him familiar with their technical names and uses even before being permitted to ha\e full control of, or access to, them.

A week's time thus consunied by an earnest and intelligent no\ice will give him a large amoimt of theoretical insight that will hasten his progress when it is put into a(5lual practice; and he will be better pre- pared to respond to familiar technical dire(5tions relating to the articles about him, which at least indiredtly form a part of his business, and arc to be always identified with his future operations in it.

HOW TO L.\Y A CA.SE WITH NEW I.KTTER.

Carefully remove the paper from around the type as it comes from the founder, and stand the page confined by its cord on the imposing stone. Wet it with a weak mixture of soap and water, which will prevent the letters from clinging together when first used. Next deposit it upon a small square brass galley — one made especially for casing letter if at hand — evenly and squarely, with the nicks of the type up, and cautioush' untie the string so as to make no pi. Then proceed with a smooth, stout rule of sufficient length to take up three or more lines of letters or " sorts " of the same kind; and holding them horizontally, with the nicks still uppermost and faces toward you, slide them gently from left to right into the proper box, taking care that the faces do not strike perpendicularly or scrape against the sides of the box. Repeat this until the box is comfortablv full, and never shake or shove letters together to make room for moi^e in a box.

Extra sorts should be placed in regular lines as they occur, upon a separate galley, to be tied up, papered, marked, and cared for until the boxes are to be replenished, or another pair of cases laid. Bundling up surplus sorts into papers is an excellent mode of impairing the fine lines of the letters^say ten per cent.

CASTING OFF COPY.

This i-equires exaft calculation and considerable judgment. It cannot l^e done well in haste. If the "copy" for the work to be set up is in manuscript, and regularly written on sheets of paper uniform in size, the task will be comparatively easy; but, if, on the other hand, as is often the fa6t, the copy is slovenly and irregularly written on paper varying in size, with mnnerovis erasures, interlines, compressed notes, abbreviations, and the like, it is a matter of some difficulty to arrive at complete accuracy: yet comjirehensive examination, patience, and care, will ascertain with tolerable precision what the compositor has to do, however unattra(5tive and irksome the duty in such troublesome instances may be.

From among several methods in vogue, we present as a good one that of first resolvinii the written matter into an averaije niunber of words to a

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page, not counting chapter lines, sub-heads, poetical extra(5ls, breaks, and like contingencies, which should, however, be subjedted to a separate cal- culation, and added to the cast-oif last.

A tolerably close estimate of the words contained in even bad manu- script may be made by counting the lines of say twelve of its varying pages, then getting an average per line of the ~vords in several lines taken from each page, and multiplying the number of the former by that of the latter. Next add the average allowance for chapter lines, sub-heads, and other than break lines, counting them as full lines. Reduce the break lines to full lines, adding them to the whole, and you have the contents of twelve pages. Divide by twelve to find the contents of a single (average) page.

Example: — A work of 400 pages in manuscript is submitted. \i aver- age pages, taken at intervals, give an average of 30 lines to a folio. 3 lines taken at various places from each of these 12 pages indicate an aver- age of II words to a line. This will give about 330 words to a page, exclusive of breaks, chapter, and other lines, for which an allowance is made of four lines, or 44 words, for each page of manuscript, which, added to 330, makes 374. Multiply the 374 words per page by the 400 pages in the manuscript, and you have a resvilt of 149,600 words in all.

To know how many pages of printed matter this will make, it is now necessai-y to have the size of type and page to be used. An exacft printed page, containing the one and representing the other, is always a good guide in completing the calculation, which is done by dividing the number of words contained in the manuscript by that of the printed page. This will give the desired cast-oft' for the work in printed pages. Thus, the estimate of the manuscript gives 149,600 words; that of the printed page, of the size required, — set up in leaded long-primer, we W'ill say, for ex- ample,— gives 480 words; consequently, 149,600 divided by 480 gives 312 pages, or 20 signatures, if printed in oAavo.

When extra, or more than single, "leading" of matter is required, count the extra leads (six-to-pica being the size most used in book composition) in the following proportions: three for a nonpareil line; four for brc\ier and bourgeois; five for long-primer and small-pica; six for j^ica; and so on, increasing or diminishing in the necessary ratio for largrr or lessor sizes.

Vox- works under 144 pages, the cast-off" of which does not reach a niunber of folios divisible by 4, there should be added the number that will make it so. Thus, no will be counted as 112; 133 as 136; and so on. A sufficient allowance of pages, added in the same way, should be made in cast-off"s for larger works, adopting 8 or 12 as the even dividing nimiber. This rule applies more particularly to works where the copy is very irregular or much crowded with abbreviations and closely written notes, alterations, interlines, etc.

Another method of casting off' copy, is to set, from % arious parts of the manuscript, a stickful or more of the type chosen, to the measure of the page decided upon, and ascertain, from the consumption of lines of writing by those of type, what the compositor's work must be. This will do very

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O II L et t e r p ress Co m fosition.

well in sliort works, or with carefully prepared manuscript; but, for close approximations, the plan first given will be found more reliable.

S COI'Y THAT SHOULD BE ESTIMATED BY TIME.

J^ Tedious and elaborate rule-and-figure, and other descriptions of com-

J position to be done in a number of tabular columns, — being such as may be

A denominated special " piece " work, — as well as most displays and general

«^ jobs, that require more or less careful arrangement and design, in addition

\ to the ordinary labor of type-setting, should be estimated by time rather

\ than by measurement. It is a fallacious idea that "open" display com-

B position takes less time than " straight " or even solid work properly so-

j called. In a majority of instances, it will take more time to do it well.

1 Such composition, to be profitable, requires an expert workman, who can

M readil\' appreciate the salient points involved in the same, although those

h points may not be indicated beyond mere words in the cop v.

fl The amount of main or body matter — by which is meant that part of a

%. subject that of necessit\' runs in continuous paragraphs — may be ascer-

X tained by finding out the number of words contained therein, and then

JL, determining what number of lines they will make in the type chosen for

"wl. them. The space that is left, after such matter is accommodated, mav then be consumed in displaying more or less prominently particular words and sentences.

^^ In tabular work of several columns, the amount of space it will occupy

^^ maybe quickly determined by simply counting the number of lines in that

'^^Hl!? part of the copy, for length, and then setting up the longest word, or group

ijt^, of words, contained in single lines from each column, in such type as

Ji|^ will comfortably accommodate them to the proper measure, first allowing

*J^'* sufficient space for the length rules and leads, if any ai-e to be placed

\ between the columns.

jp Where small cuts or diagrams are introduced in the midst of, or

I between, paragraphs of the main subje6t matter of a page or job, they

it should be reckoned the same as if they were type matter, when "mea-

jpt sured," and not "time," composition is estimated.

K TYPOGRAPHIC DESIGN.

fT The art of planning or designing work to be done with type imple-

> ments, can only be acquired through natural skill, foresight, comparison, • practice, and study. Experience and taste must dictate what character "f of outline and choice of material will produce effective harmony, and, at jf-^ the same time, perspicuity, as well as determine what proportion particular ^ letters, catch lines, etc. shall bear to each other, and in Avhat places en- T gravings, borders, dashes, or other ornamentation, shall be introduced. \ The general principles of composing typographic effects may be set

forth; but rules that will teach the process of producing original ideas, and gracefully avoiding perceptible sameness in arranging the multitude of subjects that fall into the compositor's hands, have not yet been discovered, so far as we know. The few hints that follow may pro^■e of some service to inexperienced students of typographic design.

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■I ' O n h e 1 1 c r p r c s s C o III p o s i lion.

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On taking up the subje(5l matter tor which a design is to be made, carefullj scan it over, taking note of the parts that seem most important, mentally reserving them for the strong points of displav. 'Jlie position of minor parts of the theme may then be decided upon. Sometimes a tasteful idea, in the shape of a panel, fillet, scroll, ground -work, or the like, applied to a totally difterent use, can be made subservient to tvpe design, provided the compositor possesses construi^tive ability enough to seize and adapt it to his work.

A good way to get up a design, is to sketch it out first on paper. A knowledge of mathematical drawing, even if limited, will also prove of great assistance.

Changes of words and phrases, when they do not mar tlie original sense, also contribute at times to render a device more complete. Such liberties with the text, however, should not he taken without the consent of the party most concerned in it. But it not infrequently happens that patrons expressly desire and expedl this from the intelligent printer, and he is accorded reasonable latitude to shape his ideas without an arbitrary ad- herence to copy-lines, if the attrat?tiveness of the printed work can be enhanced by making unimportant deviations. Except in matter admitting of no alteration, the privilege of making slight changes and transpositions should generally be given to the compositor, when a handsome design is demanded from him.

In all arrangements of type there should be no clumsy, over-balanced, or unnecessarily bold, lines; and where it is possible to have it so, the strongest effect should be brought, like that of an artistic engraving, as nearly central as possible.

In show or poster composition, — almost a distincH branch of the art. — the main point to be brought out is the immediate thing announced, which should of course challenge the attention of the beholder at once, and as strongly as possible, when printed.

Ornaments should be used to improve the appearance of work, and not merely because they are at hand, or to fill it up. Excessive embellishment often utterly destroys the attractiveness it is meant to increase.

Whatever shape is determined upon as appropriate for the work in hand, — whether a circle, square, triangle, oval, parallelogram, or other geometrical figure, — should be fairly proportioned and accuratelv formed. Thus, a circle should he a true circle, and a scjuare a correc't scpiare, and so on.

Curved composition is handsome and attraLHi\e in proportion to its exa<5t execution and elegant equilibrium. When inartistically performed, with little or no regard for graceful outline and the harmony of tvpe, there is scarcely anything in typography more unpleasant to a sensitive eve.

In designing, very little importance should be attached to the minor connecting words or phrases which are to be used as catch lines. Keep the prominent features of the subjeA that is to be set forth in \ iew, toning down and modifying the remainder to suit. -| in —17— r

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SETTIXG A STICK TO MEASURE.

Fill the stick with evenl\' cut leads or reglets of the length to be used, flatwise. Then place a slip of tolerably thick hard paper or thin card-board between them and the sliding-bar of the stick; press the bar squarely against them and fasten it securely.

When two or more leads of different lengths are to be used together in making up a measure, see that thej' fit it exa(5lly without binding, or allowing enough room for points and thin letters to slip past their ends. Such leads should always be placed inside the stick as the type lines are set up. They should also be so placed between the lines of matter that the adjoining ends of one set are lapped across or " broken " by those of another, thus preventing ridges and other irregularities that a continuous use of leads of the same length, one after another, is very apt to produce.

The parallel of a stick when set may be tested by means of a carefully justified quad-line applied at top and bottom. If any deviation from accuracy is found, as will happen with worn or imperfecft sticks, it may be remedied by inserting bits of hard paper or thin brass under either end of the foot of the sliding-bar, as may be required.

A stick should not be changed or " broken" until the work for which it is set shall be completed, as a very little variation in a measure, especially for page composition, is sufficient to cause bad i-egister when the matter so set up comes to be printed. Additional sticks for the same work and mea- sure should be made up from several lines set in the first one; and an un- derstanding should always be had among companions engaged on the same work, that the justification, indentions, etc. may be alike with all.

POSITION OF THE COMPOSITOR AT CASE.

An ereft yet natural position of the body, with the shoulders thrown slightly back, is the best to be adopted by the compositor while at work. The heels should be pretty close together on the same line, while the feet describe an angle of about forty-five degrees.

The right distance to stand from the case will vary in persons of dif- ferent figures; but, as a general rule, from three to six inches away from the front of the stand, and slightly to the left of the middle brace of the lower-case, will be found a convenient place.

The habits of hunching the shoulders, leaning the stomach against the stand, crossing the legs, swinging the body, and other unseemly attitudes and motions, as well as wetting the fingers with spittle, tapping the letters against the boxes or stick before placing thein in the latter, and rattling them unnecessarily when there, are all much better in the breach than in the observance.

Sitting down at coinposition should not be indulged in except where infirmity makes it really necessary for the workman.

In light composition the stick should be caused to follow the setting hand, as considerable more work can be accomplished in a day hy doing

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O }i /. r / / r rf rrss C o »i p o s i t i o ti

so, than it" the stick be kept stationary and every t^'pe carried to it. It is also a good practice for the compositor's mind not only to regulate the mechanical operations of his fingers, but to keep in advance of them by taking off a sentence of the copy at a time, — a faculty which may be ac- quired after some mental pratftice, — and having it so ready that there shall be no " waits" or pauses that must otherwise take place.

The eves of a compositor should also be trained to observe how a type is situated in the box, before being picked up by the responsive fingers, which should at once grasp it near the top and deftly turn it, so as to bring the nicks uppermost and the foot forward, in its passage to the stick — an a(ftion requiring altogether but a moment's time, vet of importance that its "sleight-of-hand" be in precise concert with the brain-telegraphy.

SPACING .\ND JUSTIFICATION.

There is scarcely anything in composition that indicates the careful and expert workman more than even spacing and good justification. By the first term is meant the equal separation, according to the formation of the letters and points, between words, so that when printed they will present a regular appearance — neither too wide asunder nor crowded together. Justification implies the tightening of the lines from end to end, so that all will be of equal length and tightnesss when locked up together in the form. The best workmen justify only moderately tight, and when a stick, containing lines of tvpe set squarely on their bottoms, can be leaned over when the composing-rule is away, without dropping or tilting forward such lines, the latter may be said to be " well-justifie^."

When lines are set up, and there is a surplus of space left that will not permit the insertion of a syllable of the next word at a proper dividing place, the additional space must be distributed nearly equally along the line, allowing slightly more between such ascending letters as f b, d h, etc. where they terminate and commence consecutive words. Between e o, \v y, and other short or angular letters, and after commas, less space should be allowed, as in such combinations the openings will appear as great as those that are really wider between ascending letters forming parallels, because of the curves, angles, and shoulders of the shorter letters.

In ordinary solid or single-leaded composition, (using six-to-pica leads,) the three-em or " thick-" space is deemed sufficient between words, and an em-quadrate between sentences. The increase allowed between words in justifying a line, should seldom go beyond an en-quadrate, or, at most, two thick-spaces, Avhere neatness is expe(5ted. Exceptions to this, however, may be made in cases where the matter is very widely leaded, when the spacing should be proportionate with the distance between the lines. A space called the "patent-space," which is a medium between the en-quadrate and thick-space, is very convenient, and should be in all book-type cases.

Six-em or " hair-" spaces are placed before colons, semi-colons, exclama- tion, and interrogation-points, and an en-quadrate immediately after them. Hair-spaces should also be placed after inverted commas, that mark quoted words and sentences, and before the word that follows them. In some

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On Letterpress Composition.

offices, the hair-space is phiced hetween the parentheses and bracket-marks and the words they belong to, and also on each side of an ein-dash, except where one side of it is next to a comma, apostrophe, or period. The following sentences exhil)it most of these usages:

1. — " Yes: I saw him strike George j but he did it in self-defence." 2. — "Behold! — there by the river-side — is it not as I have described it manded the man excitedly. — S^Macon ( Go..) Letter. \

exclaimed and de-

In very narrow measures, considerable management is necessary to pi-eserve even tolerably good spacing. In such cases, hair-spacing the letters of words is better than throwing all the surplus space between them.

Bending spaces, and using substances not belonging to the case, such as wedges of wood, crumbs of paper, etc. to compel justification, should never be practiced or tolerated.

When a paragraph is completed, and a white-line is to be set up after the break, anj' small spaces required to justify it should be put immediately after the closing period, and not at the end of the quad-line, or scattered among the quadrates, for the reason that this keeps the spaces compac'tly in the best place for them, and saves time in distribution afterward.

INDENTION.

The space used in setting inward from the beginning the first line of ordinary paragraphs, is what is usually meant by this word, although it is applied to indicate other modes of arranging type matter.

No indention is required in paragraphs begun with an initial letter, nor should there be any made in the opening paragraph of a subjecSt, or after chapter and other caption lines other than sub-heads.

An em-quadrate is commonly used before paragraphs in newspapers, and where measures are less than twenty-six ems of nonpareil and not more than twenty-two ems of pica in Avidth. In wider measures, an additional thick-space, and even as much as three ems, gives a better appearance to composition.

