LXXXII. MARKS USED BY PRINTERS IN THE CORRECTION OF PROOF-SHEETS. Many mistakes in printing may be avoided, when the printer and the writer clearly understand one another. It is thought it will be useful to present in this volume a view of the manner in which proof-sheets are corrected. On the opposite page is a specimen of a proof-sheet, with the corrections upon it. A little attention will readily enable the student to understand the object of the various marks which it contains, particularly if taken in connexion with the explanation here given. An inverted letter is indicated by the character and in the mode represented in No. 2. When a wrong letter is discovered, a line is drawn through it and the proper letter written in the margin, as in No. 1. The correction is made in the same manner when it is desired to substitute one word for another. If a letter or word is found to be omitted, a caret (A) is put under its place, and the letter or word to be supplied is written in the margin; as in Nos. 8 and 19. If there be an omission of several words, or if it is desired to insert a new clause or sentence, which is too long to admit of being written in the side margin, it is customary to indicate by a caret the place of the omis sion, or for the insertion of the new matter, and to write on the bottom nargin the sentence to be supplied, connecting it with the caret by a line rawn from the one to the other; as in No. 15. If a superfluous word or letter is detected, it is marked out by drawing a stroke through it, and a character which stands for the Latin word dele (expunge) is written against it in the margin; as in No. 4. The transposition of words or letters is indicated as in the three examples marked No. 12. If two words are improperly joined together, or there is not sufficient space between them, a caret is to be interposed, and a character denoting separation to be marked in the margin opposite; as in No. 6. If the parts of a word are improperly separated, they are to be linked together by two marks, resembling parentheses placed horizontally, one above and the other beneath the word, as in the manner indicated in No. 20. Where the spaces between words are too large, this is to be indicated in a similar manner, excepting that instead of two marks, as in the case of a word improperly separated, only one is employed; as in No. 9. Where it is desired to make a new paragraph, the appropriate character (T) is placed at the beginning of the sentence, and also noted in the mar gin opposite; as in No. 10. Where a passage has been improperly broken into two paragraphs, the parts are to be hooked together, and the words "no break" written oppo site in the margin; as in No. 18. If a word or clause has been marked out or altered, and it is afterwards 29 THOUGH a veriety of opinions exists as to the individual by wчom the art of printing was first discovered; yet all authorities concur in admitting Peter Schoeffer to be the person 3Caps who invented cast metal types, having learned 48 the art of of cutting the letters from the Gut 5 9 tembergs, he is also supposed to have been following testimony is preseved in the family, 3 8 by Jo. Fred. Faustus of Ascheffenburg: 10¶ ¶ Peter Schoeffer of Gernshiem, perceiving Caps V his master, Fausts design, and being himself 12tr. desirous ardently) to improve the art, found 11 21 out (by the good providence of God) the method of cutting fineidendi) the characters 13 stet/ in a matrix, that the letters might /singly cast; instead of bieng cut. 14 vately cut matrices for the whole Faust was Λ easily be alphabet · so pleased with the contrivance that he promised Peter to give him his only daughter Christina in marriage, a promise But there were many difficulties at first A 12 17wf. 3 Ital 18 no break 3 Ital with these letters, as there had been before 3 Room -and when he showed his master the letters cast from these matrices. 12 tr. thought best to retain it, it is dotted beneath, and the word stet (let it stand) written in the margin; as in No. 13. The punctuation marks are variously indicated; -the comma and semicolon are noted in the margin with a perpendicular line on the right, as in No. 21; the colon and period have a circle drawn round them, as in the two examples marked No. 5; the apostrophe is placed between two convergent marks like the letter V, as in No. 11; the note of admiration and interrogation, as also the parenthesis, the bracket, and the reference marks, in the same manner as the apostrophe; the hyphen between two perpendicular lines, as in No. 7, and the dash the same as the hyphen. Capital letters are indicated by three horizontal lines drawn beneath them; small capitals, by two horizontal lines; Italic by a single line; with the words Cap., S. Cap., and Ital. written in the margin. When a word is improperly italicised, it should be underscored, and Rom. written against it in the margin. Examples, illustrative of all these cases, will be found under No. 3. A broken line is indicated by a simple stroke of the pen in the margin, drawn either horizontally, or as indicated in No. 16. A broken letter is indicated by a stroke of the pen drawn under it, and a cross in the margin. When a letter from a wrong font, that is, of a different size from the rest, appears in a word, it is to be noted by passing the pen through it, and writing wf. in the margin, as in No. 17. A space which requires to be depressed is to be marked in the margin by a perpendicular