Summary

A. A. Stewart Type Cases and Composing-room Furniture

The early type cases are shown in pictures of the time as made of a single tray containing all the characters of the font and resting in a slanting position on a rude frame or “horse,” at which the compositor is usually seated. All the boxes of the case are represented as of the same size, which probably was not the fact even in early practice any more than it is today. Early designers and artists no doubt overlooked or ignored what they considered an unimportant detail, just as today they often persist in misrepresenting the true outline of the printer's lower-case.
Source: Gutenberg

A. A. Stewart Type Cases and Composing-room Furniture

Probably in no other important particular has the tendency of printers to hold to past methods been more strongly emphasized than in their refusal to adopt any important change in the style of the most used type cases and the arrangement of the types in the boxes. Force of habit and dislike for innovation have kept practically unchanged for two and a half centuries the relative positions of the chief characters in the case.
Source: Gutenberg

A. A. Stewart Type Cases and Composing-room Furniture

In large departments, however, especially where floor space is pretty fully occupied and the working spaces are narrow, a permanent workstand directly over a group of cases that are frequently used by several persons has been found to be an annoying and time-wasting arrangement.
About thirty years ago a radical change of this practice was proposed, and is now being gradually adopted for modern equipments. This plan places the working stand on one side of the cabinet and the case rack on the other side, so that there is freer access to cases by all workmen.
Source: Gutenberg

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