This paragraph is indented according to what is variously called side, hanging, and under indention, a style principally employed in the introduftory paragraphs of legislative and other legal printing; in the summary lines of chapters and tables of contents; in indexes where there are several lines to an item; in catalogues, etc. This paragraph is set up in the technically termed " double-hanging '' or increasing indention method, and is chiefly used in titles, dedications, advertisements, circulars, hand-bills, and other dis- play work. Cut-in indentions are those where enough of the subjeiit matter is set inward to admit marginal notes referring to the contents of the paragraphs wherein they occur. They are also employed to let into the paragraph or page embellishing words, letters, and cuts, when the latter are to lie printed separately.

O n I. c 1 1 c r p r c s s Co m / ^> .f i t i o ii

TO KMl'TY A STICK.

PlacL' tho composing rule along the outside of the last Hne; grasp the matter set up tirnilv at the ends with the forefingers and thumbs, at the same time pressing the middle fingers against the ends of all the type lines; then lift the mass out carefully, bearing it toward you so that the first line shall be uppermost. Then deposit it on a galley, being cautious to have all the matter squarely on its feet or bottom. Any type that ma}' stand above the others should be pressed down with the soft parts of the fingers. Finally, square it up by pressing the rule flatwise along the ends of the lines, and place a slug or piece of metal furniture against the matter, to pre\ent its falling down if jolted, while additional stickfuls are being set up.

DISIM.AV COMPOSITION.

In most job or "display" com]iosition, careful spacing of the words and letters, and having the lines in good proportion to each other, greatlv enhances the attra(5liveness and equipoise of the work.

In some cases, — especiallv among the larger sizes of capitals cast on square or expanded bodies, — letters of peculiar shapes, like WY, L J, etc. do not stand well together, but present a detached appearance; while ES. DB, and other combinations occurring in the same word, perhaps, come closelv together. Where it can be done, the distance between letters should be equalized as much as possible, particularly in prominent lines. The letters ES look better with a bit of card or a hair-space between them in most instances where their faces are wide.

The two following lines will sbo^- the difierence in apjiearance between spaced and unspaced letters:

LANE WYLIBS' BEST. LANE WYLIBS' BEST.

In sjiacing out display lines, the formation of the letters used shoidd not onh' be considered, as abo\e, but also wbether they be condensed, regular, or extended, in order that the spacing between words may be determined. As a general rule, en-quadrates should be placed between words set up in capitals and small capitals used together; and two three- em spaces between capitals used alone, when the type is slightly condensed or moderately light, like romans. A proper increase of space should be made to this allowance for \ery full-faced or extended type. Lines set up in extra-condensed lower-case, long, narrow-faced texts, and some other styles, require less space than those mentioned abo\e. Nothing looks worse than widel\ spaced lines of condensed text. We give some examples of s]>acing on page jj.

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Bad Spacing.

Among Mankind Evil Associations Corrupt Good Morals,

Correct Spacing.

Among Mankind Evil Associations Corrupt Good Morals.

Bad Spacing.

EXPLANATION OF THE DIAGRAM ON THE OPPOSITE PAGE.

Correct Spacing.

EXPLANATION OF THE DIAGRAM ON THE OPPOSITE PAGE.

Bad Spacing.

Correct Spacing.

Bad Spacing.

11. k |r|. |illii.m |. j^u pont.

Correct Spacing.

[il. k j|r,i liilliam % |u |lonl.

When fancy or other initial letters larger than the body type of the matter with which they will go are introduced, the remainder of the begin- ning word of the subjedl should be in capitals or small capitals, and made to " line " exaAly at the top with the initial letter itself, and not with the ornamental work that may surround it, except when the initial is on a tfround and surrounded by a line or border, in which case the top of the first line will look best if lined with the top edge of the bordering line.

Composition in script type needs to be spaced according to the shape of the various letters. In many scripts, shoulders of different widths occur on the bodies of the capitals, points, etc. and little or no space need precede or follow them. Carelessly spaced script is very unpresentable.

When a large broad letter has a period or comma after it, less space than between words should be used, as the wide shoulder at the top of these charaAers will make up for the difference.

The use of two points together — for instance, a comma after a period denoting an abbreviated word or initial — is now ignored by most good job printers. It certainly does not improve a display line to have two points next each other. In book work, however, both points are generally used.

In composing curved work, it is best to tbrm a frame of metal furniture the size of the page or job, within the chase that it will be worked in, and arrange it on an imposing stone or a slice galley. Place the straiglit matter

(No 3.)

(No. 4.)

On Letterpress Composition. ^^

OOJ^O*

inside of tliis frame first, and then form your curvatures as desired, so that when the job is done, you may lock it up at once and move it without danger of having the arrangement shattered.

In offices where there are no founts of labor-saving curvatures, — which are very useful, by the way, — they may be made from thin brass reglets cut lead height. Bent leads are unprofitable except for small curves.

Ground plaster of Paris, mixed with water to the consistency of a thin paste, and carefully poured around complicated curved lines, is probably the quickest means of completely justifying them in the form. There are objedions to the use of this plaster about a printing office; but, if handled by a skilful workman, it can be made quite serviceable in all kinds of intricate work without material detriment.

The principal beauty of all display composition proceeds from the judicious bringing together of harmonious type faces, rather than bv means of overwrought, and frequently confusing, combinations, made up of things individually handsome, but rendered distasteful from there being too many similar ones placed together. Ornament often enhances the beauty of job composition; but, to be really effe(5live, it must be relieved by contrast with what is simpler and plainer than itself.

The lines of display composition to be attracStive must varv in their sizes and degrees of strength, exhibiting, as it were, the effeds of light and shade. A long line should be placed between two shorter ones neither of the same length, and these again harmonized to others longer or shorter than themselves. Several lines of the same length (except in poster w^ork be- tween rules) following each other, do not look neat. Lines of large, heavv letters need to be relieved with smaller light ones in the same manner.

The crowding together of heavv-faced type — expressively called " loud'' by printers — with but little space between lines to relieve them, in such descriptions of work as business cards; letter, note, and bill-heads; blanks- circulars (except small hand-bills); title-pages; and other kinds of printino- intended more particularly for private circulation and perusal, we consider in had taste. It is true that patrons frequently demand such arrangements under the mistaken idea that they are getting a more " telling " eftedt. Hut we suspe(ft this occurs, in many cases, more from the spirit of imitating others than from reflexion about the matter. What advan- tage accrues by so flagrant a departure from every rule of neatness, as is often exhibited by printers as well as customers in this respedt, we have

as yet failed to discover, holding, as we do, that clearly defined elegance

distincft, but well relieved with liberal margins — is far more impressive upon popular appreciation than the blackest clumsiness.

Handsome results may be had from type of a uniform stvle of face, provided the variety of sizes will allow them to relieve each other.

Klourislics made from brass rule, or cast on type bodies, have not vet reached tlic perfection that should make them much sought after by jirinters, although just at present the disposition to use them prevails. In the hands of an artistic compositor thev can be arranged pleasingly but

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for ordinary purposes they are extremeh- iinadaptal)le as well as trouble- some. In our estimation they belong to the time-wasting things, and may properly be said to be among the patience-trving, monev-losing imple- ments of a printing office.

Sloping or italic faces of tj'pe intermingled with stifl", perpendicular sorts, do not produce an agreeable eftecft when printed. Broad-faced texts, the lower-case of neat antiques, gothics, and a few other styles, harmonize, and at the same time contrast, with sloping letters best.

When a piece of composition is done with a view to having it printed in several colors, finely shaded or very ornamental type should be sparingly used, as the colors, if at all delicate, will not show off" to advantage on such faces. Colors require surface to be eftei5live. The matter for such printing should be set up all together and proved until satisfadlory. An impression taken on drv, hard paper shoidd then be used as a pattern in arranging the lines for the different colors. If quad-lines of the same body as the lines removed ^re put in their places, a form can be made up for the press much quicker and more correcflly than if reglets or numerous leads are used, as the last will yield more or less, whereas the first will not.

The division of a form for printing in several colors should be made so that no preponderance of any one color will be noticeable when printed. The principal displav lines should be in the darker or stronger colors.

If card or other paper spacing is used in composition intended to be divided for several colors, it must not be wet, as that will cavise the paper to swell, thus destroying the justification of the lines, and impairing the register where exactness is necessary.

The produdlion of manv varieties of ornamented and plain rules, together with the improved facilities whereby to mitre and curve them, aff"ord much assistance to an ingenious compositor in executing his designs. Whether such rules be used in combination with corner and centre pieces, or separateh", if handled artistically and with a due regard for symmetry, they always produce a pleasing effe(?t, qtiite equal, if not superior, to the complicated combination borders that require much time to put them together well.

A simple but neat arrangement of rules that have straight lines for faces may be made by crossing them at the corners at right angles and carrying the ends past the point of intersecflion. This ma* be done by slotting the pieces with a saw exadlly as thick ag the rule, cutting one piece halfway from the top and the other halfway from the bottom. Or, it rnaj' be done by the compositor using rules long enough to include the projecting ends one way. Then put in the pieces that go the other way, setting them inward as far as the projedling ends are to be in length — say a long-primer, pica, great-primer, etc. Supply the other projec5ting ends where they are needed by justifying pieces cut to the size of the others and carefully squared, so as to fit vip closely against the longer rules.

When type matter is emptied upon a galley that is laid upon a case, it should be well squared against the ledges of the galley, so that it will be

— 24 —

'I'm

4r

-—J On J, c 1 1 e r p r e s s Composition.

o

perpendicular wlu-n locked up to jiroNe. Carelessness in this jiarticular, especially with solid matter, often brings it to press slightly canted or "ofl" its feet," giving considerable trouble to re<5lify.

It is of importance after a piece of composition is done, to see that it is fairly "opened out," or with the lines so separated as to preserve a good balance relatively. It often occurs that otherwise really good work is marred by negle(i't or ignorance of this particular. We subjoin an illustration:

Well Balanced.

HAV/LEY'S

Stationery and In^ews Depot, PHOTOGRAPH ALBUMS,

AND AGENCY FOR

HITCHCOCK'S MUSICAL PUBLICATIONS.

164 Vine St. Cincinnati.

- — ^jf, - — ■ , g. _■■ , , .,. .. - —

Badly Balanced. ,

ROYEE WHEEL COMPANY,

Manufacturers of the

SARVEN PATENT WHEEL,

Also, Spok)#s, Hubs, Felloes, Shafts, Poles, and all other Wood W^ork used by Carriage Makers.

Office, No. 375 West Third Street, below Smith,

CINCINNATI.

Imprints, when they are admissible in line eomposition, shoukl he set small and placed where they will not he too prominent, otherwise thev become oflensive and are liable to be ordered out by the patron.

Novices must be cautious to remember that the combinations H, fi", il, iVi, fll, in founts of Roman type, are cast on one body on account of the IV — 2 ^ — r

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O ti L ett e r p ress C om p os it i o 7i

kerns of the fs, which would be broken oft" or throw the letters out of perpendicular if set up separately. The dipthongs yE, CE, ae, oe, are not proper when formed with two single letters.

When letters are lower than others, from wear or other causes, they may be brought to the proper height by tapping them a little on each side of the lower end.

BOOK COMPOSITIOK.

Title-pages belong properly to display' composition, and the beauty of them depends to a great extent upon the taste of the compositor. Whether titles are set up plainly or with ornamented type, they should never be crowded, but free and open. We think that simple elegance, more than show, in title-pages, prepossesses one toward current books or pamphlets.

The Dedication goes direftly after the Title, and should be tastefully set up with text and italic, or vfith capitals and small capitals, well displayed and opened out. Dedications seldom occupy more than one page, and, if not too long, aftbrd the compositor an opportunity of showing his taste as much as would title-pages.

The Summary of Contents is placed immediately before the Preface of a book. The Index goes at the end of the work, and should be alphabetically arranged. Such matter is set in type two sizes less than that of the text. When the summary lines of chapters or index items make moi'e than one line, those which follow have a side indention of not less than one em.

Prefaces and Introductions are sometimes set larger and sometimes smaller than the text. We prefer using the same size of type as in the body of the work, distinguishing the prefatory remarks, if necessary, by wider leading. The use of Roman numerals for folios in the introduction also gives it a distinctiveness, thus: iii for 3; xiv for 14, etc. The letter for running heads is best to be alike throughout a book — introduction and all. We have departed from this rule in the specimen pages of the present volume in order to show^ as great a variety of headings as possible.

Running head-lines of pages, and sub-heads designating passages in

the subject matter, are usually put in the small capitals or italic of the

body letter employed, or in small, well-cut, light-faced antiques or gothics.

1^. .'Some other styles of plain faces, such as Celtics, and even ornamented

texts, look very well in such places also.

• •■'' Set foot-notes — those that are placed at the bottoms of book pages — in type two or three sizes smaller than that of the body of the work. Do not let them be too close to the text, and cut them off" from it by means of a plain single rule, about one-third of the width of the page in length, and placed on the left hand side squarely with the edge. Foot-notes, extraCts, and all introduced sizes of type, whether larger or smaller than the text, should have the same indention — as, for instance, if pica be the body type, with an em indention, and nonpareil be used for notes, the latter should have two ems indention to correspond Avith the one em of pica.

- ^- —26 —

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(No. 5.1

THE WHIRLPOOL— ROCKCASTLE RIVER.

(No. 6) VIEW IN YOSEMITE VALLEY.

By permission— from the " Illustrated Union Hand-Book tor i87t," published by C.W.Starbuck & Co. ot the Cincinnati 'I'imes.

0)1 I^cttcrpress C o vi p o s i t i o u .

Side- or marginal-, cut-in-, and centre-notes, are always put in Ivpe at least two sizes smaller than the text. They often require skilful management to make them appear to good advantage. When possible, a measure of even ems of pica should he adopted for marginal-notes, so that quotations and metal furniture, graded to pica ems, may be used to advan- tage when making up the pages. Side-notes always occupy tlie outer or cut margins of pages, and are principally used in legal and otiicr works of reference. Cut-in notes are those that are let i)ito the text, and are generally placed opposite the lines they refer to. Nice care is required to arrange, space, and justify them right. They must not interfere or come in contaift with the subje<5l matter, but be somewhat detached from it, vet show they belong to it. It is best to frame them in with accurately cut nonpareil slugs and leads, which will keep the notes at a imiform distance from the subjedl matter, and, at the same time, permit them to hold their proper positions opposite the lines or paragraphs they indicate.

When items of an index refer to matter occupying several consecutive pages, the first and last folios only are given, divided by an en-dash, thus: 16-19; but when pages are not consecutive, they are all given, with commas between them, thus: 2, 5, 6. Figures used in columns, or justified at the end of index lines, have no periods after them. When items or paragraphs terminate with folios or other figures that occur regularl)-, they should be carried nearly as far as to where the figure columns begin — not interfering with the latter, but squarely justified to within sa-\- an em-quad of the first figure line.

When a column is so narrow as to necessitate setting the head-lines lengthwise, or up and down the column, it is customary to have them read from the bottom toward the top of the space allotted to them, and to line along the lower or commencement end.

Rules that divide columns, when separated from the matter on either side of them w^ith one or two six-to-pica leads, give a freer and neater appearance to such w'ork.

Length-rules for table composition should be cut exaiftly, and if two or more pieces are used in a length, the joints dressed smoothly and evenly.

A number of columns belonging to the same table, in w'hich figures of the same body only are employed, may be set at one time and the dividing rules inserted afterwards; but, when words are in some columns and figures in others, it is best to set each column separately.

The explanatory headings of tables are neatest when set in type smaller than the column figures or matter. They should, however, lie quite dis- tin(5t, so as to be easily read. Fancy type can rarely be used to advantage for table headings.

