mangrove (bark)

Trees of the family Rhizophoraceae, especially those of the genera Rhizophora, Bruguiera, Aicennia and Ceriops, the barks of which are rich in tannin. The tannin content of mangrove barks varies widely, however, from less than 10% to more than 40%, depending upon a number of factors, including the species, as well as the age, exposure to sun and air, location on the tree where the bark is removed, etc.

As a tanning material mangrove bark has both advantages and disadvantages. Its principal disadvantage is the reddish color it imparts to leather (See also: HEMLOCK), although this can readily be overcome by mixing mangrove with other tanning materials which modify or reduce the intensity of the color. The leather produced by the use of mangrove alone also tends to be harsh and thick-grained. When used with other tannins, however, as it usually is, mangrove provides a very satisfactory tannage. The rate of penetration of the tannin is slower than with such tannins as wattle or quebracho, but can be increased by sulfiting.

Mangrove is considered to be the most economical and abundant vegetable tannin available today. It is one of the condensed class of tannins, has a fairly high pH and a relatively low acids content. It is very soluble and develops a minimum of insoluble matter. It also produces very little sludge in the tanning liquor.

Mangrove is inaccurately (but persistently) referred to as "cutch" or "kutch." See also: VEGETABLE TANNINS.

Frank Norman. Howes, Frank Norman. Vegetable tanning materials. London. Butterworth. 1953.

Sharphouse, John Henry. The leatherworker's handbook. London. Leather Producers' Association. 1963.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


manifold binding

The business of binding multiple business forms, such as sales records, billheads, purchase orders, etc. It may also include the punching of custom-made forms that are used in one of many proprietary loose-leaf, record keeping systems. Manifold bindings are usually padded or wire stitched, and are seldom sewn. They are also frequently of a temporary nature, e.g., a common style consists of marbled boards with a paper spine (although it may be cloth). Since this style of binding frequently includes sheets of carbon copy, perforation is usually necessary. Other manifold bindings sometimes require page numbering. Manifold binding usually employs power-driven, hand-operated equipment.

Bookbinding and the Conservation of Books: A Dictionary of Descriptive Terminology

US Government publication (Library of Congress), published openly in electronic edition by CoOL. Not a Gutenberg/pre-1930 public-domain text -- verify rights before reprinting rather than quoting.

Strauss, Victor. The printing industry…Washington, D.C. Printing Industries in America. 1967.

Vaughan, Alexander J. Modern bookbinding; a treatise covering both letterpress and stationery branches of the trade…New ed. London. Skilton. 1960.


manifold paper

A thin, translucent paper used for typewriter carbon copies, or as tissue overlay for correction or protection of other work. It is produced from chemical and/or rag pulp, the rag pulp content generally ranging from 25 to 1005. The finish may be dull or glazed, and basis weights are 7 to 9 and sometimes 10 pounds (17 X 22—500). Manifold paper is also used for map overlays and, in a slightly waxed form, for interleaving tissue.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.

British Federation of Master Printers. Preliminary technical course in printing. London. British Federation of Master Printers. 1967. 7 vol.


manila

A color and finish of a paper resembling that at one time obtained in paper manufacture from manila fibers, but which contains no manila, i.e., hemp stock. Manila paper is sometimes used for the covers of brochures and like publications, and for lining the boards of leather bookbindings.

U.S. Government Printing Office. Theory and practice of bookbinding. Rev. ed. Washington, D.C. U.S. Government Printing Office. 1962.


manila board

A thin, strong board, generally made from chemical wood pulp ranging in thickness from 0.016 to 0.035 inch. It is used for cover stiffeners, fences for blankbooks, and covers for notebooks.


manila hemp

See: ABACA.


Mansfield, Edgar

See notes on the electronic edition

An English bookbinder and sculptor, who was born in London, settled in Hastings (1911) and Napier (1965), New Zealand, and is presently living in that country. He studied binding under William Matthews and design under Elsa Taterka and taught art and crafts at the Feilding High School from 1929 to 1933, proceeding to London for further study in 1934. There he taught design and color at the London College of Printing from 1948 to 1964. Mansfield was the first foreign member to be elected to the German Guild (M. D. E.—1949) and the first president of the British Guild, 1955-1968. He was also the first president of DESIGNER BOOKBINDERS. His bindings are to be found in numerous libraries, including the British Museum Library, Victoria & Albert Museum, Klingspor Museum, Royal Library of Stockholm, New York Public Library Spencer Collection, and the Victoria State Library, as well as many public and private collections.

Mansfield's designs, while difficult to evaluate, are enormously pleasing to view. His bindings are subtle but forceful, and convey almost a feeling of tranquility that brings about a common understanding between artist and viewer. Considering the trends of today, he has done with relatively sober means, that which many have failed to convey with the most elaborate of devices.

Mansfield is also the author of several articles dealing with teaching of bookbinding design, contemporary approach to bookbinding design, as well as new directions in bookbinding design.

Book collector. London. Queen Anne Press.


manuscript binding

A method used occasionally when a manuscript (or typescript) made up of single leaves is to be bound in sections. The leaves are pasted in pairs in such a manner that if there are 16 leaves, for example, the binding edge of leaf 1 (recto side down) would be pasted to the binding edge of leaf 16 (recto side up), leaf 2 to 15, and so on, the 8 double leaves then being folded to make a section. At best it is an awkward method and is probably not as effective as a GUARD (2).

Watson Aldred Auld. Hand bookbinding a manual of instruction. New York. Reinhold. 1963.


manuscript cover paper

A lightweight cover paper used on legal documents, and similar publications. It is produced from chemical wood pulps, which sometimes contain cotton fiber, in basis weight of 40 pounds (18 X 31—500).


Manutius, Aldus

The leading publisher and printer of the Venetian High Renaissance, Aldus set up a definite scheme of book design, produced the first italic type, introduced small and handy pocket editions of the classics and applied several innovations in binding technique and design for use on a broad scheme. He established his press in about 1490, and his printer's device of anchor and dolphin has been copied by numerous printers since. Between 1515 and 1533 the press was managed by his father-in-law, Andrea Asolano, until Aldus' son, Paulus (born 1511) came of age. Aldus' grandson, Aldus the Younger, took over the press upon the death of Paulus (1574) and subsequently closed it in 1590 when he was appointed director of the Vatican Press. See also: ALDINE (ITALIAN) STYLE.

Dahl, Svend. History of the book. 2nd English ed. Metuchen, N.J. Scarecrow. 1968.

Harrison, T. The bookbinding craft and industry; an outline of its history, development, and technique. London. Pitman. 1926.

Oswald, John Clyde. A history of printing; its development through five hundred years. New York. Appleton. 1928.

Steinberg, Sigfrid Henry. Five hundred years of printing. 2nd ed. Baltimore. Penguin. 1962.

Toldo, Vittorio de. The Italian art of bookbinding. London. Batsford. (Monographs of decorative arts, 3). 1925.


map endpapers

Endpapers on which maps are printed. While frequently adding to the attractiveness of a book, it is somewhat difficult for the reader to refer to such maps, a throw-out map being much superior for practical use. In addition, map endpapers make rebinding of the book more expensive, as the old endpapers must be saved, though generally not again for use as endpapers. The term is also generally applied to endpapers printed with charts, graphs, etc.


map paper

A paper used for the production of maps of all types, including atlases. It is a superior grade of paper produced from linen, cotton fiber, chemical wood pulps, or combinations thereof, in basis weights ranging from 16 to 28 pounds (17 X 22—500). Required characteristics include finish, printability, dimensional stability to assure good register, good folding properties, and, in some cases, e.g., road maps, high opacity. Map papers are also sometimes produced in a manner that affords high wet strength, water repellency, mildew resistance, luminescence, abrasion resistance, and other properties pertinent to a particular use.

Sutermeister, Edwin. The story of papermaking. Boston. Warren. 1954.


marble

To impart a veined or mottled appearance to the edges of a book or the surface of a paper, cloth, leather, in order to simulate an appearance of marble.


marble board

A pasteboard stained on one side with veined or mottled colors in imitation of marble, and used in bookbinding for checkbooks and marble board bindings.


marble calf

A calfskin leather treated with acid so as to produce an effect of marble. Cf: MOTTLED CALF. See also: TREE CALF.

Pleger, John J. Bookbinding. Rev. ed. Chicago. Inland Printer. 1924.


marble rollers

A mechanical device consisting of two layers of rollers, one above the other. The top roller or rollers hold the colors, distributing them to the lower roller or rollers which, in turn, apply the colors to the edges of the book.


marble transfer

A marble pattern that has been transferred from ordinary marbled paper, or a marbled paper made expressly for transfer purposes, usually to the edges of a book. The transfer of ordinary marbled paper involves coating the edge of the book with an egg size somewhat thicker than the size used for gilding, placing the surface of the marbled paper against the edge, and then applying dilute hydrochloric acid to the back of the paper. When the design appears clearly through the paper, the marble is transferred by rubbing or beating the paper. Marbled paper made especially for transfer is treated with rectified ethyl alcohol (spirit of wine), pressed on the edge and daubed with hot water. Transfer marbling is still done to some extent on blankbooks, dictionaries, etc.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.


marbled

The edges of a book or the surface of paper, cloth, etc., which have been given a veined or mottled appearance in imitation of marble.


Marbled calf

Calf so treated with acid that it bears some resemblance to marble.

Public domain (Project Gutenberg, pre-1930 text)


marbled cloth

A book cloth patterned with variegated colors in imitation of marble. The cloth is colored by throwing on the colors in a manner similar to the "marbling" of leather, or by laying the cloth on the surface of the marbling size as in the marbling of paper. Marbled cloth was first introduced in about 1851 but went out of fashion before the turn of the century.

Woolnough, Charles W. The whole art of marbling as applied to paper, book edges…Rev. ed. London. Bell. 1881.


marbled edges

Veined or mottled coloring on the edges of a book in imitation of marble, and produced by touching the edge of the book under compression on the surface of a size on which marbling colors have been floated and patterned, or by transferring the pattern to the edge.

Marbling of book edges was introduced near the end of the 17th century, mainly on trade books bound in calfskin and sheepskin. Fine bindings were not so marbled until the closing years of the 18th century. These latter bindings were usually half or full bindings of Russia leather, usually of quarto or folio size. All classes of books bound in morocco continued to be gilded until well into the 19th century, i.e., the 1830s, when cheaper morocco bindings began being marbled. Marbled edges were common until the First World War, when the practice began to decline, except for stationery bindings. See also: MARBLE ROLLERS; MARBLE TRANSFER; MARBLING.

