The foregoing will convey a sufficient idea as to the best mode of casting off copy; still, these remarks more properly apply to regularly written and thoroughly revised copy. Upon this subject, Smith justly observes,— “But how often one or more of these requisites are wanting, compositors can best tell; though very few will imagine that among men of learning there should be some who write after such a manner that even those who live by transcribing rather shun than crave to be employed by them: no wonder, therefore, if compositors express not the best wishes to such promoters of printing. But it is not always the capacious genius that ought to be excused for writing in too great a hurry; for sometimes those of no exuberant brains affect uncouth writing, on purpose to strengthen the common notion that _the more learned the man, the worse is his ~(hand)~ writing_; which shows that writing _well_ or _bad_ is but a habit with those that _can_ write.” HURRIED WORK. It is sometimes necessary to print pamphlets and other works of a temporary nature in the course of a few hours. When a work of this kind is put in hand, the foreman selects the requisite number of swift and skilful compositors, whose first concern must be to appoint one from among them to make up the matter, and to do every thing which would interfere with the regular business of distributing, composing, and correcting. While they are distributing letter, the _clicker_, or person appointed to manage the work, procures the copy, with all necessary information respecting it, and provides leads, rules, and every other necessary sort. He then draws out the following table:— +--------------------+----------------+----------------+-------------+ | COMPOSITORS’ NAMES.| FOLIOS OF COPY.| LINES COMPOSED.| MEMORANDUMS.| +--------------------+----------------+----------------+-------------+ | Farroe | 1- 5 | 184 | | | Wilson | 6-10 | 168 | | | Stratz | 11-16 | 121 | | +--------------------+----------------+----------------+-------------+ In the first column he writes the name of each compositor when he takes copy; and, in the second, the folio of the copy, that he may be able to ascertain instantly in whose hands it lies. In the third column he sets down, opposite to the workman’s name, the number of lines composed, as fast as the galleys are brought to him. In the fourth, he inserts such remarks respecting the copy, &c. as may be necessary, and also any circumstances that may occur in the companionship.