| £' " fci *•< ^3% Mf y , r j<2&s. ; ^ XX- 'Y' XX~i|^ xx^j [VXX ^ fx>/ •ft A I v Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/harpelstypographOOharp_O / DRAWN NO ENGRAVED EXPRESSL FOR ARPEL’S TYPOGRAPH, BY B. B CHAMBERLIN, CINCINNATI. ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1870, BY OSOAR IN THE CLERK'S OFFICE OF THE DISTRICT COURT OF THE UNITED STATES. FOR THE SOUTHERN DISTRICT OF OHIO. Pl]EFylTOf|Y A c. EMAFjKS. r\Sw he abundant 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 effeCts, 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 respeCts—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 offal 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 practice in its accomplishment, if they would reach the higher results of this progressive art. The need of a more practical hand-book and guide, than any at present 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, however, aim to be of service 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 upon the learner’s mind. Under the captions:— Hints About Starting an Office; On Letterpress Composition ; The Press Room ; General Business Management ; and Closing Notes; —will be found such information and suggestions as are deemed pertinent to the objects in view. P r e fa t o r v Re m a r k s . - .<> - _ 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, by average workmen, and is not offered for critical judgment, further than it applies to general practical execution, such as may be accomplished on job presses now in vogue. Quarto and half-medium bed-and-platen presses were used throughout the main body of the work. Elsewhere will be found references 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 collection of respectable work, that may help to remove some of the embarrassments usually experienced by learners and teachers. The expense of the Typograpii has been greater than was at first anticipated, in consequence of considerable additions to the original plan. Consequently the prospect of a future edition of the work, except at an advanced price, Is very doubtful. Cordial acknowledgements are due to those friends of the undertaking 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 offers his sincere thanks to each and all, hoping that the deficiencies of a first book will meet with leniency at the hands of those who may 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 day. 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 preservative Art. P r cfa t o r y It e m a r k s . -o- 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, by average workmen, and is not offered for critical judgment, further than it applies to general practical execution, such as may be accomplished on job presses now in vogue. Quarto and half-medium bed-and-platen presses were used throughout the main body of the work. Elsewhere will be found references 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 collection 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 prospeCt of a future edition of the work, except at an advanced price, is very doubtful. Cordial acknowledgements are due to those friends of the undertaking 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 offers his sincere thanks to each and all, hoping that the deficiencies of a first book will meet with leniency at the hands of those who may 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 day. 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 preservative Art. (No. 1.) BO-PEEP! Engraving furnished by kindness of Francis Hart & Co. General Printers, 6j Cortlandt Street, New York. Hints About Starting an Office. iUTS About Starting At^ Office. S oung printers, as well as other people, when going into business on their own account for the first time, frequently assume that if they 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 are 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 how 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 amount 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 aCtion to be taken-— leaping at no hasty conclusions as to one’s own personal superiority, nor expecting to become established through dishonorable practices, underbid¬ ding, and the like. Make “ Live and Let 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 certainly disagreeable to most patrons and workmen. The tendency of the inexperienced purchaser of printing material for a new office, is usually toward injudicious and superfluous outfit. With a Hints About Starting an Office. - < ♦ ft - limited capital at command, the desire is generally felt to expend it to the hest 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 sanctioned bv 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 they 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 sufficient 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; yet an enduring business can be built up only on a sure foundation, little by 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 office 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. — 6 — Hints About Storting an Office. We would recommend plain, neat, and substantial Furniture —such as cabinets, racks, imposing stones, tables, closets, standing galleys, banques, etc.—uniform in appearance, but made for use rather than show. For Case Stands, desired without racks, the lately invented, neat, strong Iron Bracket Stands are to be preferred, as they do not warp or get out of order like wooden ones, and permit the free passage of air besides. Racks for Job Letters ought to be strongly and compadtlv built. The cases should be about five-eighths to three-quarters of an inch apart, and rest on strong, hard wood cleats well fastened to their places by screws, or slotted into the legs or ends of the stand, and have stout back stops to permit the cases, when pushed back, to be on a line in front. A rack will contain from four to eight more cases, if constructed in this way, than it would if made by the common method, with wide spaces between cases', and the cleats or rests carelessly nailed on, and liable to give way under heavy founts. The usual surplus space of six or more inches found in racks meant to serve also as stands,—which we do not approve, however,—is best if left in front, as it will thereby afford room for a case to be used in the rack, when onlj’ partially pulled out, at times when single lines are to be set up for jobs and display pages. Where this plan is adopted, the inter¬ vals between the cleats should be closed in nearly even with the ends of the case, so as to prevent it from slipping out sideways. Cabinets, Racks, Drawers, and other pieces of office furniture apt to become heavy when filled with material, if raised three or four 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 for 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 affedted by dampness. Those cases that have the angles of the boxes wired down firmly with fine copper wire at various points, are stiffer and more durable than those without such wires. The ledges of cases should be made with square angles, not rounded, as some are. Closets for Standing Jobs, Alive Matter, or anything in type that it is desirable to preserve free from picking, dust, and pi, should have close- fitting doors. Such closets ought always to be placed in charge of a responsible person, who will examine them weekly to see if there is an undue accumulation of matter that should be distributed. Cabinet Drawers, for any purpose, should have strong Iron Handles, firmly screwed on, instead of the light fancy or porcelain knobs, that are liable to get broken and pull out. Strong Boxes, —or, better still, Drawers that cannot be removed,—for surplus quadrates, should also have good Iron Handles, as indeed should all receptacles that are to hold heavy articles. A Compact Cabinet for Cuts, with suitable strips for separating the different sizes, is a much better way to keep them uninjured than the common practice of piling them up in odd corners, or on shelves, making it necessarv to overhaul them frequently to get at some needed one, and VIL_::_ "fe . 4 1 4 ■i i Hints About Starting an Office. causing more or less injury to their faces, each time, from unnecessary- handling. In all Carpentry done for an office, neatness and comfort should be considered. Have no tight-fitting cases, creaking drawers, ill-made closets, rough, projecting corners, rickety joints, or haphazard construction of any kind, no matter how plain or simple the work may be in other respeCts. Types, Borders, Ornaments, Rules, etc. ought to be judiciously selected with a view to harmonious effeCt in any kind of work for which they may be employed. Styles should he 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 witli ordinary, condensed, or extended bodies, so as to insure elegance of combination, as well as sufficient variety, according to the tastes of different patrons. A large, incongruous collection 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 selected with direCt reference to its future employment and tasteful adapt¬ ability. The introduction of many-charaCtered and elaborate Combination Borders causes a great waste of time in printing offices, that is rarely 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 reallv desirable face or none of them. The rivalry of type-makers, at times, is apt to cause the production of so-called Novelties that are of an indifferent character. Although new, thev have often nothing to commend them besides oddity or incompleteness of design—are generally evanescent as to utility, and seldom profitable to persons unwary 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 work clearly, or are clumsy, and otherwise nearly useless, although but little worn; while others, that were elegant and attractive 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 before ordering any and every- — S — Hints About Starting an Office. thing that appears, simply because it may please the fancy momentarih . 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 having 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 vary enough to affedt the appear¬ ance of work when the quadrates and spaces are used indiscriminately. The lack of a proper understanding among founders of different sections in this particular, has rendered the possession of type made by all of them, 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 different that there will be no liability of one being taken for another in correcting or distributing. Labor-Saving Rules, accurately cut to eras of pica, and Brass Leaders to line with the various bodies of Scripts and Italics, are costly, but, we 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 plentifully 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 always desirable, and save much 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 use large upper cases, and divide the boxes 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 convenient size for Imposing Stones is about three feet three inches by five feet three inches. They should be elevated about three feet four or five inches above the floor. The slab or stone should be hard, close grained, elastic, not apt to chip, smoothly polished, and perfectly level on the work¬ ing surface. White Italian marble, and some kinds of slate, make good stones. Have them from one and three-quarters to two and one-half inches thick, and laid in a bed of sawdust or gypsum, to prevent springing 11 — 9 — 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 anywhere upon its surface. Iron Imposing Tables we do not consider good, on account of their tendencj' to rust and wear the bottoms of type faster than stone. The Frame of the Stone should be strongly constructed of well- seasoned and rather hard wood. Drawers for lock-up furniture, mallets, planers, shooting-sticks, quoins, etc. should 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¬ wise, or into the narrow ends of the stone frame, there will be plenty of room 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 smoothly polished, as well as strong, light, perfectly true from top to bottom, and without any “give” or spring at the slide. We have examined a very excellent kind made with a brace firmly secured to, and extending from, the top of the sliding bar to the bottom part of the stick, where it fits squarely, 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 upon for particular work when they are worn in any degree, and seldom hold as firmly as the nut and screw; although the latter is by 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. An obvious fault that exists in most of the composing sticks used in this country, is, that they are too deep from top to bottom by one to two ems of pica. The longer ones, when made of metal, are tiresome and unwieldy while being filled with solid matter. Although the workman may empty them before they are full, if he wishes, yet it would be better, we think, if they were made less deep when more than eight inches in length. Procure close-grained Mahogany Composing Sticks for long measures. A simple but well-constructed Mitreing Machine, that will cut rules and leads perfectly true to any required angle, is certainly a necessity to every employer who wishes to do exaCt work, as well as to economize in the time consumed therein. The old-fashioned Wood Quoins, although rather rude when compared with some excellent mechanical ones that have been introduced recently, must still be used for a long time in many places. They should be made of dog-, live-oak-, box-, or iron-wood, and have their beveled sides to correspond exaCtly to the furniture with which they are to lock up. For very narrow lock-ups, Iron Side and Foot Sticks are decidedly better — io — than wooden ones, as they will not yield so readily when the quoins are driven entirely home. Wood Furniture is convenient to close in and lighten forms that are to be locked up for ordinary presswork requiring no register; but if the latter is necessary, it should not be used to any extent, as it will swell when wet. Metal Furniture is always best for exadt registers. For poster or other common work requiring a great deal of wood furniture, it is advisable to have 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 width of each piece. Shooting Sticks made of polished wrought steel, if properly shaped, are the best, but require careful handling to prevent damage to type and imposing stone. Choose Mallets of medium weight turned from lignum-vitse or iron- wood, and see that the handles are thoroughly secured. Planers made of compact mahogany-wood and perfectly true are to be preferred. They should be capped with a strip of stout calf-skin or kip, to lessen the vibration of the strokes when forms are planed down. In choosing Printing Presses and other Office Machinery, have only 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 construction 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 supplied much machinery that is almost perfeCt in its operation, but there still remains considerable that is little better than worthless, which should never be admitted into a well regu¬ lated office, however plausibly those concerned in its sale may speak of it. Prudent inquiry among disinterested and experienced practical men will indicate what to avoid in this respeCt. Every pressroom should be provided with a well-built Roller Closet as nearly air tight as possible. Rollers are among the most expensive perishable articles of a printing office, and if carelessly attended to they become doubly so. They should be arranged systematically and sepa¬ rately, according to size, in such a closet, especially 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 attraCt moisture, which will preserve them in good working condition longer than they would otherwise be kept. Have Ley Brushes made of real bristles that are firm yet elastic, and without rough 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 a few moments, and if it has a searching, springy feel, yet produces no harsh or scratchy sensation, it will be a good brush. Hints About Starting 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 tympan 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 facft, 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 he 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 slovenly 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 offices, 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 dailv labor irritating and uncomfortable; while ease in getting at and using any implement or material, expedites its execution, and con¬ sequently 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-being of their establishments at heart. NAPOLEON AFTER WATERLOO. On Lett e rp r e s s Co m posit i o n . -o- Oil Letterpress f ’oMPOsiTiON, or the nice arrangement and adjustment of type im¬ plements into various forms, has been described as the more intellect¬ ual portion of typographic handicraft, and the pressman’s work as the mechanical means whereby the former becomes really utilized, and J 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, yet 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 defective and unseemly in many important particulars. The absence of ambition, and nearly 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 every pur¬ pose, at a merely' nominal price for the service. The tendency' to degrade and cheapen this the best aid to everv 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. We are sorrv to sav, also, that such pseudo-printers assist in extending evils that are becoming daily' more injurious to themselves as well as better men. FIRST THINGS TO LEARN. The first step of a learner should be to acquire the names, and under¬ hand, to some extent, the difference between the various implements and 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 fount of job letter; what are kerns, shoulders, shanks, and nicks of tvpe; what are rules, dashes, leads, slugs, leaders, quotations, and metal, wood, and other form furniture. He should be shown the construiftion of, and variations in, different kinds of tvpe cases, and how the boxes ought to On Letterpress Composition. -o- be occupied; what are stands, racks, cabinets, sticks, gallej’s, chases, bod¬ kins, mallets, planers, quoins, imposing stones, and other accessories of an office with which he is at all likely to be brought in contadt; thus making him familiar with their technical names and uses even before being permitted to have full control of, or access to, them. A week’s time thus consumed by an earnest and intelligent novice will give him a large amount of theoretical insight that will hasten his progress when it is put into adtual practice; and he will be better pre¬ pared to respond to familiar technical directions relating to the articles about him, which at least indiredtly form a part of his business, and are to be always identified with his future operations in it. HOW TO LAY A CASE WITH NE'W LETTER. Carefullv 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 cautiously 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 comfortably full, and never shake or shove letters together to make room for more 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 requires exadt calculation and considerable iudgment. It cannot be 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 fadt, the copy is slovenly and irregularly written on paper varying in size, with numerous erasures, interlines, compressed notes, abbreviations, and the like, it is a matter of some difficulty to arrive at complete accuracy; yet comprehensive examination, patience, and care, will ascertain with tolerable precision what the compositor has to do, however unattradtive 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 resolving the written matter into an average number of words to a On L ett e r p ress Composition. page, not counting chapter lines, sub-heads, poetical extracts, breaks, and like contingencies, which should, however, be subjected to a separate cal¬ culation, and added to the cast-off 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 words 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. 12 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 11 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 result of 149,600 words in all. To know how many pages of printed matter this will make, it is now necessary to have the size of type and page to be used. An exadl printed page, containing the one and representing the other, is alwavs 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-off 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 will say, for ex¬ ample,—gives 4S0 words; consequently, 149,600 divided by 480 gives 312 pages, or 20 signatures, if printed in oiftavo. 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 brevier and bourgeois; five for long-primer and small-pica; six for pica; and so on, increasing or diminishing in the necessary ratio for larger or lesser sizes. For works under 144 pages, the cast-off of which does not reach a number 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-ofts for larger works, adopting 8 or 12 as the even dividing number. 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 various 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 Sc >3 — r 5 — On Letterpress Composition. well in short works, or with carefully prepared manuscript; but, for close approximations, the plan first given will be found more reliable. COPY THAT SHOULD BE ESTIMATED BY TIME. Tedious and elaborate rule-and-figure, and other descriptions of com¬ position to be done in a number of tabular columns,—being such as may be 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¬ position takes less time than “straight” or even solid work properly so- called. In a majority of instances, it will take more time to do it well. Such composition, to be profitable, requires an expert workman, who can readily appreciate the salient points involved in the same, although those points may not be indicated beyond mere words in the copy. The amount of main or body matter—by which is meant that part of a subject that of necessity runs in continuous paragraphs—may be ascer¬ tained by finding out the number of words contained therein, and then determining what number of lines they will make in the type chosen for them. The space that is left, after such matter is accommodated, may 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 may be quickly determined by simply counting the number of lines in that part of the copy, for length, and then setting up the longest word, or group of words, contained in single lines from each column, in such type as will comfortably accommodate them to the proper measure, first allowing sufficient space for the length rules and leads, if any are to be placed between the columns. Where small cuts or diagrams are introduced in the midst of, or between, paragraphs of the main subject matter of a page or job, they should be reckoned the same as if they were type matter, when “mea¬ sured,” and not “time,” composition is estimated. TYPOGRAPHIC DESIGN. 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 of outline and choice of material will produce effective harmony, and, at the same time, perspicuity, as well as determine what proportion particular letters, catch lines, etc. shall bear to each other, and in what places en¬ 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 prove ot some service to inexperienced students of typographic design. — 16 — On Letterpress Composition. On taking up the subject matter for which a design is to be made, carefully scan it over, taking note of the parts that seem most important, mentally reserving them for the strong points of displaj'. The 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 different use, can be made subservient to type design, provided the compositor possesses constructive 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 the original sense, also contribute at times to render a device more complete. Such liberties with the text, however, should not be taken without the consent of the party most concerned in it. But it not infrequently happens that patrons expressly desire and expeCt 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 attractiveness 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 ar/rangements of type there should be no clumsy, over-balanced, or unnecessarily bold, lines; and where it is possible to have it so, the strongest etfeCt should be brought, like that of an artistic engraving, as nearly central as possible. In show or poster composition,—almost a distinCt 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 accurately formed. Thus, a circle should be a true circle, and a square a correCt square, and so on. Curved composition is handsome and attractive in proportion to its exaCt execution and elegant equilibrium. When inartisticallv performed, with little or no regard for graceful outline and the harmony of type, 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 subject that is to be set forth in view, toning down and modifying the remainder to suit. 1 in —17 — On Letterpress Composition. - o - SETTING A STICK TO MEASURE. Fill the stick with evenly cut leads or reglets of the length to be used, flatwise. Then place a slip of tolerablj' 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 exactly 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 imperfedf sticks, it may he 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 register 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 eredt 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 them in the latter, and rattling them unnecessarily when there, are all much better in the breach than in the observance. Sitting down at composition 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 by doing — 18 — On Letterpress Composition. so, than if the stick be kept stationary and every type 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 bv taking off a sentence of the copy at a time,—a faculty which may be ac¬ quired after some mental practice,—and having it so ready that there shall be no “waits” or pauses that must otherwise take place. The eyes 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 action requiring altogether but a moment’s time, vet of importance that its “sleight-of-hand” be in precise concert with the brain-telegraphy. SPACING AND 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 justifj'only moderately tight, and when a stick, containing lines of type 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-justified.” 