Nicholson, James B. A manual of the art of bookbinding… Philadelphia. Baird. 1856.

Tavik, Anton. The art and practice of edge marbling. Baltimore. The author. 1908.


marbled grain

A mosaic pattern, corresponding to the pattern of the network of tiny underlying blood vessels, which sometimes occurs on the grain surface of a leather. It has a rough, wild, or grainy appearance.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


marbled leather

The leather covers of a book which have been decorated with veined or mottled colors in an effort to imitate marble. Unlike the technique used in edge and paper marbling, leather marbles are produced by sprinkling or throwing the marbling water and colors directly onto the paste-washed and glaired leather. See the following examples: COMMON MARBLE; GREEN AGATE MARBLE; GREEN PORPHYRY MARBLE; LEVANT MARBLE; PORPHYRY VEIN MARBLE;

PURPLE MARBLE; RED MARBLE; RED PORPHYRY MARBLE; ROCK MARBLE; STONE MARBLE. See also: TREE CALF.


marbled top

A book which has had only the head (top) edge marbled.


Marbler

The workman who marbles the edges of books, &c.


Marbler

One who marbles the edges of books and paper.

The Art of Bookbinding: A Practical Treatise


Marbler

A workman who marbles the edges of the leaves.


marbling

The art or process of producing certain patterns of a veined or mottled appearance in imitation of marble by means of colors so prepared as to float on a mucilaginous liquid which possesses antagonistic properties to the colors prepared for the purpose. The colors are floated and formed into patterns and are taken off by laying a sheet of paper (or touching the edge of the book) on the surface of the size. The size is usually prepared from carragheen moss or gum tragacanth, boiled in water, but it may also be made from flea seed, linseed, etc., although flea seed and linseed are not as effective as the two gums and cannot be used in the production of certain marbles, e.g., the combed marbles.

Water colors are generally used in marbling, although oil colors can also be used; however, they do not permit as fine control or produce the clean, sharp lines of water colors. Mineral colors are seldom used because of their tendency to sink to the bottom of the trough due to their weight.

Little is known of the origin of marbling, but there seems to be little doubt that it was introduced into Western Europe from the East. Examples of Japanese marbling produced as early as 800 A.D. exist under the name of Sumingagashi. The Persians are considered to have been the first to use marbled papers in books, and examples of their work are found on the borders of some of their 16th century manuscripts. Marbled paper was in use in Holland by 1598, but its earliest use in England dates from about 1655; in America it was in use by 1679. By the 1670s it was in common use in England, although not in trade bindings. The most commonly used pattern was what we call OLD DUTCH MARBLE, most of it actually coming from Holland.

Beginning in about the last quarter of the 18th century the Old Dutch pattern was gradually superseded by the French Shell, Stormont, Antique, Spot, and others, all of which were uncombed. These then declined in popularity by about 1840, and were replaced by the Nonpareil and Spanish patterns. Both of these were revivals of the 17th century patterns which did not have the "set" look and high glazing of their 19th century counterparts. The Spanish marble is believed to have been used in England towards the end of the 18th century. Both revivals were used extensively throughout the 19th century, and then, later, mainly for the endpapers and sides of inexpensive half-calfskin bindings, and for the sides of cheaper stationery bindings. Other patterns, used mainly during the second half of the 19th century and generally for cheap or medium cost bindings, included the Gloster, Italian, Spot, Antique, West End, and Gold, the last being introduced in about 1880. During this same period, German marbles , which tended to be drab and heavily spotted with black on a colored background, were also used extensively, but seldom for the superior grades of work. The most frequently used pattern was a modern variation of the Dutch pattern. See the following marble patterns: AMERICAN; ANTIQUE; BLUE STORMONT; BOUQUET; BRITISH; CURL; DRAWN; DUTCH; FANCY; FANCY DUTCH; FRENCH CURL; FRENCH SHELL; GLOSTER; HAIR; LAPIS-LAZULI (2); LIGHT ITALIAN; NONPAREIL; OLD DUTCH; PEACOCK; REVERSED NONPAREIL; SNAIL; SPANISH; SPOT; STORMONT; TURKEY; WAVE; WEST END; and ZEBRA. See also: MARBLED CLOTH; MARBLED EDGES; MARBLING BRUSHES; MARBLING COMBS; MARBLING MACHINE; MARBLING SIZE; MARBLING TROUGH. See PLATE XI.

Halfer, Josef. The progress of the marbling art…Translated by Herman Dieck, Buffalo. Kinder. 1893.

Hannett, John. Bibliopegia; or, the art of bookbinding… London. Simkim, Marshall. 1848.

Hewitt-Bates, James Samuel. Bookbinding. 8th ed. Leicester. Dryad. 1967.

Loring, Rosamond Bowditch. Decorated book papers…1st ed. 1942; 2nd ed. 1952. Cambridge, Mass. Harvard University Press.

Thrift, Timothy Burr. Modern methods in marbling paper. Winchester, Mass. Lucky Dog Press. 1945.


marbling

A method of coloring the edges or end papers in various patterns, obtained by floating colors on a gum solution.

Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books


marbling

The art of floating various colours on a size, from which it is transferred to paper or book edges. To stain or vein leather like marble.


marbling

colouring the edges and end papers in various patterns, obtained by floating colours on a gum solution.


marbling

A process of decorating sheets of paper and edges of books with variegated colors in irregular patterns.


marbling base

See: MARBLING SIZE.


marbling brushes

Fine bristle brushes, set in hard rubber and secured in metal ferrules. They are generally from 3/8 to 1/2 inch in diameter. The larger brushes are used for the ground color in drawn marbles, while the smaller ones are used for the subsequent colors. The bristles of marbling brushes should be formed into a curved shape so as to give a freer motion when dropping the colors.


marbling combs

Instruments, generally with wire teeth, used for combing marbling colors while on the surface of the size. They are usually of two basic types: those with relatively short teeth, used for combing on the surface of the size (and sometimes called "top combs" because the teeth are allowed to touch the floating colors); and those with relatively long teeth, which touch the bottom of the trough while the comb is being drawn (and sometimes called "bottom combs"). In the production of comb patterns, four combs with variously spaced teeth are used; the most common are: four teeth to the inch, two to the inch, and double combs. in which the spacing of the teeth is alternately wide and narrow.

Town, Laurence. Bookbinding by hand, for students and craftsmen. New York. Pitman. 1950 (1951).


marbling gum

See: MARBLING SIZE.


marbling machine

A machine used to drop marbling colors on size. It consists of a four-compartment reservoir and a system of tubes connected to it. which serve as outlets and distribute drops of color at regular intervals. Three and five outlets, respectively, are provided for the two main colors, and two outlets each for the secondary colors.

Stevenson, George A. Graphic arts handbook and products manual. Torrance, Calif. Pen and Press Publications. 1960.


marbling rods

A pair of rods sloping toward the marbler, and used when marbling the covers of a book. The book is placed on the rods so that the extended boards rest on them, with the leaves hanging between. The tail of the book is lower than the head so that the colors will flow from head to tail.

Crane, W. J. E. Bookbinding for amateurs…New York. Scribner. 1903.


marbling size

The gelatinous liquid upon which the marbling colors are dropped and formed into patterns. GUM TRAGACANTH over the years has been the most frequently and successfully used marbling size gum, but other gums and substances have also been used with varying degrees of success, including CARRAGHEEN MOSS, IRISH MOSS, FLEA SEED, and even LINSEED OIL. The last, however, was very seldom used because, although it is easier and more economical to prepare, it deteriorates quickly. Flea seed is stronger and lasts longer but it is of little use in the nonpareil and other combed patterns because the colors are dragged off by the comb. Carragheen moss, which was first used sometime after the middle of the 19th century, is still popular; however. it quickly decomposes unless a preservative such as sodium sulfate. glycerin and water, or formalin is added.


marbling trough

A metal or wooden trough about 3 inches deep and about 1 inch larger all around than the largest sheet to be marbled, and designed to contain the MARBLING SIZE and colors. It is usually rectangular in shape, and has an additional compartment about 4 inches wide partitioned off at one end which acts as a spillway to receive the coloring matter left after the sheet or book edge has been marbled.


marbling under gilt

See: GILT MARBLED EDGES.


marbling water

See: MARBLING SIZE.


margin

1. The area of a page between the printed, written, or illustrative matter and the edges of the leaf. The four margins are usually called the "head" (or top); "fore edge" (or outer, outside, side); "tail" (or bottom foot); and "inner" (or back, inside, gutter, binding). The proportional width of the margins is an important element in a properly balanced book page. A good (and standard) ratio is: head 2 units, fore edge 3 units, tail 4 units, and inner 1 1/2 units (the opposing inner margins making a total of 3 units). In order for these ratios to exist following trimming, the head, fore edge, and tail margins must be greater by the extent of the trimming, which is usually /8 inch for each. 2. The area of a map, drawing, or print, between the line enclosing the information and the edge of the paper.

Harrod, Leonard Montague. The librarians' glossary of terms used in librarianship and the book crafts, and reference book. 3rd ed. London. Deutsch. 1971.

Melcher, Daniel, and Nancy Larrick. Printing and promotion handbook …3rd ed. New York. McGraw-Hill. 1966.


MARGIN

Making margin is the apportioning of the proper distances between the pages of a sheet or form.

This is a most material object in book work; for, if it be not properly done, the appearance of the book, when bound, will be injured; as the binder will be obliged either to reduce the size of the book, in order to make the edges smooth, or else he will have to leave many raw edges of paper.

The spaces between the pages should be such, that, when the book is bound and cut, the page of printing should be very nearly in the middle of the page of paper.

Convenience and custom have familiarised us to the printed page being a little higher than the middle of the leaf, and to its having a little more margin at the fore edge than in the back.

The first of these circumstances may be accounted for, by the head, in all sizes except folio, being at the fold of the paper, which admits of the bookbinder cutting it smooth by taking off a very narrow shaving, so as to reduce the size but a mere trifle; while the bottom of the page lying towards the raw edge of the paper, which is irregular, and which often varies considerably from being cater-cornered—machine-made paper also varies greatly in the size of the sheets, being cut up irregularly; and paper made at different times, and by different makers, which is often used in the same volume, and which likewise varies in size—all combined, render it necessary to allow a little more margin at the foot of the page and at the fore edge than at the head and in the back; for these variations in the paper equally affect the fore edge and the foot: but the head, the back, and the gutter, being folded, remain uniformly the same, however much the paper may vary.

