page 51

Type Standards.

Our opening article on this subject last month contained tables of all the systems of type bodies in present use in Europe and America. To these we may have to add some which are only of historic value. The tables we have given are valuable, not only as showing the gradations of sizes, but their successive relations, so far as systematic arrangement has been introduced. In transferring the tables, we have copied also the descriptive matter, letting each manufacturer set forth the advantages of his own scheme—so that for certain opinions expressed, we ourselves are not responsible. So far, we have dealt only with the bodies of the founts; but all three dimensions of the types are of equal importance. Before referring to the height and width of types, we give a table showing the names of the standard sizes in French and Italian. The table in the second column of p. 43 will enable the reader to compare these, so far as they correspond, with the English and German standards. The Fournier point, on which this table is constructed, is larger than the Didot, twelve of which equal Cicero body.

The French « Petit Romain » is the German « Corpus, » and « Gros-Texte » is equal to « Mittel. »

We come now to the standard of height. This, like the other measurements, began at hap-hazard, as is well illustrated by the case of the oldest foundry in England—that of the Oxford University Press. In that large establishment, there are actually two heights of type in use, one for the Bibles and another for general literature, and neither of these correspond with the English standard. Types from outside foundries have to be specially cast for this office, both to height and body; and though it has been more than once in contemplation to adopt the national standard of height, so much capital has been invested in the type and machinery in use, that the sacrifice of good material would be too great.

The English standard height is equal to the diameter of a shilling, 29/32;-inch, =·92-inch. There is a slight, but only an infinitesimal variation, in the types from the different English foundries. English and American type is cast true to height; French type is planed down after casting, and is so uneven as to require making-ready. Ten years ago, we imported an expensive border fount from Austria, planed down to English height, and though it came from one of the best foundries on the continent, the heights were so irregular that we have never been able to use it with any satisfaction. American type is more variable than English; the Johnson standard (15=35 centimeters) we have already given. The American standard is said to be ·002-inch higher than English; but Bruce's, Zeese's, and the Dickinson Foundry type is appreciably higher than this, and cannot be worked close to English type or brass-rule without making-ready. The old Scottish height (still in use in some offices) is one-hundredth of an inch higher than English. In France the height was fixed by statute in 1723 at 10½ lines, or a fraction less than ·88-inch; but the height was not enforced, and types were sold varying from 10¼ to 11½ lines, to the great annoyance of the printers. The French height is ⅕0-inch higher than English; the German 1/90-inch higher; and Polish and Russian types are often more than an inch in height.

The third dimension is that of the width of letters. It is only very lately that any attempt has been made to reduce this to system, though endless annoyance has been caused through the incommeasurable dimensions of the characters. It is the more strange that nothing was done in this direction, as the reform, unlike any other change, could have been carried out without the slightest inconvenience or expense to the typefounders. Even where the letters (as in Figgins's « Brunswick Black » and MacKellar's « Arboret, ») were designed to work with combination ornaments, there was no relation whatever between the width of the characters and the spaces of the fount. So far as we know, the first founts made to systematic width were Schelter & Giesecke's « Shieldface » series in 1882. The « self-spacing » type we have already referred to in our June number; but we should have stated that Messrs Benton, Waldo, & Co.'s founts therein described, were not the first cast to systematic width. The Milwaukee and St John Foundry had already brought out something of the kind; but by an extraordinary oversight, instead of a system of universal application, they devised one adapted specially to 13-ems pica, and which was useless in any other measure than 13-ems and the multiples of that width.

In our next article we shall consider the principles involved in the various systems in use. For much of our information we are indebted to an article by Mr De Vinne, which we find in Caslon's Circular. It is necessary, in considering the subject, to have precise data, and we have at some pains, collected our information from the best authorities.

A large number of journalists are in the field as candidates for the new Parliament.

All through Europe (says the American Lithographer and Printer) a new branch of work has been introduced in lithography which rises into a severe competition with sign-painters and manufacturers of lettering. This is the printing and embossing of letters in gold and colors, which are then cut out and sold in stationery stores, &c. The letters, of all sizes, are enamelled, and appear similar to the porcelain and ivory or enamelled iron and celluloid letter, but the fact that such letters of beauty and elegance may be bought for one penny or less will tend to bring them into general use. By their use any one can produce a sign over doors, windows, or such. The backs of these letters are coated with a paste, which will cause them, when wetted, to adhere to metal, glass, or wood, and when varnished with shellac, permit of washing with water.

In the Minnesota legislature, Chaplain Allison recently remembered the reporters in his prayers. It is no wonder that Yankee humorists are irreverent, when their ministers set them the example. This is how the reverend gentleman burlesqued the language of Scripture in his devotions: « And now, dear Lord, bless the reporters, whose nimble pens catch every word almost before it is uttered. Like Thyself, they are omnipresent, and almost omnipotent. If we take the wings of the morning and fly to the uttermost parts of the earth, they are there. They meet us in the jungles of Africa, they waylay us in the solitary cañons of Colorado, and when at length we find the latitude of the magnetic pole, behold there they are. May their light and goodness be equal to their power, and in the general assembly of heaven let no reporter be excluded. »

« The Pica Blunder » is the title of an article in the Paper World. The new American Inter-state Commerce Act provides that all railroad lines must expose their freight and passenger traffic tables at each station on the road—the same to be printed in pica type. Nonpareil has hitherto been the usual size. The result has been a « boom » for the foundries, which have all been working day and night on pica—to the neglect of everything else—and a tremendous tax on the railroad companies. The Missouri Pacific Railroad Company have to pay a printing bill of $100,000, and the lowest bill will be about $10,000. One office ordered 10,000lb of pica figures for immediate use. A freight-sheet rushed in by a railway company to be turned out « at once, » was found, when reckoned up, to fill a sheet 12×4 feet! The hardship is, that all the necessary forms are standing in nonpareil, and will probably be required again as soon as the Act can be altered. No one will benefit but the founders.