16 



TVPOHUAPIIY. 



mre rotary, and there are no difficult mechanical prob- 

 lems to be overcome. 



TVI'K ('l.ASSIKICATII)S. 



America* 1'oint Si/*trm. Knglbh printers still 

 suffer from the same trouble tluit proved a serious 

 annoyance in this country previous to the universal 

 doptioe by American type founders of a uniform 

 gauge of type measurement known as tin- "American 

 Point System." Type made by different founders 

 varied considerably in the size of its body, dtODgfcdeng- 

 nated by the same name. Printer* upon rcinl'oi 

 old font of minion, for instance, with a new outfit of 

 minion made by a different founder, sometimes discov- 

 ered that the difference in size between the two fonts 

 was so considerable that thn type, would not "justify," 

 and consequently the two fonts could not be mingled. 

 This difficulty has been obviated by the adoption of the 

 " Point System." Tins system lays down the cardinal 

 dictum that the dimension of pica bod}' shall be 12 

 "points," and that S:i pica bodies '.% points must 

 be exactly equivalent to 35 centime! res. _ Here we 

 have a unit of measurement (the point) which is based 

 upon the French metric system an invariable gauge. 

 Having agreed upon this sound basis the American 

 type-founders adopted the following uniform measure- 

 ments for the bodies of type in common i: 



Name under Name under 



Point System. Old System. 



3-poiut body Excrltior. 



31 " " Brilliant. 



4 " " Xrmi-Jirrvier 



4J " " Diamond. 



6 ' " Pearl. 



6J ' " Agate. 



6 ' " Nonpareil. 



7 " " Minion. 



8 ' " Brtvier. 



a ii ii ( Bourgeois. 



'" \ 3-lint r.icdtior. 



10 " " Long Primer. 



11 " " Small Pica. 



12 " " I 



.. f 2-line Minion. 



j Kuglish. 



16 " " - 2-litir llrrrirr. 



la ii ( Great Primer. 



I 3-1 far Nonpurril. 



I -.'-line Ixmg Primer. 

 ( Par 



22 "" 2 lineSnmll Pica. 



24 " " 2- tine I' 



28 " " 2-line Knglish. 



30 " " _ 5-linr AV<ii/nirrt7. 



. .. (.'Mine Small Pica. 



" I 4-tinr II,; 

 u ii I 2-line Great Primer. 



- j :(-/i- 



40 " " Double Paragon. 



42 " " '-line Sonpareil. 



it ii ii f 4-line Small Pica. 



I Canon. 



48 ' 4-line Pirn. 



4 u u J5-litn- Small Pica. 



\'.>-/iiir .\nnnareU, 



" " a-linr / 



73 " " (i 



JTeiykt to paper, 21 cenlimrteri. 



The bodies indicated in italics in the above table are 

 those whose dimensions, as made by the most extensive 

 American type-founders prior to the adoption of the 

 new system, were the same as they now arc under the 

 point system. The old excelsior, brevier, or pica, for 

 e, as made by the best founders before the in- 

 novation, is identical with that now adopted, and mixed 

 fonts of the new anil old would justify readily Itut 

 the new brilliant, diamond, or pearl would not work 

 with the old bodies, each being a fraction of a iioiiii 

 larger or smaller than was the prevailing brilliant, 

 diamond, or pearl of the old rtgime. 



The pica body adopted as the standard under the 

 point system was that made bv the Johnson type 

 foundry, .it' Philadelphia, the oldest of its kind in thn 

 country, being established in IT'.U. 



Music-TyrociiAHiY. 



Mutic-typoaraplty is the art of representing a in 

 composition Of the combination of movable t\ i 

 which are the staff-lines and the various musical 

 and characters. The art, though an old one, has only 

 recently been developed to a high state of perfection. 

 As early as 1 I SI' ()<(. Scotus, of Venice, printed music 

 from type at two separate impressions, the first print- 

 ing the staff only and the second the notes upon it. 

 Krhard Oeglin, of Augsburg, in 1507 was the !. 

 succeed in printing both the staff-lines and the rnusio 

 at a single impression. He maybe regarded, there- 

 lore, as the pioneer of the present system, though his 

 productions Tvere naturally crude as compared with the 

 work of the present time. The early form of printed 

 notes was square : then a diamond- or lozenge-shaped 

 note-head was substituted, and in the latter part of the 

 seventeenth century the round-shaped note now in 

 common use was adopted. The first American who 

 employed movable type for the printing of music was 

 Christopher Sower, oiGermantowB, Pa., who, in 1753, 

 printed and published in the Herman langu 

 Enlarged, (tint <'nin/ili'!i' Smuj- linnl;. ir/i,in'n (ire CfJH- 

 tm'iird ux ir/!/ tin- J'xiilnu of Ditrid. Sower cast his 

 own type, and his musical typography was legible, but 

 still crude and far from beautiful. As the art of 

 stereotyping did not come into general use until about 

 the year 1SIO, all music-printing prior to that time was 

 done directly from the type. '1 he wear and tear of 

 press-work sunn battered the type so seriously as in 

 impair or ruin it. and the process of musical typography 

 was an expensive one. At present, however, the typo 

 itself is used only as the basis from which are cas*, 

 either electrotype or stereotype plates. The printing 

 is dinn: from these plates, and the type, not coming in 

 contact with the press at all. with careful usage on the 

 part of the compositor and cKvtrotyper, may be made 

 to serve for a long time without injury. 



John M. Armstrong, who was bom in New York, in 

 1833, and died Jan. 25, 1878, probably did more 

 than any other American to develop the art of music- 

 typography to it.s present state of perfection. He 

 m;ide tins task the study of a lifetime, and in many 

 ways improved greatly upon the Herman fonts, 

 which tip to bis time had been the best available. To 

 his efforts was due the introduction of many new 

 logotypes, brass lines, stems, and Mraight ties of 

 various lengths, all of which are recogni/.ed as among 

 the indispensable features of the present system. 



A page of miisir-typdi'raphy is made up of an 

 indefinite numl>cr of small pieces, so united by the 

 ilett hands of the compositor as to represent continuous 

 lim-s and characters. If the type is in good condition 

 and the work is done skilfully there are no breaks 

 visible between these many small component parts, the 

 junctures being so perfect as to defy detection. r'"r 

 instance, the group of notes combined in Fig. 1 is made 

 up of 29 pieces, as shown in Fig. 2. To make the 



Fig. 1. 



Fig. 2. 



various and almost infinite combinations required in tho 

 representation of an intricate piece of music upwards 

 of 500 separate typographical characters are used by 

 tho musical-compositor. Figs. 3, 4, and "> rep 

 the upper-, lower-, and side-cases, comprising a full 

 font of music-type, with each character located in thn 

 box or compartment in which it belongs. In the 

 upper-case are shown in the left-hand side the ties 

 used for connecting the stems of the notes. These are 



