With regard to the process described as counter-punching, it is necessary to admit that this constituted a refinement of the art of punch-cutting apparently unknown to the first printers. The freedom of their letters, consequent on the imitation of handwriting, which served as their earliest models, makes it evident that they cut by eye, rather than by mathematical rule. But as typography gradually made models for itself, the best artists, particularly those who aimed at producing regular Roman and Italic letters, discovered the utility and expediency of arriving at uniformity in design and contour, by the use of these counter-punches, which stamped on to the steel the impress of the hollow portions of the letters they were about to cut, leaving it to the hand of the engraver to cut round these hollows the form of the required character.
The punches being cut, finished and hardened, Moxon next deals with the various parts of the type-mould, describing in turn the “Making” of the mould: The Carriage,[184] (a); the Body, (b); the Male Gauge, (c); the Mouthpiece, (d e); the Register, (f i); the Female Gauge, (g); the Hag, (h); the Bottom Plate, (a); the Wood, (b); the Mouth, (c); the Throat, (d); the Pallat, (e d); the Nick, (f); the Stool, (g); the Spring, (h).
25. Letter-founding in 1683. (From Moxon’s Mechanick Exercises.)
Here again we have described, with scarcely a difference, the mould in which scores of men yet living have in their day cast types for the trade. The {111} justification of the mould is then described; after which the important operation of striking the steel punch into copper, and forming and justifying the matrix, is treated of, with instructions for “botching” matrices in the event of a mistake in the latter process. The matrices being thus ready, the founder is instructed how to adjust them to the mould in preparation for casting,—a solemn process which may be best described in the writer’s own language:—
“Wherefore, placing the under-half of the Mold in his left hand, with the Hook or Hag forward, he clutches the ends of its Wood between the lower part of the Ball of his Thumb and his three hind-Fingers. Then he lays the upper half of the Mold upon the under half, so as the Male-Gages may fall into the Female Gages, and at the same time the Foot of the Matrice place itself upon the Stool. And clasping his left-hand Thumb strong over the upper half of the Mold, he nimbly catches hold of the Bow or Spring with his right-hand Fingers at the top of it, and his Thumb under it, and places the point of it against the middle of the Notch in the backside of the Matrice, pressing it as well forwards towards the Mold, as downwards by the Sholder of the Notch close upon the Stool, while at the same time with his hinder-Fingers as aforesaid, he draws the under half of the Mold towards the Ball of his Thumb, and thrusts by the Ball of his Thumb the upper part towards his Fingers, that both the Registers of the Mold may press against both sides of the Matrice, and his Thumb and Fingers press both Halves of the Mold close together. Then he takes the Handle of the Ladle in his right Hand, and with the Boll of it gives a Stroak two or three outwards upon the Surface of the Melted Mettal to scum or cleer it from the Film or Dust that may swim upon it. Then he takes up the Ladle full of Mettal, and having his Mold as aforesaid in his left hand, he a little twists the left side of his Body from the Furnace, and brings the Geat of his Ladle, (full of Mettal) to the Mouth of the Mold, and twists the upper part of his right-hand towards him to turn the Mettal into it, while at the same moment of Time he Jilts the Mold in his left hand forwards to receive the Mettal with a strong Shake (as it is call’d) not only into the Bodies of the Mold, but while the Mettal is yet hot, running swift and strongly into the very Face of the Matrice to receive its perfect Form there as well as in the Shanck.”
This done, the mould is opened, and the type released; Moxon adding that a workman will ordinarily cast 4,000 such letters in a day.
Then follow rules to be observed in breaking off, rubbing, kerning, setting-up and dressing, with descriptions of the dressing-sticks, block-groove, hook, knife and “plow.” That these operations, as well as the casting, had undergone no alteration nearly a century after Moxon’s day, may be judged from the fact that Moxon’s descriptions are used verbatim to accompany the view of the {112} interior of Caslon’s foundry, shown in the Universal Magazine of 1750, where all these operations are exhibited in active progress.
With regard to the preparation of the type-metal, Moxon’s account is minute and a trifle peculiar. This metal was, according to his account, made of lead hardened with iron.[185] Stub-nails were chosen as the best form of iron to melt, and the mixture was made with the assistance of antimony, of which an equal amount with the iron was added to the lead, in the proportion of 3 lb. of iron to 25 lb. of lead. The great heat required to melt the iron necessitated open furnaces of brick, built out of doors, in a broad, open place, well exposed to the wind, into which the iron and antimony mixture was put in pots surrounded with charcoal. After half an hour’s time the metal men were to “lay their Ears near the Ground and listen to hear a Bubling in the Pots,” which is the sign that the iron is melted. They then were to erect another small furnace, “on that side from whence the Wind blows,” which was to contain the large pot full of lead. The lead being melted, they were to carry it at a great heat, with a “Labour would make Hercules sweat,” to the open furnace, filling up the pots of iron and antimony with the lead, and stirring at the same time. The open furnace was to be then demolished, and the mixed metal left to cool in the pots. And “now,” says Moxon, “(according to Custom), is Half a Pint of Sack mingled with Sallad Oyl provided for each Workman to Drink; intended for an Antidote against the Poysonous Fumes of the Antimony, and to restore the Spirits that so Violent a Fire and Hard Labour may have exhausted.”
Such is a brief account of the practice of typefounding in Moxon’s time. Of the trade customs of the day our author also presents us with a curious picture, in his account of the Chapel.