It is always presumed that the backing of the book in binding, takes up as much of the margin as is cut off the fore edge, so as to make them both equal.

Having premised these explanatory observations, I shall proceed to describe, in as clear and distinct a manner as I am able, the manner of ascertaining the proper spaces between the pages, for the different sizes of books, in the simplest way that is known, and as it is now generally practised; for the division of the margin by compasses is obsolete.

To facilitate the operation, it will be necessary to keep in mind the observation I made in the article Imposing, that, “when we arrive at a great number of pages in a sheet, they resolve themselves into the same order as quartos, octavos, and duodecimos,” as a recollection of this will tend to simplify the process, and, if the person who has to perform it be not well experienced, it may prevent him from getting confused, by keeping him to a small part of the form, instead of leaving him to attempt doing all at once.

After the pages have been laid upon the imposing stone, and the chases put over them, the first thing to be done is to get a sheet of the proper paper of the work, wet, and to fold it as exactly as possible to the size in which the work is intended to be printed.

If the paper for the work has not been sent in, then a sheet of the same size may be taken from the paper of some other work that is in progress, which will be found to be sufficiently near, inasmuch as a scaleboard or two in the backs and heads, more or less, will make it right; or the first sheet may be imposed temporarily with furniture out of the drawer.

I must here caution the compositor, or the person who has this business to perform, never to cut his furniture till he is certain of the proper distance required between the pages.

To ascertain this distance, take short pieces of furniture out of the drawer, or quotations, or both, and quadrats or reglets to fill up the interspace, between two pages; then push the pages close up to them, and when you have got the right distance between the pages, you can ascertain what furniture will be of the exact width, by trying the ends of different pieces, always measuring from the edges of the types themselves, and not within the page cords.

We will now proceed with making margin, commencing with folio, and proceeding through the various sizes, at least through so many as may be necessary to elucidate the subject.

Folio.—Having folded a sheet of the intended paper exactly in the middle, place the edge of the paper even upon the outer edge of the first page, and move the adjoining page to it till the fold in the paper will lie about half an inch upon it, when the folded sheet is laid upon the face of the first page; the space between the pages on either side of the cross is then to be filled up with furniture, using one piece only on each side where it is practicable, and where there is no reason to the contrary, in order to prevent mistakes in re-imposing. This space, with the addition of one or two scaleboards on each side of the cross, which are to assist in making register at press, will be sufficiently near for a demy folio, where the page is of a fair dimension; but if the page be very large, or if it be a smaller sized paper than demy, I would not allow the back fold of the paper to lie quite so much over the adjoining page, but would lessen it in proportion to the size of the page or paper; if it be very large paper and a corresponding margin, I would allow a little more proportionably; for it is to be observed, that the more the fold of the paper lies over the edge of the adjoining page, the more fore edge is given at the margin than in the back.

The margin for the head of a folio is arranged at press.

After the scaleboards have been put in, the page cords taken off, and the pages pushed up close to the furniture, you should try it again, to see that it is correct. It is a good plan to take a slip of paper, and cut it to a length equal to the width of the back, then to fold it even in the middle so as to make a distinct crease, to open it again and lay it in the back, so that the crease shall be exactly in the middle of the back; then to open out the sheet of paper, and lay it upon the form, with the crease in its middle upon the crease in the slip of paper; the margin in the back may then be compared with the margin in the fore edge as well as if the sheet were printed, and it may be altered if thought necessary by a scaleboard more or less.

If two jobs, that are to be cut up, are worked together, it is usual to impose them so that the margin shall be equal on both sides; to effect this, fold the paper exactly in the middle, and laying it folded upon the left hand page with the edge of the paper even with the edge of the page of types, bring the other page to it till the left hand side fairly touches the fold of the paper; this is termed being out and out; and when the paper is cut evenly in two, after having been printed, the side margins will be found to be equal.

Quarto.—Fold a sheet of paper exactly into quarto; then lay it, thus folded, upon the first page, the fore edge of the paper being even with the left hand edge of the types; bring the adjoining page towards the first page till the fold in the paper lies upon the left hand side of it about as much as a Double Pica body; this will make the back about right: then place the lower edge of the paper even with the foot of the page, and bring the heads of the pages which adjoin at that part towards each other till the fold in the paper covers the head line, and barely the first line of matter; this will make the head right. Then fit the furniture into the spaces; add a scaleboard or two, as the case will admit; and, after cutting and folding slips of paper and laying them in the back and head, open out the sheet of paper, laying the folds in the paper exactly over the folds in the slips, and it will be perceived how the margin is to be for all the pages.

Before I proceed to octavo, it will be necessary to observe, that in all sizes except folio and quarto, if there be not enough in the backs, the raw edge of the paper in the front margin will project beyond the folded margin, and this in proportion to the deficiency in the back; the same will take place in the length in duodecimo, and in smaller sizes where there are offcuts, if there be not enough at the foot of the pages whence the offcut is taken: the effect produced by these deficiencies is, that the binder is obliged to reduce the size of the book both in length and width, when cutting, in order to make the edges smooth.

The French allow the raw edge of the paper in the front to extend considerably beyond the folded edge; and also at the foot in duodecimos: in England we endeavour to give the book the fullest size that the paper will permit, and suffer the raw edge of the front margin to project but a very little beyond the folded edge, to allow for any discrepancy in the size or shape of the paper.

Octavo.—Fold a sheet of paper into octavo, and lay it, thus folded, upon the first page, the fore edge of the paper even with the outer edge of the types: then bring the adjoining page towards it till the other side of the octavo paper lies over the left hand side of this page about a Pica; this will give the width of the gutter: then open the paper out a fold, into quarto, and laying it upon the two pages, bring the third page on the right hand sufficiently near for the right hand side of the paper to lie upon the left hand side of the page about a Long Primer body; this will give the width of the back: then fold the paper up again, and laying it upon the first page, with the foot of the paper even with the direction line, bring the head of the page above it so near that the top of the octavo paper will cover the head line and barely also the first line of matter; this will give the space at the head: then put into all the spaces on one side of the long cross, and into the head, small pieces of furniture from the drawer, or quotations, which are generally used where they will fit, or quadrats, making both the gutters alike, and push the pages up close; cut the slips of paper as before, and fold them; lay them in the gutters, head and back, and open the sheet of paper to its full size; lay it with the crease of the middle fold exactly upon the crease of the slip of paper in the back, and if the margin be right the creases between the other pages will fall exactly upon the creases in the slips of paper laid in the gutters; if they do not, the space in the back must be increased or diminished till they do, when the margin will be right; the furniture may then be cut, and a scaleboard inserted next the crosses at the backs and heads in all the quarters.

Duodecimo.—After folding a sheet of paper exactly into 12mo., proceed as in octavo for the gutter, but let the fold lie rather less over the edge of the adjoining page than a Pica; proceed in the same manner for the back, but that the paper lie on the third page barely a Long Primer body will be sufficient; the fold in the head will just cover the top line of matter in the adjoining page above it, as in octavo, but the pieces of furniture put in there are called bolts. The offcut is now to be considered—this is always imposed on the outside of the short cross, and the back and gutters are the same as those in the other part of the sheet; for the head of the offcut, the space between the running title, or, where there is no running title, the headline, and the middle of the groove in the short cross, must be exactly half the width of the bolts; for as register is made at this part, and the points fall into the groove and there make point holes, the binder folds to these holes, and takes off the offcut in accordance: thus when the sheet is folded, the offcut inserted, and knocked-up, the head lines of the offcut ought to range with the head lines of the other pages, and this should always be kept in view by the printer; the space between the bottom of the other pages and the middle of the groove in the short cross, should be within a Pica of the outer margin at the feet of the pages, which will allow for any little variation in the size of the paper, and not affect the size of the book in cutting the edges: when these distances are thus arranged, put short bits of furniture, quotations, &c., as before directed, between the pages, in the gutters and back in one row, and in the head and both sides of the short cross in another row lengthways, and push the pages of both these rows close up: cut the slips of paper and fold them for the gutters and the back, as also for the bolts: then open out the sheet of paper, and lay the middle crease in it exactly upon the crease in the slip of paper laid in the back; and if the side margin is right, the creases in the sheet of paper between the other pages will fall upon the creases in the slips of paper laid in the gutters; if they do not, the space in the back must be altered till they do: then try it the other way, by laying the crease in the sheet of paper upon the crease in the slip laid in the bolt, and if the crease of the offcut falls exactly in the middle of the groove in the short cross, it is right; if it does not, the space at the feet of the pages next the cross must be altered till it does: it being presumed that the gutters and bolts are right, the only places at which to alter are the back, and the space at the feet of the pages adjoining the offcut; a scaleboard or two, as may be required, must be put into all the quarters next the crosses.

In Duodecimo Music way, the pages are reversed in shape, being so wide as for two of them to occupy the width of the sheet, and so short as to have six in the depth; in this case there are no backs, technically so called, but only gutters; but as the long cross comes between the pages, they must be treated as backs, in the same manner as in folio, and the fold of the paper must be allowed to lie more over the side of the adjoining page, as was described in making margin for folio; if the page be very wide, less than half an inch; if it be narrow, and a large margin, it may be a little more; the head margins or bolts are three in depth, and may be ascertained in the same manner precisely as for octavos or common twelves, which, being done, the foot margins must be ascertained; these, being two, may have a Pica body each less than the outer foot margins, to allow for any inequality in the size of the paper, or in laying on the white paper at press; this will be done by folding the sheet of paper exactly in three portions across it, and extending the pages till one of these portions covers the two outer pages with the gutter, and lies over the third about a Pica body; when this has been performed at one end, repeat the same process at the other end of the form. The margin may then be tried in the manner before described, and any necessary alteration must be made in the space at the feet of the pages, care being taken that both spaces are equal.

In Long Duodecimo, the pages are the same in size as in the preceding, only that they exchange the length for width, and the width for length; the manner of making margin is the same for this size as for the last; the only difference between them being one of words—that which was the gutter in the other being the head in this; and what was the head or bolt, and the foot margin, now becoming the gutter and the back; the spaces between the pages, for heads, for gutters, and for backs, are ascertained in the manner before described.