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, w 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, where neatness is expe< 5 ted. Exceptions to this, however, may be made in cases w'here the matter is verv 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 — 19 — On Letterpress Composition. offices, the hair-space is placed between the parentheses and bracket-marks and the words the}' belong to, and also on each side of an em-dash, except where one side of it is next to a comma, apostrophe, or period. The following sentences exhibit most of these usages: 1 . —” Yes: 1 saw him strike George; but he did it in self-defence.” 2 . — “ Behold ! — there by the river-side — is it not as 1 have described it?” exclaimed and de¬ manded the man excitedly.— [Macon ( Ga.) Letter .] In very narrow measures, considerable management is necessary to preserve 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, any 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 compaCtly 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 bv 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 subject, 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 width. 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 introductory 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 subject 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 be printed separately. On L e 11 e rf re s s C o in p o s i t i o n . TO EMPTY A STICK. Place the composing rule along the outside of the last line; grasp the matter set up firmlv 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 may 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 prevent its falling down if jolted, while additional stickfuls are being set up. DISPLAY COMPOSITION. In most job or “ display” composition, careful spacing of the words and letters, and having the lines in good proportion to each other, greatly enhances the attractiveness and equipoise of the work. In some cases,—especially 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 closely together. Where it can he 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 show the difference in appearance between spaced and unspaced letters: LANE WYLIES’ BEST. LANE WYLIES’ BEST. In spacing out display lines, the formation of the letters used should not onlv be considered, as above, but also whether 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 very 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 above. Nothing looks worse than widely spaced lines of condensed text. We give some examples of spacing on page 22. On Letterpress Composition. 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. LIST OF BOOKS OINT HAND; Correct Spacing. LIST OF BOOHS ON BATTID a Bad Spacing. |jitliam V Correct Spacing. 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 subject should be in capitals or small capitals, and made to “line” exactly 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 u-round 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 characters 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 form 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 straight matter (No. 4.) I ( * On Letterpress Composition. inside of this 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 objections 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 effective, it must be relieved bv contrast with what is simpler and plainer than itself. The lines of display composition to be attractive must vary in their sizes and degrees of strength, exhibiting, as it were, the effeCts 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 work be¬ tween rules) following each other, do not look neat. Lines of large, heavy letters need to be relieved with smaller light ones in the same manner. The crowding together of heavy-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 printing intended more particularly for private circulation and perusal, we consider in bad taste. It is true that patrons frequently demand such arrangements under the mistaken idea that they are getting a more “ telling ” effeCt. But we suspeCt this occurs, in many cases, more from the spirit of imitating others than from reflection 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 respeCt, we have as yet failed to discover, holding, as we do, that clearly defined elegance— distinCt, 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 style of face, provided the variety of sizes will allow them to relieve each other. Flourishes made from brass rule, or cast on type bodies, have not yet reached the perfection that should make them much sought after by printers, although just at present the disposition to use them prevails. In the hands of an artistic compositor they can be arranged pleasingly but i-k -- • 0 » Letterpress Composition. —■<>- for ordinary purposes they are extremely unadaptable 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-trying, money-losing imple¬ ments of a printing office. Sloping or italic faces of type intermingled with stiff, perpendicular | sorts, do not produce an agreeable effeCt 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 i used, as the colors, if at all delicate, will not show off" to advantage on such faces. Colors require surface to be effective. The matter for such printing should be set up all together and proved until satisfactory. An impression taken on dry, hard paper should then be used as a pattern i in arranging the lines for the different colors. If quad-lines of the same body as the lines removed are put in their places, a form can be made up for the press much quicker and more correCtly 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 display 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 cause the paper to swell, thus destroying the justification of the lines, and impairing the f register where exactness is necessary. The production of many varieties of ornamented and plain rules, together with the improved facilities whereby to mitre and curve them, afford much assistance to an ingenious compositor in executing his designs. Whether such rules be used in combination with corner and centre pieces, or separately, if handled artistically and with a due regard f for symmetry, they always produce a pleasing effeCt, quite equal, if not j 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 j faces may be made by crossing them at the corners at right angles and j carrying the ends past the point of intersection. This may be done by slotting the pieces with a saw exaCtly as thick as the rule, cutting one piece half way from the top and the other half way from the bottom. Or, it may 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, j setting them inward as far as the projecting ends are to be in length-—say a long-primer, pica, great-primer, etc. Supply the other projecting ends where they are needed by justifying pieces cut to the size of the others and carefully squared, so as to fit up 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 — ~ ' IP On Letterpress Composition. perpendicular when locked up to prove. Carelessness in this particular, especially with solid matter, often brings it to press slightly canted or “off its feet,” giving considerable trouble to redlify. 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 neglech or ignorance of this particular. We subjoin an illustration: Well Balanced. HAWLEY’S Stationery and News Depot. PHOTOGRAPH ALBUMS, AND AGENCY FOR HITCHCOCK’S MUSICAL PUBLICATIONS, 164 Vine St. Cincinnati. Badly Balanced. ROYER WHEEL COMPANY, Manufacturers of the SARVEN PATENT WHEEL, Also, Spokes, Hubs, Felloes, Shafts, Poles, and all other Wood "Work used by Carriage Makers. Office, No. 375 West Third Street, below Smith, CINCINNATI. Imprints, when they are admissible in fine composition, should be set small and placed where they will not be too prominent, otherwise they become offensive and are liable to be ordered out by the patron. Novices must be cautious to remember that the combinations fi, ff, fl, ffi, ffl, in founts of Roman type, are cast on one body on account of the 'Sid.y^'^y'0... ^CX-_:ysS>^>£GX3^^cX^ O « L ett e r p ress Composition. -o- kerns of the fs, which would be broken off or throw the letters out of perpendicular if set up separately. The dipthongs y£, CE, se, ce, 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 COMPOSITION. 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 directly after the Title, and should be tastefully set up with text and italic, or with capitals and small capitals, well displayed and opened out. Dedications seldom occupy more than one page, and, if not too long, afford 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 more 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. 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 tvpe 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 with the one em of pica. — 26 — (No. 5.) THE WHIRLPOOL—ROCKCASTLE RIVER. ; < (No. 6) VIEW IN YOSEMITE VALLEY. By permission—from the 44 Illustrated Union Hand-Book for 1871-,” published by C. W. Starbuck & Co. or the Cincinnati I imes. On Letterpress Composition. Side- or marginal-, cut-in-, and centre-notes, are always put in type 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 be 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 the outer or cut margins of pages, and are principally used in legal and other works of reference. Cut-in notes are those that are let into 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 contaCt with the subject matter, but be somewhat detached from it, yet 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 uniform distance from the subject 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 regularly, they should be carried nearly as far as to where the figure columns begin —not interfering with the latter, but squarely justified to within say 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 with one or two six-to-pica leads, give a freer and neater appearance to such work. Length-rules for table composition should be cut exactly, 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 which 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, be quite dis¬ tinct, 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 construction, as near the centre as may be. Such words as i-dle, a-bout , o-ver, etc., are never divided, nor are terminating syllables like -ed in compounded , -ty in variety , to the second line. Where a syllable is c On Z. e 11 e r p r e s s Com position. vowel, like the second ones in elc- gance, perse-ve ranee, division, 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 word as e-ternity. Our space is too prescribed to give further remarks upon the subject of dividing words in composition; but observation of general usage in this respeeft, 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 subject—Mr. John Wilson’s “ Treatise on English Pmidtuation" —to be had of most type-founders and booksellers. PROVING AND CORRECTING. 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 off 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 tjqie, 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 much lighter impression than dry paper. Proving 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 off,” 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. — 28- On Letterpress Composition. PROOF READER S MARKS. The following useful table of typographical proof marks is taken from Mr. Trios. MacKellar’s excellent work on typography, “ 77ie American Printer published by Messrs. MacKellar, Smiths & Jordan, the well- known and popular type-founders of Philadelphia. We have reversed the order of Mr. MacKellar’s “ Explanation” for our own convenience in imposing pages 30 and 31 : EXPLANATION OF THE MARKS ON PAGE 30. A 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 corre< 5 ted, by 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 Caps, 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 punctuation requires to be altered, the correct point, marked in the margin, should 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 should be joined are separated, or where a line is too widely spaced, the mark No. 9 must be placed under them, and the correction 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. 11 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 are transposed, a line is drawn over one word 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. dots 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. 16 ) ; but where a page hangs, lines are drawn across the entire part afifedled. 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 next paragraph, and No 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 placing 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. On Letterpress Composition. MARKED PROOF SHEET. j Though several differing opinions exist as to the individual by wj(om the art of printing was * first discovered; yet all authorities concur in admitting Peter Schoeffer to be the person 3 who invented cast metal types, having learned the art -ef- of cutting the letters from the Gut- 6 - J tembergs^ he is also supposed to have been c $ the first whoengraved on copperplates. r fhe 7 [ - j 9 w by Jo. ^Fred.^Faustus,^of^Ascheffenburg : 1( Q >‘ Peter Schoeffer, of Gernsheim, perceiving Ji \J his master Fausts design, and being himself out (by the good providence of God) the 13 method of cutting (ineidendi) the characters eitet. in a matrix, that the letters might easily be 30 — CORRECTED PROOF SHEET. Though several differing opinions exist as to the individual by whom the art of printing was first discovered ; yet all authorities concur in admitting PETER SCIIOEFFER to be the person who invented cast metal types, having learned the art of cutting 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 Asclieffenburg: ‘ Peter Schoeffer, of Gernsheim, perceiv¬ ing his master Faust’s design, and being him¬ self ardently desirous 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. ITe 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 which sufficiently hardened it.’ — -it — On Letterpress Composition. - « — DISTRIBUTION. Type matter that has been printed from, and is not likely 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 up 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 oft" entire words in distributing, and lightly lay the letters lengthwise in their respective boxes and with 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 compactly 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 off 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 sedtions 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. — 3 2 — im On Letterpress Composition . IMPOSITION OF BOOK PAGES. Limited space prevents the introduction of many remarks or diagrams relating to book imposition. We take the liberty, however, of extracting a few useful remarks, etc., from Mr. George H. Bidwell’s “Treatise on the Imposition of Forms” a most comprehensive little volume, which we cordially 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 extent, at least, in every 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 exclusively 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 introduction of the stereo¬ typing process, this duty has been divided between the compositor and pressman; and though much neglected of late years by compositors, a knowledge of this subject 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 head, 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 appear 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 chase 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 dissedt a bound volume, you will find it made up of a number of sections consisting of leaves laid one within the other, each sedtion 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 sedtion 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 sedtion, except for pamphlets of a single sedtion, makes a clumsy job for the binder, and renders him unable to bind the book neatly and substantially. The inset, or subsection, is that portion of a sheet containing the middle pages of the sedtion, and which is cut off and folded up separately, but placed within the center of the main sedtion in binding. The inset is necessary in forms which have an odd number of pages in one diredtion, as will be explained hereafter. Register. —The form registers when the pages printed on one side of the sheet are exadtly on the back of those on the other. O n Letterpress Composition. --o- The signature is the figure placed at the foot of the first page of each form, sedtion, or subsedtion, 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 subjedt of the chapter, or the subjedl-matter of the page. The objedl 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. O n Letterpress Composition. The First Page.—The Starting Point. The starting point in all 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 back of it on your right hand. The Invariable Result. The invariable result in all forms of a single sedtion, or in all sections, of whatever number of pages the form or sedtion 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 next 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 nmo, the 6th and 7th ; in the i6mo, the 8th and 9th ; in the 24mo, the 12th and 13th ; and so on. The knowledge of this fadt 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 whereto 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 diredtion 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. Besides, turning the sheet uniformly 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 diredtion of the length of the pages, as in the i6mo, the pages that back each other must be placed in exadtly corresponding positions on opposite sides of the bar, head to head or foot to foot. When the sheet turns in the diredtion of the width of the pages, as in the 8vo, those that back must be placed in exadtly 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 4to, the sheet turning in the diredtion 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 1, backs together. No. I. — THE QUARTO—SHEET TURNING CROSSWISe OF THE PAGES. Head. c 2 — 35 — On Letterpress Composition. 1 Rules for folding Sheet. When there is but one fold in a sheet or scdtion, 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 Z 1 back. This is the 8vo, or sedtion of two leaves. * When there are three K folds, the first is at the (j front, (in the i6mo at the long cross, or in ;< the full sheet 8vo at f. the short cross, of the (} inner form,) the second W between the heads, and the third through the back. This is the 16- 1 mo, or sedlion of four leaves. When there are four folds, the first is at the foot, (in the 321x10 at the long cross, or in the full sheet i6mo at the short cross, of the inner form,) the second at the front, the third between the heads,and the fourth through the back. This is the 32- 8 mo, or sedlion 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 k the back, the next to the last between the heads, and so on. 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, before wecanproceed 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 No. 2.—THE QUARTO—SHEET TURNING LENGTHWISE OF THE PAGES. each half sheet. The outer half of a form or sedlion 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. The Fourth Page.—The 8vo Completed. Page 4, backing the third, must be placed in an exadlly corresponding position cn the opposite side of the bar; head to head in the i6mo, and head on a line with 3 in the 8vo, the sheet in these forms turning in different relations with respedl to the length or width of the pages. This enables you to complete the 8vo, 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 1, backs together. (See Diagram No. 3.) - 36 - r M . .. On Letterpress Composition. The Fifth Page— The Second Fold. We have now the four corners of the form of 16s 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 fold must be between the heads in order to 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 CROSSWISE OF THE PAGES. 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 1. Applying the same rule as in the completion of the 8vo, the form of 16s may now be filled up by placing 9 at the side of 8 ; 10 at the side of 7 ; 11 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 1, 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 On Lette r p ress Co inp os it io n . ~V your minds too firm¬ ly; because, though you may vary the imposition in other respe< 5 ts to suit the exigencies of the case, this is uncom¬ 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 res¬ pects it is peculiar, yet in its imposition it is subject 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 ^boOt 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. 5 . —REGULAR FORM OF I2S—SHEET TURNING CROSSWISE OF THE PAGES. ( No. 8.) \ On Letterpress Composition. in the process of folding, that sedlion is subdivided and folded in two parts, which are placed one within the other to make the se< 5 tion 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 subsedtion, the smaller division on the other. The next variation is the necessity of turning the sheet in the direction of its width. Any simple form above the 4to may be imposed so that the sheet will turn and back correbtly either way, though, as already stated, it is usual for convenience to turn it in the direction 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 sedtion, when folded up separately, occupy 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 .sedHon, and being cut off from the main sedtion after the sheet is printed, and folded up separately, in imposing the form we must omit from the middle of the main sedlion as many pages as are contained in the inset or subsedtion, 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 next 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 direction, 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 fixing 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 corredl, 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 practice, 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 perfectly. 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 these things are to be carefully looked after and guarded against. J*S — 39— On Letterpress Composition . The register of the form is perfedt when not only the heads and sides range exadtly, but when the lines of the pages also range exactly. Works printed on large type and widely leaded, especially, are defective unless this result is attained. The composition of the pages may be perfedt 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 subjedt to equal pressure in every diredtion. 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 diredtion and out of place in the other, and will consequently be all awry when the pressure is applied in the other diredtion. 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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PATENT DOUBLE STAND OR CABINET, WITH GALLEY REST AND LETTER BOARDS. H A SPEL'S T Y FOGS A P H . TRIPPLE CASE. HARPEL’S T Y P O GRAPH.— ?JOn * t t § II 1 "@a ft f @ 1c a /c t °. v , i i f 1 8 t # i 1 $ £ 2-em 3-em - - i 2 s & JE CE se oe - l-em 2-em 3-em M CE & A B C D E F G A B c D E F G H I K L M X 0 H I K L M N 0 P Q R S T Y W P Q R S T Y W X Y Z J U ] > X Y Z .T U Hair Space. ffl 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 : ffi fl 5-em 4-em space, space. ’ k e ; 1 2 3 4 5 6 7 8 j b c d i s f g ff 9 ? fi 0 ! 1 m n h 0 y P J w en- quad. era- quad . z X V 11 t 3-em space. a r 2- and 3 era quadrates. q - ARRANGEMENT OF AMERICAN LOWER CASE. lthough the work of the Press Department of a printing office is 1 necessarily more mechanical in its operations than that of the Com- “Deposing Room, its careful rendition entitles it, without doubt, to a Marge share of the honors attendant upon completed typography. o) 6 Critical and conscientious work-people; properly constructed 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 prospedl of occupying a higher position. PRINTING MACHINERY. Presses of every kind, no matter how excellent, must be well set up and accurately adjusted. They must receive constant attention as to their cleanliness and repair, if the best performance is expedted 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 subjected 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 indifferent treat¬ ment, soon makes them useless; while their frequent renewal becomes a heavy item of expense. It is an injurious practice to wash rollers too much. Nevertheless when it is necessary to clean them, it should be done thoroughly. Cam- VI — 41 — 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, always, that strong alkaline washes soon destroy 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 decodtion 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 11 green" and must not be put up. If it appears only moderately 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. Different colors and qualities of printing inks require rollers in various conditions of adhesiveness or sudtion. 