A word that requires division at the end of a line of type should retain the full strength of the first syllable, or first and second syllables, in the first line, and be divided, according to its length and construtSion, as near the centre as may be. Such words as i-dle, a-boiit, o-ver, etc., are never divided, nor are terminating syllables like -ed in compounded, -tv in varietv, etc., carried into the second line. Where a syllable is completed bv a

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vowel, like the second ones in e/^'-gance, /c;-^e-verance, divi-^\Qx\, etc., it is customary to make it the place of division, although it would be improper to do so on the first syllable in such a ^vord as t'-ternity.

Our space is too prescribed to give further remarks vipon the subject of dividing words in composition; but observation of general usage in this respcdfl, shown in well-composed books, etc., will soon set the novice right.

Although information regarding punctuation is important to composi- tors, it cannot be properly entered upon herein for want of room. We take pleasure, therefore, in referring the reader to a very comprehensive work upon the subjet^t — Mr. John Wilson's " Treatise on English PiDidiiatiou" — to be had of most type-founders and booksellers.

PROVING AND CORRECTINt;.

Composition proved on brass galleys should have a single iron or other side-stick fully as long as the matter; and when the quoins are well pressed up with the fingers, the lock-up should be sufficient to keep the matter tight enough to prove. Driving up quoins with a mallet and shooting-stick in galley lock-ups soon shatters the galley.

Before planing down galleys or forms in chases, wipe oft" the planer with the hand, and then lay it flatly and gently upon the faces of the type. Tap it lightly with a small mallet or the butt of an iron shooting-stick, taking care that there shall be no double strokes or rebound of the planer. Scripts, hair-lines, and other delicately formed letters, should always be pressed down with the fingers, and planed very lightly if at all. Heavy planing is not necessary in any case if the type is set and made up properly in the first place; and it is always hurtful to the material to indulge in the cooper-like "rattle and bang" one sometimes hears in offices where the durability of material seems to be ignored.

In proving type, either on galleys or in chases, it should be inked with a roller that is free from dirt or dried ink. Paper slightly dampened and kept from the air between boards is best for proofs, as it will take the ink with a niucli lighter impression than dry paper. Pro\ing by the brush or planer is bad for the fine lines of type. Several thicknesses of damp paper laid on the type, and a thin, fine cloth blanket on top of the paper, before "beating oft," will cause the least damage; but only careful persons ought to be allowed to perform this kind of proving where it can not be otherwise avoided.

When correcting lines of type that contain errors, lift them up by the ends, and take out the wrong letter or word with the fingers. Never stick bodkins or knives between words to get them out, nor use the spring- bodkin to pull out a letter. Prying out a letter or space by sticking the point of a bodkin in it is simply outrageous. If an alteration is to be made in spacing or phraseology, take out the lines and adjust them in the stick. It is a slovenly and unworkmanlike habit to strew the stone and furniture of a form with the debris of correction. All changes marked in the proof that involve re-spacing or overrunning, should always be made at the case.

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•ROOT Ki:.\ni.K

The followinij useful tabic of typographical proof marks is taken from Mr. Tiios. MacKf.i.i.ak's excellent work on typograjihv," 77/r .Jwrr/rr/// l'riiif( i\" inihlislu'ci by Messrs. MacKclIar. Smiths \: Jordan, the well- known ami popular t vpe-fonnders of l'hilacl(.'l])hia. W'c ha\c reversed the order of Mi-. MacKellar's " ICxplanation " lor oui- own convenience in imposing Images 30 antl 31:

EXI'I.ANATION OF THE MARKS ON PAGE 30.

.V wrong letter in a word is noted by drawing a short perpendicular line through it, and making another short line in the margin, behind which the right letter is placed. ( See No. i.) In this manner whole words are corrcdted, liy drawing a line across the wrong word, and making the right one in the margin opposite.

-A turned letter is noted by drawing a line through it, and writing the mark No. 2 in the margin.

If letters or words require to be altered from one character to another, a parallel line or lines must be made underneath the word or letter, — viz. for capitals, three lines; small capitals, two lines ; and Italic, one line ; and in the margin opposite the line where the alteration occurs. Caps, Small Caf'S, or Ital. must be written. ( See No 3.)

When letters or words are set double, or are required to be taken out, a line is drawn through the superfluous word or letter, and the mark No. 4 placed opposite in the margin.

Where the pim6luation requires to be altered, the correct point, marked in the margin, shoidd be encircled. ( See No. 5.)

When a space is omitted between two words or letters which should be separated, a caret must be made where the separation ought to be, and the sign No. 6 placed opposite in the margin.

No. 7 describes the manner in which the hyphen and ellipsis line are marked.

When a letter has been omitted, a caret is put at the place of omission, and the letter marked as No. 8.

Where letters that shoidd be joined are separated, or where a line is too widely spaced, the mark No. 9 must be placed under them, and the corredlion denoted by the marks in the margin.

Where a new paragraph is required, a quadrangle is drawn in the margin, and a caret placed at the beginning of the sentence. ( See No. 10.)

No. II shows the way in which the apostrophe, inverted commas, the star and other refer- ences, and superior letters and figures, are marked.

Where two words arc transposed, a line is drawn over one wiird and below the other, and the mark No. 12 placed in the margin; but where several words require to be transposed, their right order is signified by a figure placed over each word, and the mark No. 12 in the margin.

Where words have been struck out that have afterward been approved of, dot-, should be marked under them, and Stet written in the margin. (See No. 13.')

Where a space sticks up between two words, a horizontal line is drawn under it, and the mark No. 14 placed opposite in the margin.

Where several words have been left out, they are transcribed at the bottom of the page, and a line drawn from the place of omission to the written words (see No. 15 ) ; but if the omitted matter is too extensive to be copied at the foot of the page. Out , see copy, is written in the margin, and the missing lines are enclosed between brackets, and the word Out is inserted in the margin of the copy.

Where letters stand crooked, they are noted by a line ( see No. ifi ) ; but where a page hangs, lines are drawn across the entire part affec'led.

When a smaller or larger letter of a different fount is improperly introduced into the page, it is noted by the mark No. 17, which signifies wrong fount.

If a paragraph is improperly made, a line is drawn from the broken-off matter to the ne.vt paragraph, and No If written in the margin. (See No. 18.)

Where a word has been left out or is to be added, a caret must be made in the place where it should come in, and the word written in the' margin. ( See No. 19.)

Where a faulty letter appears, it is marked by making a cross under it, and ])lai'lng a similar one in the margin ( see No. 20) ; though some prefer to draw a perpendicular line through it, as in the case of a wrong letter.

— 29 —

^i^^

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■^

MARKED PROOF SHEET.

^^ / Though several difFerins opinions exist as to

/ / 2 /^

the individual by wwom the art of printing was / first discovered ; yet all authoi'ities concur in admittine Peter SchoefFer to be the person 3 (jp who invented cast metal types, having learned '

^ the art-ef- of cutting the letters from the Gut- ^; / tembergs/ he is also supjjosed to have been ^^ tlie first whoengraved on copper plates. TheV-/

following testimony is preseved in the family, 8 / 9 ^_^ by Jo. Fred. Faustus, of Aschefienburg : ^"f"] >' Peter Schoeffer, of Gernsheim, perceiving ,^ 11 w his master Fausts design, and being himself * ^/^'^ '^'^^■^ rdesirous\ardentTy) to improve the art, found out (by the good jjrovidence of God) the

13

method of cutting [ineidendi) the characters j^c^. in a matrix, that the letters might easily be ^' I singly cast I instead of bieng cut He pri- '^^^' / ^' 1 vately cut matrices] for the whole alphabet: a 15 Faust was so pleased with the contrivanp^ /that he promised Peter to give him lip-^nly -U'/. 1: /j^ughter Christina in marriage a/ promise 3 ^ / /^vhich he soon after performed^y;)^ ^^

I (^But there were naany dijffiiculties at first ^'^ \\ with these letters, as there had been before ^^oTtt. •with wooden ones, t]ie metal being too soft ^ ^_^^^

aj I

+

to support the foj?de of the im pression : but 9 ^^ / this defect was soon remedied, by mixing a substance with the metal which sufficiently ^. hardeji^l it/

(C'^^'i'j- cao^ /'c(///i ^nedti nui^'i(rCC<i »

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On Letterpress Composition. ^

— 30 —

■i-^^r^« ' ~ "^^^^"^

f ^ 0» Lctteri>ress Com i>os i t i 07t . -/n

On Letterpress Composition.

CORRECTED PROOF SHEET.

Though several difTering oi^inions exist as to the individual by whom the art of printing was first discovered ; yet all authorities concur in admitting PETER SCHOEFFER to be the person who invented cast metal types, having learned the art of cuttinj the letters from the Guttembergs : he is also supposed to have been the first who engraved on copper-plates. The following testimony is preserved in the family, by Jo. Fred. Faustus, of AscheflFenburg :

' Peter Schoeffer, of Gernsheim, perceiv- ing his master Faust's design, and being him- self ardently desii'ous to improve the art, found out (by the good providence of God) the method of cutting [incidendi) the characters in a matrix, that the letters might easily be singly cast, instead of being cut. He privately cut matrices for the whole alphabet: and when he showed his master the letters cast from these matrices, Faust was so pleased with the con- trivance, that he promised Peter to give him his only daughter Christina in marriage, a promise which he soon after performed. But there were as many difficulties at first with these letters, as there had been before with wooden ones, the metal being too soft to sup- port the force of the impression : but this defect was soon remedied, by mixing the metal with a .substance wliich .suftieiently hardened it.'

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On L e t i e r p ress Co m position

DISTRIBUTION.

Type matter that has lieen printed from, and is not likelv to be required again immediately, should be distributed at once; or, if it be not convenient to do so, it should at least be divested of leads and white-lines, tied vip squarely and firmly, and placed where it will be least in the way but not forgotten.

Matter that is to be distributed immediately needs to be wetted by means of a sponge containing clean water, unless the type be large and easily handled, when wetting will not be necessary. Take just enough type in the hand so it maybe comfortable and easily handled. The matter should rest on a stout slug or brass rule, and be held firmly between the inside of the thumb and first two fingers of the left hand. Acquire the habit of taking off entire words in distributing, and lightly lay the letters lengthwise in their respedlive boxes and Avith the faces toward you. Never " pepper " them into the case sharply, without regard to how they fall, as it injures them, and makes future composition less easy than the better method.

IMPOSING AND LOCKING UP.

Forms for most kinds of job printing are usually imposed with the head toward the workman, and locked up in the centre of the chase each way. The straight furniture should be placed at the head and left side of the form as it lies on the stone. The beveled side and foot pieces should be long enough to brace every part without binding upon each other. The quoins — which should be two to three in number each way — need to be first fitted in tightly with the fingers; but not so tight as to require great force to get them in place. After pressing the quoins well up toward their final places, plane the form gently, and then proceed to complete the lock-up by using the mallet and shooting-stick, striking the quoins at side and bottom alike. Lock up by degrees, in about two or three operations, graduating them according to the size of the form. Always commence the lock-up by first striking the smallest quoins at side and bottom alternately; then the next in size, and so on, till all have been tightened sufficiently to keep the matter of the form compacSlly together, so that it will " lift" and admit of being moved without danger of falling apart. Raise the form a little before taking it off the stone, to see if any type are loose.

After a form is properly locked up, the bottoms of the type should be brushed ofi" with a clean, stiff brush, to remove any small particles of lead, dirt, or paper that may have got on them accidentally.

A form of pages locked up in sections is merely a grouping of single forms, and involves the same principles in locking them up, only the heads all go toward the centre or cross-bars of the chase. The diagrams which follow will sufficiently indicate how a book form should be locked up.

In unlocking, commence by unloosing the top and bottom quoins. If a quoin sticks tightly from having swelled when wet, it may be unlocked with ease by first driving it up or tightening it a little.

vm

''■^'^T^

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Oil Letterpress Composition.

n

IMPOSITION OF BOOK PAGES.

Limited space prevents the introdu(?tion of many remarks or diagrams relating to book imposition. We take the liberty, however, of extra<5ling a few useful remarks, etc., from Mr. George H. Bidwell's '■'■Treatise on the Imposition of Forms ^'' a most comprehensive little volume, which we cordiallv commend to our fellow-craftsmen: —

A knowledge of the Imposition of Forms is an essential, if not an indispensable, element in the education of every person who works at the printing business. It is, indeed, a necessity in every book and job printing office ; and even to some e.xtent, at least, in everj' office where only an occasional pamphlet is printed.

Without this knowledge, whatever the journeyman's skill or other attainments, he cannot be considered a thorough master of his business ; and though he may excel in some specialty, there will be this important branch in which his deficiency may be a bar to the advancement which his capabilities would otherwise gain for him.

Before the invention of stereotyping, the imposition of forms belonged e.xclusively to the composing room ; and it was incumbent on the compositor that he should be able to take his turn in imposing and sending forms to press. But since the general introduclion of the stereo- typing process, this duty has been divided between the compositor and pressman ; and though much neglecled of late years by compositors, a knowledge of this subjedl is equally essential to the finished workman in either department.

In order to attain a good knowledge of the imposition of forms, the learner should know something of the subsequent process ; that is, of the manner of turning the sheet on the press, and of folding the sheet after it is printed ; and to the younger portion of our readers, especially, an explanation of the few technical terms which will be used, may be necessary.

Explanation of Terms.

First is the page, the four sides of which we denominate the he.\d, foot, front, and back. The head is that part which stands at the top of the leaf in the printed book ; the foot at the bottom ; the front at the outside, either on the right or left as the book lays open ; and the back at the inside or between the two pages. Pages are also said to back when printed on both sides of the sheet. The front of the odd pages, as they lay in the form, is on your left hand, and of the even pages, on your right hand, standing at their foot— reversed, of course, from what they appe.ar on the printed sheet or in the book. The back is on the opposite side of each page from the front. The folio, or number of the page, when a running title is used, is placed on the outside or front of each page.

The CH.\SE is the oblong iron frame in which the pages are secured for printing. It has two bars dove-tailed into the frame in the center each way and crossing each other at right angles, which are called the long cross and the short cross.

The margin is the space put between the pages in the form, so as to bring each page in the right position on the leaf of the printed book.

The SECTION is the term applied to the sheet, or so much of it as is folded up together and taken in at one stitch by the binder. If you dissecft a bound volume, you will find it made up of a number of secftions consisting of leaves laid one within the other, each se(5lion being sewed through the back and fastened to cords which run across the back and secure the cover. Each leaf of the section contains four pages, two odd and two even, one of each on each side. The se(5lion may be made of as many leaves as you like, but they usually consist of from two to six, according to the number of pages you desire to print at a time. More than six leaves in a sedlion, except for pamphlets of a single se(5lion, makes a clumsy job for the binder, and renders him unable to bind the book neatly and substantially.

The INSET, or subsccflion, is that portion of a sheet containing the middle pages of the sedlion, and which is cut off and folded up .separately, but placed within the center of the main seflion in binding. The inset is necessary in forms which have an odd number of pages in one direction, as will be explained hereafter.

Register. — The form registers when the pages printed on one side of the sheet are exaclly on the back of those on the other.

^ -3.1-

D

tl

O 71 Letterpress Compositiov.

The SIGNATURE is the figure placed at the foot of the first page of each form, section, or subsedlion, as a guide to the binder. The letters of the alphabet were formerly used for signa- tures ; but now they are seldom used, except in works designed to be printed in different forms, as 8vo and i2mo. Then double signatures are required, and letters are used for one set.

The RUNNING TITLE is the line placed at the head of each page, denoting either the title of the book, the subjedl of the chapter, or the subjecl-matter of the page.

Laying the Pages of Simple Forms.

The objedt sought in all impositions is to so arrange the pages that they will come in regular consecutive order when the sheet is folded, and the proper pages face and back each other in the bound book. The pages that back are the odd and even consecutively, as i, 2 ; 3, 4; 5, 6; etc. Those that must face each other in the book are the even and odd consecutively, as 2, 3; 4, 5 ; 6, 7 ; etc. The pages are backed by turning the sheet after it is printed on one side, and printing it on the other side. They are faced by the process of folding the sheet after it is printed.

— 34-

Ov Lei t c y p r c .« .? Co iii position.

The First Page.— The Starting Point.

