THE COMPOSITOR'S TEXT-BOOK:

OR,

INSTRUCTIONS

IN THE

ELEMENTS OF THE ART OF PRINTING:

CONSISTING OF AN

ESSAY ON PUNCTUATION,

WITH

RULES AND EXAMPLES;

DIRECTIONS ON THE USE OF CAPITALS;

GREEK AND HEBREW ALPHABETS;

RULES FOR DISTRIBUTING AND COMPOSING;

WITH VARIOUS

SCHEMES OF IMPOSITION, &c.

BY JOHN GRAHAM.

GLASGOW :

RICHARD GRIFFIN AND COMPANY.

LONDON: JOHN JOSEPH GRIFFIN & CO.

MDCCCXLVIII.

PREFACE.

As it is usual for authors to introduce themselves to the notice of the public, by expressing their motives for publishing, and explaining the nature and tendency of their work; by tacitly commending it, in appealing to the judgment of the reader; or by submitting it, with the greatest humility, to his candour; it might be thought singular, if the writers of the following pages were not to adopt a similar practice.

It is, however, almost unnecessary to make any apology for the present undertaking. The large works on Printing are not only high-priced, but scarce; while the smaller ones are very defective and incorrect: besides, a common fault in all, is the omission of Rules on Punctuation; or, at least, the few observations that are made on the subject, are so vague and imperfect, that the young compositor takes it for granted that Punctuation cannot be fixed by any principles whatever. This little book is intended to supply the deficiency, but not to supersede the use, of Stower's Grammar, or any other valuable work on the art of printing. The groundwork of the Rules contained herein will be found to belong to Lindley Murray; while occasional assistance has been derived from the English Grammars of Messrs. Angus and Churchill. The Rules, however, are simplified as much as possible; new ones are added; and a greater variety of appropriate examples are introduced, to illustrate what has been laid down. A few observations are interspersed, to explain still farther the directions and examples, to present to the learner the different views of writers or printers on the subject, and to suggest some practical hints which may be of utility to the compositor. A short Essay is prefixed, to excite a desire of attaining a knowledge of this much-despised, but useful

art.

In enumerating the advantages of this work, the writers do not mean to assert, that the science of Pointing has now received all the light which can be thrown upon it; but they humbly conceive, that the art of typography may be made more easy by a careful, studied perusal of that part of the publication which relates to this subject.

The remarks on Distributing and Composing are partly derived from the larger works on printing, and are partly the result of the compilers' own experience. A variety of Tables of Imposition is added, besides a selection of other useful matter.

It would be a want of gratitude in the writers to conclude, without expressing their thanks to those gentlemen who kindly pointed out several errors, which would otherwise have passed unnoticed.

JOHN WILSON.

JOHN GRAHAM.

PUNCTUATION.

PUNCTUATION is a modern art. The ancients were entirely unacquainted with the use of our commas, colons, &c.; and wrote not only without any distinction of members and periods, but also without distinction of words: which custom continued till the year 360 before Christ. How the ancients read their works, written in this manner, it is not easy to conceive. After the practice of joining words together had ceased, notes of distinction were placed at the end of every word. This practice, with some variation, continued a considerable time. As it appears that the present usage of stops did not take place whilst manuscripts and monumental inscriptions were the only known methods of conveying knowledge, we must conclude that it was introduced with the art of printing.

The elements of Punctuation-regarded either as a branch of Grammar, or as a science by itself-ought to be understood, in a greater or less degree, by every one that wishes to obtain a correct knowledge of his native tongue. The utility of Points may be appreciated by any person who attentively observes the construction of sentences, their various connexions, and mutual dependence. Without the use of Points, innumerable difficulties and ambiguities would perplex the common reader, not merely in a want of knowledge where to pause, but in the still greater defect of being unable to understand the meaning of his author. Without them, indeed, the beauties of poetry would be greatly obscured, and the principles of philosophy little understood. The perusal of a single page will bear testimony to its real importance. Scarcely a sentence can be read with pleasure or interest, unless correctly pointed. The well-known speech of Norval, in the tragedy of Douglas, may be read in such a manner as