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 effedts of various qualities of inks upon rollers of different 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 selection 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 w r eather, make good rollers—the best of which are emphatically the cheapest. ( No. lO.) LAKE IN CENTRAL PARK, N. Y I The Press Room. 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. I he subjoined cut presents a correct 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-COMPOSITION, and propose to lay before our readers some of the best methods known for making rollers of superior and uniform quality. The formulae 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 restrictions. As we are not obliged, by any circumstance to continue the mystification, we present these methods to all who may wish to use them, assuring our friends at the same time that if they will adhere to the directions given, they will prove to be reliable and of considerable value. TYPOGRAPH COMPOSITION KETTLE. A, boiler containing composition; B, showing water space between outer and inner boilers; C, long spout made somewhat angular, which is better for pouring than the short oval or round spouts usually made. Excellent Recipes for making Rollers. No. i. —For Swumer .—2 lbs. Cooper’s No. 1 Glue; 2 lbs. Baeder’s Glue; 1 gallon best Sugar House Molasses; l /o, pint Glycerine. For Winter, reduce each glue 3^ to % of a lb. 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 times, adding a little good-bodied molasses each time. No. 2. —Strong Middle Weather Rollers. —8 1 /> lbs. Cooper’s best Glue ; 2 gallons best Extra Syrup; 1 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. 6o° The above makes excellent strong rollers for fast printing when the thermometer ranges from to 70 0 . Slightly reduce or increase the glue as the weather becomes colder or warmer. 43 I he Press Room. No. 3.— jo Yz lbs. genuine Irish or Buffalo Glue; 2*4 gallons Black Sugar House or best Maple Molasses ; 1 lb. India-rubber Gum Shavings ; 2 ounces Carolina Tar ; 12 ounces Glycerine ; 4 ounces strong Vinegar. Directions :—Soak glue over night, and drain in the morning by means of a covered collender' 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.— 4*4 ibs. White Shell or Bonnet Glue ; ^4 gallon Strained Wild Honey; 1 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 body 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 weather, it is best to have the moulds warmed, or at least stood where they will not be affedted too severely by cold weather. In drawing rollers, much trouble is sometimes experienced from the contradtion of the molds or from imperfedt greasing. If a mixture of pure sweet oil or melted butter and plumbago (such as eledtrotypers use) is freely 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 pradtice 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 decodtion — 44 — The Press Room. will generally reduce it sufficiently to pour well. Boiling glue and mo¬ lasses together too much is apt to take the “ life ” awaj - from both, as the the latter will candy, and the former become dry and leathery. PRINTING INKS, ETC. Black and colered 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 distinCt branch of business, employing great chemical and other scientific intelligences. Without entering into all the minutiae 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 arabic, 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 by 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 manufacturers are so numerous, and vary so much in quality and price, that it will require not only an experienced judgment in their selection 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 yield an abundance of rich, glossj r color; and, finally, that may be washed off from the rollers or form without hard rubbing; are always 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 tenaciously 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 always 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 dreggy, 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. Very 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 offsets 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 abl upon the adhering inks, and the following morning will show very obviously their difference. These hints apply as well to colored inks. Analine colors, which fade easily, should not be employed 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 responsibilities for him to attend to. Unnecessarily heavy impression upon type should never be permitted a moment after it is discovered, for the abrasion caused upon the fine lines of t y Tsycx^a^s^ The Press Room. •o metal type, even 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 height fully the thickness of a stout card by negligence in this particular. Heavy, broad-faced lines of type are always better if brought up by means of underlaying than by overlaying, as the former lifts them up so as to receive the full effeCt of the ink, whereas, in the latter case, they have to take their chances, for overlaying merely impresses upon the paper the inadequate supply of ink that such lines generally receive when not made slightly higher than the other lines. TYMPANS. 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 variously composed of tine broad cloth, felt cloth, layers of soft or hard paper, card-board, parchment, or a mixture of these articles. Solid book pages and masses of small type require the softer tympans; while, for open jobs, such as circulars, bill-headings, blanks, 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 leveled, which may be done by placing two or 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 cover them evenly, will not work well on some of the platen-presses now in general use, because of the inadequate means afforded bv 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 partially and imperfectly 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, but not subjeft to the same conditions. The difficulty may be remedied to some extent by placing the border or other 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 necessity to have the latter pass over the same track as they move to and fro. I 9 /C7\ The P r /too, SHADED WORK. Shaded presswork, or lapping one color with another and finishing with 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, they should be printed in the order we have given them. When thoroughly dry, print with gold size to hold the bronze. 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. Only such inks as dry quickly and become hard should be used for shaded work, as much delay and trouble will occur from inks that dry slowly. It sometimes happens with the best inks, however, that spots will not dry in due season. By rubbing finely powdered soapstone with cotton wool over the work previous to bronzing, the defeeft 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 vaunts 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 “patent” ever been properly investigated? We think it has not. PRINTING WITH COLORED FORMS. Tinted grounds are usually printed first; but, when they are lined and in delicate tones, and the covering matter is in a strong color, they may be printed last with quite as good an eft'edt as if done at first, provided the other color is perfectly dry. When forms are to he 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 are brought together, and exabt register is necessary. Several impressions of each section 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 must be printed in two colors to be made com¬ plete, or where letters are divided for two colors, the adjustments should be made with metal quadrates or furniture, and leads so placed that the pressman mar shift them to make register if necessary. In consequence of cojisiderable additions made to our remarks not contemplated when we printed the specimen portion of this book,.{which was done first,') we are com¬ pelled to continue them on page 233. — 48 — iSSiiilil! COMPOSITION IN STIGMATYPIE. BY M. FASOL, OF VIENNA. Imported and kindly furnished by the BOSTON TYPE FOUNDRY, through its Managing Agent, JAMES A. ST. JOHN, Esq.—Sec “Closing Notes." HARPERS TYPOGRAPH; OR, BOOK OF SPECIMENS, CONTAINING USEFUL INFORMATION AND A COLLECTION OF EXAMPLES OF LETTERPRESS JOB PRINTING, ARRANOED for the assistance of APPRENTICES, AMATEURS, MASTER PRINTERS, AND OTHERS, OSCAR H. HARPEL, TYPOGRAPHIC DESIGNER AND PRINTER CINCINNATI: PUBLISHED AND PRINTED BY THE AUTHOR. 1870 . The above cut represents 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. EXPLANATION OF THE DIAGRAM r A, marble or slate slab ; B, B, frame of stand ; C, chase-hole open from side to side and placed in centre of stand. It contains three appertures 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 furniture. The drawers placed at either end (at both ends is preferable) of the stand are for mallets, planers, shooting- sticks, quoins, squares, and other implements for locking up and adjusting forms. * <• .... .. .* . a ■ n • • .* *. .t :. .* *. ,■ •, • . • »* • •* •■*,* •*. .*• •••go f - ' X :: . " X .X X =• X- :■ M - i : V‘ ;v: •••• v-,.;w . y . ;= a =- && v SxOxi “^sAASW :. i O > XX A •#■ !> - - > X t. :Y‘ XAO> ■ / \ > ” < ■ - :* XXXJf " ‘ : : i ; 4k x ( \yy.xw* ;. x;-ix, : : • SgBSS po1 X I m X f ■■■■■ •: :::: X zv u.; X ’ ill;:::;/" X!XH'" OXx XX: ■X:!U. : ' - ; iiii i6i< g;f :: X '"X'lX li X 00 00" : 10 00 0;;XX X % mi g!i llij : j 11 !!: : ||X 00:::*0' 00:. 00:. Ajf'- aXX *>xx yv xv y'/A \/ 5 vX < ■ :••. X X-CxX^xNXOn S.-.V . >1 00 X ; * : ■ ■ .:■”<■ : •: :• X ; v.v > ' j : :* X # ix; ; : : >•>: V ; , :XX :: (X)"w <;, ' ;/ yx : - v 8 XX/x ( /' yV g. 0 >O J: ^ w* ....i I ...0 Mi 'yrk ' ^ ^ ,, .X'O. ' . M ^ 0.. *i ,0 ; X C.= :X '>•! gg "i-0 >!"■ >; ";X 'xr : ;X' : X '‘ : y . \ \ \ •• ■: •; “ :•• ••. .■• •• ••• ..■ COMPOSED BY WORT. A, READ, WITH OSCAR H HARPEL CINCINNATI. * CINCINNA TI: HITCHCOCK & WALDEN. NEW YORK: CARLTON & LANAHAN. 1870. BY JAMES PUMMILL. From Printing Office of Methodist Book Concern—R. P. Thompson, Sup’!. * &h c-*o Y -<§KJ)f(, |3oOK OF ^PECIJVlEJMg. Form 7. OF HWETFQEE, CWJf. (£yiitcim(;iti, /f/ Dear Sir: The PHCEN1X, of Hartford, has as yet no Agency at your place, and it occurs to us that there are many good risks that might be had if an Agent of the Company were located. We beg to knoiv if your other duties are such as would justify you in soliciting and receiving applications for the PHCENIX at your place—forwarding the same to this office for our ex¬ amination. If approved, Policies will be issued here, and sent to you for collection and delivery. For your agency in the matter ive will allow you 15 per cent, commission, as well as the fees—Policy Fee, $1, Survey Fee, 50c.—the latter to be paid by the assured. If you should see fit to take hold of this matter, it will give us pleasure, upon being advised of the fact, to send you all necessary documents, instructions, rates, etc. by express, enabling you at once to vigorously put the agency in motion. The PHCENIX Company is too ivell known to need any praise at our hands, and from the Statements herewith printed, you will be able to see for yourself its financial position on the first day of January, 1870. Awaiting your reply, am (Q) - 49 Jhrpel’s Ijjpoghpi); STEVENS & HUNTER, 2STO. 1 MBEEILL BLOCK, DETROIT, nvCICH. | Resident Agents of The PHcspix ^Insurance Eompanv, H/RTFOi^D, C 0 N 1 ^. Total Losses Paid, Five Million Dollars. II* K Art AH* DEALER IN « i A n. „ ^ in ^ 4/ rN y Hats, Caps, Boots, Shoes, Boltons, Jfanxii 6oobs, (Sroccries, Cnwhs, etc. LQVILAfiC®, ©LIKM 1 @N 1 T < 3 @. A Discount of 5 per cent, will be allowed on all Bills over $5 bought for Cash. -SO NOTICE I ] 4 aF(PEL’£ yYPOQRyVPH;|- CIEGULAR. ^ * #<# ^ v 'Av# v v. E keep constantly on hand 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, by 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 INIBDSSES ail 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 workmanship, 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. 4 . >4 4/4 4 v* Aa •iY <■/% V % % - 52 pOOK OF £pECI]VI£:^<3.|- frj?^ i, ^rfovTcbss, pairts, Brashes, Painters’ffi ate ^ tc .<* c ' West Fourth c Cincinnati , 187 53 - To the Representatives 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, Gen’l Agent. - 54 of Addy , Hull Co. COMMISSION MERCHANTS — IN — £fi f }J/roit ,tnd(£o1ton, Comer Vine and Water Sts, Cincinnati. - 55 - -|J4a^pe;l’J3 ]ypoqraph;!- ~l(e Hht 'tfitfmwdl ^tutemc!(t. 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, Bail Road, and Water, 467,300 00 State Stocks—Ohio, Missouri, Tennessee, and Alabama, . . 132,085 00 Assets at Market Value, . $1,871,888 91 Total Liabilities, $16,572.83. Hartford, Conn. January, 1S7Q. ASSETS: January 1st, 1869, $1,407,335.60 Unadjusted Losses, . 131,970.62 ASSETS: January 1st, 1370, $1,671,838.91 Unadjusted Losses, . 16,572.83 NET, $1,335>§64.98 net, . $1,623,316.03 FIRE LOSSES PAID IN THE WEST AND SOUTH: Ohio, .$283,293 40 Indiana, 148.513 63 Illinois, . . 437,105 03 Michigan, . 186,200 81 Iowa, . . 142,625 76 Wisconsin, 177,764 73 Minnesota, . 90,736 04 Kansas, . . 32,482 61 Nebraska, 5,901 88 Kentucky, . $153,421 39 Missouri, . . 204,428 55 Tennessee, . 182,166 51 Mississippi, . 157,425 61 Alabama, . 79,778 90 Arkansas, . 25,451 45 Texas, . - 6,12100 West Virginia, 2,000 00 Colorado Territory, . 128 21 JURIED IN THE j^IRE AND j^OUND j^AITHFUL. The Phcenix enters the New Year full ot 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. 0F(, pOOK OF jSpECIJVlEJM£. fg- A. Ackerland &. Co. A. Ackerland & Co. ,.109 West Pearl St. 109 West Pearl St. Lot. Lot Size. Size Price. Price is --s> is -- -0> Hai-peTs Typograph ; *3 i ~ i CHaSSp Hughes High School, Thursday, June 2, 1870, l.— 2 .— 9.- 10.- OVERTURE— Two Pianos —‘‘Norma,’' Misses Bernstein, Loewenstein, and Pappenhetmek, and Masters Roedter, Gerstle, and Bettman. ■VOCAL DUET—“ When Night comes o’er the Plain,” Misses Connor and Mullen. DECLAMATION—“Similia Similibus,” ... R. Elliot. READING—“ Don’t Run into Debt,” . . . . Miss Seymour. PIANO SOLO—“ Fra Diavolo,” ...... Miss Vokis. DECLAMATION—“ Speech of Cassius,” R. Carter. ■READING—“ Forty Years Ago,” .Miss Hall. DUET —Violin and Piano —“Stradella,” 0. Williams and J. Bettman. DECLAMATION—“ Speech of Spartaeus,” . . . E. Nunnecker. ■VOCAL TRIO—“ Zauberftete,” Misses Mullen, Owens, Bernstein, and Loewenstein. READING—“Caudle 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 Brickley. ■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 Loewenstein. -READING—•“ Music for the Million,” .... Miss Carey. ■VOCAL DUET—“Norma," . Misses Bernstein and Loewenstein. I I t f -- 58 59 - AGENTS FOR DENNISON’S MARKING TAGS. Oil, KOOK OK SPECIMENS Chamber of Commerce Agency—A. S. Reeves, Agt. iasnffii.s@fi®i IFTON jandnu.^cbntiua 14U\, W7P. H arpel’s Typograph; MUSICAL ENTERTAINMENT In Behalf of the OF BROOKLYN, Given under the Auspices and Direction of the PHILADELPHIAN SOCIETY, AT MOZART HALL, Wednesday Evening, Aug. 10th, 1870. CARDS OF MMlSSldwTOBE DOLLAR, Seats may be secured at T. WERLE’S Music Store, 69 York Street, or at the Box Office of the Hall, from 9 o’clock, a. m. until 4, p. m. - 62 - or. Book of Specimens. - 63 HARPEL’S TYPOGRAPH;*^ to m m* ■^CfX of sP of essorsto DIEBOLD, BAHMANN & Cq Succe s*. Manu&cturers of ^ jy*ar*> strRCt -A.*» — AND — Patent Combination Bank Locks, WM. R. WILSON, Traveling Agent / i <1 H fc R W w w u. Window Shades. iC. H. H. BRENEMAN & CO. *e S f Proprietors, p °urth St. ClN cV ^ H H W LITTLE MIAMI, COL. k XENIA, and MARIETTA k CINCINNATI R. R. No. Loveland , 0. . 1870. Permission is hereby 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 9 to see the bargains he is now offering in all kinds of goods for Ladies’ and Gentlemen’s wear. (WGOOD TJUTIL USED/ Lot. Size. Lot. Size 35 Lot. Size 40 Lot. Size 45 84 fur, 5 §®isrl ®£ ftpmiMjgm® - H «- y ^9^>S^3<2*S^>&S&S*9^SCU5*l>^>&>&£k<^S^SSXl*3<3*Srt>&2XS*l*3'^^ ffl Td ‘Hoanasxxix ‘»ua3v ‘AnMittOI ’Ak JttVmiM. M PI<>S •o [Wei ha *MWS] ‘NONYam wojj Vd^XjX2/5 v &^>'cX?<2/5 v c>X>'36X2X5^^ cX9^x5\2X5 v c>X>-D(?<2X5 v c>-£KcX^ 85 - %}nrycr$ ttjm'mi; (tiamt of (®lurr. George Davidson AND Joel Drake, vs. The State of Ohio. Thomas Powell, Attorney for Plaintiffs in Error. A Writ 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 he 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 Se p a gI C 6° rd 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 pa||i e 5 C * rd ’ 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) Error to Court of Common Pleas of Hamilton County. 86 - MRS. FRENCH Respectfully announces to her customers and the general public that she is now receiving Direct from Cincinnati, A Fresh and Elegant Assortment of Which she will be pleased to show to all who may favor her with a visit. The latest Styles of Hats, Bilks, Flowers, Feathers, Laces, Collars, Cals, And many other articles of Ladies’ Wear will be found at her store, in great variety, and at Very Reasonable Prices. Please give her a Call. South Side Public Square, DANVILLE. ILLS. — 87 - JJ0^J3UJ03 '3 ‘xsiwaHO aNV xsioonHd ‘^onojqsBH ""j 'ui/y\ A8 A3N0 Q3aVd3ad .OO-QDQt) ' -0OQ , 0Q f 0£yD£) f D syooti s HASBROUCK'S Inula Troches* PURELY VEGETABLE, A pleasant and effectual remedy for ® ASTHMA, HOARSENESS, COUGHS, (i) COLDS, CROUP, CATARRH, | ^ And the various affections of the Lungs and Throat. !i ll I $ 10203020 20 2>000‘(20(2GQ>0 e o- DIRECTIONS: Take from one to three every hour as required. Children five years old one-half Troche. G- -N> WABRiA WTED Free from Cubebs, Opium, Antimony, or any disagreeable or deleterious drug. Harpel, Printer, Cin. 88 or, Jook ei Specimens. ■VIUE STREET Cheap Boot / Shoe Store Corner Vine and 15th, m vim Cincinnati , O. (L) 89- -90- OR,BOOK OF SPECIMENS. 91 ‘firotjag ft;tu|T?:trnl'.i;t ( :^ \mv, fian*UT;t t f TERMS, CASH WITHOUT DISCOUNT. or, Book of Specimens. V.eoeGeeee’f ^‘Ge©oeeee'4 k ooocoo eejf o ooooooo C PC P c-c PC C a Pr-* » ft P C-w Oj -<5- -s Os et. PS- Os C P5 C p C-* . PC k »*» Sh e-fc. 2 ft <3 c~t, 'ftp* ft. 1C p ft" ^ s a ft S' s p s ■ CIS, ft ft SC ^3 § Os C ‘ki PC p •o «. ftp* ft c p ft P C 2 ^ p $5*^ PC m £** <*+ ca ft Oj Os c-c . ^p JL , cti O', k ■S 8^ Ss p ft PC c ft 5 *as 93 -— THE STATE OF OHIO - 94 - or, Book of Specimens. GEO. W. CORMANY, Justice of the Peace. OFFICE: S. E. Cor. Ninth Street and Central Avenue. Docket No. Returnable . 18 vs. Plaintiff will take judgment if you fail to appear. for . . . . $ Justice's Fees, . Constables' Fees, (A TRUE COPY.) Constable. -9S- \ ARP EL’S fpYPOGRAPH; ft ft ft ft ft ft ft 2 H ft ft a ft ft ft ft ft ft ft ft i—i ft ft ft ft ft ft ft hH ft ft ft ft ft ft ft ft ft M ft ft ft a ft ft ft ft ft ft r Ji 9\ ft ft * ft ft P O ft - 96 'Wy* Harpel’s Typograph. iCw^s ftgHEA, MANNFACTttlt OF NsilSUeh OottOMdll AND swan tow mm, tower Five Mills, aqNMMt % a, s. wan, MANYUMS, !?&, Importer anil Dealer in ITranoh Brandiet, WINDS, CORDIALS, fee. B8 OnwiM Utewtt TICS. BELDEN, Aput, NEW YORlL OR, -B ook or Specimens. 44 RANDOM RHYMES. 8 p q k; e , u watch the gossamer wreaths that rise X From the fragrant folds of my 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 my heart with their mystic power, And woke a feeling that lingers yet, As I sit and smoke in the twilight hour. Ah, 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 hand. ’T was there her fingers so deftly formed The delicate cigarettas for me, And hers was the glance that flashed and warmed With its fire the passion it would not see. And free of fancy she rambled so, Till the groves were laden with globes 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: Rut she came no more as in the past, To strengthen the tie that her absence broke, So I lit a mild cigar at last, To solace the hopes that ended in-smoke! O. H. H. - 97 Harp el’s Typograph; Adam B. Robbins, ( Late of ROBBINS & POSEY, Cincinnati,) Manufacturer of and Dealer in BOOTS & SHOES, 16 High Street, Webster Buildings, BOSTO N . - 98 - or, Book of Specimens. HARPEL’S TYPOGRAPH OR,BOOK OF SPECIMENS. (Cincinnati, '187 Tear Sir: We take pleasure in informing you that our Me, M, M , Meib wilt call upon you on or about the inst. Appreciating the favor of your trade, and de¬ sirous of continuing it, we trust you will witljljold your orders for any goods in our line until bis ar¬ rival. Yours, Truly, snider & McCall. 101- Ha?'pers Typ off rap h j JULY Isi, 1870. PHI!] If IX White Lead Works, [ Established 1837.] Eckstein, Hills & Co. PROPRIETORS, Corroders and Manufacturers of CINCINNATI, O. OFFICE, No. 171 Race Street, FACTORY, West Eighth Street. - 102 - or, 'Book of Specimens. Quotations Net, and subject to fluctuations of the market. TERMS CASH WITHOUT DISCOUNT. <- >i= - > Kegs of 25,50,100, 200 & 350 pounds, G?< ^1«SW) JWa&fiP 'm ikikkikktt History and Improvements, on PLACES Of SEPULTURE, CINCINNATI : Robert Clarke and Company % V' § I - 109 HaRPEL’S Typogeaph; -HO CO © © *8 «a t ~ © . © H © 2 S' «s k* •w © s 2c "»s t © © < or. * © 5 & © ©- ©: «i «• ^ i i? © 2 ^ <> & 2 © © © © 2 <8 m L> m »ri Pi > m s& m m m m © m m m m m m *% in Q 0 4 3 0 P l $ P (P4> *3 Ift a M 2 a H a g > a o ° 3 b ♦§ g. o U1 m <4 J> & n H “ O w fli CD H P t> d d s* w d t - 1 t* 8 s O o — Ill — jl|e j]e&t jjercantile. {]ard, and general printing oi every |escription, @m„ 0>W IfieilHli. SPICKER'S ILLUSTRATED CATALOGUE. Per POLISHED IRON WARDROBE HOOKS. 1 1]- n If 2 2} 3 in. Without Knob, . 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 If U If 2 2f 2\ in. Per gross, ■ . . . . 35 40 45 50 55 65 75 cts. (o) gross, $2.90 3.10 3.40 3.70 4.00 4.50 500 5.50 POLISHED IRON GATE HOOKS. -113- Harp el 9 8 Typography SURVEYORS’ AGENCY DEPARTMENT. §• §ratn$, —WITH— ^CEnix Jnsuk^ cE f OMP ^^Vy Hartford, Co 0 *’ lnct> Office — No. 24 West Fourth stie CINCINNATI . 4,15 Vine Street, between Ninth and Tenth. { Fred. Waterman. * $ Louis Ballenberg. FRED. WATERMAN & CO. DEALERS IN __i# dvsbM mmm wwm®®m 9 No. 273 VINE STREET, Wholesale and Retail. CINCINNATI, OHIO. Agents for Geo. P. Prescott's Celebrated Smoking Tobacco. Di/MOKD I UK, —33£st anil Cbtaprst IN USE. Manufactured by I ^ M 0 jM D IjNK jj 0 JVI Py\ N Y, PITTSBURGH, Pa. Works, Corner First Avenue and Ferry Street, B. F. H. LYNN, Gen’l Agent. - 114 - or } Book of Sp eo ime a s Bromide of Chloral, Mr tp, _j> f u i uiimuc mi wHinvraaip tf For the Immediate Relief of ■1- CP Headache, Neuralgia, Nervousness, Sleeplessness, cfe Epilepsy, Delirium Tremens, and all Diseases of the Nerves. DIBECTIONS: In case of Violent Headache, take a tablespoonful in a little water; If no relief is experienced in one hourxepeat the dose. In case of Sleeplessness, take two tablespoonsful on retiring. In case of Epilepsy and Chronic Affec¬ tions of the Nerves, a tablespoonful three times a day will be sufficient. In case of Delirium Tremens, give ta¬ blespoonful at once, and repeat if not relieved in one-half hour. PREPARED BY |d w. h. Apothecary, N, E. COR. SIXTH AND MOUND STREETS _ c jV Cincinnati. & % o m Cincinnati, ME€E£TE& §ut\cm^ in good order by to be delivered at in like good order and condition to Marked: i 1870 . ord d (f iller, ARTICLES. WEIGHT. -115- \^s. Company, Hartford n ’ ('O, INVITATION TO RECEPTION—DOTTED LINE ACROSS CENTRE INDICATES Richland, Ky. 116 ( COVER OF BRIEF.) ttpent^ O f ourt of dDhio. BRIEF. Ex parte Joseph Lytle, Habeas Corpus. Utotion for ^Ilotoairte of Mrit of Crror to J)robafc Court of #bio. T. A. O’ CONNOR, Att’y for Relator. -117 — <§ n i' p c T 8 1 ij p o ij r (i p II; T S E NGLISH Po E T R Y. With jf{lustrations bii (feat Artists. 1 Then came the magic of a poet’s name. Like light, upon my fancy j and I sat Brooding for hours, amid sequestered nooks. On all the mighty masters of the lyre.” LONDON: T. NELSON & SONS, PATERNOSTER ROW EDINBURGH; AND NEW YORK, 1 87 0. 118- tcnbrt, IN GOOD ORDER AND CONDITION, OF HARPER'S TYPOCRAPH - 120- OR, BOOK OF SPECIMENS. Queen City Printing Ink Company, DeGQLYER & RYCHEN, Proprietors, (p) -121- Carpel’s ®spo o-rajil); b-o « OFFICE OF j tr&a Successors to Diebold, Rahman it & Co. — MANUFACTURERS OF - Jtjire and burglar |proof ^afes, - AND :— Patent Combination Bank Locks, Cincinnati; . 