The starting point in ail impositions which are called regular, is to lay the first page on the corner at your left hand, with the foot of the page toward you. The first page of every form being necessarily an odd page, you will have the front of the page on your left, and the hack of it on your right hand.

The Invariable Result.

The invariable result in all forms of a single section, or in all seclions, of whatever number of pages the form or secftion may consist, when completed, is, that the last page stands by the side of the first, back to back and heads on a line ; the second and ne.Kt to the last in the same position : the third and third from the last ; and so on, advancing one from the first folio and receding one from the last, until you come to the two middle pages, which are in the 4to the 2d and 3d ; in the 8vo, the 4th and 5th : in the i2mo, the 6th and 7th ; in the i6mo, the 8th and gth ; iu the 24mo, the i2th and 13th ; and so on. The knowledge of this fa6l enables you to complete any form after one-half of the pages are laid down.

The Second Page.— Turning the Sheet.

Having got the starting point, the next step is to ascertain where to place the second page, so that when the sheet is turned it will back the first. In order to place the second page, you must know how the sheet is to be turned ; and here it may be necessary to remark, that the paper being longer one way than the other, it is almost invariably the rule to turn it in the direction of its length, because in most forms this makes a more convenient form for the binder in folding, and the sheet is registered with greater facility on the press, particularly on the hand press. Resides, turning the sheet luiiformly the same way is a convenience to the pressman, who is never in such a case at a loss to know how to turn it.

The i2mo is an exception to this rule, and must necessarily be turned in the direction of the ■width of the sheet and of the pages, because in the diredtion of their length there are only three pages ; and if turned in that way, the middle row of pages would not only back themselves, but would back head to foot on opposite sides of the sheet.

Rules for laying Pages that back each other.

When the sheet turns in the diretftion of the length of the pages, as in the i6mo, the pages that back each other must be placed in exa<fkly corresponding positions on opposite sides of the bar, head to head or foot to foot.

When the sheet turns in the direction of the width of the pages, as in the 8vo, those that back must be placed in exactly corresponding positions on opposite sides of the bar, heads on a line.

What is meant by corresponding positions in the imposition of forms, is, that the pages shall be at the same distance from, and on opposite sides of, the bar, or center of the sheet, in a right line. Thus, one page being at the extreme end or side of a form, another, to be in a corresponding position, must be at the opposite extreme end or side. The corresponding position is shown by a printed sheet of the same number of pages laid by the side of the form. (See page 34.)

These rules enable us to place the second page in any form whatever, and to lay any even numbered page after the odd numbered page which immediately precedes it is down In the i6mo or 4to, for instance, the sheet turning in the diredtion of the length of the pages, and the first page being laid at the left hand lower corner, with the foot toward you, the second page, backing the first, must necessarily be placed at the left hand upper corner, with the head toward you. In the 8vo or 410, the sheet turning in the direcflion of the width of the pages, the second page, in order to back the first, must be placed on the right hand lower corner, the head on a line with the first page. In either of these cases, the 4to may now be completed by placing 3 by the side of 2, and 4 by the side of i, backs together.

No. I. — THE QUARTO — SHEET TURNING CROSSVVISe OF THE PAGES.

Head.

			>c::>:n:::<::«::X k 4 k		V 3	k		>:::::<::>c:>c?f y 2 k y k y k H H
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<9« Inciter press Composition

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Rules for folding a Sheet.

When there is but one fold in a sheet or secflion, that fold must be through the back. This is the 4to, or sec- tion of one leaf.

When there are two folds, the first is be- tween the heads, and the second through the

1

back. This is the Svo, or section of two leaves.

When there are three folds, the first is at the front, ( in the i6mo at the long cross, or in the full sheet Svo at the short cross, of the inner form,) the second between the heads, and the third through the back. This is the i6- 1

mo, or secflion of four leaves.

When there are four folds, the first is at the foot, (in the 32mo at the long cross, or in the full sheet i6mo at the short cross, of the innerform,) the second at the front, the third between the heads, and the fourth through the back. This is the 32-

The Third Page -

Folding the

Sheet.

The first and second pages, which back each other, being disposed of, we must place the third so that when the sheet is folded it will face thesecond; andhere, beforewecanproceed any further, we must understand the pro- cess of folding. To illustrate this, let us take the i6mo ; tho' what is said on this point applies equally well to all simple forms. You will no- tice that when the sheet is turned, the lower or outer half is printedon thcback of the upper or inner half, and vice versa. After the sheet is printed on both sides it is cut in two trans- versely to the direct- ion in which it is turned ; that is, if it is turned in the di- rection of the long cross, it must be cut attheshortcross,and vice versa ; and you have a duplicate of the form, or all the pages in the form on each half sheet.

The outer half of a form or seftion is the half which contains the first or signature page ; and the inner half that which contains the second page. When the sheet is laid on the table ready for folding, the outer half is on the under side, with the signature at the left hand, and of course the inner half is on the upper side, all the pages of which will be faced by the first fold; all the remaining folds, be they more or less, being required to face the pages of the outer half.

mo, or seftion of eight leaves.

Thus you perceive that the addition of another fold to the sheet or sedlion does not change the order or position of the suc- ceeding folds, the last always being through the back, the next to the last between the heads, and so on.

Xo. 2. — THE QUARTO — SHEET TURNING LENGTHWISE OF THE PAGES.

The Fourth Page.— The Svo Completed.

Page 4, backing the third, must be placed in an e.\a6i:ly corresponding position on the opposite side of the bar; head to head in the i6mo, and head on a line with 3 in the Svo, the sheet in these forms turning in different relations with respecfl to the length or width of the pages. This enables you to complete the Svo, applying the rule already stated at the starting point by placing 5 by the side of 4 ; 6 by the side of 3 ; 7 by the side of 2 ; and 8 by the side of i, backs together. (See Diagram No. 3.)

On J^etier press Composition.

The Fifth Page—

The Second

Fold.

We have now the four corners of the form of i6s filled. Page 4, backing 3, and being on the outer or under side of the sheet as it lies on the folder's table, the first fold brings it to the upper side ; and as 4 (being one- fourth of the whole number in the form) must be faced by the second fold in a form having three folds, — which is the case with the i6mo, — and as the second fol must be between the heads in order tn face 4 and 5, you must place 5 head to head with 4.

The Sixth Page,

backing 5, must be on the opposite side of the bar; and as the foot of 5 is toward the bar, the foot of 6 must also be toward the bar, which will bring it head to head with 3.

No. 3. — THE REGULAR OCTAVO — SHEET TURNING Clcu.^sWl.sb ul I IIIl 1'.\GES.

The Seventh Page.

Page 6 being head to head with 3, and being in the inner half of the form, and embraced in the same fold ( through the long cross ) which faces 2 and 3, 7, in order to face 6, must be placed in the same relative position to 2 that 6 is to 3 ; that is, head to head.

The Eighth Page.— The i6mo Completed.

The eighth page, backing 7, must be placed on the opposite side of the bar, foot to foot with 7, which brings it head to head with i. Applying the same rule as in the completion of the 8vo, the form of i6s may now be filled up by placing 9 at the side of 8 ; 10 at the side of 7 ; n at the side of 6; 12 at the side of 5 ; 13 at the side of 4 ; 14 at the side of 3 ; 15 at the side of 2 ; and 16 at the side of i, backs together. ( See Diagram No. 4.)

Here you have, by examining the diagram, an illustration of the fundamental rule which applies in every form or in every section, whatever number of pages the form or section may contain; the first and last pages standing side by side, backs together; the second and next to the last ; and so on. This law in relation to the position of the pages you.can not impress upon

-37-

On Letterpress Composition.

your minds too firm- 'i ly ; because, though you may vary the imposition in other ■^ respedls to suit the exigencies of the ^ case, this is uncom- s promising, and, un- less your form is obedient to it, it must be wrong. (See ' page 34-)

The Form of 12s.

This form is an ex- ceptional one, and has usually been considered as be- longing to a mongrel race. In some les- pedls it is peculiar, yet in its imposition it is subjedt to the same general laws which govern other impositions. Having an odd number of pages in one direct- ion, the application of those laws must be varied in some particulars to meet this peculiarity, which gives rise to the necessity of an inset.

Peculiarities of the i2mo.

The first variation from the construct- ion of other forms, is the removal of the short cross from the center of the chase to a position about one-third the dis- tance toward one end, leaving about two-thirds the length of the chase on one side of it, the long cross remaining in the center. Though when the sheet is folded up ready for insertion in the book, it contains but one section; yet.

(No. 7.)

(No. 8.)

/^\. On Lette r p rcss C o in f os 1 1 1 o n . y\

in the process of folding, that secflion is subdivided and folded in two parts, which are placed one within the other to make the scdlion complete. The main portion of the section, consisting of eight pages, occupies the larger division of the chase on one side of the short cross, and the inset, or subsedlion, the smaller division on the other.

The next variation is the necessity of turning the sheet in the diredlion of its width. Any simple form above the 4to >uajr be imposed so that the sheet will turn and back correctly either way, though, as already stated, it is usual for convenience to turn it in the dirc(5lion of its length.

The third and last variation is, that although when the form is completed the pages that face and back each other in each subdivision of the section, when folded up separately, occupj' precisely the same relative positions as in simple forms, the pages do not follow in the imposition in consecutive order as in those forms. The inset occupying the middle place in the complete sedtion, and being cut off from the main secftion after the sheet is printed, and folded up separately, in imposing the form we must omit from the middle of the main sedtion as many pages as are contained in the inset or subsection, and lay the omitted pages in the smaller division of the chase, substituting in their place pages whose folios are increased by the number of which the inset consists, which in this form would be four.

The Margin of the Form.

In making up the margin of the form, the first step is, before removing the strings, to place the pages as nearly in their proper positions in the chase as possible. Take a sheet of the paper, or of the size of the paper on which the form is to be printed, fold it at the short cross, and measure from the inside or foot of the page ne.\t to that cross to the outside or foot of the outside page on the opposite side of that cross : the distance between these points should be just one- half the length of the sheet. Then fold the sheet again in the opposite direcftion, and apply the same process to the inside and outside pages on opposite sides of the long cross : the distance between these points should be just one-half the width of the sheet. In the i8mo form or 36s, the sheet should be folded into one-third instead of half its width, taking the measurement from the front of the outside page to the front of the second page from it, so as to include one front and one back margin. If the measurement is made from the page at the long cross to the outside of the form, it will include one front and two back margins, and the proper proportions between the two will not be maintained. Then adjust the pages of one-quarter of the form so that the head and back margin will be equal, and the front and foot margin equal, but rather more than the head and back margin. It is impossible to give any precise rules which will apply to all forms. Much depends upon fi.\ing the size of the page to suit the paper before the pages come into the form. But in ordinary forms, say of 8vo or i2mo, with the usual margin, the difference between the head and foot margin should be about three-eighths of an inch ; and the same difference between the front and back margin. This proportion should be increased or decreased as the amount of margin in the book is increased or decreased. This would place the page in the printed book a little nearer the head than the foot, and a little nearer the back than the front. The furniture may now be adjusted around the pages of this quarter and the strings removed ; and if found, upon measurement again as before, to be corrtdt, the same furniture may be placed around the pages of the other quarters. Since the introduction of metal furniture, the process of making margin is much simplified and facilitated by the ready adjustment of the different sized pieces. It is quite as well, and even more convenient after a little pradtice, to use a measuring rule instead of the sheet of paper, in adjusting the margin of forms.

Registering the Form.

Having adjusted the margin of the form, and got it ready to lock up for press, it is the business of the one who sends it to press to see that it is properly registered ; that is, that the pages are in a position in the form, that when the sheet is printed on both sides each page will back its proper page pcrfe(5tly. This is not a difficult process where the compositor and maker-up have done their duty. It consists simply of careful locking up. But where you have, as sometimes happens, careless compositors on the work, the one who undertakes to send a form to press should be more than ordinarily careful.

A veiy small thing sometimes throws a form out of register, and destroys the beauty of the printed page. As, for example, spaces of a larger size than the type used; leads of unequal thickness ; letters slipping by the leads at the end of the lines ; lines spaced too tightly ; the omission or addition of a lead at the foot of the page; or locking up one side of the form first. All lhi.se things are to be carefully looked after and guarded against.

On Letterpress Composition.

The register of the form is perfeA when not only the heads and sides range exa<5Hy, but when the lines of the pages also range exactly. Works printed on large type and widely leaded, especially, are defedlive unless this result is attained.

The composition of the pages may be perfedl and yet not register on the press, unless the form is carefully and properly locked up. To lock up the form properly, you should begin by starting gently the quoins next the bars all around, then those next to them, and so on, until you reach the lower quoins, so that all parts of the form will be subjec5t to equal pressure in every diredlion.

If one side or end of the form is locked tight before the other parts, the result will be that the bars will spring, the pages will be brought to their position in one dire(5lion and out of place in the other, and will consequently be all awry when the pressure is applied in the other diredlion. But, by the mode suggested, the pressure is first applied at the angles of the cross-bars, equally from the sides and ends of the chase, and is gradually brought outward toward the corners until it reaches the extremities of the form.

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MECHANICAL QUOIN.

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HAR PEL'S TYPOGRAPH.

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ARRANGEMENT OF AMERICAN UPPER CASE.

When upper cases are used for job letters points should be laid in first row of boxes above capitals, as follows : .

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5-em space.

4-em space.

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ARRANGEMENT OF AMERICAN LOWER CASE.

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The Press Room

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s

"v>irf LTHOUGH the work of the Press Department of a printing office is ^ necessarily more mechanical in its operations than that of the Com- Sposing Room, its careful rendition entitles it, without doubt, to a 1^ large share of the honors attendant upon completed typography.

o'""^" Critical and conscientious work-people; properh' constru<5led press machinery; elastic, adhesive, even-faced and clean rollers; intelli- gently prepared and brilliant inks; paper or card stock of smooth surfaces, close texture, and moderately soft bodies; are all among the positively necessary auxiliaries wherewith to accomplish the results that gratify the lovers of elegant printing, and entitles typography to a place among the arts. On the other hand, a slovenly, heedless, unintelligent pressman, whose implements are to him matters of no particular concern, and who merely aims to get rid of his work without regard to its proper execution, is at best a mere time-server, with but little prospe(ft of occupying a higher position.

PRINTING MACHINERY.

Presses of every kind, no matter how excellent, must be Avell set up and accurately adjusted. Thej' must receive constant attention as to their cleanliness and repair, if the best performance is expeAed of them. They must be regularly and frequently oiled. Pure sperm oil, notwithstanding its expensiveness, is always to be preferred for presses. The best winter strained lard oil is also good when free from salt or acids of any kind. Crude, impure oils, containing animal or vegetable refuse, are not to be thought of. Patent "lubricators" may do well enough for coarse and unimportant machinery ; but, before being employed on fine printing presses, they should be subjedled to rigid investigation, as a majority of them are gummy and filthy after continued use, and some of them are positively injurious to machinery that must move constantly and rapidly.

ROLLERS.

A good roller is moderately soft to the touch, yet perfectly elastic and strong in texture. If made properly, it will shrink but little, and last a long time. But, washing rollers with strong lye; allowing them to be much exposed to the atmosphere when not at work; and other indifierent treat- ment, soon makes them useless; while their frequent renewal becomes a heavy item of expense.

It is an injurious praiflicc to wash rollers too much. Nevertheless when it is necessary to clean them, it should be done thoroughly. Cam- _ VI -41— I

n

3.<j'Q^s>'c>£<2;(yQ/v£ys~sa^5^QAS>^k9&<5'Q>£yavSa/GH3/^g^

The Press Room o

phene or benzine and a soft, well-washed sponge will accomplish this in an effectual manner, entirely detaching" the oil and pigment of the ink if pro- perly used. After washing with benzine, however, the face of the roller comes up better if it is well-wiped with another clean sponge containing a little water, — ^just sufficient to make the roller slightly wet during the operation. Remember, alwaj^s, that strong alkaline washes soon destroj' the face and sudtion of rollers if freely used in cleansing them.

Soft, thin ink left on rollers overnight, and having them carefully washed in the morning before working them, will preserve them longer in cold, weather than if put away clean. Pans of water placed at the bottom of a closet containing" rollers, are also conducive to their well-being.