As the number of pages multiply in a sheet, so the utility of placing slips of paper, folded in the middle, in the gutters, backs, &c., becomes greater, by enabling the person, whose office it is, to know readily the middle of each space when he tries the whole margin with the sheet opened out; to some this may appear unnecessarily minute, but I hold that whatever method tends to facilitate an operation, and enables a person to perform it more correctly, is useful.

Sixteens.—After having described so fully the manner of folding the paper, and ascertaining the spaces between the pages for the gutters, the heads, and the backs, which are required for quartos, octavos, and duodecimos, it appears unnecessary to extend this article by repeating the same thing in every size. For sixteens, fold a quarter of a sheet of paper exactly in four; pursue the foregoing direction for ascertaining the width of the gutter, the back, and the head, in one quarter of the form, and having made these right, arrange the remainder of the form in the same manner, always trying all the pages by the whole sheet opened out, and rectifying any thing wrong by adding or diminishing in the backs, and similarly at the feet of the pages next the short cross.

The greater the number of pages in a sheet, the smaller in proportion does the margin become: it must therefore be evident, that the folded paper should lie proportionably less over the edge of the adjoining page, both for gutter and for back, as the number of pages increases; for as a folio may require the page to be half an inch nearer the back than the fore edge, an eighteens may not require it to be more than a Long Primer; and so in proportion with respect to the size of the page and of the margin.

Eighteens.—A sheet of eighteens is the same as three half sheets of twelves imposed together: there are two backs and three gutters in each form: the other way of the chase it is three pages in depth, having bolts and an offcut the same as twelves; and the process is the same as when making margin for twelves, only ascertaining the first gutter and back by one third of the sheet of paper the long way, instead of one half of it the narrow way: having made the six pages on the left hand of the form right, make the remaining twelve pages like them, and then try the whole with the sheet of paper opened out; the creases in the folds should fall exactly in the middle of the gutters and backs; but as the offcut is not imposed on the side of the short cross with the groove in it, the crease for the offcut should be exactly half the width of the bolt from the running title or headline, or it should fall in the middle of the long cross.

I wish here to impress upon the mind of the person who is making margin, never to attempt doing so with the whole form at once; for if he does, it is more than probable that he will get wrong, cause himself additional trouble, and frequently waste furniture; but let him get one portion right, then make a range of pages through the form one way the same, and then another the contrary way, and afterwards try them with the sheet of paper opened out, when any little variation that may occur will be easily remedied before he cuts the furniture.

Twenties.—A form of this size has four pages in width, and five in length; in width the margin will be made in the same manner as for twelves; in the length there are two heads or bolts, which will be also ascertained as for twelves; the space between the feet of the pages must be out and out, except about a Pica body; and the offcut must be treated the same as for a form of twelves or eighteens.

Twenty-fours.—The side margin will be ascertained just as for eighteens, there being the same number of pages in width; and the head and foot margin as for sixteens; the difference in the size of the pages not affecting the principle of making margin.

Long Twenty-fours.—A form of this size is similar to a sheet of twelves imposed in one chase, the width of the pages being the longest way of the paper: the method of making margin for it will be similar to that for twelves or eighteens.

Square Twenty-fours.—The difference between this size and twenty-fours is, that the width of the pages occupy the sheet the longest way; the margin will be made in the same manner.

Thirty-twos.—One quarter of a form of thirty-twos is similar to a form of octavo; and the margin may be made by folding a quarter of a sheet of paper, and arranging the pages of a quarter of the form only in the first instance: then place the others at the same relative distances, and try the whole with the sheet of paper opened out, before cutting the furniture.

There is no variation in any principle of making margin as to the remaining sizes; and if I were to go into detail for each, it would be but a repetition of the method of ascertaining the width of the gutters, backs, heads or bolts, and of the spaces at the feet of the pages where they either cut up, or fold, at that part, which I think unnecessary; for when a person is competent to make margin correctly for an octavo, a twelves, and an eighteens, he will find no difficulty with respect to the other sizes.

Wherever a half sheet is imposed, or two half sheets to work together, the middle margin, where the sheet is cut in two, should always be made out and out, that both the fore edges may be equal.

When the margin to the first sheet of a work has been made, and the quoins tightened with the fingers, a gauge should be cut for the back and head, for the succeeding sheets. See Alteration of Margin.—Gauge.—Imposing.


MARGINAL NOTES,

generally called side notes by printers, are notes at the fore edge of the page, running from top to bottom, or placed opposite the matter to which they refer, when they are short. They are generally of the width of a broad quotation; in historical works, where there is only a date at the top of each page, a narrow quotation is run down the side. They are always used in acts of parliament, and in law books, and contain a short abstract of the clause to which they are affixed, and should be justified to range with the line to which they refer.

It is usual, where marginal notes are not heavy, to economise the metal quotations by using furniture; in this case I would advise the compositor to select pieces of precisely the same width, but of different short lengths, and to cut their ends square; some should extend the length of the page; and when he uses short pieces, that he always put a metal quotation or a justifier next to the note, which will cause the lines to stand more even; he will then not lose so much time in seeking quotations and justifiers, nor will he be blamed for monopolising them, as they are seldom so plentiful in an office as to allow of being lavishly used.

Marks. See Points, and References.


maril

An acronym for marbled inlaid leather. It is a method of utilizing waste leather consolidated in stages by mixing scraps of different colored leathers with an appropriate adhesive, e.g., polyvinyl acetate, pressing, and then veneering. Maril is a collage method devised by the English bookbinder PHILIP SMITH, and is used in expressive bookbinding imagery.

Smith, Philip. New directions in bookbinding. New York. Van Nostrand Reinhold. 1974.


marking

1. The process of stamping or writing identification marks, binding instructions, or other information, on the side of the board paper which is eventually glued to the inside of the board. Marking is done to avoid errors in binding, or to identify the particular library owning the book. 2. The individual marks or a colored thread used by hand- or machine-sewers, collators, or inspectors, to establish their responsibility for the work done.

Palmer, Elbridge Woodman. A course in bookbinding for vocational training. New York. Employing bookbinders of America. 1927.


marking up

1. The process of marking the position of cords or tapes on the spine of the gathered sections before sewing. 2. The preliminary marking before the binding in of the design to be followed in decorating or lettering a bookbinding.


marking up

When the back of a book is being marked for flexible sewing.


mastic

An aromatic, resinous exudation obtained usually in the form of yellowish to greenish lustrous, transparent. brittle tears from incisions in the bark of the mastic tree, Pistacie lentiscus and used, along with sandarach and rectified ethyl alcohol (spirit of wine), to make a varnish used to impart a high gloss to leather bookbindings.


matching sets

A term indicating that each succeeding year of a periodical is bound as nearly as possible like the preceding years, with regard to trimmed height (called trimming to recorded size), binding title, lettering format, color and type of covering material, etc. See also: RUB (1).


MATHEMATICAL COMBINATIONS

This is the name given by Messrs. Thorowgood and Besley to a number of ornamental designs for letter-press printing, which they were, in the first instance, the means of introducing into England from Paris, these being the invention and execution of Mons. Derriey, a French artist. In England, they come under the denomination of what are called Flowers; but Messrs. V. & J. Figgins style them Changeable Borders.

The flowers in the English founderies have received little improvement or addition during the last hundred years, and are not remarkable either for their beauty or taste: the consequence is, that they are seldom used, hardly ever indeed in fine works. It is difficult to account for this apathy of our letter founders and artists, for the few improvements that have been introduced, have generally been copied from French patterns.

The borders in question are a great improvement, and will, by exciting emulation, most probably lead to others still greater. They are of various patterns, formed of straight lines, as well as of diversified curves; the corners are also formed of angles and curves, so that they may be combined into an almost innumerable variety of forms; in addition, there are many detached tasteful pieces, which, when judiciously used, will add greatly to the effect; but unless the workman possess judgment with some taste, it is doubtful whether he will be able to produce a border, or any other subject, that will be gratifying to the eye.

That the reader may himself form an opinion of these borders, I have given two pages in which several of these pieces are arranged so as to show their effect. Those who are desirous of seeing all the varieties, may find them in the type founders specimen books, where there are a number of borders of different forms and patterns, which are combined in such a manner as to convince the beholder of the superiority of these ornaments over our old class of flowers.

As the French and German type founders, when they produce any new devices, sell matrices of them as articles of trade, the ornaments that are now introduced into England, have consequently all been manufactured from the same punches.

Matrix Plates. For stereotype printing, see Risers.

William Savage, A Dictionary of the Art of Printing, 1841

Another Mathematical combination (ornimental design)


MATTER

The series of the discourse of the compositor’s copy.—M. It now also means pages of types composed for any work; thus we have Set Matter, and Matter for Distribution, which see.

Matter for Distribution. Types that, having been composed for a work and printed off, are ready for use in another work, are, collectively, called Matter for Distribution.


mature

Paper or board which has been seasoned for a period of time before being used. Maturing is important in preventing excessive warping of such materials as binder's board, as well as to have the moisture content of paper and board attain equilibrium with the surrounding atmosphere. See also: SEASONING.


mbt

See: MERCAPTO-BENZTHIAZOLE.


mean tensile strength

The average value of the results obtained by testing the tensile strength of a material. Where the material has a warp or machine direction, the testing is conducted in both the machine, or warp, direction and the cross, or weft, direction.

Labarre, E. J. Dictionary and encyclopaedia of paper and papermaking. 2nd ed. London. Oxford University Press. 1952.


Mearne, Samuel

An English publisher, bookseller, and bookbinder, about whom little definitive knowledge exists. While Mearne's name is associated with the splendid COTTAGE STYLE, some authorities have expressed doubts that he actually bound any books himself, but rather that the famous Mearne bindings were executed by the Dutch bookbinder Suckerman, and that Mearne was a publisher, not a bookbinder. It has been established, however, that Mearne's second apprenticeship was with Jeremy Arnold, a bookbinder and it is therefore argued that he must have learned the craft, the question being how many books he actually bound. It is probably unlikely that he would have taken the time to bind books following the Restoration, because he quickly became an important figure in the book trade. Mearne acquired the posts of Stationer and Bookseller to the King, and thereafter became Master of the Stationers' Company. It is probably reasonable to assume, however, that, considering his knowledge of bookbinding, he would have continued to take an interest in the work of his bindery.