line between two horizontal lines, as in No 14. Different names are given to the various sizes of types, of which the following are most used in book printing. Pica. * Small Pica. Bourgeois. Nonpareil. Agate. Diamond. Abcdefghijklmnopqrstuvwxyz. Abcdefghijklmnopqrstuvwxyz. Abcdefghijklmnopqrstuvwxyz. Abcdefghijklmnopqrstuvwxyz. Abcdefghijklmnopqrstuvwxyz. Abcdefghijklmnopqrstuvwxyz. Abcdefghijklmnopqrstuvwxyz. As it may be interesting to know the frequency with which some of the letters occur, it may here be stated that, in the printer's cases, for every hundred of the letter q there are two hundred of the letter x, four hundred of k, eight hundred of b, fifteen hundred of c, four thousand each of i, n, o, and s, four thousand two hundred and fifty of a, four thousand five hundred of t, and six thousand of the letter e. *The next two sizes of type larger than the above are called English and Great Primer, and all larger than these, Double Pica, two Line Pica, Three Line Pics, Fifteen Line Pica, &c., according as they exceed the Pica in size. A book is said to be in Folio when one sheet of paper makes but two leaves, or four pages. When the sheet makes four leaves or eight pages, it is said to be in Quarto form; eight leaves or sixteen pages, in Octavo; twelve leaves or twentyfour pages, Duodecimo; eighteen leaves, Octodecimo. These terms are thus abbreviated: fol. for folio; 4to for quarto; 8vo for octavo; 12mo for duodecimo; 18mo, 24s, 32s, 64s, signify respectively that the sheet is divided into eighteen, twentyfour, &c., leaves. The Title-page is the first page, containing the title; and a picture facing it is called the Frontispiece. Vignette is a French term, used to designate the descriptive or ornamental picture, sometimes placed on the title-page of a book, sometimes at the head of a chapter, &c. The Running-title is the word or sentence at the top of every page, generally printed in capitals or Italic letters. When the page is divided into several parts by a blank space, or a line running from the top to the bottom, each division is called a column; as in bibles, dictionaries, spellingbooks, newspapers, &c. The letters A, B, C, &c., and A2, A3, &c., at the bottom of the page, are marks for directing the book-binder in collecting and folding the sheets. The catch-word is the word at the bottom of the page, on the right hand, which is repeated at the beginning of the next, in order to show that the pages succeed one another in proper order. It is seldom inserted in books recently printed. The Italic words in the Old and New Testaments are those which have no corresponding words in the original Hebrew on Greek, but they were added by the translators to complete or explain the sense. 27 LXXXIV. OBITUARY NOTICE. An Obituary Notice is designed to commemorate the vir ues which distinguished an individual recently deceased. Writings of this kind are generally fugitive in their character, and seldom survive the occasion which called them forth. They are not designed to present many of the events of the life of the individual, but rather a general summary of his character. An obituary notice is a kind of writing generally confined to periodical publications, and destitute of the dignity of biography, and the minute detail of memoirs. Model. OBITUARY NOTICE OF DR. MATIGNON. The Rev. Francis A. Matignon, D. D., who died on the 19th of Septem ber, 1818, was born in Paris, November 10th, 1753. Devoted to letters and religion from his earliest youth, his progress was rapid and his piety conspicuous. He attracted the notice of the learned faculty, as he passed through the several grades of classical and theological studies; and, having taken the degree of Bachelor of Divinity, he was ordained a Priest, on Saturday, the 19th of September, 1778, the very day of the month and week, which, forty years after, was to be his last. In the year 1782, he was admitted a licentiate, and received the degree of Doctor of Divinity from the college of the Sorbonne in 1785. At this time he was appointed Regius Professor of Divinity in the college of Navarre, in which seminary he performed his duties for several years, although his state of health was not good. His talents and piety had recommended him to the notice of a Prelate in great credit, (the Cardinal De Brienne,) who obtained for him the grant of an annuity from the king, Louis the Sixteenth, which was sufficient for all his wants, established him in independence, and took away all anxiety for the future. But the ways of Providence are inscrutable to the wisest and best of the children of men. The revolution, which dethroned his beloved monarch, and stained the altar of his God with the blood of holy men, drove Dr. Matignon an exile from his native shores. He fled to England, where he remained several months, and then returned to France, to prepare for a voyage to the United States. He landed in Baltimore, and was appointed by Bishop Carroll Pastor of the Catholic Church in Boston, at which place he arrived August 20th, 1792. The talents of Dr. Matignon were of the highest order. In him were united a sound understanding, a rich and vigorous imagination, and a logical precision of thought. His learning was extensive, critical, and profound, and all his productions were deeply cast, symmetrically formed, and beauti fully colored. The fathers of the church, and the great divines of every age were his familiar friends. His divinity was not merely speculative, nor |