787 OFFICE O IF 1 Addy, Hull & Co. ! We hand/ herewith paper as -named/ lelow ; for credAt on account ddron (dales. dPlea/se acknowledge receipt. DATE. TIME. DRAWER. AMOUNT - 122 - or, 33 o ok of Spr cintnts. We regret to find your Agency among those reporting for the month of MA F, and our sympathies are zvith you. for zee are zvell azvare it afforded you no pleasure to be compelled to close the Fiscal Fear zvith a blank. We shall be very glad indeed, to have you begin the new Fear zvith business to report, and the month of June zvill be a very proper season for such a display of energy and determination, as zvill zvipe out the cipher \ mark, now against you, for MA F. \ I OFFICE OF dtlcabclanb, J^mufrbtKr ft Jjjojmstflit, & /d We hand herewith statement of your account, for which please execute notes in set¬ tlement, to the order of parties designated, and enclose to us at your earliest convenience. Your prompt attention will con¬ fer a favor. —123 — - HAS 1 ’ K I. ' S T VJ'OfiliM-H; ;• To Appeentices [ 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! —— «k fl](, BOOK •OF SBlOSEMUSS.t*-- W)BtK- y L\ f, Brachmann & Massard, kV /j Vs,. near - 130 - or, Book of Specimens. Ha rpcl’s Typograpli; GOLDEN S II E R R Y. Braclimann & Massard, 81 WEST TUXE-X) STIR-EET, 3STE.&.I?, VIKE, CINCINNATI, O. C! 1 10 ILLINOIS AGENTS, Ohio Premiums in I860. ....... Ohio Tosses in 1SG9 . NET, Illinois Premiums in JSG9, . Illinois Losses in IS GO, . NET, . $170,936.OG 53,475.82 $ 117,Ml. 11 $113,158.62 48,999.52 $ 04 , 150.10 The Phoenix, with its unrivalled agency organisation, should do a match larger business in Illinois. Thus far. for the cur¬ rent year, indications are entirely satisfactory. I - 132 - or. Book of Si>t*<*lmen«. w/ZAWVv- G o Men Sh et 'ry. <> Brachmcmn & Massard, .1 b. 81 West Third Street, near Vine, CINCINNATI, OHIO. N/nnitrt/ f J /e ( ire Mitten etnet SSfaaWe Me, ■t// t/t< ^/iceem/d r/ Q/'i . ^c/ni , neat ^/enunce/ c Sftttltct 'STeeeic/ay &c/cdci ?l It/, OPENING SERVICES, SUNDAY, FEBRUARY 27TH, 1870. SUBSCRIPTION, $. NAME, RESIDENCE, -13S- Harp el's Typograph; Particular attention paid to“Styie.” Eg J e- Cash Capital, $1,000,000. (Corporators aiti) (Commissioners: Robert Buchanan, Alfred Gaither, Augustus Wessel, Jos. C. Butler, H. A. V. Post, Alexander Long, A. D. Bullock, Robert Mitchell, C. W. Moulton, Sam’! N. Murphy, J. B. Bennett. Office, 118 "West Fourth Street. (over) -134- or. Book of Specimens. CINCINNATI, 201 VINE STREET. 8 Y GEORGE BARNARD, CINCINNATI. -135- BORDERS DESIGNED AND FURNISHED BY MESSRS. SMITH & PORTER, GENERAL PRINTERS. BOSTON. MASS. IN WITNESS WHEREOF , The Owner, Master, Agent, or Clerk of said Boat hath affirmed to Bills of Lading, all of this tenor and date, one of which being accomplished, the other to stand void. Dated at CINCINNATI, this dav of 187 fg§“All Alterations and Exceptions VOID unless consented to and signed by Shippers. MARKS. ARTICLES. WEIGHTS. or, Book of Specimens. nlW' (R) C O o Q tr £ h-‘ • O' rT or n> CO p b-> • P crq o o lO co P O^ n> h p rT n> o h P 0 H p OS P o o o 0 p Or n> ’-a o H p H n> CO p •1 a> P p 0 ! P o o cr n> i— t o P p CO or CD 3 or ►—* • o or p n> cr ro P o <5 rt> m P or n> P p 05 OQ a h o p^ rT P or 0 CO P" B _ 00 O ' P 00 ^ o crq £ o o. o 3 P CTQ o '-I p o o o c 0 ! P 05 P CO ?r or o 3 p o o 0 ! n n> H 0 o o cr o p i -t P or rt> CTQ o o p CO rT n> P 3 cr o p C/D K 1—1 ^d ^d W O CTQ o o p o T( p CD 1— 1 P 05 P n> 1 o o o 05 CD P V <1 > o a sj c r r 8 ° n o 137 ■ O o H H O 2 cr 00 < HH Z W CO H r w w J -3 n PH z o Z z > H > o H O po CO > 2 D n o S CO CO I—I o 2 s W n > 2 H CO c r r 9 p o o HARPEL’g TYPOQRAPHj WILL. H. BUCHER, — WITH — w ILLIAM R. Cox & Co. PAINTS. 173 Race Street, CINCINNATI. Slaub & JD.a.'Y', Ip mm 011b Setters, AND Manufacturers of Fine Jewelry, 58 West Pourtfe Street, SECOND FLOOR. CINCINNATI. SPECIALTY-ORDERED WORK. Diebold & Kienzle, (Successors to DIEBOLD, BAHMANN & CO.) Manufacturers of Improved Fire and Burglar Proof Safes, Patent Combination Bank Locks, 88, 90 & 92 Elm St. bet. Second and Pearl, C. diebold. I J. KIENZLE. 1 CINCINNATI, O. -138 OR, BOOK OF SPECIMEN g. CEREMONY CIRCULAR - LINE OF FOLDING. Jj|. Jl. rforntr j|lm nub JStrfits, Tljui'sday Evening, 'October '13It), 7 870, AT VtihfrGK. -139 OR, BOOK OF SPECIMENS. Cincinnati. -i87 j §eceivnil of] WbMm S From tons Pig Iron. -141 - J)arpef’s lijpograpft; outhern Insurance |ompany JMeW 'Q^LEANg, J3ePT. 1870. Dear Sir:— Your favor reporting no business for the month of August has been received, and the fact duly entered upon our books—blank number one for the Fall term. Such things at times will occur, but, by faithful energy and active enterprise, it is to be hoped a frequent repetition may be avoided. This Company intends, if possible, to DOUBLE its premium receipts for 1871, as compared with the figures of the previous year, and for this increase we look mainly to agencies which heretofore have not made substantial progress. There is no more popular Company in the South than the time-tried and fire-tested SOUTHERN, nor one possessing greater claims to public patronage. We desire your aid in making good our estimate of the year’s business. Respectfully, €. S. » President. -142- or, $00 1 of Specimens. WM. MEITZLER, with Diebold & Kienzle, Manufa&urcrs of Fire and Burglar Proof SAFES, Office, No. go Elm Street, CINCINNATI, O. St PPERASE & pOPERg'SUPPLIES, <$> *# ria® Cincinnati. 0. A. D. Morrison. Harpel’s Typograph; 1 8 7 ° (S o/>' n i j! With this pud Tickler of risks expiring at your agency daring the month of JTJLY, to which your attention is invited. Examine the list and check it with your Record Book. Guard well the renewals, for therein is wisdom in these active, stirring times. Of NEW business much is offering—the development of weakness and impairment in some companies rendering the old and strong offices more attractive to property owners than ever. Examine such business carefully, and in transferring it to Phoenix Books, make it your study to get better rates than formerly paid to cheap institutions; for risks at low rates are just as capable of injuring the Phoenix as any other office. Keep up the rates: earn the reputation of a high-priced agent, and glory in the fact that you deal in Reliable Indemnity rather than in Cheap Insurance. Be it yours to uphold the dignity of the profession, and add reputation to the present high position of ^ ESTABLISHED 1857 - -144 or, Book of Specimens. PARTY INVITATION - LINE OF FOLDING. To be given at |atonia Springs. fl|u.rgday Evening, August 1870. GEO. ^ STEVENS, Jf^O. OVEI^M/iN, GEO. H. DAVISOf^, JI\0. FELTH/US. -145- (s) Harpel’s Typograph w- i 4 *1 1 i 1 i i d y 1870. JULY. 1870. The attention of the friends and patrons of the - E A G L E - Insurance Company, of Providence, A*. /. A« respectfully directed to its present brilliant and prosperous condition as revealed by its 12tb ^Financial Statement. At no time in its hitherto successful and marked career, has it been able to come before the public with equal claims upon their patronage. For past liberal patronage we arc thankfulthe public have realized the benefits of good insurance, and our mission has been crowned with success. Agents of the FA GLE will still continue to be found in every city, town, village, and prominent settlement in the United States,—from the Atlantic coast to the golden shores of the Pacific slope, and from the Gulf of Mexico to the Northern Fakes,—ready and willing to attend to the wants of property holders in the line of first-class insurance, and able to guarantee indemnity of the order which stands the test of time and fire, to public use and private satisfaction, and better security against the adversity fire so frequently causes, than hoarded gold. In the future, as in the past, losses will be paid promptly, business attended to with dispatch, all classes of risks accepted, large insur¬ ance granted where values justify it, rates as low as commensurate with the hazards assumed and protection of the assured, and nothing left undone on the part of the management to make the EAGFE -worthy the confidence and pride of the people; a tower of strength in the day of calamity, and a sure refuge from the angry Fire-Fiend. We deal in Reliable Indemnity, not Cheap Insurance. lit 146- or, Book of Specimens ,i-BE VEEY CAREFUL OF YOUE CARD PLATE, as it easily becomes scratched and corroded, there¬ by impairing the beauty of the engraving. You will find it to your advantage to leave your Plate in our charge, as our facilities for keeping them in good order are perfect. All Plates received are carefully registered. SHIPLEY & SMITH, Practical Engravers , 42 West Fourth Street, Cincinnati, ^fibing anb |]isittng ^arbs jngrabfb anb jjjrintrb in % jatast tglre. SAMUEL LOWRY. WM. J. LOWRY. Samuel Lowry & Co. LATE LO'WK.Y & PATTEEiSOlT, Successors to J. D. LEHMER, COMMISSION MERCHANTS, 36 Vine Street, Cincinnati. PROVISIONS, FLOUR, GRAIN, COTTON, Etc. Stablitt 1829. Cincinnati SScrftd) crungSgefellfd) aft. J-cutr unb Jllurttu. Office oerlcgt mid, o . 8 1 esi J) r i 11 c - iS i r a s s e . SSejafOte* ifapital unfc ttcbcrfdwfj $220,000.00. ©. SB. SBilJiottiS, $ra(itciit. SBm. ©albert, ©efretnr. X. ©tfljop ©lement, Sngeitieur. §enr!) Soiling, 33efi$tiger. -147 - 148 - Qiffi, B©©R ©P SPEetRl'ENlS. m ) ^ m a c^z ** % ^ mne *-«*, Woodward Glub, iOPKIMS 1 HUS ie: hill Tuesday Even’g, November 1st, 1870. r y v i r $» v_ f® fay ' ' < 3 , Steffi*/ 149 Harp eVs Typ °5 ‘^8* ‘9 ‘°!MO I jQ jo uopnquqsiQ qqqSiQ If i sappua qdpaa^ siqQ III Post Office, County, 4- | ® This end of the Receipt must be returned with the money, to ^ ij_ be Registered, before the day of the Drawing. f» T— 180 I CO o v 9 JB i/s €>f Sp ecimen § FINE CHEMICALS AND PHARMACEUTICAL PREPARATIONS OF ALL KINDS. ^arpel’s Jtpograph; MONTH LY STATEM ENT. ^mannat/' Folio CrEORCE EEDHI'M 23 West Fourth Street. To Mdse, as per Bill ren’d, STAT1M3BSET, - Cincinnati, i8y lit Account toitf) Terms Net Cash. S'^IJFCKq)

march. A D. ISKO, at the Bank of the , OI 110 Valley, in the City of Cincinnati, O. ' THIKTY-FIVE DOLLARS, being the in- > terest for one-half yearto that date, on the 1 above Rond of said Company, No Secretary. A SERIES OF FAMILIAR SKETCHES. CHARLES ADAMS. D. D. “ 1 meditate on all thy works .”— Psalm CXLlll, 5 . ClNC/NNA TI: HITCHCOCK AND WALDEN. NEIV YORK '. CARLTON AND LANAHAN. 1 S70. From Printing Office of Methodist Book Concern—R. P. Thompson, Sup t To thee, thou tendril of my heart! That clingest around it still, In every season of our life,— Whether the winds of chill Adversity Bestrew our path with leaves,— Or Ceres pours her golden horn Of beauty in our laps,— Or in the shadow of our days The dewy, laughing eyes of Hope Throw radiant gleams divine:— O thee I dedicate these leaves, Torn from the forest nooks, When blue-eyed Summer laid her hand Upon the wood, and through its limb's Breathed living joy and love. To thee, O solace of my soul! My gentlest friend, my love ! That read’st forever to my heart The tale of deep and patient toil, Through the far ways of life:— To thee I dedicate these dowel's, Gathered in woodlands gray Throughout the devious, sunny days, When Dryads sat beneath the boughs, And talked, as friends, to me ! 1 rom Printing Office of Methodist Book Concern—R. P. Thompson. Sup' - 154 Harp el's Typo graph ; pHAS. INTeWBP^IGHT IGN AND pOUSE ^rainer etc. 1^0. 686 -pAST pREEN ^Tf^EET, ?T- MW >f*°- s Btj|sSS lsf “PHOENIX” Insurance Company, Hartford, Conn. GEORGE CLEVELAND, Surveyor, Office, Public Sqj_ t are, Bloomington, Ills. -1S6 or, (Book of Specimens. SIZE (flarcmlon. Manufactured by the CEICAOO PAPEE COLLAB COMPANY, No. 69 Lake Street. SIZE C O N TENTS. -o- PAGE. I. The Mother of Reformers—Susannah Wesi.ey. 1 II. The Wife of Luther—Catherine Yon Bora.*. 23 III. Consecrated Talents—Hannah More. 39 IY. The Missionary Heroine—Ann Hasseltine Judson. 5 ! V. The Model Queen—Isabella of Spain. 69 VI. The Enigma of History-—Mary, Queen of Scots. 83 VII. The Female Howard—Elizabeth Fry. 95 VIII. An Angel of Mercy—Florence Nightingale. 109 IX. Africa’s Benefactress—Mrs. Ann Wilkins. 125 X. Foundress of a School for the Prophets—Mrs. Eliza Garrett... 135 XI. The Greek Matron—Penelope. 145 XII. The Roman Matron—Cornelia. 157 XIII. Wife of the Father of his Country—Martha Washington. 171 XIV. The Indian Maiden—Pocahontas. 183 XV. The Poetess of the Affections—Frances Sargent Osgood. 191 XVI. The Songstress of Liberty—Elizabeth Barrett Browning. 199 XVII. The Martyr Queen—Maria Antoinette. 221 XVIIL The Female Girondist—Madame Roland. 243 XIX. Light Sown in Darkness—Charlotte Bronte. 283 XX. The Missionary Poet—Emily C. Judson. 295 XXI. Walking with God—Mrs. Mary Fletcher. 319 XXII. Exalted Piety and Noble Rank—Lady Huntingdon. 331 XXIII. Piety and Royalty—Helena, Duchess of Orleans. 343 XXIV. The Martial Heroine—The Maid of Saragossa. 359 XXV. The WTfe of Napoleon—Josephine. 367 XXVI. The Champion of Freedom—Harriet Beecher Stowe. 377 XXVII. The Female Sculptor—Harriet E. ITosmer. 399 XXVIII. The Female Painter—Rosa Bonheur. 417 1S8- OR , ROOK. OF SPEC MW EN S. Russet Leaves. 59 XIII. Sprint)-Ijaustf Acquaintances. LTHOUGH a pleasant breeze comes from the West, and passes along our country hills and valleys, undulating the fields of grain, and bring¬ ing -eool odors with it, yet sometimes the Summer sun pours down a heat that is, perhaps, as sweltering as the reflected sunshine of the parched and dusty city. Occa¬ sionally, the wind is hushed—not enough stirs to sway the lightest gossamer that hangs tremblingly from the old roof of the spring-house. On such occasions I leave my cozy den in the attic, and seek the cool retirement of the limestone building, amid pans and crockery-ware, and the quiet whisperings of the spring-brook. Water dropping from high places or gliding over peb¬ bly surfaces seems to have a peculiar effect on the atmo¬ sphere. Visit the fountain, where it spurts up far into the air, falling in mist and spray to the earth again, and, however sultry may be the day, you will find the air in that locality awakened into magical freshness, and the feverishness removed entirely from the atmosphere. So in the spring-house : as the breeze of this pleasant spot From Printing Office of Methodist Book Concern—K. P. Thompson, Sup't. 1 89 - - 'WJ'' 5 Harpel’s Typograph; OUR Oriental Missions. volume i. INDIA AND CHINA. EDWARD THOMSON, D. D., LL. D., Late Bishop of the Methodist Episcopal Church. C INC INN A TI: HITCHCOCK AND WALDEN. NEW YORK: CARLTON AND LANAHAN. 1870. From Printing Office of Methodist Book Concern—R. P. Thompson, Sup’t. $aiipel's tpypopi;aph or, Book of Specimens, nW' fill lit. {’.fill lilt) |l. B^tSTICEIR,, 112 West Fourth Street, Cincinnati. C/jas.‘Gr. Cannon, Daniel’s ^yiiogrcipfi; OL8I 1 SQOI 1 V *103 xsn 30XHd 3AOXS S.ANVdHOD V HOS3H MVITOAl 162 163- Harpbl's Typography Wm. DODD & Co. Wholesale Dealers. HATS, CAPS, FURS, GLOVES, Corner Vine and Pearl Streets, CINCINNATI. Cincinnati, August 15th, 1870. We shall be prepared this Fall to offer our customers a complete stock ot goods in all the departments of our business, viz :—Hats and Caps of all kinds ; Ladies’ and Gentlemen’s Furs ; Buck, Sheep, and Kid Gloves. * Prices will be as low, and terms as liberal as those of any house in our line. We purchase exclusively for Cash, from first hands, and manufacture extensively ourselves, consequently are enabled to offer superior inducements to Cash and Short-Time buyers. We hope to see all our old friends and a great many new ones. WM. DODD & CO. Corner Vine & Fear! Streets. -164- . .. . • (3( a'era 31-iojft iiv $ a %; pel's (55 ij p o g i, a p h . *^=* 3 ig « l ^PO“i $H* ^ ~ ; ^ ■ %^- g O t 'afe ,n L) s| ‘ c |) U-) ] COOt-^H • • 1 HHd • • OS n IdOCOCOO * I HdCO • w CQ . 1 HQOiOdO ' ! Hdd ' s w >. 1 1 C—^HQO 1 > 1 • Hdd • h 0, W VK . I » COCOOt- • ^ | i Hdd • ^ 1 « LOdOCO • ^ | • HHN • ^H HHdCO dOCOCOO H d CO HCOiOdO Hdd i r £ H — ~~' —» -»-.» cc <£ x PH 0 W 0 <3 0 M X Ph I K w m s w 0 w PK U) ! COOt-rHH 1 HHdCO Ll 1 dOCOCOO 1 Hd CO 1- ' HCOLOdO 1 Hdd 5 1 ' t-T^HOO I ' Hdd H 1 • CO COO t- 1 • Hdd | « LOdOCO 1 • HHd CO • TtfHOOlO HHd 1 co coot- • ! Hdd • iiOdOCO • | HHd • I-^HCOlO * 1 HHd • P 1 COOt—^H 0 1 HHdCO p 1 dOCOCOO -< 1 H d CO I HCOLOdO 1 Hdd 1 • t-^HQO 1 ' Hdd I z 1 P ! 00 i HOOLOdO ■ Hdd ' co LOdOCO • HHd * 1 ^ 1 i t-rtfHCO i 1 • Hdd ' * & Ll ^HCOlO • HHd • 1 h- 1 »co coot- • | • Hdd ' - 1 H COOt-^ > HHd 1 C-^HOO • Hdd CO ; ■ dococoo 1 • H d CO l co [ 1 CO COO t- | • Hdd y* CO 1 LOdOCO 1 HHd • Ll 1 t^HCOlO • HHd • K 0 K < I- i COOt-^H HHdCO 5 1 dococoo ! H d CO St 1- I HGOLOdO Hdd I > t-^HOD 1 • Hdd 1 • CO coo c- 1 1 Hdd CO ^HOOlO • HHd • Ll COOt-^ • HHd • 1- dococoo H d CO 5 HOOLOdO Hdd (— i t—■rtfHCO ■ Hdd . cocoot- • Hdd CO • LODOCO ■ HHd tr- CO dococoo HdCO Ll HQOiOdO Hdd ! J I- • t-^HOO » Hdd ai a. i < s • CO coo t- • Hdd 1 - • LOdOCO 1 HHd • T^HOOlO • HHd co • COOt-^ • HHd MARVEL’S T Y =F» O Q D=t A 3P IEi Mavpel 9 s Typ ogr aph » ! ^ t W] | Bra i No. 81 V 1 X .OURB04 hisk: r N ) EY | trd, | lear Vine^^ | chmann & Masss STEST THIRD STREET, 1 Cincinnati, Ohio. \ Harpel, Pr. Cin. j The. Larr/est Job Trintiut/ Kstablishment in the United States ob, Book op Specimens. —- 165 - Harpel’s Typograph; LOTJIS RIFKA, MANUFACTURES OF Nonsuch Cottonad.es AMD SUPER, LONG- CLOTHS, Lower Five Mills, Represented by R. S. WILEY. MANYUlTK,Pa. JOHN GATES, Importer and Dealer in French Brandies, WINES, CORDIALS, &c. 58 Greenwich Street, THOS. BELDEN, Agent. NEW YORK. - 166 or. Book of* Specimens. For 51 1 Merchant Tailor, 61 Wmmt PsBPfli S) c ip®®il f , LOUISVILLE, KY. % l 167 Jj a f p els (L i| p o g r u p fi; to d 1 >4 "cS O .E =3 cS d o -g can £3 m gazSasg £ « CO M = P o PtH pq «sd CQ 02 < w &>-* -s w >- a & 1 o O a o W UJ Ph z PLEASE PAY AT THE DESK K fi <1 hi hi 0 fi fi fi 0 fi 0 H fi fi M- CHANBLER’S ji iloroiyne re pared according to the formula pub¬ lished in the Cincinnati Journal of Medicine, May, 1866. AN INVALUABLE REMEDY IN CHOLERA, CRAMPS, COLIC, NEURALGIA, SPASMS, DIARRHCEA, DYSENTERY, DELIRIUM, etc., etc. Used in all the principal Hos¬ pitals in Europe and America. None genuine without the written sig¬ nature of the proprietor, 0 0 $ CD CD 0 fi Eh fi fi fi fi fi & o H H & ◄ Q ® aq -si & % - 168 - o r, f) o o 1; o I' 8 p c r i m c u s. The Fayette County vJ OI3STT STOCK Agricultural and Mechanical Soc’y. coM PJ-nyrtW TftfrY. Connersville, Ind. from Sept. 6th to 10th, 1870. TRAIN CALDWELL, Pres!*n(. ^C HAS ROEHL, Sec’)/. EDW. F. CLAYPOOL, iTreg i.^/ m Q U CC D h o < D Z , O if ° S ® 00 =5 »co 31 ® X O J H o £ - 43 o3 ^ ^ " o O ^ 05 * g ►, GO _ ^ 5«^ 0.0 0 fn 3 O © o3 > ^ c g-a H $ H ,■ o U^§ H 3 d E-i h3 32 0;° b> 31 E-< (V) -169- Harpel’s Wypograph; ?C K NS S> rsT r>> r*sT r*>». CO CO S3 CO S> rS rC> r»S & & 6 ci © @ © o O 'Oi) o L o o I ^ -5 £ ^ II -r t s> ^ 'S' 1 '®J| .§ S> *|0 pO " .a a M Cq cc v: Si ^ ^ sq ? £ (saj©©©©©©©©©©©©©©® | CUSTOM MADE, $ () WARRANTED, Q ® EZRA SWAIN, ® 0 JJoblesville, Ind. q @@©©©©©©©©©©©©© 1*1 ® CUSTOM MADE, ® WARRANTED, ® EZRA SWAIN, ® Noblesville, Ind. "V O Hi. 2 . VOL. 4 3 VOL. 5 . 170 - or, 'Book of Specimens. °Upon receipt of this, please forward your returns for Mowwm of Ji-wr, 1870, and much oblige. d(f no business to report ; let WE KM-QW warn F&0T, E. S. T. New York, Ani/iist 12th, 1SS0. October, i8jo. GENTS will very much oblige by forwarding their September X JL returns, upon the new form of Abstract, promptly on the 30th inst. Where this is impossible, we trust that the first day of October will not be allowed to pass until Uncle Sam has the documents in his possession. Entering from the new form upon our books will consume, for a while, more time than usual, hence our request for prompt returns, so as to enable us to transmit Monthly Schedule to the Parent office on time, JETS’A. - 171 - 3T IR- o jyr WIKI. R. COX «£ CO. Painters’ Depot, 173 Race Street, CINCINNATI. m, or , |j o o h of Jjp ttimcns. Roberts Bingham , Growers and Shippers of Kelly Island Grapes , Office, 22 Erie Street, Wm. L. Norton. SANDUSKY, O. o 173 For HARPEt/8 TYPOCRAPH; 4? mM tf|#a This Cut is an exact representation of Style PP. M®rae ©©roplet© wittMmt o,r©. T HE above Organ (Style PP) is made expressly for Philip Phillips’s personal use and track by the well-known and established manufacturers, !!♦> H* h '•j^HERE will also be found constantly on hand all other styles of Smith’s American Organs to sell or rent, (with a very Liberal discount to Sabbath-Schools, Churches, and Ministers,) at prices ranging from $100 to $1,000. Call, see, and hear these beautiful singing-toned Organs before purchasing elsewhere. Below are described five of the most useful and popular styles. Style M®. D„ Price, $100. Five Octave, single reed, in solid Black Walnut Case, sunken Molded Panels, Knee Swell, Tremolo, and Metallic Blow Pedals. Style Mo>. M. Price, $200. Five Octave, double reed, in Black Walnut or Oak Case, Molded Paul¬ ings, containing Six Stops . Style No, 24 . Price, $225. Five Octaves, double reed, with Sub-Bass, in fine Black Walnut or Oak Case, Molded Panelings, containing Seven Stops. Style N o, 34 . Price, $300. Five Octave, double reed, with Sub-Bass and Coupler, in Black Walnut or Oak Case, finely finished, containing Ten Stops. Stylo- No. 3 ( 5 , Price, $375. Same as Style No. 34, with an addition of a beautiful ornamental top, imitating pipes, etc. Magnificent Organ for the Home. ! Call on or address PHILIP PHILLIPS, 37 Union Square, Broadway, New York. WESTERN METHODIST BOOK CONCERN, CINCINNATI. -174- OR,BOOK OF SPECIMEKS. Hlrs. Mm. £1. Bothers. HSImtoooi) dottagc. 175 J^arpel's Jypograph; - 176 - or, ^3 o o k of Specimens. |pC~~ By PHILIP PHILLIPS. ^o- r^r-or^- TTfe©128 pages, board covers. 50 cts. each, $35 per hundred. A beautiful blending of the Bible, Bunyan, and the most precious poetry of Christian life, set to appropriate music, and especially adapted to the Sabbath-School, Church , and Family. N)©w StanxJsLird! Siagetr. 224 pages, board covers. 60 cts. each, $40 per hundred. Mr. Phillips’s latest Book for Sunday-Schools, prepared by him while in Europe, containing a very large collection of New Choice Hymns and Tunes, together with the real old standard ones, from the most eminent American and English authors. IXtlmsteait L,©aj\0§§ # 104 pages, stiff cov¬ ers. 40 cts. each, $30 per hundred. An ex¬ cellent Book for Sunday-Schools, at an ex¬ ceedingly low price; also containing the soul¬ stirring songs “Your Mission,” “The Rescue,” “What are You going to do, Brother?” “Out¬ side the Gate,” etc. Tfo© 3lO)g;»Clg P©Q-p)fJ©. 28pages, 15 cts. each, $12 per hundred, 50 cts. per annum. A n A dvocate for Congregational Singing. Pub¬ lished quarterly. Each number contains four pages of fresh new music. Designed for the Sanctuary , the Sabbath-School, the Prayer- Meeting, and the Home. Correspondence solicited. Subscribe now. P'ilgriftl 30(1 L,e I / \/ V V v 'Kxxx>: ■»w \ „ :: ; . —**• :: :: - $H0 SUBSCRIBE FOB &K S R^t § ^ XXXXX:XXX :: !! M J \ ir ... ^ \ .. BY MORT. A. READ \ ' or*. Book of* Specimens, TfflH tc ' 0 ' tSs S^, i £ SOrEO^TOnwCIC^rj ([ Ai.LCTJLATIOITS, 1871 For the Western and South-Western States. The Sun's Rising and Setting is given in Mean or Clock Time , corrected for refraction, and is the true Time when the Sun's upper limb is at the horizon . ECLIPSES. In the year 1871 there will be four eclipses : two of the Sun and two of the Moon. I. A partial Eclipse of the Moon, January 6th. Moon rises eclipsed. II. An Annular Eclipse of the Sun, June 17th. Invisible. III. A partial Eclipse of the Moon, July 2d. Invisible. IV. A total eclipse of the Sun, December nth. Invisible. THE SIGNS OF THE ZODIAC. ARIES , np HEAD AND FACE. GEMhYI, THE ARMS- LEO , THE HEART. LIBRA , THE HEINS. SA GITTARIUS , THE THIGHS. AQUA RIUS, THE LEGS. & A 63 UK 111 TA UR US, THE NECK. CANCER. THE BREAST. VIRGO. THE BOWELS. SCORPIO. THE SECRETS. CAPRICORNUS, THE KNEES. PISCES , )-( THE FEET. NAMES AND CHARACTERS OF THE PLANETS, Etc. O The Sun. d Mars. (3 Conjunction. f# The Earth. If Jupiter. S Opposition. § Mercury. I? Saturn. n Ascending Node. 9 Venus. 1 |I Herschel. n Descending Node. D First Quarter, (y) Full Moon. d Last Quarter. 0 New Moon. THE FOUR SEASONS. MOVABLE AND OTHER FEASTS. Epiphany.Jan. Septuagesima Sunday.Feb. Ash Wednesdav.Feb. Good Friday.Apr. Easter Sunday.Apr. Ascension Day.May EMBER DAYS. Whit Sunday. May Advent Sunday.Dec. Christmas.Dec. Wednesday, Friday, and Saturday after 1st Sunday in Lent. Wednesday, Friday, and Saturday after Pentecost. May 31 Wednesday. Friday, and Saturday after 14th of September. Wednesday, Friday, and Saturday after 14th of December. March 1, 3, and 4 ; June 2 and 3. September 20, 22, and 23. December 20, 22, and 23. CHRONOLOGICAL CYCLES. Dominical Letter. A I Lunar Cycle. 10 ! Roman Indiction. 14 Epact. 9 I Solar Cycle. 4 | Julian Period. 6584 The first day of January, 1871, is the 2,404,429th day since the commencement of the Julian Period. Sun enters Aries March 2od. 7I1. 42m. evening. Spring commences. Sun enters Cancer June 2id. 4I1. 4m evening. Summer commences. Sun enters Libra September 23d. 6h. 18m. morning. Autumn commences. Sun enters Capricorn December 22d. oh. 21111. morning. Winter commences. $> \> *> *> I* 1 ° f* *> I SATUKBAY MATINEE, 2, 3P. M MILK OF LILIES, A SUPERIOR LOTION For Beautifying the Skin, REMOVING TAN, FRECKLES, AVISTID ALL EEUPTIONS, Obviating the use of Powder. DIRECTIONS: Use the Lotion after each Ablution. PREPARED BY JULES DEAUDIADE, Rue de la Paix, Paris. it -183- Haepel's Typography 1871* moon’s phases. D. H. M. MORN OR EVE. moon’s phases. d. H. M. MORN OR EVE. 6 3 45 1 19 20 6 53 36 Last Quarter. Morn. First Quarter... 28 7 Morn. Days. Cincinnati. Chicago. Nashville. £ s IliF- ® © ICI9BS SETS. © SETB. © RISKS © SETS. © SETS. © RISKS © © SKTS. Signs in the Zodiac, etc. © Eqimtion of Time. HI, AN ETAllY CONSTKLI.ATION. First Sunday after Christmas— Matt, i, 18. If M If M If M II M II M If M If M H M H M It M M S D 1 L M I S 721 443 224730 439 229 712 457 220 822 +3 51 5 gr. el. El, 1 5 30 e. 2 M 7 21 448 3 22 730 439 329 428 712 457 318 9 06 419 O in Perigee, 2 6 22 m. 3 T 7 21 449 4 20 7 3 ° 440 712 458 413 953 447 11 6% € 4 9 35 m. 4 W 721 450 5 iS 7 30 441 5 27 712 458 310 IO41 514 11 9 m Q 5 9 26 m. 5 T 721 451 6 15 7 30 442 625 712 459 6 06 1132 S 4 i 1 (£f eclipsed. Visible. 