When rollers become somewhat dry and skin-like upon the surface, from long use or from remaining out of use, they may be revived by being damped with a decodlion made from once-used green tea-leaves, reboiled until the water assumes a greenish-russet hue. This should be kept in a bottle or other convenient clean vessel, and it will be found much better than water for damping" rollers, causing them to retain their faces longer.

To know when a roller that has been recently made or washed is in order, grasp it gently with the hand, or pass the ends of the fingers along its surface lengthwise. If a raw, sticky condition is indicated, the roller is yet " green" and must not be put up. If it appears only moderatelj- adhesive and pliant, but uniformly so, escaping from the fingers without showing a mark from them, and with a smooth rebound, the roller is "in order," and is best if mounted and charged with ink at once.

Difterent colors and qualities of printing inks requii-e rollers in various conditions of adhesiveness or su6lion. Thus, soft, thin blacks, most yel- lows, siennas, greens, common reds, tints, and all those inks containing chromes, ochres, and other soft pigments, need fresher surfaced and more yielding rollers than strong, heavy blacks, blues, fine reds, and such as embody ingredients that produce a peculiar suction upon the face of a roller when they are applied to it, and which, consequently, keep it in good condition to work cleanly and well; whereas, if a soft roller were used for such strong inks, they would be pretty certain to deposite most of the coloring matter upon the distributing surfaces, that they should re- tain until it is required to cover the type. Some attention paid to the effe(fts of various qualities of inks upon rollers of difterent conditions, will soon give the observant workman the intelligence whereby he may combine their uses to the greatest advantage.

ROLLER MAKING.

The weather, as well as a judicious seledlion of materials and imple- ments to be used, has considerable to do with successful roller making, and no pressman may be called fully competent in his business who cannot, in almost any weather, make good rollers — the best of which are emphatically the cheapest.

— 42 —

j'eK&^)ya^'&^'3(j'Q/6>o.9'g6X2/6'^eKS'S(ra/0''c>^>'5(^^

(No. 9.)

PUCK AND THE FAIRY.

By permission— from Shakspeare's "Midsummer Night's Dream"— embellished with exquisite designs in Silhouette, by P. Kcnewka. — Roberts Brothers, Publishers, Boston.

^•s^-

(No.lO.i LAKE IN CI NTRAL PARK.N.Y.

The Press R 0 o ni .

The best printers' rollers are now made almost entirely from glutinous and saccharine matters that readily combine under simple manipulation and form what is termed roller-composition. Although no great art is in- volved in producing this composition, yet a considerable amount of care and judgment is.

The kettle used in making roller-composition is in principle the same as an ordinary glue-kettle, only larger and deeper. The subjoined cut presents a correal view of a four-gallon kettle we have found well-adapted for the purpose men- tioned. It is made entirely of sheet-copper, a material that will be found the cheapest to use. We now come to the preparation and appli- cation of

ROLLER-COMPOS I TIOX,

and propose to lay before our readers some of the best methods known for making rollers of superior and uniform quality. The formuUe of the first three given have long been regarded by a few possessors of them as among the " great se- crets" of the printing business, only to be made known to others for a valuable consideration and under the most confidential restridtions. As we

are not obliged by any circumstance to continue A,boilercontainingcomposition; the mvstification, we present these methods to all b, showing water space between who may wish to use them, assuring our friends o"ter and inner boilers; c, long

. .1 ' i- ii i- -c ii •!! „ju«..^ *^ 4-u« spout made somewhat angular,

at the same tune that if thev will adhere to the ^. , . , _ . ^

which is better for pouring than dire6tions given, they will prove to be reliable ^^^ ^^ort oval or round spouts

and of considerable value. usually made.

TYPOGRAPH COMPOSITION KETTLE.

Excellent Recipes for making Rollers.

No. I. — For Summer. — 2 ibs. Cooper's No. i Glue; 2 lbs. Baeder's Glue; i gallon best Sugar House Molasses ; % pint Glycerine. For Winter, reduce each glue i^ to % of a ft.

Directions: — First soak the glues, wrapped up separately in woolen cloths, until the pieces bend easily without snapping, which will generally take from two and a half to three hours. Boil the molasses for forty-five or fifty minutes, and skim it thoroughly. Then put in the glues, drained of superfluous water. Boil the whole for fifteen or twenty minutes. At last put in the glycerine; and after three to five minutes boiling and stirring, pour off.

The above composition may be cut into small pieces from time to time, as rollers require renewal, and be remelted several timcG, adding a little good-bodied molasses each time.

No. 2. — Strong Middle Weather Rollers. — 8}4 fts. Cooper's best Glue ; 2 gallons best E.xtra Syrup; i pint Glycerine; 2 ounces Venice Turpentine.

Directions : — Steep the glue in rain water until pliant, and drain it well. Then melt it over a moderate fire, but do not " cook " it. This will take from fifteen to twenty-five minutes. Next put in the syrup, and boil for about three-fourths of an hour, stirring it occasionally, and removing any impurities that arise upon the top of the composition. Add the other ingredients a few minutes before removing the boiler from the fire, and pour slowly.

N.B. — If the glycerine and turpentine are to be omitted, reduce the quantity of syrup one pint.

The above makes excellent strong rollers for fast printing when the thermometer ranges from 60° to 70°. Slightly reduce or increase the glue as the weather becomes colder or warmer.

— 43 —

X^ ^^j^^^<f'^^^^^=%,^Jj^ ^ ^fc-^

T/i e Press Room.

No. 3. — -ioYi lbs. genuine Irish or Buffalo Glue ; 2 J4 gallons Black Sugar House or best Maple Molasses ; i ft. India-rubber Gum Shavings ; 2 ounces Carolina Tar ; 12 ounces Glycerine ; 4 ounces strong Vinegar.

DiRRCTiONS : — Soak glue over night, and drain in the morning by means ofa coz'trrfaTcollender" Boil molasses, and skim for twenty minutes. Add India-rubber chips, and stir until it combines with the molasses. Add glue, and boil for forty minutes, occasionally stirring the mass. Put in tar and glycerine, boil six or seven minutes, and pour.

This is the recipe for making the mysterious "Black Composition" so durable and elastic, and known to but very few persons until recently. If properly handled, it cannot be excelled, and contains every element required in a roller. Caution must be taken that only purified rubber gum is used. When this cannot be procured, add a pound and a half more glue, and four ounces more glycerine.

No. 4. — ifYi ftis. White Shell or Bonnet Glue ; 5-+ gallon Strained Wild Honey ; i quart Sugar House Molasses ; 2 ounces Burgundy Pitch.

Directions :— Soak glue twenty minutes, or until pliant, and drain, but keep from air. Boil honey and molasses three-quarters of an hour. Add glue and pitch, boiling half an hour longer. Stir the mass, and skim well during process.

A small quantity of this composition dropped on a board or iron plate will indicate when it is properly cooked. A shorter or longer time than is given above for boiling, as may be found suffi- cient or necessary, will sometimes happen. This makes a clear and durable roller.

\

We might add several other recipes known to be good; but those already given will be quite sufficient for all practical purposes.

In choosing glue for rollers, see that it is clear and bright in bodj and even in texture when held up to the light. It should break short, but only after considerable force is used, and with a clear, sharp edge, like glass. Spotted glue, or that which is clouded and specky, should be refused.

Roller cores, if made of wood, should be well scraped after being stripped, and bound with strong, loosely stranded twine, so that the com- position may adhere well.

When pouring rollers in cold Aveather, it is best to have the moulds warmed, or at least stood where they will not be affe6led too severely by cold weather.

In drawing rollers, much trouble is sometimes experienced from the contraction of the molds or from imperfecft greasing. If a mixture of pure sweet oil or melted butter and plumbago ( such as elecflrotypers use ) is freelv used to grease the moulds, the rollers will draw easily.

Old rollers that are still elastic but surface-hardened, may be made as good as new at small expense by shaving off the tough parts to the depth of one-third of an inch, and, after placing them in the mould, pouring around them fresh composition made thoroughly hot. This pradlice is very common in some parts of Europe, where an entirely new roller is but seldom made.

Surplus composition should be poured into pans for future use; and, when required, remelted by itself after being cut into small pieces. Mix- ing new and old composition in the melting kettle is not good. Melt each separately'.

When composition becomes tough and stringy from too much boiling, the addition of a little raw molasses, or some strong tea-leaf deco(5lion

— 44 —

I

The Press Room.

will generally reduce it sufficiently to pour avcII. Boiling glue and mo- lasses together too much is apt to take the "life" away from both, as the the latter will candy, and the former become dry and leathery.

PRIXTIXG IXKS, ETC.

Black and colored inks, as well as the varnishes, and other prepara- tions used for tempering, reducing, drying, and brightening them as needed, should be matters of grave consideration. Formerly it was con- sidered a part of the knowledge of a complete pressman to understand how to mix the inks he used. But the manufacture of printing inks, etc., has now become a distinift branch of business, employing great chemical and other scientific intelligences. Without entering into all the minutire of ink making, we will give a brief list of some of the most important agents employed in doing so.

The ingredients of ordinary good printing inks, — except some of those containing analine coloring matter, in which are employed shellac, alcohol, turpentine, kreosote, glycerine, and other fugative agents, — are principally burnt linseed oil (called varnish), resinous matter, small quantities of soap, gum arable, Venice turpentine, balsams fir and copaiba, and pure coloring matter. For blacks the universal pigment is lampblack, obtained from a variety of sources and in many degrees of fineness. Carbonized ivory, or bone-black, when sufficiently pure and fine, also answer well. The brown tinge that is found in lampblacks is neutralized by the use of Prussian-blue, indigo, etc.

Reds are made from carmines, vermillions, English and French impe- rial reds, red lead, Indian and Venitian reds, etc.

Blues are supplied by Prussian blue, indigo, Chinese blue, ultramarine, and some others.

Yellow is obtained from chromate and bichromate of lead, — otherwise called lemon and orange chrome, — yellow ochre, gamboge, etc.

Green is got from arseniate of copper, or by mixing blue and yellow.

Browns are produced b}' means of burnt sienna, umber, sepia, and the admixture of red and black.

The forming of other colors will be treated of hereafter.

In the choice of printing inks due regard should be paid not only to their depth of color and working qualities, but to their adaptability to the various kinds of paper, etc. to be printed with them. The grades of black inks now offered to printers by manufa<5lurers are so numerous, and varj'^ so much in quality and price, that it will require not only an experienced judgment in their sele(5tion as to quality, but some knowledge of their proper consistency and other necessary properties, according to price.

As a general rule, we have found that those inks which possess a bright, jet-black, satin-like lustre; that are soft and buttery to the touch, and deposite themselves upon the finger when they are touched softly and evenly, drawing from the main body only a short silky thread ; that dry moderately fast; that distribute themselves smoothly and freely; that, when laid upon the type, print the edges and hair-lines sharply and cleanly, yet

— 45 —

^

/

The Press Room.

yield an abundance of rich, glossy color; and, finally, that may be washed off from the rollers or form without hard rubbing; are alwavs good and reliable, according to their grades, in every sort of weather.

Inks that possess dirty or gritty sediment; that are oily and offensive in odor; that are stringy or gummy; that print dirtily and cling tenaciousi}' to everything they touch, yet dry very slowly; are to be guarded against and prevented from ever entering a press room if possible.

Inks that clog up type, and distribute badly over the rollers when the latter are in good order, and do not wash off readily from the forms by means of good potash ley, should always and at once be discarded.

In the more costly grades of black inks one would suppose that few or none of the defedts noticeable in the common qualities should be found. But price does not alwaj^s secure the best qualities in an ink, although the best ingredients and most careful labor may have been used to make an article that cannot be afforded for less money than is asked for it. Never- theless, for the want of proper proportions, or the addition or absence of something, the ink may not print well. It is harsh and raw, or dreggv< or does not dry for a long time, and in all probability " sets off," which is the worst fault in the eyes of a painstaking and capable pressman.

A well-made ink will offset but little in ordinary cases. Vei-y glossy, hard-surfaced papers or card-boards are liable to soil easily with most inks, unless preventatives are used, which we will name in another place. But really fine printing qualities cannot exist in any ink that smears and oft'sets on surfaces not highly polished.

A good way to ascertain the relative fineness and difference of color in black inks of various grades, when more extended experiments are not convenient, is to spread them quite thinly with a small palette-knife on the surface of a clean ink-stone, one against another, and then press a sheet of calendered paper upon them with the hand. Hang this up over night where the air can aft upon the adhering inks, and the following morning will show very obviously their difference. These hints applj' as well to colored inks.

Analine colors, Avhich fade easily, should not be emploj'cd except on the most ephemeral work. They are very showy, but ought not to be used on important work intended for preservation.

MAKING FORMS READY FOR PRESS.

Before a form is put to press, a good impression of it should be taken, and, if there be cuts or lines of type that are low or meant to be much more conspicuous than others, they should be underlaid with strips of paper more or less thick, and the whole face of the form equalized for the work it has to do. This preparation belongs properly to the compositor, as his time is worth financially less than that of the pressman; but it is frequently left for the latter to do, and may be placed, in consequence, among the various i-esponsibilities for him to attend to.

Unnecessarily heavy impression upon type should never be permitted a moment after it is discovered, for the alM-asion caused upon the fine lines of

-46-

7^//r Prrss Ron

I

metal type, c\cn for a short time, is ruinous to them, as well as unpleasant to the sight. We have seen lines of good type " pulled down " below their regular lieight fully the thickness of a stout card by negligence in this particular. j

Heavy, broad-faced lines of type are always better if brought up by k means of underlaying than by overlaying, as the former lifts them up so ? as to recci\e the full efte(5t of the ink, Avhereas, in the latter case, they have ' • to take their chances, for overlaying merely impresses upon the paper the |; inadecjuatc supple' of ink that such lines generally recei\e when not made slightl\- higher than the other lines.

TV.MI'AXS.

The tympaning, or the substances that are placed between the iron impression cylinders or platens of presses, and the sheet that receives the impression from the type, are variouslv composed of fine broad cloth, felt cloth, layers of soft or hard paper, caid-board, parchment, or a mixture of these articles. Solid book pages and masses of small tvpe require the softer tympans; while, for open jobs, such as circulars, bill-headings, lilanks, and other freely leaded work, paper tympans are the best, as they induce a sharper, and, at the same time, a more delicate impression. About seven or eight thicknesses of ordinarily sized book-paper, or four to six of letter-paper, is sufficient for most kinds of light forms. Blanks ( having much rule-work in them will require a sheet or two less if properly

f le\eled, which ma^- be done by placing two oi- three sheets of slightly

damp, but thin and soft paper under them, and, after slightly loosening the quoins, planing down the form with care, afterward locking up a little tighter than at first. As soon as the paper underneath is dry, it will be found that the faces of the rules will have become more uniform in height, and the joints less visible when they are printed from.

Pressmen will find at times that solid borders, tints, etc., requiring a larger amount of ink and rolling than ordinary forms to co^•er them evenly, will not work well on some of the platen-presses now in general use. because of the inadequate means afforded by them for distributing the ink. The rollers passing over such tint-plates or border-lines are deprived of most of the ink contained upon them, and, when they return to the distributing disc or cylinder, only partiallv and iniperfecftly recover them- selves with ink at those places where their circumferences have passed over solid lines lengthwise, when they must go over the same lines again; but, being marked by the old tracks, and having regained only a small coating of ink, they cannot deposit sufficient color upon these places, which consequently form a visible contrast with other portions of the form rolled at the same time, hut not subje^H to the same conditions. The dilficulty may be remedied to some extent by placing the border or other I form in the chase diagonally or cornerwise, — not squarely as is usual, —

thereby presenting angles that widen or diminish the marks made on the rollers, and thus avoiding the necessitv to have the latter pass over the same track as thev move to and fro.

-«2 .oiil

T h r Press Room.

SHA])i:i) WORK.