Regardless of its origin. the cottage style came to be regarded as distinctively English, and attained a popularity which endured with minor variations until the first quarter of the 19th century, thus lasting for a longer period than any other style of book decoration.

Mearne's second son, Charles, was his partner from 1678, and when Charles Mearne died in 1686 the shop seems to have gone to Robert Steele, one of Samuel Mearne's apprentices, who is last recorded in 1710. Steele's daughter, Jane, then took over the business, and was in turn followed (in about 1718) by THOMAS ELLIOTT. The same set of tools can be traced from Samuel Mearne to Elliott, by way of Charles Mearne, Robert Steele, and Jane Steele.

At one time the most elaborate of the Restoration bindings were attributed to Samuel Mearne. See also: RECTANGULAR STYLE.

Davenport, Cyril James Humphries. The book; its history and development. New York. Smith. 1930.

Oxford University. Bodleian Library. Fine bindings 1500-1700 from Oxford libraries: catalogue of an exhibition. Oxford. Bodleian Library. 1968. 254.

Walters Art Gallery, Baltimore. The history of bookbinding 525-1950 A.D. Compiled by Dorothy Miner. Baltimore. Trustees of the Walters Art Gallery. 1957.


MEASURE

The width of a page. See Composing Stick.—M. See also Justify a Stick.


MEASURE

The width of a page.

The American Printer: A Manual of Typography


mechanical adhesion

The adhesion that exists between surfaces in which the adhesive secures the adherends by means of interlocking forces. See also: SPECIFIC ADHESION.

Skeist, Irving. Handbook of adhesives. New York. Reinhold. 1962.


mechanical binding

The business of binding single leaves in a non-exchangeable form. In such a binding, leaves cannot be added, removed, or relocated in the book, as is possible in the case of LOOSE-LEAF BINDING. Mechanical binding may be done on many levels of technology, and is usually part of the services of the job bindery. The forms which mechanical binding can take include spiral, coil, ring, cercla (a binding consisting of connected plastic rings), and comb. Mechanical bindings have several advantages, including: 1) the leaves open flat; 2) pages may be arranged in any order, and may be of varying weights and sizes; 3) there is no need to impose and print in even forms, as 8, 16, 32, etc., pages; and 4) the bindings are simpler and less expensive than sewn and/or adhesive bindings. They also have disadvantages, however, some of which are: 1) they are more expensive than simple wire stitched bindings; 2) when the book is open, the left hand page is usually (higher) or lower than the right, by half the distance between the holes; 3) they do not provide the support and protection often desired in permanent bindings; and 4) pages are more easily lost, torn out, or stolen. Mechanical bindings are frequently used for calendars, diaries, price books, notebooks, catalogs, instruction books, etc.

Strauss, Victor. The printing industry…Washington, D.C. Printing Industries in America. 1967.


mechanical deckle-edge paper

An imitation DECKLE EDGE produced in a paper by applying mechanical abrasion, or other treatment, to the edges of the sheet.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.


mechanical fasteners

A general term applied to books with paper covers held together (either permanently or temporarily) with metal or plastic fasteners, such as staples, nails, coils, posts, and plastic or metal strips.

Perry, Kenneth Frederick, and Clarence T. Babb. The binding of books. Rev. ed. Bloomington, 111. McKnight & McKnight. 1967.


mechanical marblers

See: MARBLE ROLLERS.


mechanical wood pulp

A papermaking pulp produced by mechanical means only. The resultant fibers, which are produced by abrading the de-barked logs against a grinding wheel, are short, the average length being about 3 to 4 mm, with an average diameter of about 0.03 mm. Paper made from 100 mechanical wood pulp has relatively low strength, discolors fairly rapidly upon exposure to air and light (possibly because no lignin is removed from the fibers), and has very little permanence. It does, however, possess good bulk, opacity, and compressibility, which are desirable characteristics in some boards, book papers, and printing or writing papers. The wood used is almost always one of the softwoods, although in certain instances hardwoods are also used. The most important physical properties of mechanical wood pulp are freeness, relative length of fiber, uniformity of fiber length, strength, color, and cleanliness.

This type of pulp is generally used with a proportion of chemical wood pulp, the percentage ranging from about 15 to 50. Chemical tests for determining the presence of mechanical wood pulp include the iodine-zinc chloride test, which gives a yellow result, as does aniline sulfate, and phloroglucinol, which gives a bright red.

Grant, Julius. Books & documents; dating, permanence and preservation. London. Grafton. 1937.


MEDHURST’S PRESS

A few years ago, a new press was constructed by Mr. Medhurst, of London, the great recommendation of which was its simplicity, and consequent cheapness. In its general form it much resembled the iron presses in common use, the principal difference being in the manner in which the pressure was produced. This was accomplished by means of an ingenious arrangement of levers, differing so much from every thing previously employed in machinery, that the inventor described his contrivance as one which exhibited a new power in mechanics.

The principle upon which this press acts will be understood from the annexed sketch of the parts by means of which the impression is given. Instead of a screw, a plain spindle is employed: on the lower part of this spindle there is a swell or collar, A, into which the handle, or working bar of the press, B, is fastened. The upper part of this collar has cups or steps for the reception of two short iron props or pins, C, D, which extend up to the head of the press, and are there supported by the points of two screws, E, F, entering sockets cut out in the heads of the pins, which are made of steel. When the platen is up, these pins stand in an inclined position, as represented in the annexed figure: but when the lever handle is pulled towards the spectator, so as to turn the spindle, the two screws remain stationary, while the props come into a vertical position, thus forcing the spindle and attached platen to descend, as if a screw were employed. It may be observed that, in the figure, G is merely a section of the head of the press, which is supposed to be looked at sidewise, to present the back and front projections, H, I, through which the screws pass.—Lardner’s Cabinet Cyclopædia, 1833.

Medhurst’s press


MEDICAL CONTRACTIONS

used in prescriptions, &c., with the words at length, and a translation. From Gray’s Supplement to the Pharmacopœia. 5th edit. 8vo. London, 1831.

A. Aa.—Ana, of each ingredient.

Abdom.—Abdomen, the belly; abdominis, of the belly; abdomini, to the belly.

Abs. febr.—Absente febre, in the absence of the fever.

Ad 2 vic.—Ad duas vices, at twice taking.

Ad gr. acid.—Ad gratam aciditatem, to an agreeable sourness.

Ad libit.—Ad libitum, at pleasure.

Add.—Adde, or addantur, add; addendus, to be added; addendo, by adding.

Admov.—Admoveatur, or admoveantur, apply.

Adst. febr.—Adstante febre, when the fever is on.

Aggred. febre.—Aggrediente febre, while the fever is coming on.

Altern. horis.—Alternis horis, every other hour.

Alvo adst.—Alvo adstricta, when the belly is bound.

Aq. bull.—Aqua bulliens, boiling water.

Aq. ferv.—Aqua fervens, boiling water.

Bis ind.—Bis indies, twice a day.

BB. Bbds.—Barbadensis, Barbadoes.

B. M.—Balneum maris, a sea-water bath.

Bull.—Bulliat, it should boil; bulliant, they should boil.

B. V.—Balneum vaporis, a steam heat.

Cap.—Capiat, take.

C. m.—Cras mane, to-morrow morning.

Coch. ampl.—Cochleare amplum, a large spoon.

Coch. infant.—Cochleare infantis, a child’s spoon.

Coch. magn.—Cochleare magnum, a large spoon.

Coch. mod.—Cochleare modicum, a dessert spoon.

Coch. parv.—Cochleare parvum, a small spoon.

Cœrul.—Cœruleus, blue.

Col.—Colatus, strained.

Colat.—Coletur, it should be strained; colaturæ, of or to the strained liquor.

Colent.—Colentur, they should be strained.

Comp.—Compositus, compounded.

Cont. rem.—Continuentur remedia, the medicines should be continued.

Contr.—Contritus, ground to a fine powder.

Coq.—Coque, boil; coquantur, they should be boiled.

C. P.—Codex of Paris.

Crast.—Crastinus, to-morrow.

Cuj.—Cujus, of which.

Cujusl.—Cujuslibet, of any.

Cyath. theæ.—Cyatho theæ, in a cup of tea.

Deaur. pil.—Deaurentur pilulæ, the pills should be gilt.

Deb. spiss.—Debita spissitudo, a proper consistence.

Decub.—Decubitus, of lying down.

De d. in d.—De die in diem, from day to day.

Dej. alvi.—Dejectiones alvi, stools.

Det.—Detur, it should be given.

Dieb. alt.—Diebus alternis, every other day.

Dieb. tert.—Diebus tertiis, every third day.

Dim.—Dimidius, one half.

Dir. prop.—Directione propria, with a proper direction.

Donec alv. bis dej.—Donec alvus bis dejiciat, until two stools have been obtained.

Donec alv. sol. fuer.—Donec alvus soluta fuerit, until a stool has been obtained.

Ejusd.—Ejusdem, of the same.

Enem.—Enema (en-e-ma), a clyster; enemeta, clysters.

Ext. sup. alut.—Extende super alutam, spread upon leather.

F. pil. xij.—Fac pilulas duodecim, make 12 pills.

Feb. dur.—Febre durante, during the fever.

Fem. intern.—Femoribus internis, to the inner part of the thighs.

F. venæs.—Fiat venæsectio, bleed.

Fist. arm.—Fistula armata, a clyster pipe and bladder fitted for use.

Fl.—Fluidus, liquid; also by measure.

Gel. quav.—Gelatinâ quâvis, in any kind of jelly.

G. G. G.—Gummi guttæ gambiæ, gamboge.

Gr.—Granum, a grain; grana, grains.

Gtt.—Gutta, a drop; guttæ, drops.

Gutt. quibusd.—Guttis quibusdam, with a few drops.

Har. pil. sum. iij.—Harum pilularum sumantur tres, three of these pills should be taken.

Hor. decub.—Hora decubitus, at going to bed.

Hor. som.—Hora somni, just before going to sleep; or on retiring to rest.

Hor. un. spatio.—Horæ unius spatio, at the expiration of an hour.

Hor. interm.—Horis intermediis, at the intermediate hours between what has been ordered at stated times.

Ind.—Indies, from day to day, or daily.

In pulm.—In pulmento, in gruel.