6 F 721 452 rises. 7 30 443 rises. 712 5 00 rises. mo’n 607 © 6 3 43 e. 7 S 721 453 6 15 7 3 ° 444 ON O 711 5 01 624 023 6 33 ii 6 7 8 43 ni- First Sunday after Epiphany— Luke ii, 41. 8 7 20 4 54 7 10 729.4451702 7 11 5 02 7 17 115 659 & £ stationary, 8 11 24 m. 9 l\I 720455 8 iS 7 29 4 46; 8 11 7 11 5 03 824 2 07 724 ii □ $ © 9 11 50 m. IO T 7 20 4 56 921 729447 916 7 11 5 04 925 2 57 748 »x 9 in Aphel , 10 9 27 e. I I W 720457 1025 729448:1022 7 io |5 05 10 27 346 812 Ut 9 in Perihel., 10 11 19 e. 12 T 7 19 4 58 11 30 728 449 11 29 7 10 5 c6 II30 4 34 835 LQJ 6 <2 d 5 ff 20 7 37 m - 19 T 7 17 5 06 6 27 7 25,4 58 636 7 oS 5 13 6 16 10 54 11 01 >0 in Aphel., 20 4 0 e. 20 F 7 16 5 07! sets. 7 24 4 59 sets. 707 5 14 sets. 1155 11 18 O 20 6 53 e. 21 S 7 16I508 5 59 7 24 5 00 5 5 i 7075 15 7 06 eve. 1136 S i» Aphel., 21 I 47 m. Third Sunday after Epiphany— Matt, viii, i. 22 8 7 15 5 10 707 7 23 501 6 59 7 ofi 5 16 7 12 148 11 52 $ greatest Hel. Lat. N. 2; M 7 15 5 n 8 14 722 503 808 7 06 5 17 8 18 239 12 08 H 6 ? £ 21 2 S e. 24 T 7 14 5 12 9 18 7 21 5 04 9 14 705 5 18 9 20 326 12 23 )( 9 south, i 0 e. 25 W 7 13 5 13 10 iS 7 21 505 10 16 7 05 5 20 1018 4 10 1237 V cf south, 4 13 m. 26^ T 7 13 5 14 II 17 7 20 5 06 II 17 704 5 21 1116 453 12 50 T d ? C 26 3 27 e. 27 F 7 12 5 i 5 mo’n 7 i 9|5 °8 mo’11 7 04.5 22 mo’11 5 35 1302 'll south, 8 35 e. 28: S 7 11 5 16 015 7 18! 5 09 018 7 03 5 23 0 12 6 17 1514 5 28 7 36 m. Fourth Sunday after Epiphany— Matt, viii, 24. t 20 s 7101517 112 7 17 5 i°| 1 17 70315 24 1 08 701 13 24I 'Q / I 5 stationary. 29 6 4 e. 30 1 M 7 09 518 210 7 16 5 12 2 16 7 02 5 26 204 746 13 34 jf |h south, 9 45 '«- or T 3 1 1 7 o8| 5 19 3 07 7 15 5 13I 3 15 7 01 5 2 7 3 00 834 1 1343I If | c 5 ^4 C 31 1 19 e. CONJECTURES OF THE WEATHER.— 1-3, cold and stormy, with much snow near the lakes and rain in Tennessee ; 4-7, clears off, with wind from south¬ west ; 8-11, clear and cold; 12-15, weather moderat- 16-19, cloudy, with easterly winds; 20-23, thaw- and perhaps rain ; 24-27, snow-storm, with high winds from the west; 28-31, clears off, and the month ends with pleasant Winter weather. MORNING AND EVENING STARS.— Venus is the evening star, setting at the beginning ot the month half an hour after the Sun, and moving away from the £ Sun at a rate of little over one minute per day. Mars ^ rises about sunset. Jupiter passes the meridian at 10 ^ o’clock, evening, and being at its greatest northern €) declination, is a brilliant object in the evening. Sat-^ urn is not visible this month. 184 - xv<^<5 y g>-£>^GX2/<5 v c>'9'gCX2/5 ,/ e>£>'og<^'&^ycg<^'e>.£>'aG-Q>g'^^ ri rr Ti liSA-L-Bl'HlAlY OF THE -s h-, ■-to” z £ 1 = ^ p 2 H :t* 3 hh 2 'L1 - 189 —- HA It PEL'S TYPOGPAPH; PRICE LIST Manufactured by JOHN C. DTJEBER, fto. 51 Mcst if mull) Street, Office, No. I, Up Stairs, CINCINNATI. Mark. - 190 - OS, TiOOK Or SPECIMENS. - -191 V YE o (} EP It DESIGNED AND COMPOSED BY GEO. BARNARD, CINCINNATI. -192 26 CELEBRATED WOMEN. rying. He is a clever young man, and I see no objection. He is very unlike his fanatic uncle.” He might have talked an hour without receiving a reply. Catherine’s manner had changed; there was no longer the emotion or the blush. “What shall I tell him?” “Any thing you please,” said she, “so that I never see him again.” “Why, this is strange,” said Luther; “you did not seem to have scruples of conscience just now. My dear Catherine, you must not forget that you have no natural relations here, and this young man can be a protector to you.” “ I wish you would not speak of him,” replied she. “ Is there any one else that you like better ?” said Luther. She made no reply. “Nay, speak; I have every disposition to serve you. Has any other person made the same proposition to you?” “Yes,” said Catherine, with a little womanly pride; “Coun¬ selor Baumgartner has made the same proposal.” “ Do you prefer him ?” “ Yes,” she replied, rising; “ but I am as happy as I ever expect to be. My friends, assure me that I am no burden, but a help to them; so I wish you good morning.” Poor Catherine hastened to her room. Her dream was over. Luther, the austere, the insensible reformer, had awak¬ ened her from it. Margaret entered while her eyes were yet red with weeping. She tenderly approached, and embraced her; but neither exchanged a word. “There is no hope for Bodenstein,” thought Luther; “it is evident Baumgartner is the object. Catherine is a child. If the Elector dies she is without a support, except by the labor of her hands, and they do not look as if they were made for labor. I will write to Jerome Baumgartner. He is well known as a young counselor at Nuremberg.” The young counselor received this letter with surprise and incredulity. The positive refusal of Catherine, some months before, had left no doubt on his mind, and he thought the wisest plan was to inclose the letter to her, and to inquire whether it was written with her sanction. In the mean time Luther’s friends began to urge (Y) 193 Harpel’s Typogra ph ; Are You Still doubtful about the value—not to say necessity—of Accidental Insurance? Look about you, and see the benefits that have accrued to those who were Insured Against Accidents, and who, when disabled, were so fortunate in having a Policy that covered all Accidents ? issued by the Accident Insurance Company, of Tipton, Minn. Make inquiries of the fortunate possessor, and you will find that by prompt payment and honorable dealing, the Company has made a good name in the land. If Not, Yet satisfied, take a policy-yourself, and experience the sense of relief and safety which always attends the possessor of an Accident Policy in this excellent Company. At home or abroad, traveling or stationary, you feel safe, and ready to exclaim Why Not ? have attended to this before ? Sure enough. It was not the fault of the Company that you were not. It is not now too late. Call on the Agent at once, and procure a policy. TABLES SHOWING THE COST OF INSURANCE. FIRST CLASS. For Merchants, Professional Men, Bankers, and all others who follow an occupation not in itself Haz¬ ardous to Life or Limb. PEE YEAR. $1,000 if killed, $5.00 per week if disabled, costs $ 5.00 3,000 “ 15.00 “ “ “ 15.00 5,000 “ 25.00 “ “ “ 25.00 IN SAME RATIO TO $10,000. ROGER WALKER, Agent, S. E. Comer Third and Wall Streets, ST. PAUL, MINN. SECUJNU CLASS. For Railroad Conductors, Persons Liable to Extra Travel, Traveling Agents, Mail Agents, Mechanics, Laborers, Farmers, Millers, and all others of this Class. PEE YEAE. $1,000 if killed, $5.00 per week if disabled, costs $ 7.50 3,000 “ 15.00 “ “ “ 22.50 5,00(1 “ 25.00 “ “ “ 37.50 IN SAME RATIO TO $10,000. Yds. or. Book of Specimens. Harp el’s Typo graph ; WESTERN METHODIST BOOK CONCERN, CINCINNATI- R. P. THOMPSON, SUP’T. 196- or, (Book of Specimens. Capital, $1,000,000. J. B. BENNETT, Prest. J. H. BEATTIE, Secy. J. J. BERNE, Sup’t of Agencies. INSURANCE A to A, 16 feet. A to B, 22 inches. E A C to C, 6 feet, 8 inches. D to E, 2 feet, lO inches. 4 feet. Insurance (jO» ♦ ♦ 1 ♦ $ 1 , 000 , 000 . -197-- Harpers Typography d uly > (To tbc Bcprcsentatibcs of tbe POTOMAC in Sflntjj Caro lina: Manifest your appreciation of the many sterling and popular qualities of the “old reliable" POTOMAC, by dedicating yourselves anew to its service. From a small Com¬ pany a few years ago, it has risen to its present powerful position, and to your zealous efforts, mainly, the praise is ascribed. Let not these efforts cease, but Work, Work, Work, and resolve on adding fresh laurels to the fair name and fame of the POTOMAC. M. E. H. 198 or, Book of Specimens. Pickard a^ood, Silk and Cassimere 189 Walnut St,— Corner Fifth, rDiaviiteasrSiOztsrs of block: Crown—6 % deep. Bell— 1-16 sides; % front and real'. Tip— 1 7 % by 7%. Brim— 2 % front and rear, % off a t sides. Band and Binding, 10 line. We take pleasure in calling your attention to the Trade Fall Style of Silk Hat, and would state that our facil= ities for manufacturing are such as will enable us to produce first=class goods at reasonable prices. We are making several grades, ranging in prices as follows, viz: $48, $51, $54, $57, $60, $66, $72, and $84, per doz. NET CASH. -An early order from you is respectfully requested, and a single Hat will be sent as sample, when desired. Very Truly Yours, Huff us t 25 l/i, 7870 . 199 P.S w. if THE W Adkll ONE OF THE OLDEST FAMILY JOURNALS IN THE WEST, Is about commencing its Twenty-Eighth Volume. IT IS CONCEDED TO BE ONE OF THE MAHMOSISSM Os »ilT : IlWiMllli IN T’ H !•; UNI O IV. j It is devoted to the Home Girole, the Counting I^oom, and the Work Shop. It is “ Independent in all things, Jleutral in nothing i» S’ s» S’ S’ i» ► If S’ s> s» S’ S’ s> s> S’ S’ S’ S’ %> A large octavo volume of 112 pages; its columns being full of valuable statistics, tables, and fresh and instructive reading matter on different subjects, of interest to the Farmer, the Merchant, and %> the Mechanic. Especial attention has also been paid to the Household and Health Departments, which will be of great interest to the Women Folks; and even the Young Folks will find several columns devoted to them, that will afford both pleasure and profit. The most interesting feature of the Hand-Book will be its illustrations, of which there will be at least FIFTY; many of these have been engraved specially for it, in the most artistic style, illustrating the It |»ul»liKlics onl.v wlial is lJeliahk*, stand! speaks only ivliat Is Truthful, making it tlie Jour mil whieli tlie Parent may, without fear, place before his Fnanily. -- We would also call attention to the new feature, which has given such universal satisfaction to our patrons for several years past, viz: AN ANNUAL PRESENT TO EVERY SUBSCRIBER OF J 1 HE ^LLUgTR/VTED ^InION ]4AJMD ~ £>00K, River, Lake and Mountain Scenery of the West; Domestic Subjects, illustrative of Home Life, The Wonders of the Yosemite Valley, Giving engravings of some of the most romantic and beautiful scenery in the world. Also, several pictures showing the greatest curiosities of Tree and Forest growth: The Big Tree of Penang ; The Cedars of Lebanon; The Great Chestnut Tree of Mount .Etna; The Dragon Blood Tree, &c., &c. Take it all in all, we venture the assertion that our seventy thousand subscribers will unani¬ mously pronounce it to be worth at least half the subscription price of the paper. To those persons who have never-seen the Weekly Times, we will take pleasure in sending a specimen copy on application. «W Address, 0. W. STARBUCK & CO. No. 62‘h West Third Street, <5 4 oi 4 I % T E K Itt S : Single Subscribers, - $2.00 per year. Clubs of Ten, - - 1.50 “ “ arid one to the Club Agent. CINCINNATI, O. ' a SI NlSHEO BY JOB OFFICE. CINCINNATI - O. F. CARNAH 200- or, |ook oi Specimens, SELECTIONS. 229 XXXI.—FORTY YEARS AGO. I’ve wandered to the village, Tom, I’ve sat beneath the tree, Upon the school-house play-ground, That sheltered you and me; But none were left to greet me, Tom And few were left to know, Who played with us upon the green Just forty years ago. The grass was just as green, Tom, Barefooted boys at play Were sporting, just as we did then, With spirits just as gay. But the master sleeps upon the hill Which, coated o’er with snow, Afforded us a sliding-place, Some forty years ago. From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. (z) - 201 - HARPER'S TYPOCRAPH; COMPLETE ARITHMETIC. CUSTOMS OR DUTIES. 267. Customs are taxes levied by the national govern¬ ment on imported goods and the tonnage of ves¬ sels. Customs are also called Duties. Ports of Entry for foreign goods are established by law, and at each port of entry there is a Custom House, where cus¬ toms or duties are collected. The officer in charge of the custom house is called the Col¬ lector of Cusloins, and a list of the rates of duties to be col¬ lected, is called a Tariff. Duties are Specific or Ad Valorem. 268. Specific Duties are customs assessed on the quantity of goods imported, without reference to their value. In assessing specific duties an allowance is made (1) for waste, called Draft; (2) for the weight of box, cask, etc., called Tare or Tret; (3) for waste of liquids, called Leakage; and (4) for the breaking of bottles, called Breakage. The weight of goods before allowances are made is called Gross Weight, and the weight after all allowances are made is called Net Weight. 269. A.d Valorem Duties are customs assessed on the cost of goods in the country from which they are im¬ ported. The cost of imported goods is shown by an Invoice or Manifest, and when the currency of the country from which goods are im¬ ported has a depreciated value, the amount of depreciation is stated in a consular certificate, attached to the invoice. When the owner or consignee can not exhibit an invoice of goods at the custom house, their value is determined by appraisement. From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. OR,BOOK OF SPECIMENS COMPLETE ARITHMETIC. METKIC TABLES. 182. —I. Measures of Length. The Unit is a Meter — 39.37 inches, nearly. Denominations. Myriameter Kilometer Hectometer Decameter Meter Decimeter Centimeter Millimeter : Values. 10000 meters - 1000 meters 100 meters 10 meters 1 meter : .1 meter : .01 meter .001 meter Equivalents. 6.2137 mi. 0.6214 mi. 328 t V ft. 393.7 in. 39.37 in. : 3.937 in. 0.3937 in. 0.0394 in. Decimal Scale. S-. "cu a C3 s QJ 0> o S a> a Sh a s a> a o O c3 o S *o ■-g a 2 a O) Q a ft Ol U § 0 0 0 0 0 . 0 0 0 Ten units of any denomination of the above table equal one unit of the next higher de¬ nomination, and, hence, the successive de¬ nominations correspond to successive orders of figures in the decimal system: the meter denoting units; the decameter, tens, etc. The correspondence between the metric denominations and those of United States Money is also noticeable. The millimeter corresponds to mills; the centimeter to cents; the decimeter to dimes; the meter to dollars, etc. The above diagram shows that a decimeter is a little less than four inches, and that a centimeter is a little more than f of an inch. Note. —As no abbreviations for the names of the metric units have been agreed upon in this country, the names are given in full in this work. The tables of equivalents need not be memorized by the pupil. From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. -203- jFiappel's TypograiD^- A COMPLETE ALGEBRA FOR SCHOOLS AND COLLEGES, BY A. SCHUYLER, M. A., Professor of Mathematics and Logic in Baldwin University; Author of Higher Arithmetic and Principles of Logic . CINCINNATI: WILSON, HINKLE & CO. NEW YORK; CLARK & MAYNARD. From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. -204- op, J3o©X of Sijpeeii^e^s. 6-1 ALGEBRA. 1. Reduce 91. Examples. • b 2 _ (« -|- b ) (a a 2 -f- 2ab -)- b 2 6) _a — b 2. Reduce - b 2 (u —6} (n —j- 6) u —|— b a —p b 3. Reduce a 2 — 2 ab -)- b 2 — 2 ab -|- b 2 a 3 — 6 3 ( „ , a; 2 -f 2xy +?/ 2 4. Reduce-;—, y — ■ ."C 0 i / 3 x 2 -)- 13a: + 42 a; 2 -f- 14a; -f 48 *4ns. 5. Reduce 6. Reduce 7. Reduce 8. Reduce 9. Reduce 10. Reduce r a; 6 — Ans. Ans. Ans. a - a — b a 2 -(- ab -f- b 2 s + y a; 2 — a;y + y 2 x + 7 pins. a; + 8 * 2 + y 2 a: 3 — 3a; 2 y-|~ 3ay 2 — y 3 a: 3 — x 2 y — xy 2 -)- y 3 a: 2 -)- (a -j- b) x -|- ab x 2 -f- (ft + c) a; -f- be (a A b) 2 -f- (a — 6) 2 a 4 — 6 4 pins, pins. .4ns. x 2 y 2 + y 4 « — y x + y x -f- a a: -f- c 2 a 2 — b 2 a: 4 — pa; 3 -)- (y— 1) x 2 -f- px -— q a; 4 — ya; 3 + ( p — 1) x 2 -j- qx — p pins. a; 2 — px -f- q x 2 — qx -f- p 92. Case II. To reduce entire or mixed quantities to fractions. by multiplying both terms by d. i a 1. a = - 1 ad d c , n ad i n ad A- n -• a+ d =! l + i = i- 3. a ad b —c ad — b -j- c d d d From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. 206- | ar P eI ’$ |pograpl|; SELECTIONS. CHAPTER II. SELECTIONS FOR READING. Exercise I. it. an ox ? is an ox. it my ox ? is my ox. do go on. Do we go ? Do we go up ? We do go up. Ah! so we do. I. R.—3 Am I in ? Am I in it ? I am in it. Oh! so I am. From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. -206- or, j|ook of Hperimen^. COMPLETE ARITHMETIC. 2 . MEASURES OF SURFACES OR AREAS. Square Measure. Surveyor’s Measure. The denominations are square inches, square feet, square yards, square rods (or perches ), roods, acres, and square miles. Table. 144 sq. in. = 1 sq. ft. 9 sq. ft. = 1 sq. yd. 30| sq. yd. = 1 P. 40 P. =1 R. 4 R. =14. 640 A. = 1 sq. mi. Table. 7.92 m. = 1 link (l.). 25 l. =1 rod. 4 rd. = 1 chain ( ch.) 80 ch. = 1 mi/e. Also: 625 sg. i. = 1 P. 16 P. =1 sq. ch. 10 sq. ch. = 1 A. 640 A. = 1 sq. mi. 1 sq. mi. = 1 section. 36 sect. = 1 township. 3. MEASURES OF SOLID CONTENTS OR CAPACITY. Cubic Measure. Dry Measure. The denominations are cubic inches, cubic feet, and cubic yards. „ Table. 1728 cu. in. = 1 cm. ft. 27 cm. ft. = 1 cm. yd. The denominations are pints, quarts, pecks, and bushels. Table. 2 pt. =1 qt. 8 qt. =1 j ok. 4 pk. - - 1 6m. Wood Measure. Table. 16 cu. ft. 8 cd. ft., or 1 128 cm. ft. ) — 1 cord ft. - 1 cord. 24f cm. ft. = 1 perch of stone. 40 cm. ft. round timber — 1 ton. 50 cm. ft. heron timber = 1 ton. Liquid Measure. Table. 4 gills — 1 pt. 2 pt. =1 qt. 4 qt. =1 gal. 31J gat. = 1 bbl. 63 gal. = 1 hhd. 42 gal. = 1 tierce. Note. —The standard bushel contains 2150| cu. in.; the liquid gallon, 231 cu. in.; and the beer gallon (little used), 282 cu. in. From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. - 207 - Harpel’s Typograph; SHAPE OF THE EARTH. 73 145 . Recapitulation. The altitude of the celestial pole is found from the culminations of circumpolar stars. Correction is required for atmospheric refraction; it increases the apparent altitude of a celestial object, especially when near the horizon. Terrestrial latitude is found : 1. By culminations of circumpolar stars; 2. By meridian altitude of the sun ± declination. Dap — night At the equator , where At the poles , where Elsewhere , when Dap j> night Elsewhere , when Day night Elsewhere, when the sun's daily path is perpendicular to the horizon. parallel to the horizon, on the equinoctial. in the observer s hemisphere. in the opposite hemisphere. Twilight is caused by reflection of light from upper region of at¬ mosphere; it lasts until the sun is 18° below the horizon. CHAPTER VIII. SHAPE OF THE EARTH. GRAVITATION. 146 . Public surveys. —The construction of accurate maps is a matter of national importance. When a boundary line between two states or nations is not fixed by some natural landmark, as the channel of a stream or the crest of a mountain, it is often made at lines of latitude and longitude; these must be determined astro¬ nomically. The bounds of many of the states and terri¬ tories, as well as those between the United States and the British Provinces and Mexico, are fixed at astronom¬ ical lines. Ast. 7 From Wilson, Hinkle & Co., Cincinnati, Publishers of the Eclectic Educational Series. - 208 - or, Book of Specimens. Little Eyes and Little ■ Hands. 461 LITTLE EYES AND LITTLE HANDS. Little eyes, Like the shining blue above, Full of light and love, Full of glee ; Telling of a life within, In a world of sin, Born to you and me ! Will they see the golden way Leading up to day ? And the God to whom we pray, In the skies ? Little hands, In the long and weary strife Of a toiling life, Will they win ? Will they early learn to bless ? Rescue from distress ? Will they fear to sin ? For the true, the good, the right. Will they bravely fight ? Strew along the paths of night Golden sands ? Little feet, Entered on a thorny way ; Will it lead to day And renown ? As its rugged steeps are trod, Will they climb to God And a seraph’s crown ? Where the loving Savior goes, Finding friends or foes, Will they follow till life’s close, As is meet ? Little eyes, May they wear an angel’s guise In the upper skies ! (A a) From Printing Office of Methodist Book Concern—R. P. Thompson, Sup’t. -209- HARPEL’S TTPDGRAPH; School to Learn English. AT ADVENT CHURCH, On Howard Street, Between Second and Third Streets, near Second Street, On Sunday, at 1 o’clock, p. m., and on Thursday, at p. m. The English Language will be taught WITHOUT CHARGE. ALL CHINAMEN ARE INVITED TO COME AND LEARN. * §r %3k f*- i. !sl # w We insert the above both as a typographical curiosity, and to exhibit the expansive scope of the great art that has at length so systematized a language embracing many thousands of compound symbols or characters, which, whether they represent mere sounds, or complete words and phrases, or both, have required the most untiring study, laborious care, and nice analyzation, to make them subservient to a far wider utility than they ever before possessed, by being cast upon separate type bodies. This at first glance would seem to involve difficulties so numerous as to make complete suc¬ cess at least doubtful. Hitherto the method of printing pursued by the Chinese has been by means of engraved blocks, charged with an ink-like preparation, and impressed upon the paper, silk, etc. by slow and tedious hand processes. But a revolution has been effected whereby the language of the Mongolian race may be circulated to almost any extent; for to-day the “ Celestial” people may have their written thoughts multiplied by means of movable types set up to suit the occasion, and the mighty mechanism of the latest modern “ fast” steam printing-presses. The ordinary pair of cases and stand used by American and European printers, will not suffice, however, for the needs of the compositor of Chinese type. He must have a sort of ampithealre built about him, con¬ taining several thousands of compartments, for the same number of these to us strange hiero¬ glyphics, with which he must of necessity become familiar. Says our good friend and an excellent printer—Mr. ffi. M. Cubeby, of San Francisco , Cal .—who kindly sent us, by letter , the electrotype shell from which the Chinese presented above is printed “The above is a facsimile of the cards issued by the Church of the Advent, San Francisco, and printed on bright red paper by Cubery & Co., inviting the Chinese here to attend its School for them. Most of the Protestant Churches of the city have similar Schools. Each pupil requires a teacher; and it is an interesting sight to see well-dressed white ladies or children sitting beside these dark sons of the East and teaching them the English alphabet. But the faithful are amply rewarded for their labors when they hear these heathen people repeating the Lord’s Prayer, Ten Commandments, or passages from the Scriptures. They also learn to sing psalms and hymns. “ In reading the Chinese characters commence at the right side and read downward.” - 210 - Q R, BOOK OF SPECIMENS. to fi s tc ^3 b a © h k a c-+- >- «) -s a c-ts Cb 5 k* QC *$ o o sa o •s gs «5 -s o c^l S" | S' ^2 a s (S' . fcu «J a. a Co o~ ns S'* s a Cs - ^ s- a <2 «» 0o f* B ^ ' s •"n h s * <: 0 O i^ § 30 § ^7 b i & r-r-i fa ^ § i— ° <^> 3 s> s to S © ca § O IS b © bj 05 01 to 3 H rji M M w u cc ►3 w H fed h 3 2 O M * t> h 3 £ 3 * 175 ►xi iV iH Pi o' in *n CD i—; O CD P* 1 UJ t=r P tx) o •x) o P £3 P* P? I—■ * £3 p* P UQ o £3 P £3 P- O P ►i >S i—■■ P o>* P ct- CD *S i_*. m i—■ o 3 H p £3 Pj CD* CD £? * k S 2 H v» ® !► H B 2 H * a B H F ® 211 Theodore Royer, President. S. E. Hibbard, Secretary. A. Haven, Superintendent. HaRPEL'S Typograph; IVe, the undersigned, agree to pay the amounts set opposite our names, to the Trustees of the METHODIST EPISCOPAL CHURCH OF CUMMIIISVILLE, for the erection of a house of worship for said Church. Vest ate m atieaid te e/mtdeen j/t. eAecd cAcAAm aneA . mem /Ad J em/u. Teade temet netA/m tAtit?/ eAayd, ei yeee ye/M deadend yet net cAeena de J de AA can te/tett te eAtwdten. rfeAneA (AA/Aeae t/e atd J Financial Scribe. LAWS. CHAPTER V.-Page 9. Section 2. When a member is six months in arrears for dues, and the FINANCIAL SCRIBE shall have duly notified the delinquent, and he fails to pay his dues for one month thereafter, the Division may, without charge or trial, suspend or expel him. All dues payable quarterly in ADVANCE, on the first of January, April, July and October. 212 - or, Book op Specimens. 362 Golden Hours. YjM N AND y^EAR. W. '1\ Porter. -:-h-N-. 1—1 - m « P' « 0 IN fcr; 9 • 9 1 if 9 • 9 9 ' 9 rrrr/j j -r^ L J * 1 vT/ 2 ! - w ~ 1 ~ w J \j L j J \j \j A \J 1 . There’s no roy - al w 4 road to greatness, Men must ev - er climb to fame ; All the wealth i S N N 1 1 * " 1 misers’ V O w ,J J p n j 9 A • n J_1 w J J m r 9 9 • J 9 • J\ ffn Ann «• * a ~ 7 .. r 1 L I Z 9 • 9 2 • - i ' J Z> 0 a ^ » 9 qJ -0- • 9 " w * V 1 ; P fs P P P —!- n # # T 4 1.0 j J r r J •LL L , 1 v 1 id \A fj 0 P' 4 • 9 U\j 9 0 9 9 9 • 9 9 I B ! 4" 9 - - - £ i— n NS , j P' !iL mm P N 1 p -p s; P £> .1 p » -4-*—4— 4-^—4— 1 1 i* 0 — 0 — -J j cof - fers Would n’t n buy a 1 deathless name. Is a no - ble goal be - fore you? Would you N ^ A 1 ^ L 1 _ 1 N . P # T 1 P ~ r • « 0, 2 . 9 1 1 J • 1 ^ f 9 • ZP f/T) J J p J' ! 4 j 1 1 j , 1 1 1 2 iMi 2 2 J • 2 1 9 # # 9 rv* p » n IC- i / J 7 # # 9 • 9 9 » g rp & P P ! 