Shaded presswork. or lapping one color with another and finisliing Avith bronze, is produced by shifting the guages to get the shade desired, using the same form or lines from it as many times as there are to be variations of shade. The lightest color is printed first. Thus, if orange, light blue, and black are to form the shades under the bronze, thev should be printed in the order we have gi\en them. When thoroughlv dr\-, print with gold size to hold the l:)ronze. When the bronze is to form an intermediate shade between inks, and a solid color is to complete the work, white size must be used, and dry powdered colors applied in the same manner as bronze. This produces an elegant effedt if nicely done.

Onl\- such inks as dr\' quicklv and become hard should be used for shaded work, as much delay and trouble will occur fi-oni inks that dry slowh . It sometimes happens with the best inks, however, that spots will not dr_\' in due season. By rubbing finely- powdered soapstone with cotton wool o\er the woi-k previous to bronzing, the defed: will generally be removed.

As many persons suppose that the shaded printing herein described is produced by a new process, and is the invention and property of a party who vaimts a recent " patent " obtained for the same, we will state that it is neither a new nor a recent discovery. The writer hereof did such work and saw others do it twenty-two years ago, and he can point to others who practiced it long before that period, when it was considered public property and unpatentable. We consider it so still, notwithstanding the letters-patent said to be in possession of the party aforesaid. Has this •'jiatent'" ever been properly investigated.'' We think it has not.

PRIXTIXr; WITH COLOREn FORM.S.

Tinted grounds are usualh' printed first: but. Avhen they arc lined and in delicate tones, and the covering matter is in a strong color, they may be printed last with quite as good an efteeS: as if done at first, provided the other color is perfectly dry.

When forms are to be printed in several colors, care must be taken that the same guages are used in printing the first section throughout, if the sheets are not pointed. Otherwise, more or less trouble and vexation may be expected, when the divided portions of the entire form ai-e brought together, and exa6t register is necessary. Several impressions of each seeSiion of such work should be taken on common paper whereby to adjust those which follow, thus obviating the spoilage of good sheets.

In cases where a line nuist be printed in two colors to be made com- plete, or Avherc letters are di\ided for two colors, the adjustments should be made with metal quadrate^ or furniture, and leads so placed that the pressman ma^■ shift them to make register if necessary.

f^' III consc(ji(cncc of coiisiiierahlc miditioiis viatic to mir rciiiai-ks not cfitti-iitp/iitcif •iiiJicn 7(V printed the s/n-ciiiicn /xtrt/.^ii of this book, ( ^o/iick 7(iax i/onc Jirst,) uw arc coin- 1 pcllcii to I oiitinuc tlictii on fiaffc 23^.

V^ —48 —

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HARPELS

TYPOGRAPH;

BOOK OF SPECIMENS,

CONTAINING

USEFUL INFORMATION

AND A COLLECTION OF

EXAMPLES OF LETTERPRESS JOB PRINTING,

ARRANOEI) FOR THE ASSISTANCE OF

APPRENTICES, AMATEURS, MASTER PRINTERS. AND OTHERS,

OSCAR H. HARPEL,

TYPOGRAPHIC DESIGNER AND PRINTER

CINCINNATI :

PI'ULISHEn AND PRINTED BY THE At'THOR. 1870.

?

I

^f±y

®).

THE TYPOGRAPH IMPOSING STAND.

DESIGN PRESENTED TO THE CRAFT.

The abovr ctiT keprI':sent.s a convenient Imposing Stone and Stand for same,

MENTIONED IN PAGE 9. ItS GENERAL ARRANGEMENT WILL BE FOUND

advantageous in Job Offices where economy of room in close quarters is a matter of necessity.

A. marlile or sl.^te slab ; R, B. fmme of stand : C. rhase-hole npen from side to side and placed in centre of stand. It contains three appertnres to accommodate chases of various sizes. The small drawer over the chase-hole is intended to contain iron side- and foot- sticks or chase-bars. D, D. are receptacles for straight fnrnitiirc. The drawers placed af either end (at both ends is preferable) of the stand are for mallets, planers, shootinsi- sticks, quoins, squares, and other implements for locking up and adjustins forms

M4'^^'

"(S)

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■•^if^j5^.X-^ '''•??-?:

'M^^^^6k!0A6^^i^(^^^

COMPOSCO BY MORT. A, READ. WITH OSCAR H HARPEL. CINCINNATI

JAMES PUMMILL.

CINCINNATI: HITCHCOCK & WALDEN.

NEW YORK: CARLTON & LANAIIAN.

1870.

From Printing Office of Methodist Book Concei-n — R. P. Thompson, Sup'!.

-|Kj)f^, !P00K OF ^PECIJVIE|^?.|-

Branch Office-24 West Fourth St. Cincinnati, O.-H, M, MAGILL, Gen'l Agent.

BRANCH OF THE

m

fjymcjiu(ufi, /6y

Dear Sir :

The PH(EN IX, of Hartford, has as yet no Agency at your place, and it occiors to us that there are jnciny good risAs that might he had if an Agent of the Company were located. We lieg to know if your other duties are such as would justify you in, soHciting and receiving applications for the PHCENIX at your pi a ce^— forwarding the same to this office for our ex- amination. If approved, Policies will he issued here, and sent to you for collection and delivery. For your agency in the matter we luill allow you 15 per cent, cotmni.'ision, as well as the fees— Policy Fee, $1, Survey Fee, oOc.—the latter to he paidhy the assured. If you should see fit to take hold of this matter, it lu ill give us pleasure, upon heiitg advised of the fact, to send you all necessary documents, instructions, rates, etc. hy express, enahling you at once to vigorously put th e agency in motion.

The PHCENIX Company is too ivell knoivn to need any praise at our hands, and from the Statements herewith printed, you will he able to see for yourself its financial position on the fifst day of January, IS 70.

Awaiting your reply, am

Yours, Very Respectfully,

(G)

in answer is respectfull y rr(/uestrd. 49

if^i'pei'^ IHpoghph;

STEVENS & HUNTER,

3sro. 1 3S^Eie.ie/XXjXj block:, ideti^oit, ^ycicn.

Resldent Agents of

Insurance Bompany,

H/RTFOI^D, CONI^,

Total Losses Paid, Five Million Dollars.

DEALER IN

*iOTftiiia.lP^y Cell's

Hats, Caps, Boots, Shoes,

llxittoiis, JfunrD ^loobs, ^koteries, Cninlis, etc.

A Discount of 5 per cent, will be allowed on all Bills over $5 bought for Gash.

BO

01^, Sooli ^f Bpeni'mest^

IffiOTSCS I

0JW^W^^w^<JV^V^V^V^Wii^rf^^W^^>l

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271 Vine Street,

UENTI.t:MEf<'S rUHNlSHIMi; bonus. G I nsrC I IsTHST-A-TI

51

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CIRCIJLAR.

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E keep constantly on liand and offer for sale, at the Lowest Market Prices, all of the

LATEST STYLES

Of our own Manufacture, of Selected Stock, at Wholesale and Retail.

Having greatly increased our facilities for man- ufacturing, hy the introduction of Steam Power and the most improved machinery, we can offer as great inducements to buyers as any other house in the country.

WE ALSO BUILD

OMNIBUSSES ana HOSE REELS.

We take great pleasure in showing our stock, whether you buy or not, and only ask you to call and examine for yourselves.

We would respectfully return our thanks for the liberal patronage bestowed on us for so many years, and hope, by prompt attention, to merit a continuance of the same.

Respectfully,

B. BRUCE & CO.

TO THE TRADE.

We are prepared to fill all orders at Wholesale Prices, and are satisfied that our Carriages will compete favorably, both in avorkmanship, ma- terial, and price, to those manufactured in the Eastern market.

N. B.— If desired, we will send Illustrated Catalogue of all the very latest styles of Car- riages and Buggies.

6^

V4

52

-i¥)p[, pOOK OF ^PECIJVlEjM?.|-

^^■^rfow^ass, Pamls, Brushes, Painters' fcteriaMtc ^^^'

^®- ^« West F®^ft«^ ^*'^"'^'

'Cuicinnatij

■187

-^-

^ i

?ii

ifi

jm^\

o-

■o-

CINCINNATI, 0.

''^HE/DQUyiRTEl|S

^^lieo.P.Prescolt

I ri.KHKArKii

fo SiBOiiiiE ToMccos.

53

.im©® Iffi^BEAS©! C®M^^AM¥,

To the Kepresentalives of the Company in Kentucky !

Gentlemen:— Hereafter, return of premiums for taxation will be made by this office to the Auditor of Public Accounts, at Frankfort, as required by the new Insurance Law of the State. The first state- ment thereof will be made by us in the month of May, or as soon as April returns from Agents are received here. The taxes we will also pay at Frankfort. Hereafter, there- fore, you will make no statement of your premium receipts to the County Clerk as has been the custom, nor pay any State taxes whatever; all such duty, under the new Insurance Law, approved March 12, 1870, devolving upon us to perform. We are anxious in making our first exhibit at the State Capitol, to the newly created Insurance Bu- reau, to present as substantial a showing as possible; we therefore take the liberty of thus stating our wishes to you that business for the remaining portion of March, and April, may be prosecuted with a firm determination to accomplish desired results.

We are proud of the noble position this Company oc- cupies in Kentucky, and its popularity with agents and the public, and nothing on our part shall be left undone to retain a continuance of your favor and the people's patronage.

Yours, Very Truly,

A. T. FORBES, Genl Agent.

B4

M 3pxmtm.

Addy, Hull Sf Co.

COMMTSSTON MERCHANTS

— IN —

Corner Vine and Water Sts.

Cincinnati.

Snider & MoCall,

I' I! O PR I K T O Kfi II 1'

.Vplin AND Faii| GrjovE Papei| Mills,

11 K A I. K H S I N

ail MSiTiir iTSiR m a^^ wmm.

Office, 230 & 232 Walnut Street, C^sTiJ^S4ffs. Cincinnati, Ohio.

55

|]4AF(Pf:L'^ yYPoqRAPH;p-

^If^ 3ht ^itidni[ml ^M^merft

>>-»-•

Cash on hand, in Bank, and due from Agents, . . $174,973 91

United States Securities, 163,060 00

Loans on Approved Securities, 169,050 00

New York Bank Stocks, 90,250 00

Hartford Bank Stocks, 433,420 00

Miscellaneous Bank Stocks, 44,750 00

Bonds— State, City, Eail Eoad, and Water, 467,300 00

State Stocks— Ohio, Missouri, Tennessee, and Alabama, 132,085 00

Assets at Market Value, . $1,674,888 91

Total Liabilities, $45,572.83.

Hartford, Conn, jrannary, 1S70.

ASSETS: January 1st, 1S59, $1,467,835.60 Unadjusted Losses, 131,970.62

NET. . $1,335,864.98

ASSETS: January 1st, 1870, $1,674,883.91 Unadjusted Losses, . 46,572.83

NET, . $1,628,316.08

PIRE LOSSES PAID IN THE WEST AND SOUTH :

Ohio,	. $283,298 40	Kentucky, .	. $153,42139
Indiana,	148.513 63	Missouri, .	- 204,428 55
Illinois, .	. . 437,105 03	Tennessee, -	182,166 51
Michigan, .	186,200 81	Mississippi,	. 157,425 61
Iowa, .	. . 142,625 76	Alabama, .	79,778 90
Wisconsin,	177,764 78	Arkansas,	. 25,451 45
Minnesota, .	90,735 04	Texas,	. 6,12100
Kansas,	. 32,482 61	West Virginia,	2,000 00
Nehraska,	. . 5,901 88	Colorado Territory,	. 128 21

Tried in the Fire and Found Faithful.

The Phcenix enters the New Year full of life and vigor, financial and phys- ical, with the prestige of success in its favor, and a name and fame unsurpassed in the annals of Fire Insurance.

36

-^3 0F(, ^OOK OF ^PECIjVlEJM?. ^-

A. Ackerland &. Co.

109 West Pearl St.

Lot

Size...

Price.

A. Ackerland &. Co.

109 West Pearl St.

Lot

Size

Price

Kelly Island

Vintage of 1864.

(H)

5 7-

HarpeTs Tyfografli;

V"

OF THE -

g^iiii iiifii^e^,

HuGHSs High School,

Thursday, June 2, 1870.

-OVERTURE— Two Pianos—'' Norma,"

Misses Bernstein, LoEWENSTEiN,and Pafpenheimer,

and Masters Roedteb, Gerstle, and Bettmas.

-VOCAL DUET— "When Night comes o'er the Plain,"

Misses Connor and Mullen. . R. Elliot.

-DECLAMATION— " Similia Similibus,"

Miss Seymour.

. Miss VoRis.

R. Carter.

. Miss Hall.

-READING— "Don't Run into Debt," . . -PIANO SOLO—" Fra Diavolo," .... -DECLAMATION— " Speech of Cassius," -READING—" Forty Years Ago," .... -DUET— Fi'oim and Piano— " Stradella,"

O. Williams and J. Bettman. -DECLAMATION— "Speech of Spartacns," . . . E. Nunnecker.

-VOCAL TRIO— " Zauberflcete,"

Misses Mullen, Owens, Bernstein, and LoewensYein.

-READING— "Candle Lecture," Miss Hobbs.

-DECLAMATION—" Horatius at the Bridge," . . J. D. McNeale. -VOCAL SOLO— "Sing, Smile, Slumber," . . . Miss Seymour.

-READING—" The Raven," Miss Tatem.

-DECLAMATION— " The War Inevitable," .... A. Fiske. -VOCAL DUET—" Our Way .Across the Sea,"

Miss Owens and F. McFarland. -READING—" Why don't they ? Why they don't" . Miss Bricklet.

-PIANO SOLO — "Cascade," Miss Boernstein.

-READING— " Waiting at the Gate," Miss Burt.

-DECLAMATION— " How they Brought the Good News

from Ghent to Aix," J. Ebersole.

-READING— "On the Banks of the Tennessee," . Miss Sawyer. -VOCAL SOLO — "Leise, Leise !" .... Miss Loewenbtein. -READING—" Music for the Million," .... Miss Caret -VOCAL DUET — " Norma," . Misses Bernstein and Loewenstein

I.

I

=^^

=^

w

ss

or. Book of Specimens.

Mm 1.

'f

AND AUCTIONEERS,

59

HAItPKL'S TYPOGRAPH;

09

o

CO

01

hi hi

H

Pi

<J Pi

H

gpi

us

n

hi Pi

Co

• ■-t

ca

CO

csi o

CO

€S1

6© ■ OS CL

on, BOOK OF SPECIMENS.

f»«ce^t3C

' Losses Paid; $5,000,000.00

ChamlDer of Commerce Agency— A. S. Reeves, Agt.

M M, m 'Ci, § ^iE # H l^ i* W W^

T

LIFfOl

I

/^■O^i^^ Carils of Admission must lie exhibited at the Door, and arc- not Iranstcrablc. y^-JwJ^

--61

Harpel's Typograph

MUSICAL

ENTERTAINmENT

Zn Behalf of the

OF BROOKIalTN,

Given under the Auspices and Direction of the

PHILADELPHIAN SOCIETY,

AT MOZAHT HiiLL,

Wednesday Evening, Aug. 10th, 1870 J

GMDS OF ADMISSION, ONE DOLLAR. ,

i

Seats may be secured at T. WERLE'S Music Store, 69 York Street, I or at the Box Office of the Hall, from 9 o'clock, 1

a. m. until 4, p. m.

62

OR, Book of Specimens.

r>.'

• OF THE •:

,\3^^

,o

1^^

^

^^

o

^s

o

v^

^

\^

70f

iEl©E'S W©©'DiS.

W.

7

'^ for they ^^^^■■.

'ance r

'■^nts of

>"l A

^/.

("■'It.

F&flacdelp&ia

236 VIPST1|EET,71B0VE SIXTH, 236

. ^Cream always Fresh and made Daily. Delivered to fam Tv >v ilies at 40 ets. per quart. A liberal deduction nrxade >^ ^' ^^ © „\. to Church Festivals, Pie-Nics, Fairs, etc. etc. X^ .e ^

63

e^i^ HARPEL'S TYPOGRAPH; ^^^

3£fitatItsf)tlJ 1818.