Inj. enem.—Injiciatur enema, a clyster should be given.

Lat. dol.—Lateri dolenti, to the side that is affected.

Lb.—Libra, a pound; or libra, weight, or a wine pint; when preceded by Arabic figures, Avoirdupois weight is generally meant; but when succeeded by Roman numerals, Troy weight, or pint measures.

M.—Misce, mix; mensura, by measure; manipulus, a handful.

Mane pr.—Mane primo, very early in the morning.

Min.—Minimum, the 60th part of a drachm measure.

Mtt.—Mitte, send; mittatur, or mittantur, there should be sent.

Mitt. sang. ad [ounce]xij. saltem.—Mittatur sanguis ad uncias duodecim saltem, blood should be taken away to 12 ounces at least.

Mod. præsc.—Modo præscripto, in the manner directed.

Mor. sol.—More solito, in the usual manner.

Ne tr. s. num.—Ne tradas sine nummo, you should not deliver it without the money: as a caution to the shopman, when the presence of the customer prevents the master giving a verbal direction.

N. M.—Nux moschata, a nutmeg.

O.—Octarius, a wine pint, being 1-8th of a gallon.

Ol. lini s. i.—Oleum lini sine igne, cold drawn linseed oil.

Omn. hor.—Omni hora, every hour.

Omn. bid.—Omni biduo, every two days.

Omn. bih.—Omni bihorio, every two hours.

Omn. man.—Omni mane, every morning.

Omn. noct.—Omni nocte, every night.

Omn. quadr. hor.—Omni quadrante horæ, every quarter of an hour.

O. O. O.—Oleum olivæ optimum, best olive oil.

Oz.—The ounce Avoirdupois, or common weight, as distinguished from that prescribed by physicians in their orders.

P.—Pondere, by weight.

P. Bat.—Pharmacopœia Batava.

P. Belg.—Pharmacopœia Belgica.

P. D.—Pharmacopœia Dublinensis.

P. E.—Pharmacopœia Edinensis.

P. L.—Pharmacopœia Londinensis.

P. L. V.—Pharmacopœia Londinensis [Vetus?] before 1745.

P. U. S.—Pharmacopœia of the United States.

Part. vic.—Partitis vicibus, to be given in divided doses, instead of all at once.

Per. op. emet.—Peracta operatione emetici, when the operation of the emetic is finished.

Post sing. sed. liq.—Post singulas sedes liquidas, after every loose stool.

P. r. n.—Pro re nata, according as circumstances occur.

P. rat. æt.—Pro ratione ætatis, according to the age of the patient.

Pug.—Pugillus, a gripe between the finger and thumb.

Q. p.—Quantum placet, as much as you please.

Q. s.—Quantum sufficit, as much as may suffice.

Quor.—Quorum, of which.

R.—Recipe, take; but for this the old authors, and the French to this day, use this sign ♃, being the old heathen invocation to Jupiter, seeking his blessing upon the formula, equivalent to the usual invocation of the poets and of Mahomedan authors, or the Laus Deo with which book-keepers and merchants clerks formerly began their books of account and invoices, a practice not yet quite extinct

Red. in pulv.—Redactus in pulverem, powdered.

Redig. in pulv.—Redigatur in pulverem, it should be reduced to powder.

Reg. umbil.—Regio umbilici, the parts near the navel.

Repet.—Repetatur, it should be continued; repetantur, they should be continued.

S. A.—Secundum artem, according to art.

Semidr.—Semidrachma, half a dram.

Semih.—Semihora, half an hour.

Sesunc.—Sesuncia, an ounce and a half

Sesquih.—Sesquihora, an hour and a half.

Si n. val.—Si non valeat, if it does not answer.

Si op. sit.—Si opus sit, if need shall be.

Si vir. perm.—Si vires permittant, if the strength will allow.

Sign. n. pr.—Signetur nomine proprio, write upon it the usual name, not the trade name.

Sing.—Singulorum, singularum, of each.

S. S. S.—Stratum super stratum, layer upon layer.

Ss.—Semi, a half.

St.—Stet, it should stand; stent, they should stand.

Sub fin. coct.—Sub finem coctionis, when the boiling is nearly finished.

Sum. tal.—Sumat talem, the patient should take one like this.

S. V.—Spiritus vinosus, ardent spirits of any strength.

S. V. R.—Spiritus vinosus rectificatus, spirit of wine.

S. V. T.—Spiritus vinosus tenuis, proof spirit, or half and half spirit of wine and water.

Temp. dext.—Tempori dextro, to the right temple.

T. O.—Tinctura opii, tincture of opium; generally confounded with laudanum, which is properly the wine of opium.

T. O. C.—Tinctura opii camphorata, paregoric elixir.

Trit.—Tritus, ground to powder.

Ult. præscr.—Ultimo præscriptus, the last ordered.

V. O. S.—Vitello ovi solutus, dissolved in the yelk of an egg.

Vom. urg.—Vomitione urgente, when the vomiting begins.

Z.—A mark in writing that a word is contracted, as in oz. for ounce.

Zz.—Zingiber, ginger.

℈.—Scrupulum, a scruple, equal to 20 grains Troy.

ʒ.—Drachma, a drachm, equal to 3 scruples; or, in liquids, the 8th part of an ounce measure.

℥.—Uncia, an ounce Troy; or, in liquids, the 16th part of a wine pint.

Meredith, Christopher. See Donations.


meeting guard

See: REVERSED V-GUARD.


mellowing

A term sometimes applied to the process of allowing the leather used for covering a book to absorb the first application of paste so as to saturate the pores of the leather before the second application of paste immediately before covering.

Diehl, Edith. Bookbinding; its background and technique. New York. Rinehart. 1946. 2 vol.


mending

A somewhat contradictory term which, in its most elementary sense, refers to the minor restoration of a book with no replacement of any material or the separation of the text block from its case or covers. In this sense mending is not so complete a rehabilitation as RESTORATION. In a more complex sense, however, "mending" can be a long, involved process. The mending of torn leaves, for example, in which the tears occur in the folds, involves a process which necessarily includes taking the book completely apart.

Horton, Carolyn. Cleaning and preserving bindings and related materials. Chicago. American Library Association. (Conservation of library materials pamphlet no. l; Library Technology Project publications, no. 16). 1969.

Town, Laurence. Bookbinding by hand, for students and craftsmen. New York. Pitman. 1950 (1951).


mercapto-benzthiazole

A crystalline heterocyclic compound (C7H4NS (SH)), which is prepared by the treatment of thiocarbanilide with sulfur, or by heating aniline, carbon disulfide, and nitrobenzene. M.B.T. is useful under certain conditions as a paper fungicide, generally in a concentration of 0.1% by weight of the paper. It contains no chlorine and can be applied either as an aqueous or non-aqueous solution.

Langwell, William Herbert. The conservation of books and documents. London. Pitman. 1957


mercuric chloride

A colorless, odorless, and non-volatile compound (HgCl2), which is the oldest and perhaps best known of the paper fungicides. It can be applied in an aqueous or non-aqueous solution and is usually used in concentrations as low as 0.1% by weight of the paper. It is liable to liberate hydrochloric acid under certain conditions; however, since it contains only a small percentage of chlorine, and is usually effective in very low concentrations, it is not very likely to be dangerous in this respect. Its major disadvantage is its violently toxic nature, which has led to its use being legally restricted in the United States.

Miall, Laurence Mackenzie, and D. W. A. Sharp, eds. A new dictionary of chemistry. 4th ed. New York. Wiley. 1968.


merrythought

A finishing tool in the form of a wishbone, or "merrythought," usually embellished with cusps or foliage. It was used on late 15th century and 16th century blind stamped bindings.

Oldham, James Basil. English blind-stamped bindings. Cambridge. Cambridge University Press. 1952.


METAL

The technical name of a mixture of metals properly so called, with which types and stereotype plates are cast.

In speaking of type metal, I shall first give Moxon’s description of making it, which is curious; and then some interesting observations on the same subject by M. Sage, from the Journal de Physique.

Moxon says—“What the metal founders make printing letters of, is lead hardened with iron: thus, they choose stub nails for the best iron to melt, as well because they are assured stub nails are made of good, soft, and tough iron, as because they (being in small pieces of iron) will melt the sooner.

“To make the iron run, they mingle an equal weight of antimony (beaten in an iron mortar into small pieces) and stub nails together. And preparing so many earthen forty or fifty pounds melting pots (made for that purpose to endure the fire) as they intend to use: they charge these pots with the mingled iron and antimony as full as they will hold.

“Every time they melt metal, they build a new furnace to melt it in: this furnace is called an open furnace; because the air blows in through all its sides to fan the fire: they make it of bricks in a broad open place, as well because the air may have free access to all its sides, as that the vapours of the antimony (which are obnoxious) may the less offend those that officiate at the making of the metal: and also because the violent fire made in the furnace should not endanger the firing any adjacent houses.

“They consider, before they make the furnace, how many pots of metal they intend to melt, and make the furnace sizeable to that number: we will suppose five pots. Therefore they first make a circle on the ground capable to hold these five pots, and wider yet by three or four inches round about: then within this circle they lay a course of bricks close to one another to fill the plain of that platform, with their broad or flat sides downwards, and their ends all one way, and on this course of bricks they lay another course of bricks as before, only the lengths of this course of bricks lies athwart the breadths of the other course of bricks; then they lay a third course of bricks with their lengths cross the breadth of the second course of bricks.

“Having thus raised a platform, they place these five pots in the middle of it close to one another, and then on the foundation or platform raise the furnace round about by laying the bricks of the first lay end to end and flat, close to one another: on the second lay, they place the middle of a brick over a joint (as the bricklayers call it) that is, where the ends of two bricks join together, and so again lay bricks end to end till they trim round the platform. Then they lay a third lay of bricks, covering the joints of the second lay of bricks as before: so is the foundation finished.

“Then they raise the walls to the furnace on this foundation; but do not lay the ends of their bricks close together, but lay the ends of each brick about three inches off each other, to serve for wind holes till they trim round about: then they lay another lay of bricks, leaving other such wind holes over the middle of the last lay of bricks, and so trim as they work round, either with half bricks or bats, that the wind holes of the last lay may be covered: and in this manner and order they lay so many lays, till the walls of the furnace be raised about three bricks higher than the mouths of the melting pots, still observing to leave such wind holes over the middle of every brick that lies under each lay.