1 p p # 9 9 • 9 -*-• - 0 • 7 s - « # # • # s l 0-- 1 ; P" 1—1 K-fn —1- — - . m • m i ► • p p m • 9 # 0 • —In In jN . | . fcK J'y r J 9 9 9 V37 1 b j 9 1 j !j j great achievements dare? Brother, then L n_ 1 . e up ai d doing — Brother! you must “lVz?i and Wear” N 1_1_N . ._,N .. N J P . l^ 1 rp p ^p P ,j p H T iL- 4 • p f ^ P j J • 9 9 *\ 9 • P ri 9 • ip J J • 9 vbz 9 2 • - 9 • *m 2 • J J • J 4 9 4 9 w ^ a r^* 9*9 t t ^ 0 ■ 0 1 • r f - j J J P r r J ^ r vj 9 ^h^ J p"' P 9 • 9 9 • 9 1 1 r; IJ 1 b p p 0 1 — L S> - 9—-9— - ■ 1 r p 2 . Toil and labor—never stopping Till you make the prize your own, For you know, ’t is “ constant dropping Wears away the hardest stone.” Never slack sublime endeavor, Nor ’mid cheerless toil despair; If vou’d rise above your fellows, Brother I you must “ Win and Wear.” 3 . ’T is the lesson Nature teaches All throughout her wide domain ; And the text from which she preaches Is “that labor leads to gain.” Moral worth and honest merit- Brighter crowns than monarchs bear— These you never can inherit: Brother ! these you “Win and Wear.” - 213 ZOINE IX arpel’s Typograph 214 or, Boolt of Specimens. ■ QUI MERUIT FEU-A-T.” **».©•© ]p®*l ill 1 -13 M'4 THURSDAY, JUNE 23d, 1870. m:oore’s amt, raw&M. @KB1E Qi W E X E B C I S E S s Nine o'clock, A. M. l|tf ft ll filftSflU draper. --MUSIC.-- “ Individually,” .... Henrietta L. Baldwin, Moore's Hill. “ Whate’er the Motive, Pleasure is the Mark,” . Lucy L. Coombs, Utica. MUSIC. “Utility of Mystery,” “ Who Grasps the Lever? ” . Alice M. Hayman, Moore's Hill. Mattie A. Sparks, Moore's Hill. •MUSIC. “ The Superiority of Man,” . . . Sam’l L. Austen, Moore's Hill. “ Under the Sea,”. Thomas C. Kidd, Moore's Hill. -MUSIC.- “ The Great Conflict,” . . . . C. J. M. Harrison, Moore's Hill. “Ignorance and Vice,” .... John Wm. Moore, Moore's Hill. “Mind, the Measure of the Man,” . Robert W. Wood. Moore's Hill. -MUSIC.- BACCALAUREATE ADDRESS. CONFERRING DEGREES. -MUSIC.-- ¥• eg |lmcbiction. - 215 - Jiarpef’s lypograpfi; - 216 - $oolt of Specimens. or, lllfl & SUR VEYORS Engineers and Draughtsmen IX Iilt on Street, Co rner liayn MILLER'S BLOCK W ‘^Militant liesor & (i'timp anir. William Resor. Jacob Resor. RESOR BLOCK, - William Resor, Jr. I. Burnet Resor. smi ^ acfure 's Of the Celebrated Co^ 0 * ft a® S-i AND 5 ? South-East Corner Front and Race Streets, 0 t • c) cx3srcin^risr^.TX, oxxxo. - : -< r m^ o- BY MORT. A. READ, WITH O. H. HARPEL, CINCINNATI, (Bb) 217 - sfovHER 9m nnsf Kissingen Water tmm & 1 s T. CHAMPAIGNE. Veuve Cliquot,.$4 00 Carte d’Or,.4 00 Piper Heidsick,.4 00 Green Seal,.4 00 RHINE WINE. Leibfrauenmilch,.$2 00 Forster Reisling.1 50 Hochheimer,.1 50 Johannesberger.1 50 Red Rhine Wine,.1 50 SPARKILNG. Longwortli’s Golden Wedding, 2 50 Longvvorth’s Catawba,.2 00 Werk’s Catawba,.2 00 DRY CATAWBA. Dulime’s.1 50 Bogen’s Seedling,.2 25 Werk’s.1 50 CALIFORNIA. Hock,.2 00 Port,.2 00 SHERRY. Old Duff Gordon,.0 00 Cabinet.2 00 Topaz,.2 00 MADEIRA. Old Reserve.:l 00 South Side.0 00 PORT. London Dock,. Sandeman,. ...8 00 ..3 00 CLARET. Chateau Lafitte,.3 00 Chateau La Rose.3 50 St. Julien, (Medoc,).1 50 BRANDIES. Hennessy’s Pale Brandy,.5 00 Otard, Dupuy & Co.,.4 00 Fine Old Apple Brandy,.3 00 Peach Brandy,.3 00 RUM. Best Jamaica,.3 00 Old St. Croix,.3 00 WHISKEY. Bourbon, extra fine,.2 50 Old Monogahela,.2 50 Scotch,.3 00 Irish.3 00 GIN. Grape-leaf,. Genuine Old Tom,. ALE, PORTER, be. Younger’s Edinburgh Ale,. Barclay Perkin’s Porter,. Guinness’ Stout,. American Ales and Porters,.. ..3 00 ..2 00 - 218 o»j ( Book of Specimens. 1 i 10BACKS Roback’s Stom¬ ach Bitters, unlike all other Bitters in the market, possess intrinsic merit. called,, are merely wishiwasky stuff ’ sold as a beverage. Dr. Roback’s Bitters are not a beverage in any . sense of the word, but contain the most expensive drugs known to science for the radical cure of Indigestion and Dyspepsia, and for all cases where a tonic and required. They restore the vita! forces in a re¬ markable degree, ; and. give tone to the system. STOMACH JITTERS It is now eleven years since Dr. Roback, the cel¬ ebrated Swedish physician, from Stockholm, Sive- 7 country and introduced the Scan¬ dinavian Blood. Purifier; since which time thousands have been cured, by its use, of Scrofula and other blood diseases. It contains, besides the Iodide of Potassa and Syrup of Stillingia, drugs import¬ ed from Sweden for its express manufacture, unknown and not caries i n t h i s country. A single trial ivill convince the most skeptical of its wonderf ul value. BURR PURIFIER Dr. Roback’s Blood Pills are unsurpassed by any Pill manu¬ factured for a similar purpose. U. S. PROP. MED. CO. ■Sole Proprietors, Nos. 56 & 58 East Third Street, CINCINNATI, OHIO. FOR SALE BY DRUGGISTS EVERYWHERE. 219 - 50 HE VIZES. C. M. WHERE IS MY HOME? 8s & 4. -9- r.-K—1 H Tir-i ^ -J- R — ,- -1^ —i-*-i— VT7 n 9 1. \ Vhere countl* -0L 9 - ^— - 9 - iss th m rong 9 - : [ s in spii - * it one * -f , I orev-er glo-ri *» * JUS as the sun, im r L 0 C r "L # P 1 1- 1 o — ** No. 700. L. M. S. W. L. 1. By faith in Christ I walk with God, With heaven, my journey’s end, in view: 220 50 DEVIZES. C. 31. G G A 1 1 213 4 13 2 1 1 - 12 13 5 14 2 3 11.2 5 5 5 14 413 2 1 2c 9 9 ’ ’ ’ T 9 ’ 9 ’ ’ 9 ’ ’ 9 ’ T 6 G ,-s , - . I) 1 1 / -' 1 1 1 3 1 2 1 1 3 3 3 1 2 2 1 1 /—' 2 c 3 ? ? 5 0 ■? f 9 2 3- 7 ’ 7 .7 ’ ’ ’ •? ? ? G G B 1 1 1 1 1 i i 1 1 1 1 1 1 i 2c ’ 7 4 5 5 1- 3 4 1 .5 5 ’ ’ 4 4 5 5 6 G A 1 - 1 - 2 1 3 3 415 6 1 5 4 3 2 1 3 3 415 G 1 5 4 3 2 1.1 II 2c G G 5 9 9 D 1 1 2 1 3 413 2 1 1 1 1 2 1 3 413 2 1 1 II 2c 6 G * 9’ 3 5 7 9 ’ ’ •? a B 1 R 1 R 1 R 1 R 1 11 i I ii 2c. 1 1 45 5 . 1 WHERE IS 31Y HQ3IE? 3 p A 3 1 5 3 3 s5 g 3 3 0 3 2 1 2 3 s4 5 1: 23S 99999999 3 p C 1 1 3 1 1 2 3 1 1 3 1 1 2 3 II 23s 3 p 1 i 7 6 7 ’ I) 5 1 5 5 5 6 G ii 5 5 4 5 5 4 3 II 23s ’ * ’ ’ ’ ’ ’ ’ 3 p B 1 1 1 ■ i 1 2 1 II 23 s G V ii 5 •? 5 3 p A 3 1 5 3 3 s5 « 3 3 « 3- 2- 1 1 - 2- 3- 1- II 23 s 3 p 9 ’ ’ 9 ’ 6 C I 1 3 1 1 2 3 1 1 3 1- 1 1 - II 23s 3 p 1 9 j ’ 1 9 1 7- 7- ii- ii D 5 1 5 5 5 a 6 ’ 5- 5- 1 4- 5- r>- 4- 3 II ri s * ’ 9 B 1 1 1 1 1 1- 1 1 - 2- l- II 23s’ £6$ . IS7 — Secretary. , Agent. - Hampel's ^ypog»|aph; - - f -—-- ■ EOBERT ALLISON. CHAS. H. SMITH. HORACE L. JOHNSON. . V-liSOS- SMITH A Jog ^ PROPRIETORS OF The Franklin Type Foundry, Ho. IBS VIHE STREET, Everything First-class, CINCINNATI, - 223 s M T W T Fi s 2 3 4 5 6' 7' 8 9 10 n 12 13 14 15 16 17 IS 19 20 21 22 23 24 25 26 27 28 29 30 31 -- FEBRUARY. S M T W T F S -- -- 1 6 71 8 13 14|15 •JO 21122 27 28 - - 2 3 9 10 16 17 23 24 MARCH. M T '7 l 14 15 21 22 28 29 APRIL. S M T w T F i 8 15 22 29 SSS^I w 3 10 17 24 4 41 18 25 O 1C wi 6 13 20 27 7 14 21 28 MAY. M T w T F c 2 3 4 5 6 7 9 10 ii 12 13 14 16 17 IS 19 20 21 23 30 24 31 25 26 27 28 JUNE. s M T W T F s 1 2 3 4 5 6 7 8 9 10 11 12 1.3 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 “■ -- MERCANTILE JOB PRINTER S 8 West Fourth Street, North Side, 0, PATRONS FURNISHED WITH S M T W T F S i 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 31 25 26 27 28 29 30 AUGUST. S M T W 1 F S 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 IS 19 20 21 22 2.3 24 25 26 27 28 29 30 31 -- SEPTEMBER. S M T W T F S -- 1 7 8 14 15 21 22 28 29 OCTOBER. S M T W T F 2 3 4 5 6 7 9 10 11 12 13 14 16 17 18 19 20 21 23 30 24 31 25 26 27 28 NOVEMBER. S M T w T F 1 2 3 4 6 7 8 9 10 11 13 14 15 16 17 18 20 21 22 23 24 25 27 28 29 30 __ 224 - FOR VICE-PRESIDENT: FOR PRESIDENT: f-f A R P E L ' S JyPOGRAPH, -ts-nr P e d i t a t i 0 n. WILLIAM H. ALLEN, LL. D., President of Girard College. My Friend and Classmate: f WO reasons have specially prompted me to place your name in this little volume. One is the fact that you have so long and so successfully devoted your eminent abilities to the education and welfare of youth—a work in harmony with the genius of this my humble effort; and another reason is founded upon those invariably pleasant relations, and that sincere friendship, which commenced with our college days, and upon which time and separation have, as I trust, exerted no disturbing influence. With profound and affectionate respect, Cljarlts gltjams. E&EFEL’S EYBO 6 B Al'H : The above engraving was executed by Mr. GEO. K. STILLMAN, Wood Engraver, Cincinnati, with a Ruling Machine, and it is believed to be the only thing of the kind ever done on wood. \ -226 227 j-fARPEL’S JYPOGRAPH, PAPER. 45 PRICES PER 1000 OF FRACTIONAL SIZES OF PAPER. These prices include the customary allowance for Waste and Surplus. Per Ream. Per Quire. Full Sheet. 10 to Sheet. 12 to Sheet. 15 to Sheet. 16 to Sheet. 18 to Sheet. 20 to Sheet. 24 to Sheet. $11.00 $ 55 $24 20 $2 42 $2 02 61 $i 51 $i 34 $i 21 $i 01 11.25 .56Vj. 24 75 2_ 47 2 06 i 65 i 55 i 37 i 24 i 03 11.50 57 Mi 25 30 o_ 53 2 11 i GS i 58 i 40 i 27 l 05 11.75 58% 25 85 2 58 2 15 i 72 i 61 i 43 l 29 i 07 12.00 .60 26 40 2 64 2 20 i 76 l 65 i 46 i 32 i 10 12.25 .61V 4 26 95 2, 69 2, 25 i 80 i 69 l 49 i 35 i 13 12.50 62% 27 50 2 75 2 29 i 83 i 72 i 53 i 38 i 15 12.75 63% 28 05 2 80 2 34 i 87 i 75 i 56 i 40 i 17 13.00 .65 28 60 2 86 2 38 i 91 i 79 l 59 i 43 i 19 13.25 66 l 4 29 15 2 91 2_ 43 i 94 i 82 i 62 i 45 i 21 13.50 67 Mi 29 70 2, 97 2 47 i 98 i 85 i 65 l 49 i 23 13.75 . 68% 30 25 3 02 2 52 2 01 i 89 i 68 l 51 l 26 14.00 .70 30 80 3 08 2_ 57 2 05 i 92 i 70 i 54 i 28 14.50 .72% 31 90 3 19 2 65 2 13 i 99 i 77 i 59 i 32 15.00 .75 33 00 3 30 2 75 2__ 20 2 06 i 83 i 65 i 37 15.50 .77% 34 10 3 41 2 84 2 27 2 13 i 89 i 70 i 42 10.00 .80 35 00 3 52 9_ 93 2_ 35 2 20 i 95 i 76 i 46 16.50 .82% 36 30 3 63 3 02 2 42 2 27 2 01 l 81 i 51 17.00 .85 37 40 3 74 3 12 2 49 2 34 2 08 i 87 i 56 17.50 .87% 38 50 3 85 3 21 2 57 2 40 2 14 i 92 i 60 18 00 .90 39 60 3 96 3 30 2 64 2 47 2 20 i 98 i 65 18.50 .92% 40 70 4 07 3 39 2 71 2 54 2 26 2 03 i 69 19.00 .95 41 80 4 18 3 48 2 79 2 61 2 32 2 09 i 74 19.50 .97% 42 90 4 20 3 57 2 86 2 68 2 38 2 11 i 78 20.00 i 00 44 00 4 40 3 67 2 93 2 75 2_ 44 2 20 i 83 21.00 i .05 46 20 4 62 3 85 3 08 2 89 2 57 2 31 i 92 22.00 1 10 48 40 4 84 4 03 3 23 3 03 2 69 2 42 2 01 23.00 i 15 50 60 5 06 4 22 3 37 3 16 2 81 2 53 2 11 24.00 i 20 52 80 5 28 4 40 3 52 3 30 2 93 2_ 64 _2^ 20 25.00 i 25 55 00 5 50 4 58 3 67 3 44 3 05 2 75 2 29 26.00 i 30 57 20 5 72 4 76 3 81 3 57 3 18 2 86 2, 38 27.00 i 35 59 40 5 94 4 95 3 96 3 71 3 30 2 97 2 47 28,00 L 40 61 60 6 16 r. 13 4 11 3 85 3 42 3 08 o 57 29.00 1 45 63 80 r> 38 r 32 4 25 3 99 3 54 3 19 2 66 30.00 1 .50 66 00 6 GO 5 50 4 40 4 13 3 66 3 30 2 75 Sheets Required ) for 1000 Copies. ) Quires Required ) for 1000 Copies. ^ 1056 Sheets. 44 Quires. 105 Sheets. 4-2°4 Quires. 88 Sheets. 34* Quires. 70 Sheets. m Quires. 66 Sheets. Q 1 8 \ Quires. 59 Sheets. 241 Quires. 53 Sheets. 2-Af Quires. 44 Sheets. 1 2(1 * ?4 Quires. FROM MR. THEO. L. DE VINNE'S NEW AND VALUABLE BOOK FOR PRINTERS—“THE PRINTER'S PRICE LIST,' or, J3ook of Specimens LETTER CIRCULARS. 131 A Plain Mitred Pule Border, not cut to order, should increase the price of the page 50 cents; if cut to order of specially selected rule, add the labor of mitering and the waste, which cannot be less than 50 cents additional, and may be $1.00. If the rule is of little service for other work charge half its cost. A Rule Border Justified to lit rule corners is worth from 50 cents to $1.00. A Border of Two Sets of Rules, one enclosed within the other, is worth from $1.50 to $2.00 for the labor, exclusive of value of rule. A Plain Flower Border may be rated at 75 cents. A Combination Border of the simplest pattern, and largest pieces, is worth $1.00. Elaborate Combination Borders on Minionette body are worth from $4.00 to $10 00 each. Combination Borders for Headings, at same price as for Note Circulars. Electrotyping, with Blocking, of an ordinary Letter Circular, 5 \ x 7 \ inches, is worth from $2.65 to $3.00. PRESSWOEK OF LETTER CIRCULARS. Color of Ink. 100. Every added 100. 500. lOOO. 3000. per 1000. 6000. per 1000 ONE PAGE. Black Ink. $ .50 $ .20 $1.25 $2.00 $2.00 $2.00 Blue, or ordinary Red. .75 .30 2.00 3.00 3.00 3.00 Fine Red, or Purple. 1.00 .40 2.50 4.00 4.00 4.00 TWO, THREE, OR FOUR PAGES. Black Ink. .75 .30 2.00 3.00 2.50 2.00 Blue, or ordinary Red. 1.00 .40 3.00 4.50 3.75 3.25 Fine Red, or Purple. 1.50 .60 4.00 6.00 5.00 5.00 For Woodcut Presswork, Presswork in Two Colors, or in Gold Bronze, or from New and Fragile Types, see remarks on page 125. The prices for Fine Red or Purple are insufficient for the finest work and the best colors. Six Dollars per 1000 impressions on small forms, and Eight Dollars per 1000 on large forms, are not unreasonable prices where great brilliancy of color is required. If color is used in excess, these prices will be found inadequate. Very thin or very rough papers require au increase in the price of presswork. ESTIMATES IN DETAIL. One-page Letter Circular.— Double Small Pica Script, Black ink, half sheet. Items. 100. 500. lOOO. 3000. 5000. 10,000. 2 set Paper, 6 lb., at 40 cts $ .26 $1.32 $2.64 $7.92 $13.20 $26.40 Composition. 2.50 2.50 2.50 2.50 2.50 5.00 Presswork. .50 1 .25 2.00 6.00 10.00 10.00 Extra for new type. .25 .50 .50 1.50 2.50 2.50 Total. $5.57 $7.64 $17.92 $28.20 $43.90 If a full sheet Letter Circular is wanted, double the price in the item of Paper. If extra work is wanted on composition, add the extra to the item of Composition. If Blue is wanted, add one half to the item of Presswork. If Fine Red is wanted, double the item of Presswork. If Script type is not new, or is of durable face, deduct the item of Extra for New Type. FROM MR. THEO. L. DE VINNE'S NEW AND VALUABLE BOOK FOR PRINTERS-“THE PRINTER'S PRICE LIST,” ETC. -229- Jijpog^pi); ( $>(}> 1>$ > 4 > a > <£ > — CHECKS. 165 PRESSWORK OF CHECKS IN BLACK INK. Quantities. One Check Set. 1 to page. 2 to page. 3 to page. 4 to page. 5 to page. 6 to page. One Hundred impressions. $ .50 $1.00 $1.20 $1.50 $1.75 $2.00 Every added Hundred. .20 .25 .30 .35 .40 .40 Five Hundred impressions. 1.25 2.00 2.40 2.90 3.25 3.60 One Thousand impressions. 2.00 3.00 3.75 4.25 4.75 5.25 Every added Thousand. 2.00 2.50 2.75 3.20 3.(50 4.00 Five Quires of Double Cap,) .... 3.00 4.10 5.00 6.00 7.00 12 to sheet, full size.) Ten Quires of Double Cap. 5.75 7.70 9.00 10.50 11.50 One Beam of Double Cap. 11.50 12.50 14.40 19.20 23.00 For Red, Blue, Green, or Brown Ink, add one-fourth to these prices. For Carmine or Purple, of best quality, add one-half to these prices. PRESSWORK OF CHECKS IN BLACK INK. Two Set. Three Set. 4, 5 Quantities. 2 to page. 4 to page. 6 to page. 3 to page. 5 to page. 6 to page. or 6 Set. One Hundred impressions. $ .50 $1.00 $1.50 $ .75 $1.50 $1.25 $ .75 Every added Hundred.... .20 .25 .30 .20 .25 .25 .25 Five Hundred impressions 1.25 2.00 2.70 1.50 2.50 2.25 1.75 One Thousand impressions 2.00 3.00 4.00 2.50 3.50 3.25 3.00 Every added Thousand... 2.00 2.50 3.00 2.00 2.50 2.75 2.50 Five Quires of Dbl. Cap,) 12 to sheet, full size.... ) 1.90 2.75 3.40 1.50 2.50 2.25 1.25 Ten Quires of Double Cap 3.00 4.25 5.25 2.50 3.50 3.25 2.00 One Beam of Double Cap. 5.75 8.64 4.50 5.50 5.50 4.00 Every added Ream. 7.50 3.00 For Red, Blue, Green, or Brown Ink, add one-third to these prices. For Carmine or Purple Ink, of best quality, on forms of two or four Checks, add one-lialf to these prices; on forms of five or six Checks, double price of Black. Checks in Two Colors. For an ordinary form, rate the presswork of Red at one- lialf more than the price of Black, viz: The price of 500 Checks, 3 to page, 1 Check set up, in Black ink, is $2.40; Red ink, one-half more, is $3.60; total, $6.00. If Check is in Red and Blue, rate hoth colors at the price of Red, $3.60 each, or $7.20. This is for presswork only. For making-up the color-form, the price should vary with the time spent on it. Making-up one or three lines of name of bank only, would be fairly paid at 50 cents for the full form; but if the color-form includes border-rules or name in end-piece, the charge for making-up should be not less than 75 cents for each Check. If exact register is needed, $1.25 each, or more. Checks with Tinted Ground-work. The special engraving of a Plain Flat Check-tint, on boxwood or type-metal, with ornamental marginal line only, may be rated at $3.00. A Ruled Tint-block, of any pattern, is worth $6.00 $7.00. The Cutting-in of Name. Initials, Monogram, or Lights to a Vignette, will be an FROM MR.THEO. L. DZ VINNE’S NEW AND VALUABLE BOOK FOR PRINTERS—“THE PRINTER’S PRICE LIST," ETC. -230 ($>d> —«$-*3)->*<».- ( CONTINUED FROM PAGE 48.) When fine red inks or inks containing much red are to be used on eleiftrotype or copper-plates, the latter should be silver-plated or well- washed two or three times with liquid silvering solution, which must be allowed to “set” before being used; otherwise the chemical properties of the copper will produce a disagreeable change of the color. We give a recipe for making an excellent Silvering Solution for Electrotype Plates. Nitrate of Silver 2 drachms ; Distilled Water 37 drachms. Dissolve, and add Sal Ammoniac 1 drachm ; Hydrophosphite of Soda 4 drachms ; Precipitated Chalk 4 drachms. Agitate the preparation occasionally for twelve hours, when it will be ready for use. Apply with a piece of fine sponge. When colored inks are dull, tough, dry, or work badly, they may be softened, improved, and brightened by using different articles. Here are recipes for making some of the best: A Liquid for Brightening Common Qualities of Black or Colored Inks. Demar Varnish 1 ounce ; Balsam Fir l / z ounce; Oil Bergamot 25 drops ; Balsam Copaiba 35 drops ; Kreosote 10 drops ; Copal Varnish 50 drops. Use in small quantities. This has been sold for some time under a variety of names, such as “ Indispensable,” <( Pre-requisite,” etc. The whites of fresh eggs are also brighteners of colored inks; but they must be applied a little at a time, as they dry very hard, and are apt to take away the sutftion of rollers if used for any extended period. A Good Reducing Dryer. Brown’s ( genuine ) Japan. Use in small quantities. Hardening Gloss for Inks. Gum Arabic dissolved in Alcohol or a weak dilution of Oxalic Acid. Use in small quantities, and mix with the,ink as the latter is consumed. To give Dark Inks a Bronze or Changeable Hue. Take 1% lbs. Gum Shellac and dissolve it in 1 gallon 95 per cent. Alcohol or Cologne Spirits for 24 hours. Then add 14 ounces Analine Red. Let it stand a few hours longer, when it will be ready for use. Add this to good blue, black, or other dark inks as needed, in quantities to suit, when, if carefully done, they will be found to have a rich bronze or changeable hue. Quick Drying Preparation for Inks to be used on Bookbinders’ Cases. 1 ounce Bees Wax; ounce Gum Arabic dissolved in Acetic Acid sufficient to make a thin mucilage ; Jr ounce Brown’s Japan. Incorporate with one pound of good Cut Ink. We also subjoin the following recipes, which may be of service to some of our subscribers: To make Lithographic Transfer Writing Ink. Shellac 1 y 2 ounces ; Good Soap 2 ounces ; White Wax 1 ounce ; Tallow 1 ounce. Add three tablespoonsful of strong solution of Gum Sardarac; and when the whole is prepared, color with Ivory Black or the best Lampblack. To make a Strong and Durable Paste. One full quart of good Wheat Flour; two gallons Cold Water. Mix, and rub out with the hands all lumps that are formed by the flour. Then add about one-quarter of a pound of pulverized alum, and boil the whole together eight or ten minutes, or until the mass thickens, stirring it well all the time. Now add a quart of hot water, and boil until the paste becomes thick again and of a pale brownish tint. When well made, it will be perfectly clear and free of lumps, and keep from ten to fifteen days. — 2 33 The Press Room. o Gum for Backing Labels. Take any quantity of clear, pure Dextrine and mix it with boiling water until it assumes the consistency of ordinary mucilage. Apply thinly with a full-bodied, evenly-made, and wide camel’s hair brush. The paper should not be too thin or unsized. This preparation will dry quickly, and adhere when slightly wet. Offsetting, or having the back of a sheet marked by the printing on the one placed under it, may be obviated by piling sheets irregularly, and not permitting them to accumulate until they become weighty. Printing done on dry, highly polished, and hard paper, should be laid out thinly upon a drying rack. Where great liability to offset exists, it is best to place slip- sheets of thin, cheap paper between the printed sheets. Rice paper, or good rag news, makes excellent slip-sheets to prevent offsetting on sheets that must be turned and printed before the first side is dry, especially in wood-cut presswork. When tympans become marked from sheets that are printed on both sides, they may be quickly cleaned by rubbing a piece of raw cotton charged with benzine over them. This dries at once, and does not soil like oil, which is sometimes used. Printing on parchment is sometimes troublesome because of the animal fat that remains in the parchment. By rubbing the sheet over with a clean piece of cotton, dampened with purified benzine, previous to printing, a good impression can be had. But generally, if high grade ink is used, with little or no reduction by varnish, it will print parchment well. When bronze, smalts, flock, or dry colors are to be used in printing, the size should be of the best possible quality, and tenacious in its hold upon the paper, as well as upon the article to be employed. White size tinted to suit the bronze, smalts, etc., should be used for fine work. Bronze should be applied with the finest cotton wool, or a piece of the best otter pelt, and wiped oft' and polished with clean cotton or fur before the sizing becomes too hard, being cautious that no scratches are made by the finger nails or from sand in the cotton. Smalts are generally sifted through a fine sieve upon the printed sheet until it is covered with a sufficient quantity to give it a coating, and the surplus material shaken off when the size is dry. Flock requires a very strong size to hold it on the paper firmly, and it should be laid on smoothly and evenly. It may be rubbed through a sieve also, and pressed on with a fine buckskin pad. Passing sheets or cards printed with bronze or flock between polished iron cylinders improves the appearance of the work very much. Dry colors are applied the same as bronze. The maintenance of a uniform and full color, yet without having more ink at one time upon the rollers or form than is required to do this, is always essential to produce neat presswork. If sheets are allowed to be printed in alhthe various shades of an ink,— from its intensest depth to its greyer tints,—they will appear badly when placed side by side, especially in book work. The supply of ink should therefore be regulated exactly according to the consumption. F ' 2 34 The Press Room. PRINTING WITH COLORED INKS, ETC. The employment of colored and tinted inks, either singly or in har¬ monious combinations, is now so generally expetfted from job printers, that some reliable notes for the guidance of those not yet familiar with the management of colors in printing cannot but be acceptable. We have gathered from M. Chevrecl’s able and complete treatise on “ The Principles of the Harmony of Contrast of Colors ,” corroborated by other writers on the subjedt and our own experience and experiments, the following fadts, which will be found to embrace most of the rules necessary to be observed in mixing and arranging colors used for printing. But it must not be assumed that the mere didtations of fancy will insure eftedtive combinations of colors. Certain unchangeable laws of natural harmony that govern all colors have so arranged themselves as to be always arbitrary. The proper appreciation of these laws will always result in producing pleasing effedts in great variety; while an indifference to, or ignorance of, them will fail to accomplish anything desirable. In the first place, White Light is held to be composed of three primary colors — yellow, red, and blue, properly blended. From these three primaries, which may be proportioned and mingled almost infinitely, are produced all the hues that are known. If two of the primary colors are mixed, they produce a secondary color. Thus, yellow and red make orange; red and blue combined form violet; blue and } r ellow give green. Each of these secondary colors harmonize perfectly with the primary that does not enter into its composition. So, for example, orange, made from yellow and red, contrasts perfectly with blue; green, a mixture of blue and yellow, harmonizes with red; and violet, formed by combining red and blue, agrees with yellow. Each of these contrasting colors brightens the other: a violet and a yellow, for instance, being much brighter when placed side by side than when seen separately. These results are what is termed the Harmony of Contrast of Colors. Nature furnishes numberless specimens of this; harmony of contrast. The best contrasts are those that are formed from the primary colors ; and the three primaries also form a good harmony when placed together. Colors that do not contrast diminish the brightness of each other when placed together. Red, which becomes more brilliant beside green, is weakened by being placed against orange. But neither red nor blue contrasts well with violet, because the latter has each of them in its composition. In cases where their coming together cannot be avoided, the dulness produced may be partially overcome by adding a little of the opposite color. For example, if a violet has to contrast with red, add a shade or two of blue to the violet, rendering it purple. If, however, the violet has to harmonize with blue or green, add more red to it. The 'Tones of a color consist of the series of gradations that may be made with it by weakening its greatest point of intensity with white, or deepening it with black. Tints are the tones of a color produced by the addition of white added to the normal color. A hue is the change produced in a color by adding to it another color. The original