;; ;; 308 HANG UP PAPER. their whole length side the crosses ; they are made of an equal thickness but they have a groove, or gutter, laid on the upper side of them, as well that the water may drain away when the form is washed or rinsed, as that they should not print, when, through the tenderness of the tympan, the platen presses it and the paper lower than ordinary— iff. We now mean by the term Gutter, the piece of furniture that separates two adjoining pages in a chase, as in an octavo that between pages 1 and 16, in a duodecimo that between pages 1 and 24, and so on. The pieces that are put at the sides of the pages next the cross, are called Backs and those at the tops of the pages next the cross, are called Heads. I would recommend that the gutters should be cut a little longer than the page, the heads for each quarter being in two pieces, so that the gutter may be between them ; one head will thus project a little over the side- stick, and will form an abutment for it, while the other will project a little over the back; by this method there will be no danger of any of them binding, and the gutters will answer for pages of different lengths. Guy, Thomas. See Donations. GYPSUM. Earl Stanhope says, " The best burnt gypsum mixes up most conveniently, for stereotyping, in the proportion of seven parts of water to nine parts of gypsum. H. HALF A PRESS. When but one man works at a press, it is called Haifa Press. — M. It is still termed a Half Press, A man is said to be working Half Press. HALF WORK. He that works but three days in the week, does but Half work.—M. Hangs. /S^ee Letter Hangs. — M. HANG UP PAPER, To hang the sheets upon the poles to dry after they have been printed. For this purpose the warehouseman takes the peel in his hand, and lays it flat upon the heap that is to be hung up, ao as to let the paper project beyond the left side of it ; he turns over upon it from six to twelve or fourteen sheets of paper, with the wrapper, and then moves the peel two or three inches to the left, and goes on repeating the process, till he has got as many lifts on it as it will conveniently support he then raises them above the pole on which they are to be placed, and holding the handle slanting the sheets open at the under side, so that when the peel is withdrawn the lifts are left suspended on the pole ; he then inserts the end of the peel between the first and second lifts, which are undermost, where he shifted his peel in taking them up, lifts them a little, and moves them farther from each other on the pole, still letting the one overhang a little the other he leaves in its first place, and thus he proceeds till one by one he has separated all he had upon his peel he then takes another peelftd, repeating this process, and so he goes on till the whole heap ip hung up. He is guided by circumstances as to the number of sheets he should take in a lift ; if the work is in a great hurry, or his vacant poles are not in a favourable situation for drying, or the weather be rainy and the atmosphere charged with moisture, he will hang the paper up thin ; but if he is short of pole-room, and the work is not in a great hurry, if the situation is favourable for drying, and the weather dry and warm, he will make his lifts thicker ; but I would caution him not to go to an ;;; HARD WORK, 309 extreme, as in that Case the paper may mildew upon the poles, parti- cularly in the fold. Houses of eiitehsive business have drying rooms fitted up with pipes, and heated either with steam or hot water, so that they can dry their printed paper expeditiously, without hinderance or drawback. HANG THE PLATEN. To tie the platen to the hose hooks, in a wooden pi'ess. To perform this it is usual to lay on the press stone a form of solid type, and to turn the tympans down upon it, to place the platen in its place, square with the press, to pull the bar home^ and to keep it in this situation by a letter board placed so as to take a bearing against the shoulder of the bar close to the handle, and also against the off cheek ; but I prefer a piece of wide furniture with a notch cut in one end for the bar, and the other end against the off cheek, as it is more secure and less liable to be displaced ; then to make a noose on a piece of laid cord, place this on one of the front hose hooks,' and take a turn round the corresponding platen hooks, and continue these turns till a sufficient quantity of cord is wound round the hooks ; take a hitch round one of the hooks to prevent the cord slipping, then begin to wind the cord round these layers, every two or three turns drawing it tight by taking a turn round a short piece of broad or narrow furniture, by means of which it may be drawn more forcibly, so as to bring the parts together, which makes it so firm that there is no danger of its giving way ; the end may then be fastened to one of the hooks. The same process is repeated at the opposite angle, behind the press ; then at the two other angles the platen is then firmly hung, and is ready for work. The same process is observed in iron presses, with the exception that the platen is not tied with cord ; it is attached to the press by means of screws. Hansard, Luke. See Donations. HARD IMPRESSION. When there is too much pull in working at press, particularly with engravings, and the lines come off strong which ought to be light and delicate, it is said the impression is hard. HARD INK. Ink very well boiled. — M. It is now called strong ink. HARD JUSTIFYING. If a compositor fills his stick very stiflT with letters or spaces, they say it is hard justified. — M. HARD PULL. In justifying the head of a press for a short pull, which is done by putting solid blocks of wood into the mortises of the cheeks, it is called an Hard Pull. — M. This relates to wooden presses but, instead of the blocks of wood, scaleboard is now used, additional pieces of which are put into the mortises, by lowering the head, which is again tightly screwed up : in the Stanhope Press, and in Clymer's, it is accomplished by shortening the coupling bar, by means of a screw in Cogger's press, by a screw through the head ; and in Cope's press, by putting pieces of plate iron upon the crown of the platen. In Sherwin and Cope's Imperial press, by turning a screw attached to a wedge placed in the front, above the spindle ; Mr. Hopkinson has adopted the same method in Cope's press, placed on the near side. HARD WORK. With compositors, ill written copy, much Italick, Latin or Greek, or marginal notes, or few breaks, &c. is called Bad, large Heavy, Hard Work : with pressmen, small letter and a form is called Hard Work. — M. See Bad Work. There has been an alteration in the mode of paying for work since Moxon's time, which is to the advantage of the workman: foreign languages, Greek, and marginal notes are now extra charges ; and the — — 310 HEAP HOLDS OUT. Pressman has an additional price for his work, as the type decreases in size size the page increases. See Prices. and the of _ HEAD. That part of a wooden press in which the'nut of the spindle is fixed ; it has a tenon at each end which fit into long mortises in the cheeks, not tightly, but sufficiently so to prevent lateral motion ; and it is suspended from the cap by two long iron bolts, which go through the head and the cap, above which are iron washers and screws by which to lower the head, or screw it up tighter. The head is usually made of elm. The whole of the pressure in the process of printing is between the head and the winter. HEAD BAND. A thin bar of iron that connects the two sides of the tympans at the lop : it is made thin, to allow it to run under the platen without impediment. The half of the frisket joints are riveted to the head band. See Frisket Joints. HEAD BOLTS. Two long bolts that pass through the head. and the cap, in wooden presses, with a screw at the upper end : the head of the press is supported upon thie heads of the bolts; and their screw ends pass through the cap, upon which they are secured by washers and female screws that can be tightened by the fingers ; these screws are for the purpose of screwing up the head, to justify the pull. HEAD LINE. The top line of a page in which is the running title and the folio, but sometimes only a folio : the divisions and subdivisions of a work, when they are set in lines, and chapters, are also called Head Lines.