“Then they fill the sides of the furnace round about the melting pots, and over them, with charcoal, and fire it at several wind holes in the bottom, till it burn up and all over the furnace, which a moderate wind in about an hour’s time will do: and about half an hour’s time after, they lay their ears near the ground and listen to hear a bubbling in the pots; and this they do so often till they do hear it. When they hear this bubbling, they conclude the iron is melted: but yet they will let it stand, perhaps half an hour longer or more, according as they guess the fire to be hotter or cooler, that they may be the more assured it is all thoroughly melted. And when it is melted, the melting pot will not be a quarter full.

“And in or against that time, they make another small furnace close to the first, (to set an iron pot in, in which they melt lead,) on that side from whence the wind blows; because the person that lades the lead out of the iron pot (as shall be shewed by and by) may be the less annoyed with the fumes of the metal, in both furnaces. This furnace is made of three or four course of bricks open to the windward, and wide enough to contain the designed iron pot, with room between it and the sides to hold a convenient quantity of charcoal under it, and about it.

“Into this iron pot they put for every three pound of iron, about five and twenty pounds of lead. And, setting fire to the coals in this little furnace, they melt and heat this lead red hot.

“Hitherto a man (nay, a boy) might officiate at all this work; but now comes labour would make Hercules sweat. Now they fall to pulling down so much of the side of the open furnace as stands above the mouth of that melting pot next the iron pot, and having a thick strong iron ladle, whose handle is about two yards long, and the ladle big enough to hold about ten pounds of lead, and this ladle red hot that it chill not the metal; they now, I say, with this ladle, fall to clearing this first melting pot of all the coals or filth that lie on the top of the melted metal; while another man at the same time stands provided with a long, strong, round iron stirring poot, the handle of which stirring poot is also about two yards long or more, and the poot itself almost twice the length of the depth of the melting pot: this poot is nothing but a piece of the same iron turned to a square with the handle: and this poot is also in a readiness heated red hot.

“Now one man with the ladle lades the lead out of the iron pot into the melting pot, while the other man with the poot stirs and labours the lead and metal in the melting pot together, till they think the lead and metal in the melting pot be well incorporated: and thus they continue lading and stirring till they have near filled the melting pot.

“Then they go to another next melting pot, and successively to all, and lade and stir lead into them as they did into the first. Which done, the metal is made: and they pull down the walls of the open furnace, and take away the fire that the metal may cool in the pots.

“Now (according to custom) is half a pint of sack mingled with sallad oil, provided for each workman to drink; intended for an antidote against the poisonous fumes of the antimony, and to restore the spirits that so violent a fire and hard labour may have exhausted.”—Moxon.

Smith, who published his Printer’s Grammar about seventy years after the appearance of Moxon’s work, says, “In Germany they use more than three ingredients to their metal, which is there made of steel, iron, copper, brass, tin, and lead; all which they incorporate with each other by means of antimony. This metal, if duly prepared, does not bend, but breaks like glass; it is harder than tin and lead, something softer than copper, and melts sooner than lead. This account I have of Mr. Struke, a printer at Lubec.”

“Observations on the Metallic Mixture made use of for casting Letters, or Characters, for Printing. By M. Sage. From the Journal de Physique.

“Lead and regulus of antimony, melted together in various proportions, form the metal used by letter founders, for casting their different types or characters. When I say that these metals are used in various proportions, I mean, that more or less of the regulus of antimony is mixed with the lead, according to the degree of hardness the types are required to possess. In general, eighty pounds of lead are added to twenty pounds of regulus of antimony, already melted: but, for the small characters, in which a greater degree of hardness is required, seventy-five pounds of lead are used to twenty-five pounds of regulus of antimony; and, for large ones, eighty-five pounds of lead, and fifteen pounds of regulus of antimony.

“These two substances, though of very different specific gravities [Lead, 11·35—Antimony 6·70.—W. S.], remain perfectly combined, and do not separate from each other by fusion, unless the fire made use of is so strong as to burn and volatilize them; in that case, the antimony begins to exhale.

“Letter founders should take care to employ only the purest regulus of antimony, or that which is the most free from sulphur; for, when it contains any of that substance, it acts upon the lead, in the course of time, and forms with it a kind of galena, which acquires a black colour. The letters cast with a mixed metal of that kind, instead of preserving their shining and polished appearance, become dull, and as it were cracked, forming also a sort of efflorescence. When this spontaneous decomposition takes place, the letters become brittle, and lose their form. Of this I have been convinced, by having analysed a mixture of this kind, with which M. Anisson had cast some Arabic characters.

“Having exposed some of the letters, made with this bad metal, to a violent fire, the sulphur it contained burnt, and exhaled, in the form of vitriolic acid. Having then poured the metal remaining in the crucible into an ingot, it acquired a white brilliant colour like silver; which colour did not become sensibly changed, by being left, for the space of six months, in a damp place.

“Regulus of antimony is prepared, in the large way, by melting calcined antimony, in a reverberatory furnace, with dried wine lees; from this is obtained the regulus, which is sold in the form of round cakes, on the surface of which are seen figures like the leaves of fern, &c. which figures are produced from the elements of octoëdral crystals. If the regulus, thus prepared, appears more grey in colour than when it is prepared according to Stahl’s process, it is because it still retains a portion of sulphur.

“At present, there is not found a sufficient quantity of regulus of antimony in commerce to supply the letter founders. It appears to me that, in the place of regulus of antimony prepared as above, we might substitute that which may be prepared with iron. One-fifth part of iron is sufficient to absorb all the sulphur with which antimony is mineralized. When this mixture is melted, it must be poured into a cone: the sulphuretted iron remains upon the surface of the regulus, and is very easily separated from it.

“This process is less expensive, and produces more regulus, than the process made use of by those who work the mines of antimony.

“Regulus of antimony, as we have seen, gives hardness to lead; but a much greater degree of hardness is produced by adding tin to the mixture. I have analysed some nails which were proposed to be used in shipbuilding, and found them to contain three parts of tin, two parts of lead, and one part of regulus of antimony. These nails were sufficiently hard to penetrate oak wood, without being blunted; and this metallic mixture is not acted upon by sea water, which very quickly decomposes iron.”

These observations of M. Sage show the utility of iron in the making of type metal by our predecessors, from its combining with the sulphur contained in the antimony.

Stereotype founders vary considerably the proportions of lead and regulus of antimony in making their metal. The hardest metal made, is in the proportion of ten pounds of regulus of antimony to forty pounds of tea lead; but the general proportions are ten pounds of regulus of antimony to sixty pounds of lead, which are said to make a mixture of a good quality.


metal back binders

Binders of the expanding-post type, generally with a steel or aluminum spine. Each side post has four alternately solid and tubular telescopic posts attached. The posts alternate so that a thin solid post is adjacent to a thick hollow post, which prevents looseness in any part of the binder. A key at one end of the spine plate operates a transmission rod to widen the distance between the clamping bars, thus allowing leaves to be inserted or removed. Because of the telescopic posts, this type of binder has a fixed minimum capacity, while the maximum is always twice the minimum. See also: LOOSE-LEAF BINDING; MECHANICAL BINDING.

Practical printing and binding; Odhams complete guide to the printer's craft, edited by Harry Whetton. 3rd ed. London. Odhams Books. 1965.


METAL RULES

Straight lines cast on pieces of metal similar to quadrats, but higher; they are rarely cast to founts larger than English. They are used as leaders; to cut off sums of money from the line which contains the sum total; for transverse lines in columns; sometimes for column rules, but very seldom; and for blanks, where the names of persons, &c., are omitted; em metal rules are sometimes used for divisions in a paragraph instead of a point. They are generally of one em, two ems, three ems, and four ems, but in English founts their size does not exceed three ems; sometimes there are en metal rules cast. Metal rules ought to be cast exactly on the middle of the body, and be continued precisely to the sides, so as to join each other at the ends, even if they are placed alternately with the sides reversed; should this not be the case, the continuity of the line must be broken, and it will necessarily have a disagreeable appearance.

Milled Lead. See Space Lines.


metallic inks

Printing inks used to produce colored effects, such as gold, silver, copper, or bronze. Unless used on coated paper, and initial printing of a sizing material is done, the results will be unsatisfactory.

Glaister, Geoffrey Ashall. An encyclopedia of the book. Cleveland. World. 1960.


metallic thread

See: WIRE THREAD. See also: PURL.


metalwork

A decorative ornament found on numerous rolls; it consists of fancy work in imitation of wrought and curved ironwork filling a small panel.


methyl bromide

A colorless volatile liquid (CH3Br), prepared by the action of bromine in methyl alcohol in the presence of phosphorus, followed by distillation. It is used as a fumigant for books and other materials.


methyl cellulose

Cellulose methyl ether, produced by treating cellulose from wood or cotton with an alkali, such as sodium hydroxide, followed by methyl chloride. The resulting product is a white granular solid, soluble in cold water but insoluble in hot water. It is used as a thickening agent for aqueous preparations and as a substitute for natural gums, and particularly as a stabilizer in emulsions. It has also been used to greaseproof paper and as an additive in adhesives to increase film strength, flexibility and adhesion.


methyl magnesium carbonate

An organic compound, (CH3OMgOCO2CH3 . xCO2), with x being variable depending on the solvent used. It is prepared by treating a solution of magnesium methoxide with carbon dioxide until saturation is attained. The resulting solution is clear, colorless, and has a pH of approximately 7.0. It has been recommended as a non-aqueous deacidifying agent for paper, preferably in low concentrations, e.g., 0.7 to 1.0%. Its advantages are said to be: 1) a mild pH, due to the neutral character of the solution and direct conversion to magnesium carbonate upon hydrolysis; and 2) convenience of use due to the decreased sensitivity of the solution to water, which assists in preventing premature precipitation.


methylated spirit

Ethyl alcohol (ethanol, or grain alcohol) denatured with methanol, or other denaturant, e.g., benzene, and used to dilute spirit stains.


mica paste

An adhesive produced from ISINGLASS dissolved in a suitable solvent. It is used in guarding.