color must always be in the ascendant, or it becomes a hue of the color added to it. Shades are the tones of a color produced by the mixing of black with the normal color. Tertiary Colors are formed by a mixture of two secondary colors. Thus, orange and green make what is called citrine —a pleasant hue wherein yellow predominates, because it occurs in each of the secondaries from which it is made. Purple or deep violet and orange make russet, wherein red is the strongest hue for the same reason that yellow is in citrine. Olive , formed from deep violet and green, is the third and last tertiary color, and has blue for its predominating hue. Tertiary colors are also termed colored greys. Thus, citrine is yellow-grey ; russet is red-grey; olive is blue-grey. Normal-grey is merely a mixture of pure black and white, mixed in various proportions, producing a variety of tones from white to black. When a primary or secondary color is added to a normal-grey, it becomes a colored-grey. — 235 — \^9 n X3>^-.Q^-x>/?gAw^x i 7?x General Business M ana gem ent. regulation bearing upon the generally verbal agreement made between the parties. After serving what he deems a sufficient time in his case, or until he feels disposed to quit, whether capable as a workman or not, the youth starts forth, joins a “Union,” and, presto! he must rank, so far as wages are concerned at least, with the really good workman who has served a full and faithful term of iridentured. apprenticeship, during which he has become excellent and expert in his calling. Again: chance or opportunity may place the inferior printer in charge or possession of an office of greater or lesser resources, where, knowing his incapacity to compete squarely with his betters, his resource is to compel patronage by doing miserable work for undiscriminating customers at the poorest prices, and thereby often causing his abler competitor to take less than what he knows is just compensation for his work, or leave his facilities unemployed. The following rules for business management have been found correCt, both from observation and practice, and we cannot urge them too strongly upon the attention of every one who conducts a printing concern with something more than a mere pittance in view: Do not go beyond your capital in purchasing material, and never pur¬ chase what is not likely to be of immediate use, no matter how cheap it is. Avoid buying odds and ends of second-hand printing material about which you know little or nothing. Insist upon order, and the careful usage of the implements, etc., whether the office is your own or otherwise. Have regular hours for opening and closing business, and require all your workmen to observe them. Preserve a carefully considered, just, and fixed system for estimating work according to its quality, keeping in view the probable consumption and waste of all material, wear and tear of implements, superintendence, and other expenses, no matter how trivial thej' may seem; for the least cost can be computed by an average per centage. Having determined what amount of money a piece of work is really worth, including a positive and not suppositious profit, make that the price, and do not deviate from it. Be courteous and willing to accommodate all reasonable demands, but be decisive in your transactions. A host of errors results from a vascil- lating disposition. Be prompt, making no promises that you may not reasonably expeCt to fulfil; and fill your orders according to your promises. In hurried times do not put aside one customer because a later one is urgent, unless the first one has allowed ample time wherein you may accommodate the last one also; for, though you may have gained a new patron by the measure, you will be apt to lose the former one if he be disappointed by not getting his work when promised. When customers want good work done at less than it is fairly worth, reason with them calmly; and, if they will not be convinced, but make — 242 — assertions in regard to the prices charged by others that seem unreason¬ able, or seem disposed to go elsewhere, do not go into a tirade against your competitors. Neither would we have you yield, knowing you are adopting a wrong; but simply declare you cannot do business at such rates and realize a fair profit. Have a clear understanding with a patron before what he desires is done, what the price for it will be,—approximately, but large enough, if it cannot be determined at once,—so that there will be no disagreeable compromise to make after the work is rendered and to be settled for. Lost valuable time occasioned by the customer, such as extra work, alterations, etc., should be charged. Too little regard for these items causes sad leaks in the profits of an office. A price is given, based upon the ordinary contingencies of a piece of work; but the party for whom it is to be done proves capricious, and demands frequent changes, proofs, etc., although the first piece of work may be performed neatly and well. It is but just, then, that he should pay for it. Where no guide is given or any style indicated, or where there has been no previous understanding concerning such waste of time, its cost should be stated immediately before it is made, so as to make it optional with the patron to have it done or not. Careful estimates, cast-ups, and the like, requiring time and experience to make, should be charged for, unless the work is guaranteed to the office, in which case it should go with the estimate for general superintendence. The cash system should be closely adhered to, and strangers, without any exception, on account of appearance or address, required to pay in advance, or to leave a sufficient deposit to prevent absolute loss. Workpeople should be paid in full every pay-day; but it would be well to have an understanding with them concerning the time they are to give an employe!', and the employer them, notice of separation for any cause. As an earnest, on the part of the accepted workman, it should be made a part of the business contract that he leave in his employer’s hands a certain sum weekly to be forfeited in case of his non-compliance with the agreement. An equivalent, whereby to bind the employer, might also be made by a written agreement or stipulation properly witnessed. This would prevent the sudden departures and discharges that usually occur in the most improper seasons. While it is always right to be amiable and pleasant with those who patronize an establishment, their familiarity with workmen during working hours should not be permitted; and informing them of matters in hand not necessarj' for them to know, had better be left unsaid. Loungers should be repelled by the simple information, politely but pointedly told, that your affairs require your personal attention, and that it retards the workmen to converse with them. This will generally suffice without giving offence. Do not suppose, if orders are plenty and customers easily managed during busy seasons, that dull times will not come and patrons be exacting or hard to please. It is during business lulls that many are tempted to work below what they can afford to do, and to yield advantages that are pretty sure to remain advantages to the customer in future transactions. General Business M ana gem ent. Never retain an unprofitable workman unless you can afford the ex¬ pense, or it is done out of charity. One who receives more than he yields becomes a burden, and should not be needlessly encouraged. Have no more workmen than your materials and implements will keep comfortably employed without waste of time. It is often a false idea that the more people there are about a concern, the more business is being done. In the type department, it should be the rule to distribute forms as fast as they are released from the press, unless there is a prospeCt of their being used again within a reasonable length of time. But, unless there is an arrangement made with a customer to keep type standing for him, its being kept in form should be solely for the benefit of the office. Make it incumbent upon compositors to send forms to press thoroughly justified, revised, and leveled, leaving nothing for the pressman to do but make it read}' on the press and print it. Also insist upon the forms being returned from the pressroom as soon as they are off, thoroughly washed and free from attachments that are no longer useful, such as underlays, etc. Do not be lured into purchasing everything new that emanates from the foundries. Obtain what you really need ■when you need it, and then seleCt what you deem the most appropriate and best for your purpose. Much of the embarrassment that occurs among employing printers comes from the disposition to increase their stock of types, etc. with the latest productions, whether their incomes warrant it or not. It will require a pretty considerable business and large profits to permit the purchase of the temptations that our friends the type-founders spread before our eyes so constantly. But, we repeat, beware of indulging in novelties too often. If your business is good, do not be niggardly with such supplies as hasten forward your transactions. Let there be enough sticks, chases, leads, slugs, metal furniture, small tools, etc., to permit workmen to keep at work and not wait upon each other. But this does not imply that unnecessary quantities should be got merely, for transient convenience. As fast as an article of general supply is released, it should be placed in a position for immediate use again, and not have to be searched for when needed. Avoid practising or encouraging the prevalent disposition among customers to have, and workmen to do, what may be termed useless composition —that is, having several justifications of as many styles of letters in one line, when one, or at most two, kinds of letters would look neater and better, and require less expenditure of time and labor. Elab¬ orate border and flourish work, and curving type lines and rules into a bad imitation of engraving, may be ranked with this kind of composition, which, unless it is amply paid for, becomes a nuisance and a positive bar to the profitable prosecution of a job. At the same time we advocate the most elegant and artistic effeCts that can be produced, if it is paid for. Otherwise adhere to the rules of “ neatness and dispatch,” permitting nothing to be done that is not well done; but, at the same time, let it be done without unnecessary waste of time; for in nothing is the faCt that “time is money” more pronounced than in the printing business. — 244 — Technical Terms used by Printers. Technical Terms Alley —The space between two stands. Ascending letters —Letters that extend into the upper shoulder: as b, d, 1, etc., and all the capitals. Author's proof— The clean proof sent to an author after the compositor’s errors have been corrected. Banque—A table about four feet high, to lay sheets on at press. Bastard title —A short title preceding the general title of a work. Bastard type —Type with a face larger or smaller than its appropriate body, as Non¬ pareil on Minion nody, or Minion on Non¬ pareil body. used by Printers: Cassie paper —Formerly, the two outside quires of a ream, consisting of defective sneets. Casting off— Estimating how many pages a certain quantity of copy will make in type. Ceriphs —The fine lines and cross-strokes at the end of a letter. Chapel —A printing-office. Chase —A rectangular iron frame in which pages of type are imposed. Clean proof—A. proof containing few faults. Clearing away —Properly disposing of ma¬ terials after a work has been completed. Close matter —Solid matter with few break¬ lines. Batter —Types accidentally injured in a form. Beard of a letter —The outer angles support¬ ing the face of a type and extending to the shoulder. Bearer —A strip of reglet to bear off the im¬ pression from a blank page. A long piece of furniture, type-high, used in working jobs. A solid-faced type interspersed over the blank parts of a page, in composing for stereotyping, to resist the force of the knife when the plates are shaved. Bearer-lines —The top line and bottom line in a page prepared for stereotyping. Bed —The flat part of the press on which the form is laid. Bevels —Slugs cast nearly type-high, with a bevelled edge, used by stereotypers to form the flange on the side of the plates. Bite —An irregular white spot on the edge or corner of a printed page, caused by the frisket not being sufficiently cut out. ' Blanket —A woolen cloth used in the tym- pan. Blank-line—A line of quadrates. Blocks —The mahogany frames on which stereotype plates are affixed for printing. Bodkin—A delicate awl-like tool used for correcting errors in type. Body—The shank of the letter. Botch —An incompetent workman. Bottle-arsed —Type wider at the bottom than at the top. Boxes —The compartments of a case in which the types are placed. Brayer —A wooden or glass rubber, fiat at the bottom, used to bray or spread out ink on the ink-block. Break-line —A short line. Broadside—A form of one page, printed on one side of a whole sheet of paper. Broken matter —Pages of type disrupted and somewhat intermingled. Companionship —All the hands on a work. Composing —Setting type. Composing-rule —A steel or brass rule, with a beak at one end, used in type-setting. Composing-stick —An instrument in which types are arranged in words and lines. Correct —A compositor is said to eorrectwheu he amends the faults marked in a proof. Corrections —The alterations or errors which are marked in a proof. Cut-in letter —A type of large size adjusted at the beginning of a line at the commence¬ ment of chapters. Cut-in note —A note justified into the side of a page. Dead horse —Matter charged before it is set. Dele, [S]—A proof-reader’s mark, signifying to take out. Devil —The errand-boy of a printing-office. Dished —A defect in electrotyped plates, the centre of a letter being lower than its edges. Distributing —Returningtype to their various boxes after having been printed from. Spreading ink evenly over the surface of a roller. Doublet —Among compositors, a repetition of words; among pressmen, a sheet that is twice pulled and mackled. Dressing a chase or form —Fitting the pages and chase with furniture and quoins. Drive out —To space widely. Duck’s-bill —A tongue cut in a piece of stout aper and pasted on the tympan at the ottom of the tympan-sheet, to support the paper when laid on the tympan. Dudoecimo, orVimo —Twelve pages to a form Em —The square of the body of a type. En —Half the dimensions of the preceding. Even page —The 2d, 4th, Cth, or any even- numbered page of a book. Fat —Poetry and leaded matter. Bundle —Two reams of paper. Bur —Rough edge of a type which the foun¬ der neglected to take off in dressing. Caret —A character [A] used to denote the place where an omission in the proof should be inserted. Case —The receptacle for type, divided into numerous compartments'. Face of a letter or form —The part that is printed from. Fat face, or Fat letter —Broad-stemmed let¬ ter. First form —The form first printed, which generally contains the first page of a sheet. Fly —The person or apparatus that takes off the sheets from the press. (Ee*) — 245 • Technical Te r m s Folio —Two pages to a form. Foot-sticks —Sloping pieces of furniture placed at the bottom of pages, between which and the chase the quoins are driven to fasten the pages. Form —The pages when imposed in a chase. Foul proof— A proof with many faults marked in it. Fount— An assortment of type in definite proportions. Friar—A light patch in a printed sheet, caused by defective rolling. Frisket —An iron frame fastened by a hinge to the upper part of the tympan, to hold the sheet of paper fast as it goes in and comes from the press. Fudge— To contrive without proper mate¬ rials. Full press— When two men work at the press with hand-rollers. Furniture —Strips of wood or metal placed around aud between pages when imposed. Galley —A wooden or brass flat oblong tray, with side and head ledges, for holding type when composed. Galley-slaves— An ancient term of derision applied by pressmen to compositors. Gauge —A strip of reglet with a notch in it, passed with the make-up, to denote the length of the pages. Get in —To set close. Good color —Sheets printed neither too black nor too light. Guide —A piece of metal frequently used to 1 denote the last line set. Gutter-sticks —Furniture used in imposition ] to separate the pages. Half press —When but one person works at the press. Half-title— The title of a book inserted in the | upper portion of the first page, of matter. Heacl-sticks —Furniture put at the head of pages in imposition, to make margin. Hell —The receptacle for broken or battered letters: the old-metal box; the shoe. High-line —Term applied to a type that ranges above the rest in a line. High (or low) to paper —Applied to a type east higher or lower than the rest of the fount. Horse —The stage on the banque on which pressmen set the heap of paper. Horsing —Charging for work before it is ex¬ ecuted. Imposing —Arranging and locking up a form of type in a chase. Imposing-stone —The stone on which com¬ positors impose and correct forms. Imprint— The name of the printer or of the publisher appended to .jobs or title-pages. Inferior letters —Small letters cast near the bottom of the line. Inset —Same as offcut. Jeff—To throw for a choice with quadrates instead of dice. Justifying —Spacing out lines accurately. Keep in —To crowd in by thin spacing. Keep out —To drive out or expand matter by wide spacing. u s c d by Printers. Kerned letter —Type of which a part of the face hangs over the body. Laying cases— Filling cases with a fount of new type. Laying pages —Placing pages on the stone in a proper order for imposition. Leaders —Dots or hyphens placed at inter¬ vals, one, two, or three eras in length, to guide the eye across the line to the folio in tables of contents, etc. Leads —Thin strips of metal east of various thicknesses, quadrate-high, to separate lines of type. Lean —Close and solid matter. Lean face —Light, thin type. Letter hangs —When the page is out of square. Letter-press printing —Printing from types. Ligatures —Two or more letters east on the same shank, as ff, fl, fi, ffl, ffi, se, oe. Locking up —Tightening up a form by means of quoins. Logotypes— The same as ligatures. Long cross —The bar that divides a chase the longest way. Long pull —When the bar is brought close to the cheek of a press. Low case —When the compositor has set al¬ most all the letters out of his-case. Lower case —The case containing the small letters of the alphabet, figures, points, etc. Low line —Applied to a type that ranges lower than the rest in a line. Mackle —When part of the impression ap¬ pears double. Make-up —To arrange the lines of matter into pages. Making margin —In imposition, arranging the space between the pages of a form so that the margin will be properly propor¬ tioned. Making ready —Preparing a form on the press for printing. Mallet —A wooden hammer. Matter —Composed type. Measure —The width of a page. Monk —A black spot in a printed sheet, owing to the ink not being properly distributed. Naked form —A form without furniture. Nicks —Hollows cast in the front of the lower part of the shank of a type, to show the compositor how to place it in his stick. Octavo, or 8 vo —Eight pages to a form. Odd page or folio— The 1st, 3d, and all un- even-numbered pages. Off— Signifies that the pressman has worked off the form. Offcut—A portion of a sheet that is cut off before folding. Off its feet —When matter does not stand up- ' right. Open matter —Matter widely leaded or con¬ taining numerous break-lines. Out—An omission marked in a proof by the reader. Out of register —When the pages do not back each other. Overlays —Cuttings of paper pasted on the tympan-sheet to bring up the impression. — 246 — -I Technical Terms used by P r i n t e r s . Overrunning —Carrying words backward or forward in correcting. Page-cord —Twine used for tying up pages. Passing the make-up— Passing to the next hand in order the lines remaining (if any) after a compositor has made up his mat¬ ter, together with the guage and proper folio. Peel —A broad, thin board with a long handle. Perfecting —Printing the second form of a sheet. Pi —Type promiscuously intermingled. Pick —A particle of ink or paper imbedded in the hollow of a letter, filling up its face and occasioning a spot. Pigs —An ancient nickname given in derision by compositors to pressmen. The press¬ room was called a pig-sty. Planer— A smooth block of wood used for levelling the surface of pages of type when imposed. Planing down —To bring down types evenly on their feet, by laying a planer on the page and striking it firmly with a mallet. Platen —The part of a printing-press which, under the influence of the lever, gives the impression to a sheet. Point-holes —Fine holes made by the points to register the second impression by. Points —Two thin pieces of steel with a point at one end, adjusted to the tympan with screws, to make register. Quadrate —A low square blank type, used to indent the first line of a paragraph, and to fill up blank spaces. Quarters —Octavos and twelves are said to be imposed in quarters, not from their equal divisions, but because they are im¬ posed and locked up in four parts. Quarto, or 4 to —Four pages to a form. Quire —Twenty-four sheets of paper. Quoins —Small wedges for locking up a form. Quotation furniture —Quotations cast of various sizes in length and width, to be used for blanking and as furniture. Quotations —Large hollow quadrates. Rack —Receptacle for cases. Ratting— Working at less than the estab¬ lished prices. Ream —Twenty quires of paper. Recto —Right-hand page. References —Letters or characters serving to direct the reader’s attention to notes at the foot of a page. Register —To cause the pages in a sheet to print precisely back to back. Register sheet —The sheet used to make re¬ gister. Reglet —Thin furniture, of an equal thickness all its length. It is made to the thickness of type. Reiteration— The form printed on the second side. Revise —The last proof of a form before work¬ ing it off. Riding —One color falling on another. Type at the end of a line catching against a lead. Rise —A form is said to rise when, in raising it from the correeting-stone, no letters drop out. Roller —An iron or wooden “core ” or cylin¬ der covered with composition, which, set in an iron frame, revolves and is used for inking type. Rounce —The handle for running in and out the carriage of a hand-press. Round pick —A dot in a letter in a stereotype plate caused by an air-bubble. Running title —The title of the book or sub¬ ject placed at the top of the pages. Runs on sorts —Requiring an inordinate pro¬ portion of particular letters. Saw-block —A box similar to a carpenter's mitre-block, to guide in cutting furniture, etc. Schedule —A list passed with the make-up, containing folios on which the compositor marks his name opposite to the pages set by him. Set off— When sheets that are newly worked off soil those that come in contact with them, they are said to set off. Shank —The square metal upon which the face of a letter stands. Sheep's-foot —An iron hammer with a claw- end. Shooting-stick —A wedge-shaped instrument for locking up a form. Short cross— The short bar which, crossing the long bar, divides the chase into quar¬ ters. Shoulder —The upper surface of the shank of a type not covered by the letter. Side-sorts —Types in the side and upper boxes of a case, consisting of letters not frequently used. Side-sticks —Sloping furniture on the outside of the pages next to the chase, where the quoins are inserted. Signature —A letter of the alphabet ora figure used at the bottom of the first page of a sheet, as a direction for the binder in placing the sheets in a volume. Slice galley —A galley with an upper false bottom, called a slice, used for large pages and jobs. Slug—A thick lead. Slur —A blurred impression in a printed sheet. Solid pick—A letter in a stereotype plate filled up with metal, resulting from an im¬ perfect mould. Sorts —The letters in the several case-boxes are separately called sorts, in printers’ and founders’ language. Space-rules —Fine lines, cast type-high, and of even ems in length, for table and alge¬ braical work. Spaces —Low blank types used to separate words. Squabble —A page or form is squabbled when the letters are twisted out of a square po¬ sition. Stand— The frame on which the cases are placed. Stem —The straight flat strokes of a straight letter. Stereotype printing— Printing from plates. Stet —Written opposite to a word, to signify that the word erroneously struck out in a proof shall remain. Technical Terms used by Printers . Sub- —A compositor occasionally employed on a daily paper, to fill the place of an ab¬ sentee. Superior letters— Letters of a small face, cast by the founder near the top of the line. Table- work— Matter consisting partly of rules and figures. Take , or Taking— A given portion of copy. Token —Two hundred and fifty sheets. Turn for a letter —When a sort runs short, a letter of the same thickness is substituted, placed bottom upward. Tympan— A frame covered with parchment "and attached to the press-bed, to lay the sheet on before printing. Underlay— A piece of paper or card placed under types or cuts to improve the impres¬ sion. Upper case— The case containing capital and small capital letters, fractions, etc. Verso— Left-hand page. Way-goose— A term given in England to the annual