Linotype, he felt, was not worthy of a serious man’s carefully measured time. It was only fit for slipshod work at great speed. To make corrections you had to reset the whole line, therefore you had orders not to do it. The metal used was a wretchedly soft alloy. Monotype, after some consideration, he tolerated. The machine was small and ingenious, and the letters danced out as they were cast from the hot metal, separate and alive. They weren’t as hard as real founder’s type, still they would take a good many impressions, and they could be used for corrections in the compositors’ room. When,
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