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compositor to be conveniently written in the margin of the proof, "Out; see copy" is written, and the place for insertion indicated as shown. Other marks used will prove practically selfexplaining by reference to the corrected proofsheet that follows.

To indicate that matter set is required in a bolder face of type than that in which it is printed, underline the matter and write "boldfaced" or full-faced in the margin of the proof.

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Ladies and Gentlemen:

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I am to talk to you to-night about The Lost Arts
lecture which has grown under my hand year after year
after-yees, and which belongs to that first phase of the
lyceum system, before it undertook to ineddle with polit-
ical duties or angry and dangerous questions of ethics;
when it was merely an academic institution, trying to
21
win busy men back to books, teaching a little science,
e repeating some tale of foreign travel, or painting
some great representative character, the symbol of

kun bost his age. I think I can claim a purpose beyond objectionables moment amusement in this glance at early civilization, flature

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4. perhaps, might venture to claim that it was a meth 07/

cine for what is the most of our national character; and

that is self/conceit,an undue appreciation of our

selves, an exaggerated estimate of our achements, of tr/

our inventions, of our contributions to popular comfort,
and of our place, in fact, in the great profession of the
ages We seem to imagine that, whether knowledge will
die with us, or not, it certainly began with us

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We have a pitying esteem, a tender compassion, for
the narrowness, ignorance, and Darkness of the bygone .c.
fages. We seem to monopolize not only to ourselves, but tr/

to have begun, the era of light. In other words, we

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are all running with a fourth day of July spirit of self. -/-/-/
content. I am often reminded of the german whom the cap
English poet Coleridge met at Frankfort, It seems to
me, the American people might be painted in the chronic
attitude of taking of its hat to itself and therefore it can
be no waste of time, with an audience in such
to take their eyes for a moment from the present civili
3ation, and guide them back to that earliest possible era
that history describes for us, if it were only for the
lead purpose of asking whether we boast on the right line.
I might despair of curing the habit of boasting, but I
might direct it better//

Wendell Phillips.

'This lectur was never revised by Mr. Phillips, and is perfect in form andexpression But is the best report in existence.

Out. See copy.

rom.
lead

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THE LOST ARTS.'

Ladies and Gentlemen:

I am to talk to you to-night about "The Lost Arts". a lecture which has grown under my hand year after year, and which belongs to that first phase of the lyceum system, before it undertook to meddle with political duties or dangerous and angry questions of ethics; when it was merely an academic institution, trying to win busy men back to books, teaching a little science, or repeating some tale of foreign travel, or painting some great representative character, the symbol of his age. I think I can claim a purpose beyond a moment's amusement in this glance at early civilization.

I, perhaps, might venture to claim that it was a medicine for what is the most objectionable feature of our national character; and that is self-conceit,-an undue appreciation of ourselves, an exaggerated estimate of our achievements, of our inventions, of our contributions to popular comfort, and of our place, in fact, in the great procession of the ages. We seem to imagine that, whether knowledge will die with us, or not, it certainly began with us. We have a pitying estimate, a tender compassion, for the narrowness, ignorance, and darkness of the bygone ages. We seem to ourselves not only to monopolize, but to have begun, the era of light. In other words, we are all running over with a fourth-day-of-July spirit of self-content. I am often reminded of the German whom the English poet Coleridge met at Frankfort. He always took off his hat with profound respect when he ventured to speak of himself. It seems to me, the American people might be painted in the chronic attitude of taking off its hat to itself; and therefore it can be no waste of time, with an audience in such a mood, to take their eyes for a moment from the present civilization, and guide them back to that earliest possible era that history describes for us, if it were only for the purpose of asking whether we boast on the right line. I might de spair of curing the habit of boasting, but I might direct it better!

WENDELL PHILLIPS.

'This lecture was never revised by Mr. Phillips, and is imperfect in form and expression. But it is the best report in existence.

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SIZES OF TYPES, WITH NOTES ON

THEIR USES

THE invention of movable types is often popularly referred to as the invention of printing, since it made cheap printing possible. In some modern (so called) typesetting-machines the individual type is dispensed with, and the line becomes the movable unit. Metal types are cast in a mold, and, according to the point system, now generally adopted, are .918 of an inch in height. They are usually nicked on the lower side, for the convenience of the compositor, or sometimes on two sides, for distribution by a mechanical distributor. Types of large size, as for poster-printing, are made of close-grained wood-as, apple, maple, boxwood, etc.-the end of the grain being placed upward, and subjected to pressure to give it a finish. Rubber types are much in use for hand-stamps, etc., and usually have a metal body half an inch or less in length, and a soft rubber face. Metal type is sometimes copper-faced by electrodeposition, to add to its wearing qualities. Type is high-spaced where shoulder-high spaces are used for electrotyping, otherwise low-spaced.

In typography the unit of measurement is determined by the em quad, the square of the body of any size of type, and is used in estimating the cost of composition, the wages of typesetters, and the sizes of pages. It is used also to designate the length of dashes or spaces, etc.

Formerly it was the practise of each type= founder to establish a standard of his own for the different classes of type he cast, and master printers who purchased fonts from different type= founders found to their dismay that the type of one foundry would not justify with that of another, altho it was designated by the same name in the trade. The inconvenience which this caused led to the devising of a new system by which types cast by different foundries were made interchangeable. This new system is commonly known as the Point System, and is a standard system of sizes (see below) for type-bodies, 996 points of which are equal to 35 centimeters, and one point is .0138 inch, as adopted by the Type= founders' Association of the United States. Under this system the old names of type-bodies -as, nonpareil (now 6-point), bourgeois (now 9-point), etc.-are in disuse.

The International Typographical Union, which regulates the affairs of the printers' craft, has adopted the following type standard, which is

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