dinner customary among printers there during the summer months. White line—k line of quadrates. White page —A blank page. White paper— Until the second side of a sheet is printed, pressmen call the heap white paper. Working in pocket— When the hands share equally their earnings on a work. n closing this volume, we desire to tender our thanks to the following named gentlemen for valuable business assistance received from them during the progress of our enterprise, as well as for many adts of kindness and courtesy that have rendered our task lighter than it would otherwise have been : Messrs. Allison, Smith & Johnson, Type Founders and Printers’ Furnishers, proprietors of the Franklin Type Foundry, Cincinnati, for many favors. Cincinnati Type Foundry Co., through its Business Managers, Messrs. Chas. Wells, Treasurer, H. Barth, and W. P. Hunt, Cincinnati, for many favors. Messrs. Chatfield & Woods; Stone & Stewart; and Snider & McCall; Dealers in Printers' Stock, Cincinnati, for most substantial favors. Messrs. R. P. Thompson, Printer and Superintendent; C. S. Whitson, Printer and Foreman ; Jas. A. Cassady, Assistant Foreman of the Bindery; J. M. See, Foreman of the Eledlrotype Room; John H. Armstrong, Manager of the Press Department; and Charles Taulman, Pressman, of the Western Methodist Book Concern, for many facilities and accommodations. Mr. Luther M. Harpel, Printer, Telegrapher, and Book-keeper, Cincinnati. At present engaged with us as an assistant. * Messrs. David Cohen and Mort. A. Read, Printers and Foremen in our own establishment, —the first named in the press room, and the latter in the composing room,—for much patient extra manipulation. Also, Mr. Jno. E. Raisbeck and Matt. Eberhardt of our compositors. Mr. John Wolff, Principal Wareroom Clerk of Franklin Type Foundry, and Mr. Robert R. Reid, his assistant, for numerous attentions. Mr. C. H. Fairbanks, Printer and Foreman, (at present engaged on the Specimen Book of Franklin Type Foundry), Cincinnati. Mr. William Gockel, Brass Rule Maker and Fitter at Franklin Type Foundry, Cincinnati, for much intricate mitring, etc. Mr. John Watson, Foreman Composing Room at Franklin Type Foundry, Cincinnati. Messrs. Wilson, Hinkle & Co., Educational Publishers and Stationers, Cincinnati. Mr. Cornelius Braam, the efficient Wareroom Clerk of Cincinnati Type Foundry Co., Cincinnati. Mr. George Barnard, Printer, with Cincinnati Type Foundry Co., Cincinnati. Messrs. McKay & Cullin, Eledtrotypers and Stereotypers, Cincinnati, for much troublesome and tedious work in their line. Mr. Granville Pollock, Foreman of Plate Finishing Room at Franklin Type Foundry, Cincinnati, for many attentions. Mr. B. B. Chamberlin, Designer and Engraver on Wood, Cincinnati. The excellent work of this gentleman occurs in numerous places in our book. Messrs. Stillman & Adams, and Bogart & Stillman, Designers and Engravers, Cincinnati. Mr. James Pummill, Printer, Author, and Editor, Cincinnati. — 2 4 S — * C losing Notes. Mr. O. F. Carnahan, Printer and Foreman Job Department Cincinnati Daily Times. Mr. C. W. Starbuck, Proprietor Cincinnati Daily Times, for privilege of using cuts, etc. Mr. John Rowell, Bookbinder and Ruler, for special personal care in binding the book. Mr. Thomas MacKellar, Author, Editor, Printer, and Type Founder, (of the firm of Mac- Kellar, Smiths & Jordan, proprietors of the Johnson Type Foundry, Philad’a), Germantown, Pa. Mr. R. S. Menamin, Editor, Publisher, and Dealer in Printing Materials, Philadelphia. Mr. Jerry S. Thompson, Printer and Superintendent Republican Job Printing Co., Chicago. Mr. Edward Du Laurens, Travelling Agent for J. K. Wright & Co., Philadelphia, whose fine colored inks have been used almost entirely throughout the work. Mr. Thomas Rowley, Typographic Designer and Printer, (of the firm of Rowley & Chew), Philadelphia. Mr. Chas. Eneu Johnson, Manufacturer of Fine Printing Inks, Philadelphia. Mr. Theo. L. De Vinne, Author and Printer, (of the firm of Francis Hart & Co., New York), Jersey City, N. J., for many valuable favors. R. Hoe & Co., the celebrated Printing Press Machine and Saw Manufacturers, New York City, for cuts. Mr. Henry Johnson, President Jones Manufacturing Company, manufacturers of the Globe Printing Presses, Palmyra, N. Y. Mr. Geo. C. Ripley, Secretary Home Life Insurance Company, New York, for the beautiful cuts on page 240. The Boston Type Foundry, through its well-known Business Agent, Mr. James A. St. John. Mr. Wm. Cubery, Printer, (of the firm of Cubery & Co.), San Francisco, Cal. The black ink used throughout the work is from the manufactories of J. K. Wright & Co.; Gray’s Ferry Printing Ink Works ; and Charles Eneu Johnson & Co., Philadelphia ; and George Mather’s Sons, New York. The average price paid for it was about $2.50 per pound. The presswork, under the superintendence of Mr. David Cohen, was done mainly on the new “ Globe” half-medium, although other bed-and-platen treadle-presses were used. 476,000 impressions were required to complete less than three thousand copies of the book. The excellent eleCtrotyping of the Franklin Type Foundry, under the personal care of Mr Alexander Campbell, and of Messrs. McKay & Cullin, Cincinnati, has been frequently brought into requisition for various small parts of the work; and we are pleased to say that our city produces this kind of work equal, if not superior, to any done in the country. Messrs. Smith & Porter, General Printers, Boston, also have our thanks for plates of tessellated borders, worked in colors. Messrs. Copper & Fry, the well-known Stamp Cutters of Philadelphia, executed the stamp seen on the “ Typograph.” It will be noted that we have avoided using in these pages the most expensive colored printing inks, such as exceeding fine carmines, purples, violets, greens, etc. This has been intentional on our part, as we have desired to present work that may be done with the medium grades of colored inks, such as are most generally used, and do not involve extravagant outlay. Neither have we exhibited the extremes that may be reached in typographic display. It may be mentioned incidentally, however, that we had made arrangements with Mons. Charles Derriey, the celebrated engraver, founder, and printer of Paris, France, and several other superior letterpress printers in Europe, to have pages of their workmanship in the “ Typograph.” The impending war now in progress between Franee and Prussia has prevented the fulfilment of this understand¬ ing, and we have been consequently left to do what we could ourselves, except in a few obvious instances, or delay the work indefinitely. fi^TParties desiring electrotyped duplicates of any of the Designs, Borders, or Engravings shown in this volume, will be furnished with them at reasonable prices. it®"*Collections of Samples from our current work may be had in lots costing from $1.00 to $5.00. — 249 — Index. PAGES. FRONTISPIECE:—Heraldic Arms of the German Printers, . . . facing title. PREFATORY REMARKS:— Why it is comparatively easy for the printer to attain to excellence in his craft—He must be prepared to meet popular demands—Tasteful skill con¬ trasted with incapability—The need of a more practical hand-book—The intention of this publication—Captions, p. 3. Explanations of various matters—Expense of the work—Acknowledgements—Hopes for the future, p. 4. INFOLDED PLATE:—Example of German Wood Engraving, (No. 1), showing overlaying of cross-hatched shades, . .." facing 4 HINTS ABOUT STARTING AN OFFICE:— . 5-12 Assumptions of beginners, p. 5. Advisory hints, pp. 6 - 6 . Implements proper to have, embracing remarks about Furniture, Stands, Racks, Cab¬ inets, Drawers, Cases, etc., p. 7. Concerning Carpentry, Types, Borders, Ornaments, Novelties, etc., p. 8. Uniformity of type bodies—Labeling cases—Attention to variation in nicks of letters—Labor-saving Rules and Leaders—Leads and Slugs—Metal Furniture and Quotations—Economy in Case Room—Imposing Stones and Construction of Frames, p. 9. Com¬ posing Sticks—Mitreing Machine—Wood and Mechanical Quoins—Iron Side and Foot Sticks, p. 10 . Wood Furniture—Metal Furniture—Shooting Sticks—Mallets—Planers—Choosing Presses and other Machinery—Roller Closet—Ley Brushes, p. 11. Ink Table—Ink Stones—Muller—Ley Pots— Baskets or'Bins for waste paper—Order and convenience in arranging an office, etc., p. 12 . INSET:—Example of English Magazine Engraving, (No. 2), showing effect of difficult overlaying for blended shades and interior tints, . . . facing 21 ON LETTERPRESS COMPOSITION:—.13-40 Popular ideas concerning the relative merits of Composition and Press- work—Matters to be regretted—The tendencies that degrade and cheapen printing—First things to learn, p. 13. How to lay a case with new letter— Casting off copy, pp. 14— IB. Copy that should be estimated by time—Vari- ous items concerning Typographic Design, pp. 16-17. Setting a Stick to measure—Position of the Compositor at case, etc., pp. 18-19. Spacing and Justification, pp. 19-20. Indentions, p. 20. Emptying a Stick—Notes re¬ lating to Display Composition, pp. 21-26. Book Composition, pp. 2G-28. Proving and Correcting matter, p. 28. Proof Readers’ Marks, and explana¬ tion thereof, pp. 29-3L Distribution—Imposing and Locking up Forms, etc., p. 32. Rules for Imposing Pages, with explanations, diagrams, etc., pp. 33-40. INSET:—Cuts (Nos. 3 and 4) showing effect produced by properly overlaying light or sketchy engravings,.. ! facing 22 INSET :—Scenic Illustrations (Nos. 5 and 6 ) showing effect in overlaying rocks, foliage, etc.,. facing 26 INSET :—Wood Cuts (Nos. 7 and 8 ) showing effect of strong lights and shades, facing 38 THE PRESS ROOM:—.41-48; 233-240 Necessary auxiliaries to do good work—Machinery and the care of it, p. 41. Rollers and their treatment, pp. 41—42. Roller Making, with Recipes and other directions, pp. 42-45. Items concerning Printing Inks, pp. 45-46. Making Forms Ready for Press—Tympans—Working solid Borders and Tints on small Presses, pp. 46-47. Shaded Printing with Colors and Bronze —Forms for Colors, pp. 48, 233. Valuable Recipes, pp. 233-234. How to prevent Offsetting—Printing on Parchment—Printing with Bronze, Smalts, Flock, and Dry Colors—Maintaining Uniformity of Color, p. 234. Use of Colored Inks, with copious remarks on the Harmony of Colors, etc., as applied to the Printer’s Art, pp. 235-237. Overlaying Cuts, pp. 238-239. To make Paste-points—Treatment of new Wood Type—How to Doctor a Roller —Examples of Overlaying and not Overlaying, p. 240. INSET:—(4 pages) Containing Complete Table of Signatures, Cuts of Stands, Cabinets, Cases, Mechanical Quoin, Stick, arrangement of American Upper and Lower Cases, facing 48 INSET:—Engravings (Nos. 9 and 10) showing how one of them may be in the entirely black silhouette style, and yet be worked along with a finely lined cut of landscape, without impairing the delicate effects of the latter, . facing 42 — 250 — PAGES, GENERAL BUSINESS MANAGEMENT:-. 241-241 Widely varying prices charged for Printing—Want of system among Pro¬ prietors ana Managers—Views held by many Customers—The influence of incompetent Printers—Who are the real sufferers from ^underbidding in the end—Foolish and ignorant persons with good intentions—Why they do not better their circumstances—“ The Printers’ Price List,” p. 241. Want of a good system of apprenticeship the source of many evils amofl|t Printers — How good Printers are often compelled to work below remunerative prices —Practical Rules for Managing Business advantageously, pp. 241-244. INSET:—Domestic Scene (No. 11) showing overlaying of peculiar shades, etc., facing 228 LIST OF TECHNICAL TERMS USED BY PRINTERS:- .... 245-248 CLOSING NOTES:—Friends and Assistants of the work. 248-249 INDEX. 250-252 INDEX TO SPECIMENS. ADVERTISEMENTS, Newspaper. pp. 155, 219 BADGES,.p. 191, inset between 224 and 225 BILLS LADING,.pp. 119, 137, 211 BLANKS, Bankers’.pp. 105, 216, inset between 168 and 169 Magistrates’.pp. 94, 95 Manufacturers’.p. 127 Small . .p. 196 BOND, .Inset between pp. 152 and 153 BOOK PAGES:—Poetry, pp. 97, 154, 201; Illustrated Catalogue, p. 113; Contents, p. 158; Literary, pp. 159, 193; Calendars, pp. 181, 184; Arithmetic, pp. 202, 203, 207; Algebra, p. 205; Reader, p. 206; Astronomy, p. 208; Children’s Magazine, p. 209; Chinese, p. 210; Music, pp. 213, 220, 221. CALENDARS,.p. 224, inset between 168 and 169 CARDS, Display p. 186; inset between 96 and 97; inset between 160 and 161; inset between 168 and 169; inset between 180 and 181. Engraved.pp. 104, 175, 226 Insurance pp. 50, 61, 66, 105, 110, 114, 115, 123, 132, 134, 146, 147, 150, 155, 156, 157 171, 178, 179, 189, 198. Invitation .p. 133 Manufacturers’ . pp. 59, 71, 72, 95, 121, 122, 138, 143, 166, 186, 198, 217, 123 Mercantile pp. 50, 55, 59, 72, 75, 79, 98, 101, 106, 111, 128, 130, 138, 143, 147, 166, 167 172, 173, 175, 176. Miscellaneous . . . pp. 59, 63, 76, 82, 83, 133, 147, 157,161, 176, 183, 188 Mourning .p. 175 New Year Call.pp. 76, 156 Photograph Mount .p. 75 Professional .pp. 72, 107, 110, 121, 157, 176, 183, 217 Saloon.pp. 66, 110 Tradesmen’s pp. 53, 89, 98, 104, 105, 106, 114, 117, 121, 134, 138, 156, 157, 175, 176 198, 199. Visiting. Wedding and Reception . CHECKS, Bank .... CIRCULARS, Insurance Lodge .... Manufacturers’ Mercantile Miscellaneous Tradesmen’s Wedding and Reception COVER PAGES, Pamphlet DESIGNS, Ornamental DIPLOMA, in miniature display line for DODGERS, or small hand-bills, DRAFT,. ENDS, Check and Receipt pp. 50, 75, 80, 107, 110, 175 .pp. 80, 84, 107 p. 67, inset between 168 and 169 pp. 49, 54, 56, 79, 142, 144, 146, 194, 197, 198 .pp. 125, 212 .pp 174, 199 pp. 74, 101, 123, 129, 164 .p. 200 . pp. 52, 77, 177, 187, 199 .pp. 116, 139 . . . pp. 68, 69, 77, 117, 162, 182 pp. 124, 185, 186, 191, 192, 217, 223 . . . inset between 184 and 185 .P- 57 .pp. 62, 87, 96 .p. 216 . pp. 83, 93 — I ti d e x . ENVELOPE CARDS, BACKS, ETC.pp. 73, 85, 180, 222 FUNERAL NOTICE,.p. 165 HEADINGS, Bill and Statement pp. 00, 01, 02, 100, 112, 136, 150, 151, 152, 155, ICO, 170, inset between 108 and 169. Letter and Note . pp. 53, 04, 00 ,120, 122, 123, 140, 141,152, 185, 188, 214 INVITATION, Ball.p. 145 LABEL, Direction . p. 196 Miscellaneous pp. 59, 66, 71, 73, 75, 81, 82, 83, 85, 88, 102, 103, 105, 110, 115, 135 155, 157, 108, 160, 170, 183, 108, inset between 108 and 169. Wine and Liquor.pp. 57, 130, 132, 133, 170 LAW BRIEF, page of.p. 86 NOTE, Promissory .p. 131 NOTICES, ETC., Insurance . pp. 63, 65, 81, 93, 99, 131, 180, inset between 222 and 223 PASS, Railroad .p. 57 PERIODICAL, Insurance.Inset between pp. 184 and 185 PRICE LISTS.pp. 102, 103, 128, 129 PROGRAMMES, Ball. pp. 148, 149 Entertainment., pp. 58, 70, 215 RECEIPT, Dray ............. p. 115 Mercantile.pp. 81,141, 150 Shippers’.pp. 119, 211 TABS, Dry Goods p. 195 TAGS, Clothing..pp. 57, 83 Shipping.pp. 172, 173 TICKETS, Entertainment, etc. pp. 61, 63, 70, 71, 93, 104, 106, 107, 131, 134, 143, 148, 149 157, 169, 189, 191, 223. TITLE PAGES, . back of title to Specimens, pp. 78, 108, 109, 118, 153, 160, 163, 190, 204 WINE LIST, (4 colors).p. 218 WRAPPER, . p. 64 Druggists’.p. 126 ADVERTISERS' ADDENDA. CINCINNATI TYPE FOUNDRY COMPANY 7 , Cincinnati. FRANKLIN TYPE FOUNDRY 7 , Allison, Smith & Johnson, Proprietors, Cincinnati. GRAY’S FERRY PRINTING INK WORKS, Philadelphia. HAGAR & CO., Type Founders, New York. J. K. WRIGHT & CO., Manufacturers of Printing Inks, Philadelphia. JONES MANUFACTURING COMPANY 7 , Manufacturers of the “ Globe ” Printing Presses, Palmyra, N. Y. McKAY & CULLIN, Electrotypers and Stereotypers, Cincinnati. N. C. HAWKS’S IRON BRACKET COMPOSING STANDS, Milwaukee, Wis. ROBERT S. MENAMIN, Publisher “Printers’ Circular,” and Printers’ Furnisher, Phila. THE NOVELTY JOB PRINTING PRESS. Bent. O. YVoods, Boston, Mass. VAN BIBBER & CO., Manufacturers of Rollers and Roller Composition, Cincinnati. WILLY WALLACH, Importer and Denier in Fine Cards, Programmes, etc., New York. A xijhtttci|lmri, Jfaust, Srfjixffn;, At the Massachusetts Charitable Mechanic Association Exhibition, held in Boston, in September, 1869, the '* CLOBE " received a Cold Medal, the highest award ever made for a Job Printing Press. O--O REPORT OF JUDGES; “•The Committee pronounce the Globe Jtpb Printing Press to be the best Job Press yet offered for sale. It has several new principles which other presses^of the kind do not have; among which is the ‘Throw-Off,’ an advantage which is almost indispensable, and will be readily appreciated by alL printer . It possesses a new mode of giving the impression by which a * Dwell’ is obtained when the form has touched the sheet, thereby securing a more perfect impression than can possibly be obtained by the old method by crank move¬ ment. The Detention of the Rollers on the Cylinder at the will of the operator, without stopping the machinery, thereby giving extra facilities for distribution of the ink, is a new feature in job Presses, the want of which has been felt by pressmen for years, but never until now has this great desideratum been ac¬ complished. There are other points, of more or less importance, which render this a most desirable press, and, in the opinion of the Committee, the most perfect yet presented to the notice of printers. We therefore recommend the award of a Gold Medal.” N. B. SHURTLEFF, Mavor of Boston, A. K. P. WELCH, of Welch, Bigelow Sc Co. ( ORRIN F. FRYE, of Rnrnl, Averv & Frve^s CH XRI.F.s I) 1' \NK. Judges. All of these Presses will be thoroughly tested, strongly boxed, and delivered to the order of the purchaser, at our manufactory. Palmyra, N. Y. at the following Net Cash Prices: HALF MEDIUM, 13 x 19% inches inside of chase, QUARTO MEDIUM, lO x IS “ “ “ . EIGHTH MEDIUM, 8 x 12 “ “ “ . .. $550 425 250 Fountain, $25. Steam Fixtures, $15. Boxing, $6 to $10 extra. 1 Roller Mould, 2 sets of Roller Stocks, and 3 Chases, are included with each Press. This page was worked on a Half Medium Globe Press. MANUFACTURES TYPE IN GREAT VARIETY, And its Complete and Extensive Also produce all the IRON and WOODEN APPURTENANCES of the business, including We are also the Agents for the sale of Type and Presses from all other manufacturers in the country, and fill orders promptly from any Specimen Book ; NO OTHER House in the Union CAN fit out a complete Office with Types, Presses, Stands, and Cases, entirely with goods of their own production, COUSEQUEUTLY This is the place to fit out a Printing Office. Send for Specimens and Estimates to C. WELLS, Treas. No. 201 Vine Street, Cincinnati, Ohio, THIS PAGE WAS WORKED ON HALF MEDIUM NOI iREIL PRESS. BORDER BY B. B. CHAMBERLIN, CINCINNATI. Printing Inks, mm ESTABLISHED 1858, ^INTERS’ Ml ^ m jize, famines, joiled |il, etc. Fairmount Printing Ink Works, PHILADELPHIA. HE reputation of our Inks is now so well established throughout the United States and elsewhere, for their brilliancy, ease of work¬ ing, cheapness, and general superiority, that an extended notice of them here is not necessary. We deem it sufficient, therefore, to state that no pains will be spared in the future as in the past, to maintain the highest degree of excellence in our products and to give the fullest satisfaction to our many patrons. 8®” The Ink used on this page is our own make. < >] u- >i A A A A I V w 0, i\, VV righ It &> Go, T ZEE IE ♦ Work in all parts of the world, sizes of Presses are furnished ns follows: Is the only Low Priced Press ever invented that will do GtOOD WORK. It is so simple in its construction, and so admirable in its details, that a novice in the art of printing can readily understand its prin¬ ciples and the manner in which it is worked. * The finest printing is done upon it at a speed equaling the highest-cost presses, and it is so durable in construction that it will long outwear them and cost nothing for repairs. It excels all other presses in Simplicity, Durability, Compactness, Availability, Convenience, Efficiency, Speed, and Economy. The proprietor claims that printing can be done as well and as rapidly on this Press as on the best that print¬ ers use ; and for printing offices where artificial power is not used, or for business men, apothecaries, grocers, country traders, and others who desire to do their own printing, it is entirely without a rival. It is most admirably adapted to the use of Sabbath-schools, Colleges, and other institutions for instruction, and for Missionary Also unsurpassed as a Village Newspaper and Job Press. Three Duodecimo, prints 4 by 6 inches, price, $15 Octavo, “ ii “ lO “ " 30 Quarto, “ O “ 14 “ . *• 50 Send for full descriptive illustrated circulars, with testimonials from all parts of the country, and specimens of plain and color printing done on the Press, and specimen sheets of types, borders, cuts, rules, etc. to Benjamin O. Woo DS, Manufacturer, Dealer in every description of Printing Materials, No. 351 Federal Street, Boston, Mass. Or to the following Agents: C. C. THURSTON, No. 10 College Place, N. Y.; KELLY, HOWELL & LUDWIG, 017 Market St., Philadelphia, Pa.: A. C. KELLOGG, G5 West Van Boren St. Chicago, Ill. ❖ Chew, Artistic Printers, H and 16 S, Seventh St., h:^wk:s 7 s jlllKlf |0RPBIia« pus, ? 1; Prices: Single Stand, $8; Double, $12. Boxing and Shipping, $3 per dozen. HIS is an improved form of Printers’ Composing Stand, and is composed wholly of iron. It is intended to take the place of the old wooden “ rack stand.” The advantages of the Iron Stand will be easily understood from the cuts. In the first place, there are no slides; the inventor claiming that a stand should be a stand, and not a cabinet. The depositing of cases of type under the compositor’s stand was a source of evil, rather than a convenience, from the start. Every printer knows that if a case which is under a stand, is wanted, he must go there and set his line; and if a brother typo is at work at that stand, one or the other is obliged to give way. To the compositor who is using the Roman case it is a great annoyance, and to the employer it is a loss of time. Where the bulk of type is in racks, this occurs frequently. It has been estimated that one man’s time out often is wholly lost to the employer in this setting of lines from cases among printers’ legs. Those cases are always dusty and dirty, for they catch everything. They are an abomination to a stand, because they are always raking a compositor’s shins and knees, or else obliging him to stand in a stooping posture. The cabinet is unquestionably the proper place for italic and job type. The Bracket form of the Iron Stand will be readily appreciated by all printers, and cannot fail to call forth their unqualified approval. It gives opportunity to stand ereCt, and to use the legs freely; and those who avail themselves of the stool can doubly realize the comforts of it in sitting close up, and when a change is desired the stool can be pushed under the stand out of the way. Its beauty as an article of printing office furniture, would alone recommend it, if it possessed none of the advantages claimed. An office furnished with these stands presents a very clean, light, and airy appearance. There is no chance to store rubbish under these stands. The office boy can sweep clean, without difficulty, in one-third the time it takes to sweep around the old ones. Their durability makes them a good investment. There is no article in a printing office but wears out; the Iron Stand will never wear out by any ordinary use. Some improvements have been made in both single and double stands, being principally to add strength and firmness. They are now thought to be as simple and strong as it is possible to make them. The manufacturer offers the Iron Bracket Composing Stand to Printers in confidence that it will meet with a hearty reception, as AN ARTICLE OF MERIT. m . C * H w K s „ 257 South Water Street, MILWAUKEE, Wis. rT *- r y 5 2t 3 IMPORTER AND DEALER. EVERY DESCRIPTION OF Cut Cards and Card Stock, BALL CARDS, Paper and Cards for Invitations and Bills of Fare, mn»* ntf F/UCY/ljTICLES FOIj COTILLONS/P THE Ge^M/N, Stationers' Soods of Every Description, t ALLISON, SMITH # JOHNSON, m® Wlm 9tn§tg Gtoefraaf J, ATnnufnrfurers of. and Dealers Vi , -o AND PRINTERS’ MATERIALS OF EVERY DESCRIPTION. Complete fflritjlinQ (Officer;, Of any size, furnished on short notice. Type furnished from 'any Foundry in the country. STEREOTYPING AND ELECTROTYPING IN ALL BRANCHES. J cs£> vy A MANUFACTURERS OF Sitj kiniJ of ^Rollers cast to orkcr auk scut fioxct) to anp part of tke countrj. Jor prices, testimonials, etc. see circulars. E. O L L E E i E O E SALE V CINCINNATI TYPE FOUNDRY CO. 201 Vine Street, Cincinnati; GEORGE H.VINTEN, 137 Poydras St. New Orleans; THE REPUELIC PRINTING CO. Springfield, Ohio; ROBERT ROWELL, V Qp 106 Jefferson St. Louisville; AND DEALERS IN PRINTERS’ MATERIALS GENERALLY. 6 y> SATISFACTION Particular attention given to ELECTROTYPING Books, Music, Patent Medicine Labels, Wood Cuts, Advertisements, etc. M Q>T(jq g i Publishers, Country Printers, and Others. •'(prcric have the resources of a first-class printing office by which we are enabled to set up in the Latest Styles of Type, and Electrotype any kind of jobs, and forward them, to any distance, at the most reasonable price. Samples of our Electrotyping on pages 107 and 157 of this book. DESIGNED BY MORT. A. READ. “THE NEAT PRINTER,” CINCINNATI. This page was worked from plates eledtroty ped by McKay & Cullin, on a Half Medium Globe Press. SUAEANTESB 0 < d 1 \>KN^ ^ JAMES (f 1 (Jq Manufacturers of FIRST-CLASS PRINTERS’GLUE! FOR MAKING Got 11) )ositi on Rol 1 ers For Hand or Power Presses. Manufactory, Ludlow Avenue, Cumminsville,