ST^TlOrlERJ EPPOR^II

No. 12 West PoTirtli Street, Cincinnati.

fVIor^OGI^AMS i>ESlGf^ED, E^fiRAVED./p ij^t^lNTED IN gOLOf^S

^

3e»

^ Mm^^

Succ

.essors to DIEBOLD, BAHMANN &

Co.

^

Patent Combination Bank Locks, ^iniiitfnati,

WM. R. WILSON,

Traveling Agent

/y/

64

<a^S» OR, BOOK OF SPECIMENS. «^n2)

HarpeVs Typograph :

1111' i

z

FOE mkim,

X

Henry Striethorst

AN I)

Geo. Kemmeter,

^

^

^#

Sis of Julius Balks 's standard American A, ^ 4^ 9) *>\\

Billiard Tables in use. -1'^^^%-' /i*@ c^'"

BEST BRANDS OF

Mints, j|iqaors, anS fl,igar3.

4^<^

CONSTANTLY ON HANI).

^#

,#

CO

	oi
pq	W
K t*
t» :	0
0 ^	fn
C/2 <	t-4
PI	P^
S	P^
<!	H
S	H
P3
PI
E^
C/3
PI

Rates Reasonable.

m

^.^

Oft-

Insurance Genuine.

>— <

03

Cl<

66

Or, Book of SpetunieJts.

^

tit;

^.

::C^::

'•S^M-'

^

4

»?3

ifes

^ '

^

%lt^'^

P

67

Ha r pel's Typo graph ;

0

14

^

^

<

m

■<

D

m

"CO

o

-D

H

O

O

CI

68

or^ (Book of Specimens.

^^^..stvated J^rire ^y.,^

-Sj/af^a/.si-

CJ,<feF.SPrOKEE

sjl^~

o<^ IMPOF^TEFO OF '"^>°

tlerman ^If ardware

XLI?

^«^^S^"'

i#f Qwiie^

ZFlSIHIJ^O T^CICLE, ETC

123 Main Street,

cm:c iNif /kxi, QKcio.

69

P

Wai^el's Jypogi\aph ; (programme.)

Tl|E DeA^D Sl^Of.

Capt. Cannon Mr. Johnson.

Mk. Hector Timid " Dominick.

" Wiseman, " Malone.

" Frederick Thornton, . . " Withenbury.

Louisa, Miss Tliompson.

Chatter, " Dominick.

ICI ON PARLE FRANCAIS.

Maj. Regulus Rattan, . . Mr. Mendenhall.

Victor Dubois, " Mitchell.

Mr. Spriggins, ... " Craig.

Mrs. Spriggins, Mrs. Burton.

Angelina, MissT.ylor.

Julia, Mrs. Nixon.

Anna Makia, " Mitchell.

Jntirtaimntnt to commtntt at Jiflfei o'lloxlj.

,u

>A^MIikA^^MkA.^^kA^ f

** (Gibcntptttr "**

western:

'(^^ Dancing Assoc/ a tion,

'c^<Jj' AT MiCMAMlCS' 1HSTITUTI,

^"^ il|«FSi(OB |9f«i«9, Upril 2lst, 1670.

No Gentleman will te admitted without a Ladv

OK^W

^m

70

OR

, jBoo

K OF

?

PECIMENS.

JAS. IVIURDOGK^ JR.

MAM lAin IIKU or KVF.KY VAIIIKTY HF

STENCIIaS,

:Booi5:-:]BiT>ar3D:E:n.S' ST-A.3vti*s,

XO t^'Orders Solicited and Promptly Executed,) CTXCINKATT.

Neat Stamps for Marking Printers' Cnts, Sticks, Chases, Galleys, etc. made to order.

C^ ^ CXTT FLOWEIiS, ^ ^

^-^S^^, floral Brnamtnts, ^ul^-^

y^ Gold and Silver Fish, fK

\J Aquarias, V/

'b's'^ Aquaria Plants, &e. ^.d^

/ Y'«i ' ^^^=- 2V^''\

C ^> GREENHOUSES BEDDING PUNTS, ^ ^^

J j^^ sucir A8 ■^Sr V

y,^,-, Camellias, Roses, Verbenas, cS^

^^. "*' 'elc?""' ,^ ^ ^~'"'- r^

1 BOX

SUPERIOR

Maple Candy, |

COUGHS AND COLDS, |

MADE FI!0:\[ 'll

No. 220 WALNUT STREET, EAST SIDE. Jf PRICE, 25 CENTS. ]|

* Gibni Iji) tilt *'

'"'wM^eai Western

DAf(Cll(G /SSOCI/TION.

AT MECHANICS' INSTITUTE,

lljiirsiloii |upiiiii!](, Iprj} o]sl, j$70.

No Goatloman will te admitted rithout a Lair

^

71

«^^» HARPEL'S TYPOGRAPH; <^^^

W — Window Shades. h

W "^^j, H- H. BRENEMAN & CO. O- J

W*l'«„. Proprietors, ^\ N^ "

JWIilW

BAliK

MANUFACTUKER OF

MSICil SILLl^BD imi,

WITH THE

Celeliratei PMai & ColMer Coiiinatloii Ciisliis,

IIS iirlit Itnttli

iT.fciWIS.B®.

S tJ" SI ^ S T ® SI S^

^"''■""PaidtotheSuvveV"

C^"

72

e^« OR, BOOK OF SPECIMENS.

iiNZIIliE;

Prepared liy

Wm.SJerrdliCo.

DRUGGISTS

Manufacturing Chemists,

112 WEST THIED ST. ()

11 Burnet Street, CINCINNATI.

This akticle is invalu- able FOR REMOVING ALI, KINDS OF GUEASK Si'OTS. EM'. FROM THE Must uki.i- CATE EAIiRU-S, AND KOB

CLEANING Gloves without ]

G AFFECTING THE COLOR.

	or
	o
„	i-4	1'
X	<	S
h	h-	(/)
S	\-	0) c
OT	2^	>
	<	r^
O)	I	OJ
<	O	^
>— >	or	0
	Ul	Z

•Kjt^^y^*> — i't<-f^>.' '^:i - '»'»

73

HcLTpeV s ^lypogT-cLplz;

4 ^jviiDz:!^ 8^ ^]V[cj]all,

®l^0ltsalc jpapcr Scalers,

232 WALNUT STREET,

Cincinnati, April 20, 1870. Dear Sir:

Having made other arrangements, I have severed my connection ivith the "Old House" and shall "cease my wanderings." I am very tliajihful for past Jciitdness and favors, and hope you ivill not desert the ohl concern, and that you will favor my successor as you have favored me.

Yours, Respectfully ,

L©il. p. R^@si.

Dear Sir:

Our Mr. ROSE hftving branched' out for him- self we are left ivithout onr "old- stand-by" hut shall soon have another representative on the road, and, in the rheantime we trust we may have your orders as hereto- fore, and' any goods you may ivant at any time in ab- sence of our representative , shall, we assure you, have our careful and proinpt attention.

Tours, Respectfully,

OT, ^ooTc of SpeGirneizs.

Martin X. J^ewcomhc.

■^^ West Fourth Street, '^G',*'^

l/fe CINCINNATI. --'^'

Hoover, iumphrej & Ci

Wholesale

94 Pearl Street,

Cinciiiiiati* 0'

73

n .A. K, 1= E L ' s T' Y :p o G- E- -A- :p n ;

* ♦ >

January 1st, 1870.

Wilhrd T. Filsgerald and Ihos. P. Whetstone.

FLAGS AND I^ADGES

For Decorations and Society Purposes,

FURNISHED BY

186 Schuylkill Street,

fkank's BLOCK, READING, Pa

		¥
		^^aU^£ z^Toi/on.
				Cliffon, January 1st.

76

OK,, SOOiC OF S^-E O I 3Vi: E 3srs ,

C. DIEBOLD.

J. KIEN2LE.

#

,®^W

Manufacturers of

mm,^m,o>^'mm

.?_!

FlftE^ ANiy

I'tsr^

Safes anb Vaults,

Mil

T

^m. 8S» m # »WEi.M Stmeet.

Jtrtil'frn Sfromf ami J'l-tirl Sfs.

"tttWH'AWI, ®^

HaRPEL' 8 TyPOORAPH;

W^

^'

"o^ C''(?jO<

4 8?©

S. G. COBB'S

— Late Cobb & Davies,-

Oatalo^'iie of _Plaiits,

ADAPTED TO THE

FLOWEI( BORDE[( AND WIHDOW,

GROWN AT

LINDEN GROVE GARDENS,

Covington, K y.

»♦-•

No. ISa AVest r-ovii'tli street,

CINCINNATI, O.

f|E/D, PI^INTER, 58 WEST FOUIjTH STI^EET, NEAE| WALNUT.

18 70.-

oc^C)*^/^

78

OR, Book of Specimens.

Tl|E QF^E/\y piF^E i|^ VicksBiJi^q.

EQUAL TO ANY EMERGENCY.

The following incident in the history of the Phcknix Insurance Company of Hartford, indicates emphatically its character and con- duct in an emergency, whicli for extent and magnitude never had its parallel in the West or South. Vieksburg, Miss, on the nights of December ikl, IWifi, and January 22d, ISO", was visited by conflagra- tions, which, in a very short time, destroyed over one hundred and fifty buildings and their costly contents, involving a loss largelj- exceeding One Million Dollars; the PHCENIX had thirty-three policies "under fire," netting a loss of

— S e 1 ,6 4 V, 1 1, —

which was paid as rapidly as our Adjusters could prepare proofs and draw drafts, thereby sustaining its Hell-earnod reputation for prompt and honorable dealing, surpassed by no other Company in the annals of insurance.

It requires no $25,000 Deposit Law to make such a Company -worthy of confidence.

Wholesale and Retail

G^ © © E m s,

118 k 120 Central Avenue,

\>. Tkacy.

79

H A R P E T. S T Y 1 ■ 0 K R A P H

,1- w^

h I |||rs. IfjHitjHi |iniCtiH$nii

t m

Wednesday Evenings May icth^ at 8 o'clock.

m , 11

M J

. |wrt0i

Centreville.

mUi

■o

um^ (P'2ie'/ii'7m^

/^ J

At halt-past Eight o'clock.

80-

r'l

"T^t*" cTr??!f5^T'!5v "iTr if?£>-ii*?'is.is.-'^ V. ■.t:2"ts'« t^

i

//,

)trret ''i*'?iuii{f

•:' ¥ U |l:^ jh

^•- iit s^ ¥ m r )i

"'''"r^sMuqiBaiiiiw.: ' 'Hsstammk^.aBsamKjify

HARPEU'S TYPOGRAPH.

BOBOER OrSIONEO AND FURNISHED DV MESSRS. SMITH L PORTER, GENERAL PRINTERS BOSTON MASS.

OR, BOOK OF SPECIMENS

		I>ruggist, ^^
0 i V 0 V 9 H )-> « s <• A A	DIEECTIONS.- Apply the Liniment on Flannel, to the affected part, twice a day, rubbing it in well witn a piece of dry Flannel.	VOLATILE Rheumatic Liniment.	M 0 » H 9 3 « (0
^^ '4snu»U3

[UARPEL'S ||yP0GI|APH5

W. S. BROWN. P. CLEARY.

JVo. 20 Fiiblic Landing,

I-IN

i ]y[IAMI PAIUT WOUKS,

T^4S Central A-venvTe, CINCINNATI.

This Paint is carefully mixed and ready for Fam- ily or General Purposes, but should be kept corked when not in use, to exclude the air.

4 \

III

J

^l

82

(fi)

OR, (I^^OOK OF ^^JPEGI]V[,E]SLS

LITTLE MIAMI, COL. Ss XENIA, and MARIETTA & CINCINNATI R. R.

m^iifim©^^® ^^s;

iVo.

Loveland, 0 1870.

Permission is liereby given to THE BEARER, and all his friends, to travel from any Station on the L. M., C. & X. and M. &. C. R. R. or from any part of Clermont, Warren, and Hamilton Counties, on foot, to the OLD-ESTABLISHED NEW YORK STORE of

KAPliAM^

to see the bargains he is now offering in all kinds of goods for Ladies' and Gentlemen's wear.

e^G-OOJD UlSTTXTj TJSZEJID ."^a

4m^

	R.
1 ot
Siz(	1

83

mrpd's fepiO'irajpl;

if. k tll^, Mil f itiw.

[Et«Ii«e yi^l^orrt^^ott.

ifprg i^ iaiiiiiiniii |f(fo |* |il|odi.

_y// ^Ae residence ofJ\/{r. & jVIrs. G. litchards.

84

0ir gjpi^aairaigES.

01

Ul

^ 0

^-iycXC/'/yQA&^XfXaxj^CAg^£XM?QA3^d^XK)^^

Vci 'HoanasxxiJ

'»«®3V AaiNAVOX 'A^. WVITIIAV ^q PT<»S

«!»

risO'^G<l&'^sSy!:fS<3/3^?>&<^S<l/3'^^Syus<l&'i^SytXS<>/3^

''5>i>«Jx^e^'cxt>'aJX2/6^-^^J>«^G/S■-^^£^^

^i'*!

85

^^r^el'§ gu^agnit^ff.

upem^ (Ij0ui|t 0f #lti0.

George Davidson ]

Joel Drake I -^''''^^' ^^ Court of Coimnoii Pleas

m. I o/ Hamilton County.

The State of Ohio. I

Thomas Powell, Attorney for Plaintiffs in Error.

A Wkit of Error was allowed in this cause in vacation return- able before the Supreme Court.

The defendants below were indicted by the Grand Jury of Hamilton County. The indictment contains two counts. The first for keeping a room to be occupied for gambling, etc.; and the second for keeping and exhibiting apparatus and devices wherewith to play at games of chance to win and gain money.

A ''nolle prosequi ' was entered to the first count as follows:

"And on the same 10th day of July, in the said

term of June, a. d. 1869, of said Court, nolle prosequi ^^^f^^"^

entered herein, by order of Court, as to the first count

of the indictment, at the request of the Prosecuting Attorney."

The defendants plead to the second count of the indictment as follows :

"And afterwards, to-wit : on the 10th day of July, in said term of June, A. d. 1869, of said Court, this day came the Pro- secuting Attorney on behalf of the State of Ohio. The

defendants coming into Court, and being arraigned upon pl|e^^5^&'"6.' said indictment for pleas thereto, say they are guilty as charged in the second count of the indictment, and not in the first, which said plea is accepted by the Prosecuting Attorney."

(3) 86

MRS. FRENCH

Respectfull}' announces to her customers and the general pubHc that

she IS now receivmo-

Direct from Cincinnati,

A Fresli and Elegant Assortment of

MILLINERY

J^lSTJD

'« ff

"41

M

&

Which she will be pleased to show- to all who niav favor her with a visit. The latest Styles of

Hals, Mm, Flowsrs, Mhn, im, Mm, CdSp

And many other articles of Ladies' Wear will he ibiind at her store,

in great variety, and at

Very RiisoiiiiE Prices.

Please give her a Call.

South Side Public Square, danviiiIjix:, iimImS.

87

|afpr^ IfPinpIt;

\<y

•IXV.MNIONIO

•SIS J^IIF^Eg puB >|JO/^jaujo3 -3 -fj

*xsiKaHO ciMV xsioohho;

Aa A1N0 a3yvd3ad

HASBROUCK'S

Inula Troches^

PURELY VE&ETABLE,

A pleasant and effectual remedy for

ASTHMA, HOARSENESS, COUGHS,

COLDS, CROUP, CATARRH,

And the various affections of the Lungs and Throat.

ic-

DIRECTIONS:

Take from one to three every hour as required.

Children five years old one-half Troche,

Free from Cubebs, Opium, Antimony, or any disagreeable or deleterious drug.

Harpel, Printer, Cin.

ifr, juuk gJ |pciiii?n5.

Cheap Boot / Shoe Store

gat TIMS ilSEBBfi.