Michel, Marius

The name employed by Jean Michel (1821-1890) and his son, Henri François (1846-1925), who were distinguished Parisian bookbinders. The work of the elder Michel, while technically excellent, was largely traditional. Henri Francois, on the other hand, was more enterprising, and used curved stamps instead of small dies and fillets to work exotic flower and leaf forms, and also attempted to relate the decoration of the book cover to its contents. He was the first bookbinder to suggest that the mood of the book should be continued in the design and color of the binding. He may, in fact, be called the founder of the 20th century French school of binding. The designs of the two binders were often based on natural forms and the ornament is often expressed in color, outlined in blind, and very often without the use of gold. See PLATE X.


microcrystalline wax

A WAX obtained from the heavy lubricating oil fraction derived from crude oil, subsequent to the removal of PARAFFIN (WAX). Its characteristics resemble those of the natural waxes closely, including its high melting point, high viscosity, flexibility at low temperatures, and high cohesion and adhesion. It is used as a substitute for other waxes in laminating paper and foils, as well as for polishes, etc.


microencapsulated adhesive

An adhesive employing microencapsulation (a procedure for containing liquids, e.g., the dye in carbonless copy paper, in microscopic pods which are crushed to release their contents) so as to cause it to act instantly, i.e., the adhesive sets the instant the capsules are crushed. The "adhesive," for example, could be applied to the boards or board papers of a book at any time during binding. Pressing the book would crush the capsules creating the adhesive. The process would have particular use in edition binding, as it would solve the problem o f timing inherent in most modern machines, where the glue (at the correct temperature and viscosity) must reach its application area (in correct film thickness) an instant after the work is properly positioned but before machine pressure is applied, which is a set of circumstances very difficult to keep in proper adjustment. The use of microencapsulated adhesives would also be of considerable benefit to library binders. As of this time, such adhesives are only in the experimental stage.

Comparato, Frank E. Books for the millions; a history of the men whose methods and machines packaged the printed word. Harrisburg, Pa. Stackpole. 1971.


microfilm

Generally, a 35 mm film bearing a photographic record in reduced form of print or other graphic material, such as books, newspapers, documents, etc. Although originally intended to save both space and the handling of the originals, microfilm is currently being used extensively as a method of "preserving" the literary content of deteriorating materials.


micrometer

An instrument used for measuring thickness of materials such as paper, cloth, leather, and board.


microscopy

The use of, or investigation by means of, a microscope. A microscope consists of an optical device containing one or more lenses and is used to view minute objects, generally those larger than .005 mm. A one-lens instrument is known as a simple microscope, while one with two or more lenses is called a compound microscope. Instruments which interpose oil of the same refractive index as glass between the object and the objective are used for high power work. The limit of resolving power is equal approximately to the wavelength of the light source used, i.e., points separated by 4 X 10-5 cm. Objects smaller than this can be detected as bright points in the ultramicroscope, while their actual shape and dimensions can be examined in the electron microscope, in which a beam of electrons is used in lieu of light and is focused by electrostatic or magnetic fields. Resolution down to 5 X 10-8 cm is theoretically possible with such an instrument, which is, however, difficult to use because of the necessity of mounting the specimen in a vacuum. The microscope is a valuable instrument for the study of paper and leather fibers, etc.

Kingzett, Charles Thomas. Kingzett's chemical encyclopedia; a digest of chemistry & its industrial applications. Ed. by D. H. Hey, and others. 9th ed. London. Baillière, Tindell and Cassell. 1966.


Middleton, Bernard C.

One of the outstanding modern day bookbinders and conservationists, Middleton won a Trade Scholarship to the Central School of Arts and Crafts, Southhampton Row in 1938, and was apprenticed to the British Museum Bindery in 1940. He was a City and Guilds Silver Medalist in 1943. Middleton was later bookbinder at the Royal College of Art and, for a short time, managed the Zaehnsdorf bindery. He started his own business as a book restorer in 1953.

Middleton's forwarding is considered to be superlative, while his designs and tooling, though restrained, are always in good taste and are superbly executed. He is also considered to be one of the most skillful book restorers at work today.

Aside from being a gifted bookbinder, Middleton is recognized as an outstanding scholar in the field of bookbinding history, and is the author of a comprehensive work entitled A History of English Craft Bookbinding Technique, as well as The Restoration ot Leather Bindings. He is unique among historians of bookbindings because he writes with such a vast knowledge of technique, largely overlooked by others.


migration

A condition or process of extraction, in which an aqueous or organic solvent selectively dissolves part of an adhesive film, and carries it to a different location as the solvent evaporates. The term also refers to the penetration of an adhesive plasticizer into the adherends due to the attraction of the adherend for the plasticizer. See also: ACID MIGRATION.


mil

A unit of linear measurement, equivalent to 0.001 inch.


mildew

A growth caused by micro-organisms, whose spores, in a moist, warm environment, become molds. They derive their food from the substance on which they form, e.g., the materials of a book. During their growth they produce citric, gluconic, oxalic, or other organic acids, that can damage paper, leather, cloth, etc. They also at times produce color bodies, leading to staining which is difficult to remove.

In counteracting mildew, every part of the affected book must be treated with the inhibitor most suited for it. The best preventatives, however, are thorough cleanliness, sunlight, dry circulating air, and relatively low temperature. See also: FUNGI; MOLD (4).

A laboratory handbook of pulp and paper manufacture. 2nd ed. London. Arnold. 1961.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


Mill Boards

The boards that are attached to the book, giving stiffening to the cover.


MILL-BOARD

The boards that are attached to the book. Various kinds are in use now; the most common is made of straw, the best of old naval cordage.


millboard

A high grade of hard, tough binder's board, dark brown to black in color. It has a smooth finish produced by rolling or milling under high pressure. Originally, millboard was produced from old tarred rope, sacking, and similar materials and was called "black board" or "rope board"; however, genuine rope millboard is now virtually impossible to obtain, except from covers discarded from old bindings. It is now made from waste paper, various wood pulps, screenings, with the better grades containing some hemp and flax fibers. The sheet is produced on a wet machine and is calendered by passing it through a board calender several times. The final thickness of the board generally ranges from 0.036 to 0.144 inch.

Old millboard contains sufficient iron impurities to promote the formation of sulfuric acid due to the presence of sulfur dioxide in the atmosphere, much in the same manner as in paper, although at a much slower rate. Millboard, furthermore, often suffers from an additional defect from the point of view of the bookbinder, namely, excessive lamination stemming from the pressure used in calendering. This excessive lamination can cause the corners of the boards to be subject to splitting and mashing.

Rope fiber millboards were first produced in the late 17th century, but they were not in general use until perhaps the first and possibly the second decade of the 18th century, and even then only in the superior grades of binding. The cheaper machine-made boards were in use as early as the 19th century. Millboard was used continuously until the Second World War in the better grades of binding.

Clowes, William Beaufoy. A guide to printing. London. Heineman. 1963.

Hewitt-Bates, James Samuel. Bookbinding. 8th ed. Leicester. Dryad. 1967.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.


millboard

The boards that are attached to the book to form the covers. Several kinds are in use now; the best is made of old naval cordage.


millboard machine

See: ROTARY BOARD CUTTER.


millboard machine

machine used for squaring boards; should only be used for cheap work, as an edge cut by it will not be as square as if cut by the plough.


mimeograph paper

A type of paper used for producing copies on a mimeograph machine. The paper is produced from numerous furnishes, including those containing cotton fibers and bleached chemical wood pulps, mechanical wood pulp, and combinations thereof. Absorbency, absence of fuzz, finish, and opacity are desired characteristics. The usual basis weight is 20 pounds (17 X 22—500) but basis weight may range from 16 to 24 pounds.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.


mimosa

See: WATTLE (BARK).


mineral acids

See: INORGANIC ACIDS.


mineral tanning

A method of converting hides and skins into leather by the use of metals, e.g., chromium, aluminum and potassium (alum), iron, and zirconium. The first mineral tannage, called "tawing," involved the use of alum and salt. See: TAWING. See also: CHROME TANNING; ZIRCONIUM TANNING.


miniature book

A small to very small book, generally up to 3, or perhaps even 4 inches in height, in which the principal, if not only, interest lies in its small size. It is designed on a small scale (although some consider books reduced in size by photographic means to qualify as miniatures), printed with small type, bound and decorated on a small scale, and, if illustrated, provided with reproductions appropriate to the size of the book.

The idea of a miniature is artificial, although they are very popular. Many Bibles, devotional works, almanacs, classics, etc., have been issued in miniature form from an early date.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.

Harrod, Leonard Montague. The librarians' glossary of terms used in librarianship and the book crafts, and reference book. 3rd ed. London. Deutsch. 1971.


MINION

The name of a type one size larger than Nonpareil, and one smaller than Brevier. Moxon does not enumerate this size in his list.

Modern Gothic. See Black Letter.


minium

A red lead (ground cinnabar) of Iberian origin, mixed with water and egg white, and used in the rubrication of Egyptian papyri and in the production of miniatures.


mint

A book which is in the same new and unblemished condition as when it was first published. A "mint" condition of a book usually implies that it still has its book jacket, if provided originally, which is also new and unblemished.


mirror binding

A style of decoration featuring a dark marbled central panel (the mirror), surrounded by a gold tooled frame and, outside of that, a lighter area that is also surrounded, but by a blind rather than a gold tooled line. The spine is usually heavily gilt. So-called mirror bindings were popular in Denmark in the 18th century.

Dahl, Svend. History of the book. 2nd English ed. Metuchen, N.J. Scarecrow. 1968.


misbound

One or more leaves or sections of a book which have been incorrectly folded, bound in the wrong place, or bound in upside down. Text blocks bound in upside down are a common occurrence in edition binding. miscellaneous binding. 1 Primarily a British term applied to a style of hand binding that is not of as high a quality as extra binding, but considerably superior to edition binding. Under this category may be included work done for a book collector who desires something better than the regular publisher's (edition) binding. 2. See: JOB BINDING.

Vaughan, Alexander J. Modern bookbinding; a treatise covering both letterpress and stationery branches of the trade…New ed. London. Skilton. 1960.


missing leaves

Any leaves not included in, or removed from, a section, gathering, or bound book. missing picks. The contiguous pick (filling) threads missing from a portion of the width of a fabric.


mistletoe tool

A finishing tool which, despite its name, impresses a design more like a feather than a mistletoe leaf. Apparently it was first used on Irish bindings about 1766, and was afterwards used on the spine panels of Irish bindings of about 1780.

Craig, Maurice James. Irish bookbindings, 1600-1800. London. Cassell. 1954.