ENC
 

AMERICAN DICTIONARY OF
 

Encuentio (Sp.).—The blank left in a form in colors
for another color.

Encyclopaedia.—A work in which all knowledge,
or a particular branch or subdivision of it, is treated
exhaustively under separate headings, usually in alpha¬
betical order. The word is also frequently used as cyclo-
pgedia. The great dictionary of Bayle was the first of
these treatises under the modern idea. Ephraim Cham¬
bers brought out the first in English in 1728, which rose
to five editions. This formed the basis of Rees's work.
Among others published in Great Britain afterwards
were the London and the Edinburgh, but the principal
one for sixty years has been the Britannica, which has
now reached its ninth edition. In France Diderot was
the editor of one in the last century which had a vast
and far-reaching infiuence upon the minds of men. It
was a systematic collection of both facts and criticism.
Others of size and value have since appeared in that
country. Many have been written in Germany. From
one of them—the Conversations-Lexikon—was taken
the idea of the first American encyclopaedia, which was
finished in 1882, and was known as the Encyclopaedia
Americana. It was edited by Dr. Francis Lieber, and
many Americans contributed to its pages. This work
was well done, although at small expense compared with
some which have since followed. No other was pub¬
lished until Appleton began the American Cyclopaedia
before the Civil War, under the editorship of George
Ripley and Charles A. Dana. A second edition of this
has been brought out. Johnson's Cyclopaedia was edited
by Dr. F. A. P. Barnard, and embraced more subjects
than its predecessors. Other American encyclopaedias
are Zell's, the People's and Alden's Manifold. Several
British works, such as Chambers's, have been published
here with large American additions.

There are also many encyclopaedias which refer only
to a particular class of knowledge, as Ziemssen's Cyclo¬
pedia of Medicine, and these are sometimes as volumi¬
nous as those of a general character. Publishers have
found that encyclopaedias are good property, as they
sell for a long time and do not quickly become dead
stock. The modern management of the best encyclo-
paBdias is to have every article written by an expert in¬
stead of by ordinary literary men, who perhaps have no
special knowledge upon the subjects which they take
up. Encyclopaedias require much type, as proofs are
altered very much and must be revised again and again.
It also happens that the writer who is charged with a
certain article, from some accident or misfortune, or
from procrastination or laziness, does not have his copy
ready when he should, and therefore must be waited
for. This would be a very serious misfortune if the
compositors' and revising editor's work stopped at the
same time. It is therefore generally the custom in a
many-volumed encyclopaedia to have enough type on
hand to set up a volume. In this case an author could
be waited for three or four months, if it was thought
best, or some one else could prepare his article.

End at a Break.—To finish in composing at the
end of a paragraph.

End Even.—To finish copy at the end of a line,
although not a paragraph. This is very rarely done
except on a daily newspaper, as it destroys the evenness
of appearance of good work. It will frequently hap¬
pen, however, on a daily paper that copy will come in
which should not be divided into paragraphs, or that
late at night matter is going out where paragraphs can¬
not be made, as sentences do not end where the exigen¬
cies of the composing-room require that they should.
In this case the copy is divided into takes of the same
length, and each man is told to end even. If his take is
from twelve to fifteen lines long, the copy being regu¬
larly written, and he is a man of experience, he does not
generally find much difficulty in doing what he is told.
But if the take should be no more than six or seven lines

170
 

and is irregular he may sometimes be obliged to run it
over from the beginning in order to make it come out
right. When he begins composition he notices what
proportion his first two or three lines bear to the whole
amount of copy. If he has twenty lines of copy, and
four lines make three of type and a little over, he should
begin wide spacing as soon as he is certain that this is
the true proportion, so that the copy may make sixteen
lines. If, on the contrary, he thinks that the latter part
will not be quite as large he should take in, so that the
whole may be embraced within fifteen lines. Most com¬
positors space out in making even. It is considered al¬
lowable on dailies to space for four or five lines as thick
as an em quadrat, and some offices allow for a line or
two four thick spaces or an em and en. Good workmen
will, however, prefer to borrow a word or two from the
next man rather than do this.

End Leaves.—The blank fiy-leaves at either end of
a book.

End Papers.—The papers placed at each end of a
volume and pasted down upon the boards. They should
always be made; that is, the colored paper should be
pasted to a white sheet.

Enderezar (Sp.).—To straighten up lines which
have become crooked.

Endless Paper.—Paper in reels—not in sheets—
used for printing on rotary machines, otherwise known
as web presses. The rolls are from four to seven feet
long, and weigh several hundred pounds each.

Engager (Fr.).—To hire.

Engine.—The machine by which the rags or other
raw materials used in paper-making are reduced to pulp.
See under Paper-Making. ** Engine of civilization,"
the printing-press.

Engine-Press.—A small press formerly made by
S. P. Ruggles, in which the type was printed with the
face downwards.

Engine-Sized Paper.—Paper made from pulp
sized in the beating-engine, distinct from hand or tub
sized, which is sized after the paper is otherwise com¬
pleted.    See Paper.

England.—Printing did not begin in England until
some time after the dispersion of the printers at Mentz
in 1462. It was introduced there by William Caxton, a
mercer (or dry-goods man, as we should call him), who
had lived in the Low Countries for very many years. He
began printing in the city of Westminster about the year
1476, having previously issued books on the Continent.
His press was very industrious and produced works
steadily up to the time of his death in 1491. Wynken
de Worde and Richard Pynson, two of his workmen,
each entered into business in the city of London after
Caxton's death, but were preceded by Lettou and Mach-
linea, who began there in 1480. Other early printers
were William Faques and Julian Notary. In 1480 Theo-
doric Rood of Cologne printed at Oxford, and during the
same year an unknown workman, who is generally called
the Schoolmaster of St. Albans, was a printer in the lat¬
ter town. The art extended slowly in any district away
from London. The other university town, Cambridge,
began printing in 1521, and there was a press at York
in 1509. Other early towns were Beverley, Tavistock,
Southwark, Canterbury, Ipswich, Greenwich, Worces¬
ter, Norwich and Moulsey.

The art was not practiced without many restrictions.
Pynson became king's printer in 1500, and was followed
by Thomas Berthelet. In 1533 an act to regulate the
importation and binding of books and prohibiting the
sale of foreign books without license was passed. A
little before this the printing of Bibles was forbidden, as
an injury to the morals of the people was thereby effect¬
ed by " children of iniquitie, blynded through extreame
wickednesse." In 1585 the whole Bible in English was
pubhshed by Coverdale, so that it is evident that this