Corner Vine and ISth, tytllCtilflCltl^ \J,

^>---'^?^>C^9^cx£>a<5^^A^^^x3CK^■e/^'p^xM5^aA9^txs^^

'.9^oa<yQ^£>^)-sa<?QA9"D^yM5Nav£>^xo&g^A&-o^sa^

^«

4jl^y

DeGOLYER & RYCHEN, Proprietors,

600 West Fifth Street, Cincinnati.

Lbs.

Inh,

m

per lb.

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or, Book of Specimens.

Justice of the Peace.

OFFICE:

S. E. Cor. Ninth Street and Central Avenue.

B^wn&^n^.

Borket Returnable

No.

18

\

Plaintiff will takejndgmnit if you fail to appear, for . . . . $

Jiistice's Fees, .

Constahhii' Feei<, .

(A TRUE COPY.)

Coti.ifffhir.

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MANnrA:T7222 :r

AND

Loixrtr Five Mills, sqiMinud ^ s. s. man, M^lT7UirX, Fit.

JOHN GATIS

Importer and Dealer in

French

WINES, OOBDIALS, fto.

58 Greenwioh Street, THOS. BELDEN, Agent. NEW TOBX«

OK, Book or ^Specimens.

44

RANDOM RHYMES.

S 1^ :© K I

WATCH the gossamer wreaths that rise

From the fragrant fokls of ray good cigar.

And dream of the Cuban isle that lies Ever embraced by the seas afar,

Where the palm-trees cast their shadows long, 'Neath the cloudless blue of the tropic skies,

And the Creole senoritas throng

To gladden the eve with their starry eyes.

I dream of a damsel whose orbs of jet

Once fettered ray heart witii their raystic powei And woke a feeling that lingers yet,

As I sit and smoke in the twilight hour. All, me, how often mid orange groves

We wandered away in that vernal land — Unto paths where elfish Cupid roves —

With the perfumed blossoms on either iiand.

'T was there her fingers so deftly formed

The delicate cigarettas for me, And hers was the glance that fiashed and warmed

With its fire the passion it would not see. And free of fancy she rambled so,

Till the groves were laden with gIol)es of gold, In that Spanish island all aglow

With its sunny memories manifold.

And then I sought for Inez again,

Resolved to tell her the story of love — 1 waited from eight o'clock till ten.

Like a lone, disconsolate turtle-dove : lUit she came no more as in the past.

To strengthen the tie that iier absence l)roke, So I lit a mild cigar at last,

To solace the hopes tliat ended in smoke I

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97

Harpel's Typograph;

Adam B. Robbins,

( Late of ROBBINS & POSEY, Cincinnati,)

Manafactarer of and Dealer in

BOOTS & SHOES,

16 High Street,

Webster Buildings, BOSTON.

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/ OR, BOOK OF SPECIMENS.

Louis Snider.			John MeCall.
SNI]	^JMUFACTUF^ER^'	'V/ai^ehou^e.
DEH	&	MeCALL,
	"W5iOLES.A-IjE 1
a	Paper	B	eaters.
IsTos. 230	& 232 -W-.A.i:.3SrTJT STIREIET,
	cii«rt;iivrvA.Ti, o.

Qhinciniiati, '187

iDear hir:

]{ e take pleasure in uiformimj ^ou tijat our Mm» M* Bn. Mmi© wtll call upon you on oi- about tlje inst.

pflpp/'eciali/Kj the favor of you/- trade^ and de- sirous of continuimj it, we trust vou will wit1;l)old your orders for anv (joods in our line until his ar- rival.

Yours, Xi^uly,

SNIDJEM tC 3IcCALL,

101

Harper s Typograp h ;

^mi©^ ifiis^

JULY Isi, 1870.

White Lead Works,

[Established 1837.

Eckstein, Hills & Co.

PROPEIKTORS,

Corroders and Manufacturers of

CINCINNATI, O.

OFFICE, No. 171 Race Street,

FACTORY, West Eighth Street.

H .^ I«^ T^ .4. IV' ^

HARNESS GREASE,

For Keeping Exposed Leather Waterproof, Smooth, and Pliable.

Manufactured and Sold by JOHN M. LITERS, Newport, Kentucky.

102 —

or, !Book of Specimens.

Quotations Net, and subject to fluctuations of the market. TERMS CASH WITHOUT DISCOUNT,

White Lead in Oil.

Eckstein, Hills & Co.'s

•'Phcenix" Brand, (perfectly pure,)

ire also prepare the following Brands of White. Lead, ivhich for whiteness, body, and durability, are tinequaled by any in the mar- ket at con-esponding prices :

Lawrence & Co.'s " Pure,"

" " "Superior,"

" " Imperial," . "Columbia," '' "Ohio," " "Challenge," . (An advance cf >ic. per It. on orders less than one [1] tun.)

Zinc White, in Oil.

Genuine French Zinc White, .

Parlor,

Imperial,

•Jo, 50, 100, 200 * 350

pounds, & upwards.

25 lb. til! pulls in

pounds.

Dry White Lead.

Pure White Lead, in Lbls.

In boxes of 25 and 50 lbs. full weight.

Pure Red Lead.

In bbls. J bbls. and 200 lb kegs, . in boxes of 25 and 50 His. full weight,

(An advance of Ic. per lb. on all orders for less than SOO lis.)

CBNT.S.

Hi

8 6J

12^

11

10

11 11^

10 lOi

CKNTS.

12

11

10 9

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8

7

13 11 J 10^

jl'^^S^-*5^^j^^^^^'H«^.^?^M^

\%

f^

fuT UP BY CANNING FRUIT CO. pwAi^K.

103

KarLel'o Typog^apL,

3^ Soiree Da^j.^

Ihursd/y Evening, February 17th, 18/0.

''^n

:t^lNG, fEB[^Uy\I '""'•^'■"^e called at8'.;o-c\ocV,^^^'

'^/^^^-^^

^^^Y^/ v^/

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T^-igy-*^^ 51 W. FOURTH STREET ^ ^ »' Vi^

FROM ENGRAVINGS ON WOOD BY STILLMAN 81 ADAMS, CINCINNATI.

104

^jok of

©lla@f©.

^t

DEPOSITED BY

Cincinnati, 187

Checks on Banks in this City deposited with us after Jlalf-past One o'elock, CANNOT BE COL- LECTED UNTIL THE ENSUING DAY, and are taken at the risk of the Depositors until collected.

DOZLARS.

CENTS.

'A

105

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cii<rciiT]sr^A.Ti.

5^/1//? (& B/DDLE, ^inffat[fcr^ and ^ohbur^ af §m$,

J\'. E. Corner Front and Chestnut Streets,

Presented by WM» F^ ^@&PMm..

ORJEAT TVES^TJERN I>A.]XCING CI1.CJ3S,

C^ommittff of 3[vraitgcmcnts:

C. ESBERGER, J. DrEHER, V. SaEGEB,

Til. Lf.tzi.er, G. Frokhlich, M. Steinavek.

G. Thiej., W. R. Smith, J. Maxnk,

G. Stutzman, Wm. Voll, A. Voll,

C. W. Adams, Thos. Coughlin, G. Long,

C. Heeg, Chas. Smith, Wm. Cook,

J. Essex., C. Hesle, C. Wuest.

L. HEIL, Chief.

O. ZIMMER, Ass't Chief.

S C H "WE BE li'S S J^liTlD.

SECO]VI> GItA-IVI> A.I>fJVIVJER(SA.ItY P»1C PTIC,

106

OR, ^ooK OF Specimens.

.-s-^

'^^ISB-TMNMEITT

107

HlARPiL'8 TYPQeiK^PH;

AN ACCOUNT

Remarkable Occurrences

IN THE LIFE AND TRAVELS

OF

Col. James Smith,

DritiNc; ms C\i'ri\rrv wnn^riii-: Indians, in ihk \'i;\iis i755,'56, S-7, '58, &S-9.

IVith an Appendix of Illustrative Notes.

By WM. M. DARLINGTON,

OF PITTSBURGH.

CINCINNATI:

R0B)-RT ClaRKK AN'O CoMI'AMY 1870.

108

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t t t T t t T " t t f nf iq^i mw iqf i^p ^vc^ -vr9 *# ,

4< c> op «Jf

History and Improvements, i.

fjhn\m\im§ on ^ncieut and ||oclciin

FiACES Of $EfUiTy-B£<

CINCINNATI:

ROBHRT Cl.ARKE AND COMPANY

i86c).

109

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112

QE, BOOK OF SF:

SPICKER'S ILLUSTRATED CATALOGUE.

Per gross,

POLISHED IRON GATE HOOKS.

2i 3 3J 4 4J 5 5J 6 in. . S2.90 3.10 3.40 3.70 4.00 4.50 500 5.50

POLISHED IRON WARDROBE HOOKS.

1 l\ U If 2 -21 Sin.

Without Kuob, . per gross, $1.00 1.10 1.20 1.30 1.40 1.50 1.60 With " . . " 1.30 1.40 1.50 1.60 1.70 1.80 1.90

^

POLISHED IRON SCREW OR DRIVE HOOKS.

1 U l.l If 2 2j 2i in.

Per gross, 35 40 45 50 55 65 75 cts.

228

S^t

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(0)

113

Ma Tp el^ s Typ o g r ap h

SURVEYORS AGENCY DEPARTJIENT.

^''*^,^ JHSUP-A«<=^ j:°«P4^^^

■Hartford, Coii*- '"'"'"^'^ Offiee-No. Z4 West Fourth ^uce^'

CINCINNATI . IS Vine Street, between Ninth and Tenth,

|l| FRED. WATEHMAN&CO.

Fred. M'atenuan. Louis Ballcnberg.

DKAl.EKS IN

No. 273 VINE STREET,

! ^A^holesale and Retail. CINCINNATI, OHIO.

Agents for Geo. P. Prescott's Celebrated Smoking Tobacco.

Dl/MO^Dl^K._®f,. iB

Dfst aitiJ Cf)tap£5t

Manufactured ty TjlyMVlOjMD |j\|K pOJVIP/iNY, PITTSBUEaH, Pa. Works, earner First Avenue and Feriry Street,

B. F. H. LYNN, Gen'l Agent.

11-

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SS.V

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2' For the Immefliatc Helief of ft

^^ 09

b Headacho, Neuralgia, Nervousness, Sleeplessness, (J^

Epilepsy, Delirium Tremens, and all

Diseases of the Nerves.

In ctise of Violent Heatlache, take a tablespoonl'ul in a little watei'; If no relief is experionoed in one hour repeat the dose. In case of Slocplcssuess, take two lablespooiisful on retiring. In case of Ki)ilcp'^.v and Chronic AtTec- tion.s of the Nerves, a tablespoonful three times a day will Ix' sufficient.

(In ease of Delirium Trem(>ns, give ta- blespoonful at once, and repeat if not relieved in one-half hour. -^ PREPARE D I! Y

7^ Apothecary,

Ws N. E, COR, SIXTH AND MOUND STREETS,

Ciiiciniiati.

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in good order by to he delivered at in like good order and condition to

■IS70.

Olid d SlchVf

Marked

ARTICLES.

WEIGHT.

115

INVITATION TO RECEPTION — DOTTED LINE ACROSS CENTRE INDICATES THE FOLD.

f . I ||rt, |iig| |elMrt,

'tz{m (p^e'/i{/?m^ t/eMmimi /Sm^ /o^/^^

tJ2^ e^m c c/ccii.

Richland, Ky.

116

€ii^ <^£i€icw (^/T (oy)^^^^^^e^<i.

|?l» |.|i(geF,

J. Q. R^kii©pp,

ilEioiiif IPiiiiei;

|ff. l©@ H'est \ni\\ \UmK

CIlTGI3SriNrA.TI, O.

(cover of brief.)

uui[«m^ 0{0iii|t 0| #hi0.

BRIEF.

Ex parte Joseph Lytle,

Habeas Corpus.

[otion for §.l(otoante of Mrit of ^rror to |)robtit£ Court of 0Mo.

T. A. O'COJ^KOR, AWy for Relator.

117

I) (1 r p c (" 8 C ]| p 0 (i f n p I

a E iM s

English Poetry.

M'xih Illustrations bp (Jircat ^vtists.

" Then came the magic of a poet's name. Like light, upon my fancy; and I sat Brooding for hours, amid sequestered nooks. On all the mighty masters of the lyre."

LONDON:

T. NELSON & SONS, PATERN0STP:R ROW

K D I N B U K G H ; AND NEW Y O It K , 187 0.

118

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119

HARPEU'8 TVPOCRAPH;

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120

OR, BOOK OF 8PECIMEN8.

I., ]P, IS^T^OXI,.

rilil Elim ti'OMi?Al¥.

MANUFACTURKRS OF

upcrior Mm imb Morhct dtutltri).

OUR GOODS ARE ALL WARRANTED.

John A. Peck, Pres't. E. B. Mallett, Sec'y.

Hamgatmtl^ ®'®®m®

¥i€10E ^Pll^lii,

□

IjULE DESI&I

□

l^slp^ig®

|uEBN (jiTY Printing Ink Gompany,

F

MANUFACTURERS OF

^^ ^ ElCjill, Piaprietors

I

!fK

Geo. DeGoIyer. John Rychen.

West Fiftlh Street,

(p)

121

a^-< OFFICE OF »r^^ Successors to DiefioM, Bahmann & Co,

MANUFACTURERS OF

(^ire and ^urglar ^proof ^afes,

AND

Patent Combination Bank Locks,

0irbGinrba/ii^ 787

OI^FIOE 03?'

Addy, Hull & Co.

/y

vdvof ds ndme'd ielow^ for credit on account cjyron Soyle'S. <^lca/sc acknowledge receipt.

DATE. TIME. DRANA^'ER. AMOUNT

or, Book of .S^)tfime-ns.

IVr res^rct to find your Agency among fliosc report! ng

for tlie month of MA )', and our sympathies are -vifh you. for -tve are -cve/l aivare it afforded you no pleasure io be compelled to close the Fiscal Tear -vifh a blank. We shall be very glad indeed, to hax'e you begin the nezv I'ear zvith business to report, and the month of jfune zvill be a very proper season for such a displa V of energy and. determination, as -fill xvipe out the cipher mark, no'cv against you, for MAT.

OFFICE OF

Ollcabetanb, ^omcrbinc ^ ^obnstan,

vjea^i'Tmm^

7

We 1)and Jjerewith statement of your account^ for wljicb please execute notes in set- ttemctit^ to llje order of parties designated , and enclose to us at your earliest convenience. Your prompt attention will con- fer a. favor.

123

:A3R3P1Sx'S TTP^-GRJfcSPH; &»*

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jFourtlb .Strttt.

A

A

ST JV 3S5" IDS

To Appeentioes

Many elegant devices may be produced from Rules and Borders for Fancy Work.

with slight labor; all that is required is a will and a little brain-work.

This page is but a trifle to what may be done.

Aim to accomplish

and excel !

z

X

124

•t ^3R,B4^K ^y StPR-GJMKSfS.x— —

F. & K. M.

"^'^•■y LOVE, RF.LIEF, A ^^ ^

^rclh

er

McMillan lodge, IS^o . -i^iA, I", §^^.M. will meet in Social T(e -union, at Masonic Xenifle, on baturdav JEveninc] . Mav 7th. '1870 .

Xourself and lady are respectfully invited to he present.

M, W, ^M@M&M, W, M,

|. ^. dlobcvt, it Home,

126

SYRUP

— OF —

FOR THE IMMEDIATE RELIEF OF

Headache, Neuralgia, Spasmodic Asthma, Epilepsy, Nervousness, Delirium Tremens,

And all other Diseases of the Nerves.

mHE great success attending the introduction of the HYDRATE OF CHLORAL -*■ in the above diseases, has induced tlie undersigned to introduce tliis preparation to the public.

It is composed of Bromide of Potassium and HYDRATE OF CHLORAL dis- solved in Syrup.

Bromide Potassium has been used for years in nervous diseases of every form. In Epilepsy and Neuralgic Headache it has been proved a specific.

HYDRATE OF CHLORAL is a new remedy, lately introduced to the notice of the profession by Dr. Liebreich, who found it highly beneficial. It is found to diflTer most materially from the old narcotics, in producing no bad effects as sickness at the stomach and other disagreeable symptoms after its use.