4-line Brevier.
36 Point, 2-line Great Primer.
40 Point, Double Paragon.
42 Point, 7-line Nonpareil.
44 Point, 4-line Small Pica or Canon.
48 Point, 4-line Pica.
54 Point, 9-line Nonpareil.
60 Point, 5-line Pica.
72 Point, 6-line Pica.

HAND COMPOSITION AND ELECTROTYPING

By J. Stearns Cushing.

The form of the book, the size of the type page, and the size and
style of the type having been determined, the manuscript is handed to
the foreman of the composing room, with all the collected directions
in regard to it. He fills out a scheme of the work which tells the
whole story,--somewhat as shown in illustration opposite page 42.

Under the heading "Remarks," in the scheme shown, are noted general
directions as to capitalization, punctuation, and spelling (whether
Webster, Worcester, or English spelling--which means generally not
much more than the insertion of the "u" in words like "favor,"
"honor," etc., and the use of "s" instead of "z" in words like
"recognize," "authorize," etc.). Sometimes these directions are given
by the publisher, sometimes by the author, but more often by the
superintendent or foreman of the printing-office. The office generally
has a fairly well established system, which is followed in the absence
of other orders. It is rarely the case that it is not the wisest
course, if one is dealing with a reputable firm of printers, to leave
all such details, except deciding the dictionary to be followed, to
them. It is their business, and they will, if allowed, pursue a
consistent and uniform plan, whereas few authors and fewer publishers
are able, or take the pains, to do this. Too often the author has a
few peculiar ideas as to punctuation or capitalization, which he
introduces just frequently enough to upset the consistent plan of the
printer. He will neither leave the responsibility to the latter nor
will he assume it himself, and the natural result is a lack of
uniformity which might have been avoided if the printer had been
allowed to guide this part of the work without interference.

The compositors who are to set the type are selected according to the
difficulty of the matter in hand, and each one is given a few pages of
the "copy," or manuscript. The portion thus given each compositor is
called a "take," and its length is determined by circumstances. For
instance, if time is an object, small t